The Man Who Shot Liberty Valance

the_man_who_shot_liberty_valanceAsk a western fan what John Ford movie is his favorite, and you’ll get any number of answers. Rightfully so too, Ford directing gem after gem. My personal favorite is 1948’s She Wore a Yellow Ribbon. Ford’s tone shifted later in his career though, portraying the American west in a more realistic, negative view. I’d say more honest. Movies like The Searchers, Two Rode Together, Sergeant Rutledge, and of course, 1962’s The Man Who Shot Liberty Valance, all dug deeper, portraying a west unlike we’d seen in the director’s previous efforts.

A lawyer from the East, Ransom Stoddard (James Stewart) is on a stagecoach heading to the town of Shinbone in a western territory when the coach is attacked by an infamous bandit, Liberty Valance (Lee Marvin), and his gang. Stoddard is savagely beaten but nursed back to health in Shinbone. It is turbulent times in the budding town and territory with a potential push for statehood on the line. Stoddard becomes a key person in the fight, all the way trying to figure out what life in the west is like. Valance constantly berates the lawyer, but a small rancher who’s fast with a gun, Tom Doniphon (John Wayne), always seems to be in the right place at the right time. With so much on the line for so many people, Stoddard must decide how far he wants to push his luck.

By all accounts, ‘Liberty Valance’ is the anti-John Ford western. Shot in black and white on the Hollywood backlot, there are no sweeping vistas, no majestic shots of riders on the horizon. Instead, this is a story about the people, their relationships and the turbulent times they find themselves in. There’s little in the way of gunplay/gunfights. It’s just not your typical western, but it is a film that’s firing on all cylinders. A classic that deserves its reputation.

Never a bad thing when two Hollywood legends star together. They were in How the West Was Won together but had no scenes together. They were excellent together in several great scenes in The Shootist. What’s so cool here is the dynamic. Both Ransom and Tom believe in the same things, just different ways of accomplishing those things. I love Stewart’s Ransom and the character arc he goes through. It’s a fascinating character. He hates guns, hate violence and abhors bullies. He sees Tom’s ways of doing things and can’t get on-board with it…until he does. Not your typical western hero — by a long shot — but one that brings a great, unique edge to a familiar genre.

Ford and Wayne go together like peanut butter and jelly, albeit PB that’s abusive to the J. Wayne did some of his best work in Ford films — especially She Wore a Yellow Ribbon and The Searchers — but Ford was infamous for railing on his star non-stop. So was the case here as Ford picked on Wayne mercilessly. Well…it worked. This is one of Wayne’s more underrated parts. His Tom Doniphon is a bit of a bully himself, constantly calling Ransom ‘Pilgrim,’ but he’s a small rancher who’s well-respected (even feared) and is lightning quick with a gun. Like Ethan Edwards in The Searchers, Doniphon is a tragic character here too, an arc that all comes together in a fitting, moving and at times, tough to watch conclusion. Kudos to the two Hollywood greats.

Easily one of Ford’s strongest casts from top to bottom. Vera Miles is Hallie, the uneducated waitress who’s drawn to both Tom and Ransom (oh no! A love triangle!), avoiding plenty of awkward pratfalls. Marvin is terrifyingly perfect as Liberty, an unhinged psycho capable of all sorts of violence. Edmond O’Brien hams it up and steals his scenes as alcoholic newspaper editor Dutton Peabody. Andy Devine is the cowardly sheriff because of course he is. Gotta mention Woody Strode who in subtle fashion steals his scenes (as he usually did) as Pompey, Tom’s “man,” almost a right-hand man kind of deal, not a slave but always at his side.

Also look for John Carradine, Denver Pyle, Lee Van Cleef, Strother Martin, Jeanette Nolan, John Qualen and plenty more familiar faces to round out the cast.

Earlier in his career, Ford’s films tended to have a broad, obvious sense of humor that bordered on too much (and sometimes was just way too much). His later films lost that innocence. Sure, Devine gets some laughs, but it’s far more subtle. There’s a darkness here that hangs in the air. It’s always building to that inevitable showdown, but even there, a twist is revealed in a lightning-quick noir-esque flashback that’s beyond perfect. There is an edge, a violence, a meanness (especially in Valance) that brings the movie up a notch. The black and white filming goes a long way toward aiding the cause in that department.

‘Valance’ is famous for one of the best lines in western history. Simpy put, it’s “When the legend becomes fact, print the legend.” The story is held with a framing device that adds some additional layers to the story. I won’t spoil it here, but it works on basically all levels. Some great storytelling from beginning to end as we try to piece it all together as an audience.

