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by Alexandria | 11 March 2018 · 1:53 pm

When Legend Becomes Fact: John Ford’s Classic Western, The Man Who Shot Liberty Valance

#NoSpoilers

Westerns are an “indigenous American art form,” romanticizing and nostalgically eulogizing the geographical territory west of the Mississippi before it was “tamed.” Set in eras when the West was wild, rough, and wooly, the major protagonists in Westerns are typically divided into easy-to-identify categories of Good Guy and Bad Guy, complete with white and black hats, respectively, and these protagonists often fall into the most dreadful stereotypes. Law and order, or the lack thereof, is a typical theme, and these films are often set at isolated forts or homesteads, or in small towns that are just beyond the reaches of Eastern “civilization,” towns that have not yet been dramatically changed by the arrival of the railroad. Most Westerns feature “romantic, sweeping frontier landscapes or rugged rural terrain,” all filmed in gorgeous technicolor.

When famed director John Ford decided to make The Man Who Shot Liberty Valance (1962), a Western adapted from a short story written by Dorothy M. Johnson, and starring John Wayne and James Stewart, Ford chose to shoot the film in black-and-white, and he did so on a Paramount stage-set. Critic David Courson believes that these artistic decisions about location and film choice stemmed from Ford’s fundamentally “re-imagined” vision of the mythic West; a vision that was now “pensive and thoughtful,” according to film critic (Roger Ebert); a vision which, according to fellow Westerns director Sergio Leone, who was influenced by the film, revealed that Ford had “learned about something called pessimism.”

James Stewart as Ranse, The Man Who Shot Liberty Valance © Paramount

Whatever the reason for Ford’s newly imagined, more pessimistic vision of the West, his artistic changes were a critical and financial success. The film’s budget was $3.2M, and it earned $8M when it was released. Edith Head’s surprisingly understated costumes were nominated for an Academy Award for Best Costume Design (black-and-white), one of the few Westerns ever nominated for this category. With a cast of great stars and loads of marvelous character actors, The Man Who Shot Liberty Valance is a one of the best classic Westerns. Despite its almost claustrophobic setting, the film examines the more expansive issues of frontier independence vs. civilization; social equality of men vs. that of women, children, and non-whites; and legal vs. moral justice vs. common sense, all while doggedly examining the role of myth in both culture and art.

James Stewart as Ranse, and Vera Miles as his wife, The Man Who Shot Liberty Valance © Paramount

The film opens with a Senator Ransom (Ranse) Stoddard (James Stewart) returning, unannounced, to the frontier town of Shinbone for a funeral. While he’s there, the local reporters doggedly question the “famous man’s” return to the wilderness, which they believe must have some other purpose than his attending a mere funeral. Senator Stoddard agrees to tell them the story of his past, taking viewers into the flashback that will form the bulk of the film.

Lee Marvin (center) as Liberty Valance, with his gang members, played by Lee Van Cleef (L) and Strother Martin (R ), The Man Who Shot Liberty Valance © Paramount

Ranse, a young attorney who goes West as a young man, hopes to bring civilization as well as law and order to whatever town he settles in and sets up his legal practice. He’s a greenhorn and a dude with an education, and when the stagecoach is robbed by Liberty Valance (Lee Marvin, above center) and his gang (Lee Van Cleef (L) and Strother Martin(R), above), the idealistic and naïve Ransom Stoddard is beaten and whipped, almost to death.

John Wayne as Tom Doniphon (Donovan), The Man Who Shot Liberty Valance © Paramount

A local rancher, Tom Doniphon (pronounced “Donovan”) (John Wayne) finds the badly injured Ranse and takes him to town for help.

Vera Miles as Hallie, and Woody Strode as Pompey (foreground), Jeanette Nolan as Nora and John Qualen as Peter (background), The Man Who Shot Liberty Valance © Paramount

While his injuries are being tended by Hallie (Vera Miles) and her Swedish-immigrant employers Nora (Jeanette Nolan) and Peter (John Qualen), Ranse urges them to send for the local Marshal (Andy Devine, below L) so that Valance can be arrested.

Andy Devine as the Marshal, and Woody Strode as Pompey, The Man Who Shot Liberty Valance © Paramount

Everyone present, but most notably Tom, tells Ranse that Liberty Valance has no respect for the law, understanding only violence, brute force, and retaliation, but Ranse refuses to listen, insisting that he can get justice for his injuries and the stagecoach attack.

James Stewart as Ranse, and Vera Miles as Hallie, The Man Who Shot Liberty Valance © Paramount

Without any money, Ranse is forced to accept the hospitality of the restauranterus Nora and Peter, so he does kitchen chores to repay them for lodging and meals. When Ranse learns that waitress Hallie can neither read nor write, he offers to teach her — and anyone else who wishes to learn.

Lee Van Cleef, Strother Martin, and Lee Marvin (L-R) as Liberty and his gang The Man Who Shot Liberty Valance © Paramount

Then Liberty Valance and his gang come into the restaurant, mocking the apron-wearing “dude” Ranse, and setting up a violent confrontation among Ranse, Liberty, Tom, and the newspaper editor Peabody (Edmond O’Brien).

