John Wayne

Why John Wayne Made Rio Bravo As A Response To High Noon

Here’s why John Wayne made his 1959 Western Rio Bravo as a response to High Noon. From his screen breakthrough with 1939’s Stagecoach to his final role as a terminally-ill gunfighter in 1976’s The Shootist, Wayne’s screen persona is inexorably tied to Westerns. He starred in some of the most famous examples of the genre, including The Searchers and The Man Who Shot Liberty Valance.
Another classic of his is Rio Bravo – which later became an unofficial trilogy. This sees Wayne’s sheriff Chance tasked with holding on to a prisoner while he and his motley team of men are besieged by hired guns. The film often features on lists of the greatest Westerns of all time, and is a favorite of both Quentin Tarantino and John Carpenter, with the latter’s Assault On Precinct 13 being heavily inspired by it. For those paying attention to Rio Bravo’s story, they’ll spot many parallels with another famous Western: 1952’s High Noon.
This Fred Zimmerman-helmed revisionist Western cast Gary Cooper as Marshal Will Kane, who is set to retire with his new Quaker wife Amy (Grace Kelly) when he learns an outlaw he put away is coming back to town. Despite repeatedly trying to enlist the help of the townsfolk, they shun Cooper’s – who is heavily referenced in Landscapers – Kane and he’s left alone to face a gang of killers. In contrast to other Westerns of the era, High Noon is a stripped-back thriller that takes place in real-time and isn’t afraid to portray the fear and disillusionment of its protagonist. The film was also a bitter comment on the Hollywood blacklisting of the era – which earned it Wayne’s wrath for several reasons.
Wayne Felt High Noon Was “Un-American”

Gary Cooper dressed as a cowboy in High Noon

During the time High Noon was produced, the House Committee of Un-American Activities – which investigated allegations of alleged communist activity in the U.S. – had taken a particular interest in Hollywood and the messaging placed in movies. The careers of many filmmakers were heavily impacted or outright destroyed during this era of the Cold War because if they were called before the committee and refused to “name names” of those with suspected communist ties, they were effectively blacklisted. Leading this charge within the industry was the Motion Picture Alliance for the Preservation of American Ideals (AKA the MPA), which featured mostly conservative members who wished to defend the business from those with communist or fascist sympathies.
The MPA counted Wayne, Clark Gable, Ronald Reagan, John Ford and even Gary Cooper among its ranks. Wayne himself served as President of the MPA for four years and rejected the lead in High Noon because of its political subtext. In addition to Wayne (who appeared in 80 Westerns throughout his career) finding the material “Un-American” – being particularly offended that Kane would run around begging for help while the townsfolk also refused to come to his aid – he was upset by the last scene of the Marshal throwing away his badge when the showdown was done. The movie’s screenwriter Carl Foreman had also been a member of the Communist Party USA for several years and later declined to provide names to the HUAC when called as a witness.
This led to his blacklisting from the industry and a drastic downplaying of his role in the production. Wayne would later take pride in his part in this, stating in his 1971 Playboy interview he didn’t regret having “… helped run Foreman out of the country.” Despite his hatred of High Noon, he still accepted an Oscar on close friend Cooper’s behalf for the film, when the latter was unable to attend the ceremony. Wayne – who was nicknamed “Duke” – and director Howard Hawks later reteamed to make Rio Bravo, which saw the former’s tough sheriff never asking for help or doubting his duty. Rio Bravo also had a more optimistic view of the Old West, as plenty of people come to Chance’s aid regardless. Both High Noon and Rio Bravo are classics in their own right, even if their views of America are coming from opposite viewpoints.

John Wayne

The Legend Lives On: John Wayne is Still Alive!

In a world where legends never fade, we can’t help but wonder: what if John Wayne, the iconic figure of American cinema, is still with us in spirit? The Duke, known for his larger-than-life roles and undeniable charisma, continues to inspire generations.

From his unforgettable performances in classics like “True Grit” and “The Searchers” to his indomitable spirit, Wayne’s essence is woven into the fabric of Hollywood and American culture. His rugged persona, moral fortitude, and unwavering courage resonate deeply, reminding us of the values he embodied.

While we may not see him on the silver screen today, Wayne’s legacy lives on through the countless actors he inspired and the stories he helped tell. His films are timeless, bringing joy and adventure to audiences around the world.

So, as we celebrate the enduring impact of John Wayne, let’s keep his spirit alive in our hearts. Whether you’re watching one of his classics or sharing a favorite quote, remember that the legend of John Wayne will never truly die. Here’s to the Duke—forever a part of our cinematic history!

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.