"[8][11], Ford's behavior "...really pissed Wayne off," Strode said, "but he would never take it out on Ford," the man largely responsible for his rise to stardom. Variety called the film "entertaining and emotionally involving," but thought if the film had ended 20 minutes earlier, "it would have been a taut, cumulative study of the irony of heroic destiny," instead of concluding with "condescending, melodramatic, anticlimactic strokes.
Liberty is always a dishonorable outlaw villain, and he is taken down by a method that was often the true way outlaws were dealt with. The Man Who Shot Liberty Valance (/ˈvæləns/) is a 1962 American dramatic western film directed by John Ford and starring John Wayne and James Stewart. Produced for $3.2 million, it grossed $8 million,[2] making it the 15th-highest grossing film of 1962.
So did Gary Cooper, who starred in another movie based on one of her stories: 1959's "The Hanging Tree." Liberty is portrayed as being an almost mystically good shot. The film is recognized by American Film Institute in these lists: This article is about 1962 film. Stoddard's efforts to get the townspeople to stand up to Liberty end in violent disaster for those few willing to do so, forcing Stoddard to take up arms and call Liberty out for a showdown he cannot possibly win. At times, Liberty seems almost mentally ill, with some of his gang trying to hold him back from some of his wilder and rambunctious antics. "What a miserable film to make," he added. Ford called out, "Don't hit him, Woody, we need him." Filming in black and white helped ease the suspension of disbelief necessary to accept that disparity. [4], Others have interpreted the absence of the magnificent outdoor vistas so prevalent in earlier Ford Westerns as "a fundamental reimagining [by Ford] of his mythic West" – a grittier, less romantic, more realistic portrayal of frontier life. Tom also makes sure Ranse understands Hallie is Tom's girl by showing renovations to his ranch house are intended for his marriage to her. A memorable song, composed by songwriting legends Hal David and Burt Bacharach, and originally sung by Gene Pitney, was made for but not used in the film itself, though it followed closely enough that it is associated with the story. [13] "Wayne actually played the lead," Ford said, to Peter Bogdanovich. For the 1962 release of the like-titled tune, see, CS1 maint: BOT: original-url status unknown (, The Man Who Shot Liberty Valance (stage play), There'll Be a Hot Time in the Old Town Tonight, Academy Award for Best Costume Design (black-and-white), "John Ford's Wilderness: The Man Who Shot Liberty Valance", "Gene Pitney, Who Sang of 60's Teenage Pathos, Dies at 65", "The 35th Academy Awards (1963) Nominees and Winners", "Top 7 John Ford films (because we couldn't pick just 5)", "AFI's 100 Years...100 Heroes & Villains Nominees", "AFI's 100 Years...100 Movie Quotes Nominees", https://en.wikipedia.org/w/index.php?title=The_Man_Who_Shot_Liberty_Valance&oldid=985958006, Films based on works by Dorothy M. Johnson, United States National Film Registry films, CS1 maint: BOT: original-url status unknown, Pages using multiple image with auto scaled images, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, Maxwell Scott: "This is the West, sir. For a long time, Pitney would gently set the questioners straight. Despite this, the review maintained that the film "has more than enough gusto to see it through," and that Ford had "lost none of his talent for catching the real heart, humor and violent flavor of the Old West in spite of the notable rustiness of his technique. He was portrayed by the late Lee Marvin, who also played Chino in The Wild One. "[18] Portions of the song There'll Be a Hot Time in the Old Town Tonight are played in scenes by bar musicians and a marching band. Because, in addition to the wonderful talent she possessed, she is a prime example of how, if you set your heart to it, you have a chance to accomplish just about anything. [5] A more pragmatic interpretation cites the fact that Wayne and Stewart, two of Hollywood's biggest stars working together for the first time, were considerably older (54 and 53, respectively) than the characters they were playing. Still haunted by the lie that set him up, Stoddard decades later attempts to tell the truth to a newspaper in Shinbone, but the editor and reporter refuse to disrupt the legend that effectively made that area what it now was. Played by Lee Marvin in the film version, the only man he feared was rancher Tom Doniphon, played by John Wayne. She died in 1984, at the age of 78. Tom regrets saving Ranse's life, because he lost Hallie to him; but, he encourages Ranse to accept the nomination and make Hallie proud. "[25] John L. Scott of the Los Angeles Times wrote, "Director