James Stewart as Ranse, Edmond O’Brien as Peabody, and John Wayne as Tom, The Man Who Shot Liberty Valance © Paramount

As a sort of unofficial protector of the townspeople due to his own shooting skills, which are at least equal to those of Liberty Valance, Tom teaches Ranse to shoot, expecting that Ranse will be able to defend himself against the notorious Valance.

John Wayne as Tom, and James Stewart as Ranse, The Man Who Shot Liberty Valance © Paramount

Meanwhile, Hallie, who is being courted by Tom, begins to have feelings for Ranse as well as for Tom, setting up yet another arena for disaster and tragedy in Shinbone. To make matters even worse, the Territory in which Shinbone is located wants to be granted Statehood, to help protect itself against the cattle barons, who have apparently hired the notorious Liberty Valance to sabotage the town’s efforts.

James Stewart as Ranse, Lee Marvin as Liberty, and John Wayne as Tom, (with Lee Van Cleef and Strother Martin as Liberty’s gang, background), The Man Who Shot Liberty Valance © Paramount

The initial conflict among Ranse, Liberty, and Tom intensifies and becomes political, endangering not only Ranse’s life but the physical safety and the lives of everyone who has befriended him in the town. Liberty Valance is not going to step aside without a gunfight, and Ranse, who’s not much of a shootist, is the man in Liberty’s sights.

Star-studded entertainment, with just enough humor to keep the film a drama without turning it into a tragedy, The Man Who Shot Liberty Valance is available for rent ($2.99-3.99) or purchase from Amazon (free with a 7-day Starz subscription), iTunes, YouTube, GooglePlay, and Vudu, and is always free for Starz subscribers.

♦

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It’s Not How You’re Buried That’s Important:
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Crime, Passion, Absurdity:
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I Ain’t Never Been No Hero: More Great Westerns

No Spoilers

I love Westerns, though most of the Westerns I favor fall into what are considered the sub-genres, with some of them not even taking place in the American West, for example, but containing iconic character motifs and themes present in Western films. My Top Ten Western films have characters, storylines, and themes make them powerful films that I watch over and over. They don’t always end happily, but they end honestly, with the finale of the movie developing out of the characters’ natures, their conflicts, and the decisions they’ve made previously — either in the film itself or in their lives before the events in the story take place. Here are more of my favorite Westerns, films I can always watch one more time.

The Long Riders
(1980)

Starring sets of real-life brother actors as historical brother outlaws, The Long Riders explores America’s violent post-Civil War past in a unique way. The most factual of any film about the James-Younger Gang, it covers the activity of Frank and Jesse James (Stacey and James Keach); Ed and Clell Miller (Dennis and Randy Quaid); Cole, Jim, and Bob Younger (David, Keith, and Robert Carradine); and Bob and Charley Ford (Nicholas and Christopher Guest).

Jesse is the titular head of the Gang, but after he disapproves of Ed’s behavior during one of that raids/robberies, rifts begin to form among the Gang members. Pursued by posses and the Pinkertons, the Gang is nevertheless protected by family and neighbors, who consider them local heroes rather than criminals. When hiding out, the brothers court women, and are courted by them in turn, which causes added stress in the Gang. As the Gang’s crimes escalate, so does the Pinkertons’ determination to capture them. After innocent people begin to get hurt and killed, the Gang loses its local support and goes further afield to rob stages, trains, and banks, increasing the Gang’s notoriety and fame, but also increasing its risk.

Even if you know the story of the James-Younger Gang, this film is engaging and worth watching. The cinematography is very effective and powerful, especially as the Gang escalates its violence. The Long Riders is available for rent $3.99 from Amazon (free with a 7-day Starz trial) or free from Starz with a subscription.

The Professionals
(1966)

Four American “specialists,” i.e., mercenaries (Burt Lancaster, Lee Marvin, Robert Ryan, and Woody Strode), are hired for an extremely dangerous but potentially lucrative, once-in-a-lifetime mission: deliver a $100K-in-gold ransom and rescue the beautiful young wife (Claudia Cardinale) of an older, wealthy rancher (Ralph Bellamy). Because two of the professional soldiers fought in Pancho Villa’s Army during the Mexican Revolution, they’re willing yet wary, if only because they know the ostensible kidnapper Razza (Jack Palance) intimately, and “kidnapping doesn’t seem like his thing.”

Fighting the desert, weather, rogue bandits, self-doubt, and each other, the Professionals use their individual skills — with dynamite, knives, bow-and-arrow, guns — as they head for Razza’s presumed hide-out. When they come upon Razza derailing a train and executing soldiers, they realize their mission may be more dangerous than they’d originally than anticipated because “something’s dicey about this set-up.”

Lancaster as the woman-loving wit is especially entertaining. With surprising (and satisfying) plot-twists, The Professionals is an often-neglected gem of a Western. Available from Amazon available for rent $3.99 (free with a 7-day Starz trial) or free from Starz with a subscription.

