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John Wayne

True Grit’s TV Rights Sparked A Legal Battle With John Wayne

Just how much is an Academy Award worth? That’s exactly what John Wayne wanted to know after he starred in the 1969 film “True Grit.” In the Western, based on the Charles Portis novel of the same name, a drunken, grizzled, one-eyed U.S. Marshal (Wayne) teams with a Texas Ranger (Glen Campbell) and a teenage girl (Kim Darby) to track down the killer of the girl’s father.

“True Grit” is not only a throwback to director Henry Hathaway’s older Westerns, but it’s a drama that doesn’t take itself too seriously. The movie gave audiences a respite from the gritty realism and counter-culture movement happening in U.S. cinema in the late 1960s. After the movie’s release there was talk that Wayne might win his first Academy Award for Best Actor. Even Roger Ebert, admittedly not the biggest fan of The Duke, praised his performance in the film.

“Wayne towers over this special movie. He brings an ease and authority to the character. He never reaches. He never falters. It’s all there, a quiet confidence that grows out of 40 years of acting.”Despite Wayne’s Oscar buzz and the critical success of “True Grit,” Paramount Pictures was in a hurry to sell the film’s television rights. It prompted a battle that played out in the courtroom, far from the Colorado plains of the western drama.

Paramount sold the TV rights while it was still in theaters

John Wayne in True Grit

“True Grit” was released in theaters on June 11, 1969 to immediate critical acclaim. The New York Times called it “a marvelously rambling frontier fable packed with extraordinary incidents, amazing encounters, noble characters and virtuous rewards.” The film also features what Wayne considered the best scene he ever shot.

The western was also a commercial success, and Paramount Pictures wasted no time in trying to capitalize on the momentum. In September of 1969, while the film was still in theaters, Paramount sold the television rights to “True Grit” along with 24 other films to ABC in a $15 million package.

In the book “John Wayne: The Life and Legend,” author Scott Eyman explains why Wayne and fellow film producers took umbrage with the Paramount sale. It all centered around the value in the potential Oscar win for Wayne. Eyman notes a letter from film producer Joseph Hazen to Paramount on behalf of Wayne and co-producer Hal Wallis. In his letter, Hazen pleads:

“There is nothing to be gained by making a sale of ‘True Grit’ now. As 66% owners of the profits from the network telecast of ‘Grit,’ it is our deep conviction and strong feeling that Paramount should neither offer nor sell ‘True Grit’ to the networks at this time, and that it should definitely and positively await the results of the Academy Awards before it offers the picture for network showing.”Paramount ignored their request and sold the rights anyway, prompting Wayne and the producers to sue the studio. If you know anything about classic westerns, you know to never bet against The Duke, and the same applied in the courtroom.

In April of 1970, Wayne won his first Oscar for Best Actor. It was enough ammunition for The Duke to take down the big, bad studio. The court agreed that Wayne’s Academy Award made “True Grit” much more valuable and Wayne’s group received a settlement from Paramount for more money.

John Wayne smiling Glen Campbell True Grit

It was John Wayne’s only OscarJohn Wayne is one of the most iconic and well-known names from the classical Hollywood era. So it makes sense that Wayne might have been a bit more sensitive to the issue given that the impending Academy Award would be his one and only Oscar.

In 1949, he earned an Academy Award nomination for Best Actor for his portrayal of Sgt. John Stryker in “The Sands of Iwo Jima.” In 1960, Wayne produced, directed, and starred in “The Alamo.” The movie was nominated for Best Picture. However, it was only his role as Rooster Cogburn in “True Grit” that allowed Wayne to bring home some hardware.

It was well-deserved, and some argued overdue, after his snub for “The Searchers.” Wayne’s performance in “True Grit” was praised by Variety:

“It’s mostly Wayne all the way. He towers over everything in the film – actors, script [from Charles Portis’ novel], even the magnificent Colorado mountains. He rides tall in the saddle in this character role of ‘the fat old man.’”Perhaps even more important than the statue, Wayne’s performance in “True Grit” redeemed the actor after his castigated propaganda war film, “The Green Berets.” The movie also created an aging character archetype that would launch the second half of his career. “It was a role he would play, with some variations, for the rest of his life,” Eyman writes in his book. “Not a culture warrior, but an old man dredging up enough strength for one last hurrah.”

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.

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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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John Wayne

True Crime on Amazon Prime: ‘Lorena’ Reexamines a 90s Tabloid Sensation

True crime might not be the first type of show that comes to mind when you think of the offerings on Amazon Prime Video. The perpetually buzzy genre is usually more associated with the likes of Netflix and HBO.

However, the streaming service boasts at least one standout docuseries from 2019. It’s one that can scratch the true crime itch for fans, but also give them a much needed new perspective on a well-worn tabloid sensation from the 1990s.

‘Lorena’ was produced by Jordan Peele of ‘Get Out’ fame

Jordan Peele, Head of Amazon Studios Jennifer Salke, and Lorena Gallo attend the 'Lorena' Premiere during the 2019 Sundance Film Festival.Jordan Peele, Head of Amazon Studios Jennifer Salke, and Lorena Gallo attend the ‘Lorena’ Premiere during the 2019 Sundance Film Festival. | Rich Fury/Getty Images

Lorena, as the simple, to-the-point title suggests, chronicles the sordid story of Lorena and Jon Bobbit. The series was produced by Jordan Peele, the comedian-turned-director best known for Get Out and Us, and released on Amazon Prime Video in early 2019 following a premiere at the Sundance Film Festival.

In 1993, Lorena Bobbitt infamously cut her husband, John Wayne Bobbitt’s penis off in his sleep with a kitchen carving knife. She drove off with it, tossed it out the car window into a field, and eventually called 911 to report the incident. After a search followed by 9.5 hours of surgery, John Bobbitt was able to get his penis reattached and functioning normally.

Thanks in large part to the salacious and sexual nature of the Bobbittss story, it quickly became a tabloid and late-night talk show sensation. Sadly, as one might expect from a male-dominated culture, the media spectacle largely focused on John Bobbitt as a sympathetic victim and cast Lorena as a hysterical victim. John Bobbitt went on to become something of a cult figure for a time, even starring in two pornographic films.

Part of the mission statement of Lorena, the series, was to use the true crime format to recontextualize the Lorena Bobbitt story. Despite the prevailing perception of the incident beforehand, in reality, John Bobbitt had subjected Lorena to years of domestic abuse and rape, up to and including the night of her attack.

John Bobbitt was eventually acquitted on rape charges. Lorena Bobbitt was found not guilty by a jury for reasons of insanity.

“25 years later, Lorena is a groundbreaking re-investigation of the deep moral issues and painful human tragedies buried at the heart of this infamous American scandal,” Amazon’s official description of the series reads, as reported by Deadline. “Lost in the tabloid coverage and jokes was the opportunity for a national discussion on domestic and sexual assault in America.”

Lorena saw a positive reaction upon its release, currently boasting an 82% positive rating on Rotten Tomatoes. It was the biggest project yet from director Joshua Rofé, who previously helmed Lost for Life, a documentary about juvenile offenders sentenced to life in prison.

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