I can’t say enough about this western. It’s not your typical Ford western, not even your typical western in general. It had been years since I watched it, and I loved catching back up with it. I came away very impressed with Stewart’s performance this time. There’s a moment late where he’s simply a man who’s had enough. He’s been pushed too far. If he has to die righting a wrong, his Ransom Stoddard — educated to the bone — is ready to pick up a gun and die for it. The end result propels the last 25 minutes of the movie to a highly memorable finale. Go watch this one.

The Man Who Shot Liberty Valance (1962): ****/****

 

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Island in the Sky

island_in_the_sky_281953_film29_posterSince I moved over to WordPress from Blogger this past fall, I’ve struggled with what to review. Life gets in the way and what not, huh? Should I stick with solely westerns? Guy’s guys movies in general? I’d been sticking with westerns of late, but when watching 1953’s Island in the Sky, I had to expand the parameters a little bit. A John Wayne movie many fans have never heard of, much less seen, it’s a hidden gem, a true classic.

It’s early in World War II and many civilian pilots have been enlisted in the armed forces to help transport supplies to Europe. One of the routes is over Canada to Greenland and eastward into England and beyond. Among those pilots is Dooley (Wayne), a longtime flier, and his four-man crew. In horrific weather, Dooley’s plane goes off-course and the pilot is forced to land in the wilderness of Labrador, mostly uncharted land that’s never been explored. With food in short supply and temperatures at -70 degrees, the five men must band together to survive. All over the region though, civilian pilots report in to aid in the search. In the uncharted wilderness though, the search proves to be almost impossible across 10,000 square miles. Can the rescue effort find them? Can Dooley and his crew hold out?

Originally released in 1953, ‘Island’ went unseen for over 20 years as it languished under copyright and legal issues. It was finally settled on released on DVD in the early 2000s with another Wayne aviation movie, The High and the Mighty (also recommended). Some 15 years before disaster movies were in style, both films set the bar high and are obvious influences on countless flicks to come (both serious and spoof). ‘Island’ is as straightforward as they come with a downed crew and the rescue effort in the air. No frills, no tricks, just a survival movie at its absolute best. A must-see film.

Director William Wellman had a pilot’s background himself, flying in a fighter in WWI. He’d done several aviation movies already — including 1927’s Wings — and just has a knack for it. ‘Island’ is filmed in a stark, haunting black and white that adds a layer to the film. With color filming, it would lose some of its minimalist edge. The aerial sequences are quite impressive as WWII-era planes fly through weather, in and around mountain ranges, and all in sub-zero, frigid temperatures. Much of the movie is spent in tough, cramped quarters on the search planes, and we’re there with the pilots the whole way. A solid musical score from Emil Newman and an uncredited Hugo Friedhofer underplays all the action.

Rarely mentioned as one of Wayne’s best, this definitely belongs in the conversation with The Searchers, She Wore a Yellow Ribbon and The Shootist. His part as veteran pilot Dooley is his most human part. He’s not a superhero, a cowboy, a war hero. He’s just a good pilot trying his damnedest to get his crew home safe. The voiceover narration Wayne delivers adds an excellent element to the character as we see his doubts creeping into his head while trying to hold the situation together. There’s a good twist in the final scene too concerning his character. Nothing crazy, but it adds a nice touch. As for the crew, look for Sean McClory as Lovatt, the co-pilot, Wally Cassell as D’annunzia, the radioman, Hal Baylor as Stankowski, the engineer and Jimmy Lydon as Murray, the navigator.

The survival and rescue effort is delivered in almost documentary-like fashion. In brief snippets, we get little windows into the lives of the crew as they look back on what they’ve left behind. It’s never heavy-handed or too distracting, but is instead highly effective in letting us feel like we know the crew well. It goes a long way in simple fashion of getting us invested in their survival. A solid ensemble.

And then there’s the rescue efforts, featuring plenty of recognizable stars, character actors and future stars. ‘Island’ features an excellent ensemble all-around, starting with the rescue pilots, including Lloyd Nolan, James Arness, Andy Devine, Paul Fix, Allyn Joslyn, Cass Gidley and Louis Jean Heydt. Walter Abel leads the effort from base as the Army officer in command, an effortlessly effective part as he spells out what’s going on. As for some of the crew members, look for Harry Carey Jr., Fess Parker, Bob Steele, and Carl ‘Alfalfa’ Switzer.

I’ve seen this movie several times now, and I go along for the ride each and every time. The tension is beyond uncomfortable at times as the days pile up and supplies begin to dwindle, all the while the extreme, bitter cold wreaking havoc. SPOILER ALERT I absolutely love the ending too, one of the best, most emotional finales around. SPOILER ALERT. I can’t recommend this movie enough. Hidden away in a vault for years, ‘Island’ is must-see for fans of aviation, of John Wayne, of survival stories, and more simply, just of good stories. Definitely check this one out.

Island in the Sky (1953): ****/****