The Shootist
(1976)

Opening with a montage of John Wayne’s film roles as the “history” of gunslinger J. B. Books (Wayne), narrated in Voice-Over by The Boy (Ron Howard) who idolizes him, The Shootist is my favorite role by both of these actors. Diagnosed with advanced cancer, with only about 6 weeks to live, Books settles in for a last stay in the lodging house of Widow Rogers (Lauren Bacall), mother of The Boy. Though Books wants anonymity and privacy, The Boy discovers his identity almost immediately and proudly trumpets that a famous Shootist is staying at his house. Books wants to keep him terminal illness secret, too, but he’s forced to tell people in order to stay quietly in the town till he dies.

When the stories of Books’ impending death begin to spread, other gunslingers who want to improve their own reputations by killing the famed Shootist arrive. Books’ instinct for survival and self-preservation combat with any desire he has to die quietly. Worse, he decides he doesn’t want to be alone, and the Widow Rogers and her son have caught his eye.

The chemistry between Wayne and the impressive line-up of guest stars — James Stewart, Henry Morgan, Richard Boone, Scatman Crothers, John Carradine, Hugh O’Brien, Sheree North — is surpassed only by the chemistry between Wayne and Bacall, and by that between Wayne and Howard. This is the role that should have won Wayne the Oscar: he’s better by far as the fighting-fading Books than as True Grit‘s cantankerous Cogburn. The Shootist is available from Amazon ($3.99 to rent).

3:10 to Yuma
(2007)

Based on an Elmore Leonard short story, and a remake of the 1951 film of the same name, 3:10 to Yuma packs powerful Western icons with clever dialogue and strong performances. Civil War hero Dan (Christian Bale, in one of his best roles) is about to lose his ranch because he didn’t have enough money to pay the mortgage and to buy feed for his cattle, purchase water during the drought, and to obtain the drugs for his consumptive youngest son.

When attempting to retrieve some of his cattle scattered by ne’er-do-wells, Dan and his sons run into escaped Bad Guy Ben Wade (Russell Crowe, below R) and his Gang, who have just ambushed the Pinkertons to rescue one of their Gang members. After rescuing the wounded Pinkerton McElroy (Peter Fonda), Dan, who is determined to save his ranch, offers to help escort the proverb-quoting escaped convict Wade to Detention so he can be put on the 3:10 to Yuma Prison.

The treacherous journey turns into a contest of wills between idealistic Dan, whose oldest son idolizes the criminal, and the notorious Bed Wade. As Ben’s Gang attempts to rescue its leader, Dan tries to earn his own son’s respect by completing the job he was hired to do. 3:10 to Yuma is filled with excellent writing, rousing action, and memorable characters. The scenes between Bale and Crowe are exquisite. Available from Amazon ($9.99SD-$12.99HD to purchase, or free with a 7-day Showtime trial), or free with a subscription from Showtime or DirecTV.

Salvation
(sometimes translated as The Salvation)
(2014)

Salvation, sometimes translated as The Salvation, is the Danish tribute to Sergio Leone’s classic Spaghetti Westerns, exploring some of the genre’s classic icons: The Man with No Name, The Town Besieged, The Cowardly Townspeople, The Man Seeking Vengeance. Jon (Mads Mikkelsen, below R) has come the the American West, from Denmark, with his brother Peter (Mikael Persbrandt, below L) after the disastrous War of 1864.

Seven years later, Jon has enough money to bring over his wife and 10-year-old son. Though these two characters are not developed — existing only as a reason for Jon to seek revenge for the heinous crimes against them, the film doesn’t suffer from that weakness. Instead, it plunges into Jon’s story as he and his brother seek revenge against the Bad Guys, led by DeLaRue (Jeffrey Dean Morgan).

Terrorizing a town where no one is willing to stand up to the villains but where everyone wants a Saviour, DeLaRue and his Gang rule the populace with the aid of a corrupt Mayor (Jonathan Pryce) and a milque-toast Preacher-Sheriff (Douglas Henshaw). Eventually joined by “The Princess” (Eva Green), who appears to have been the captive “wife” of one of the rapists/murderers and who had her tongue cut out by Indians when she was kidnapped as a young girl, Jon fights for justice.

The addition of the mystery-suspense sub-plot makes this Revenge Tale one of the more interesting Westerns. Everyone in the film is more realistic than iconic, as they are in some of the classic Spaghetti Westerns: it usually takes Jon several shots to put down an assailant. Moody and atmospheric, with artistic cinematography, Salvation is available from Amazon ($4.99 to rent, or free with a 7-day trial from Showtime), is available for purchase for $14.99 from iTunes, or for $12.99 from GooglePlay, and YouTube, and is available free with a subscription from Showtime, IFC, or DirecTV.

If you know of any other classic Westerns that I might enjoy, please feel free to tell me about them in comments.

♦

My original Top 10 Westerns post
If You’re Going to Shoot,
Shoot: Don’t Talk
is now divided into two posts,
updated with official trailers and film availability:

We All Have It Coming:
Top 5 Westerns