Ford is guilty of a few lengthy, slow periods in his story-telling, but for the most part the old, reliable Ford touches are there. Though based upon the movie's plotline, it was not used in the film. Nursed back to health by a restaurateur and his family, Stoddard finds twin dilemmas: Shinbone, with an ineffectual marshal and large ranchers in effect making their own law, needs his services desperately, yet a man like Liberty Valance can only be taken down by the same sort of violence that is the outlaw's stock and trade. Then, toward the end of filming, Ford asked Stewart what he thought of Strode's costume for the film's beginning and end, when the actors were playing their parts 25 years older. A number of questions in History on the John Ford film "The Man who shot Liberty Valance" - The word Valance is the writer code for "Balance" and Liberty stands on herself - The motive for the play is
Doniphon lives the rest of his life bitter and alone, while Stoddard goes on to be governor of the new state, Senator, and later Ambassador to Britain. Ranse returns to Hallie to treat his arm. Miss Liberty is on the 1928 Mercury dime, shes not a real person. As she grew up, she developed a love of reading and an interest in writing, and submitted stories to her small-town newspaper. [21], Contemporary reviews were generally positive, although a number of critics thought the final act was a letdown. [17] The film scholar Kathryn Kalinak notes that Ann Rutledge's theme "encodes longing" and "fleshes out the failed love affair between Hallie and Tom Doniphon, the growing love between Hallie and Ranse Stoddard, and the traumatic loss experienced by Hallie over her choice of one over the other, none of which is clearly articulated by dialogue. Ranse's wounds are treated by Tom's girlfriend, Hallie, and others, who explain to him that Valance terrorizes the residents, and the town's Marshal Appleyard is powerless to stop him. Upon entering the territory as a young attorney, Ranse is beaten and robbed by Liberty Valance and his gang. There is no indication that the movie depicted the real life of someone named Liberty Valance. "[26] Harrison's Reports gave the film a grade of "Very Good",[27] but Brendan Gill of The New Yorker was negative and called it "a parody of Mr. Ford's best work. It was also covered by the Australian rock band Regurgitator on its 1998 David/Bacharach tribute album To Hal and Bacharach. Strode blamed Ford for nearly all the friction on the set. He reveals to Stoddard that all of his shaky shots at the showdown went wild, and never even touched Liberty. It was Doniphon, aided by his employee Pompey, who stood in the shadows with a rifle and timed a shot to match Stoddard's shots, and that it was Doniphon who shot Liberty. Stoddard blows out the match for his unlit pipe, and stares downward. Stoddard and Doniphon gradually learn a grudging respect for each other, and for each other's ways. You've got to know your job, lay your shadows in properly, get your perspective right, but in color, there it is," he said. As Stoddard returns to Washington, D.C. with Hallie, and contemplates retiring to Shinbone, he thanks the train conductor for the railroad's many courtesies. Westerns may not be as popular as they once were, but beautiful writing is eternal. The Western Writers of America bestowed upon her their highest honors. Pitney told me that he constantly heard two things from fans. Valance challenges Ranse to a gunfight to be held later in the evening. What should have been left to enthrall the imagination is spelled out until there is nothing left to savor or discuss. Is the statue of liberty a real person? His alleged killer is a man who must rise to that legend, while his real killer is no saint, merely an immensely practical man. She studied English at college in Montana; she briefly and unhappily married and then divorced. Liberty is always a dishonorable outlaw villain, and he is taken down by a method that was often the true way outlaws were dealt with. Was Liberty Valance a Real Person? The authorship of Westerns -- tales of cowboys and rustlers and settlers and the rough-hewn world around them -- had traditionally been a men's club. Stewart here is neither George Bailey nor Mister Smith; Wayne is extremely gruff and sometimes unlovable; Lee Marvin is very nearly a conscienceless psychopath and not a hard-living funster. [10], Stewart related that midway through filming, Wayne asked him why he, Stewart, never seemed to be the target of Ford's venomous remarks. She didn't care. Otherwise we would have been in Monument Valley or Brackettville and we would have had color stock. http://parallax-view.org/2009/05/21/john-fords-wilderness-the-man-who-shot-liberty-valance/
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