John Wayne
The Long Voyage Home Was A Gamble That Could Have Sent John Wayne Back To B-Movies
John Wayne had finally broken free of Poverty Row B-flicks as the lead of John Ford’s classic Western “Stagecoach” when he jockeyed for the lead in the filmmaker’s 1940 seafaring drama “The Long Voyage Home.” Like “Stagecoach,” this World War II-set yarn about a tramp steamer wending its way from the West Indies to Baltimore and then on to England is an ensemble work. It is also one of Ford’s most formally considered features, bolstered by expressive cinematography from the great Gregg Toland (who was one year away from changing the filmmaking game forever alongside Orson Welles with “Citizen Kane”).
Wayne had made his name on Westerns, and with World War II on the horizon — which would take some of his stiffest movie star competition, most notably James Stewart and Henry Fonda, out of the country for four years — he had an opportunity to become one of the biggest names in the industry. Wisely, he kept busy, booking one Western after another with Republic Pictures. But he was keen to stay in Ford’s good graces, and sought the part of Swedish seaman Ole Olsen in “The Long Voyage Home.” The director, who famously joked about his star’s lack of acting ability, surprisingly capitulated. Wayne was to play a provincial Scandinavian with a Swedish accent.
How did this work out for the newly minted star?
The less John Wayne acts, the better
United ArtistsWayne was a tad shocked that Ford gave him the role, but it made basic box office sense. The Duke had connected with rank-and-file moviegoers, so his name and image on the poster might drive folks to take a chance on a moody drama based on a series of one-act plays by Eugene O’Neill.
But if Wayne was hoping for more nuanced direction from Ford than he’d received in the past, he was completely out of luck. According to Randy Roberts and David Welky’s “John Wayne: Treasures,” the star was understandably worried about not so much nailing his Swedish accent, but getting across a semi-reasonable facsimile. Put in modern-day terms, he didn’t want to come off like Kevin Costner in “Robin Hood: Prince of Thieves.” Other directors might’ve been more attentive to their star’s concerns, but the brusque Ford shrugged off Wayne’s request. “Well, Jesus, all right, if you want to be a goddamn actor,” he said.
“The Long Voyage Home” was a commercial dud and a critical success. Academy voters were impressed enough to give it six Oscar nominations, most of which emphasized the film’s technical mastery. As for Wayne’s performance, it’s endearingly meek. Ole’s iffy command of English allows Ford to cut way back on the star’s dialogue, which forces Wayne to give a physical performance. His apprehensiveness, encouraged by Ford (to the actor’s chagrin), leaves the Duke looking like a bit of a sap (à la his brief appearance as Barbara Stanwyck’s prey in Alfred E. Green’s “Baby Face”). When asked about the portrayal, Ford said, “Count the times Wayne talks … That’s the answer. Don’t let him talk unless you have something that needs to be said.”
Over the next few years, Wayne would learn how to protect his image. He became a brilliant modulator. He could make small adjustments, but he would never, ever make a departure. People wanted John Wayne, and he was obliged to give this to them.
John Wayne
The Legend Lives On: John Wayne is Still Alive!
John Wayne
Why John Wayne Turned Down the Chance to Work With Clint Eastwood
Clint Eastwood and John Wayne are the two biggest legends in the history of Western movies, however, they never worked together. The duo did have the opportunity to work together once in the 1970s. Here’s why the film never came to fruition.
How John Wayne responded when Clint Eastwood tried to work with him
Firstly, a little background. According to the book John Wayne: The Life and Legend, it all starts with Larry Cohen. Though Cohen is not a widely known director like Steven Spielberg or Quentin Tarantino, he’s a huge name to fans of B movies. He directed famous B movies like The Stuff, Q: The Winged Serpent, It’s Alive, and God Told Me To. He also wrote a script called The Hostiles shortly after Eastwood released his classic High Plains Drifter.
The Hostiles was about a gambler who wins half of an estate of an older man. The gambler and the older man have to work together despite the fact that they don’t like each other. Eastwood optioned the screenplay with the intent of playing the gambler alongside Wayne as the older man.
Eastwood sent a copy of the script of The Hostiles to Wayne. Although Eastwood felt the script was imperfect, he saw its potential. However, Wayne was not interested. Eastwood pitched the film to Wayne a second time and Wayne responded with a letter. Wayne’s letter complained about High Plains Drifter. Wayne was offended by the film and its portrayal of the Old West as a cruel, violent place.
John Wayne
Ann-Margret Refused to Call John Wayne ‘Duke’ While Introducing 1 of His Movies
Ann-Margret once starred in one of John Wayne’s lesser-known movies. However, she refused to call him by his popular moniker Duke. Here’s a look at the film they made together — and why she declined to call him by a nickname.
The one time Ann-Margret and John Wayne made a movie together
Ann-Margret is probably most known for her work in musicals, specifically Bye Bye Birdie, Viva Las Vegas, and The Who’s Tommy. However, she also dabbled in the Western genre. She starred alongside Wayne in the mostly forgotten movie The Train Robbers.
Wayne was also known as The Duke or just Duke. According to USA Today, the nickname was derived from his childhood dog. It stuck with him for many years. It continues to be used today — even on the box covers of the DVDs for his movies.
John Wayne | Silver Screen Collection/Getty Images
During an interview with Interview Magazine, Ann-Margret explained why she didn’t refer to the Rio Bravo star by this famous name. “When I came to this country, first of all, mother and I didn’t know English,” she said. “I would curtsey, then say, ‘Thank you,’ and then when I was leaving, curtsey. For example, we went to Dallas to introduce a film I did with John Wayne. And I never called him Duke. I just couldn’t. That’s the way I was raised. When you meet someone, you say either Mr. or Mrs. or Miss. You stand up.”
Ann-Margret revealed she treated other famous people in much the same way. For example, she worked with director George Sidney on Bye Bye Birdie and Viva Las Vegas. She always called him Mr. Sidney.
What Ann-Margret thought about John Wayne
Ann-Margret refused to use Wayne’s most famous moniker. However, she had a positive view of the actor. During an interview with Fox News, she was asked what she expected when she met Wayne. “Oh, I didn’t know what to expect,” she revealed. “But when he hugged me, it’s like the world was hugging me. He was so big and wide with that booming voice.
“We were shooting in Durango, Mexico and my parents came down to visit me,” she added. “He was so great with my parents. So absolutely welcoming and gentle with them. And anybody who was great to my parents was on a throne in my eyes.”
How the world reacted to ‘The Train Robbers’
Wayne starred in many classic Westerns, including The Searchers, Stagecoach, and The Man Who Shot Liberty Valance. However, The Train Robbers is mostly forgotten. It didn’t gain a cult following like Once Upon a Time in the West or Dead Man. It wasn’t a critical success either, garnering a 33% rating on Rotten Tomatoes. However, Ann-Margret had some fond memories of making the film — even if she refused to call Wayne by his famous nickname.
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