Yet, as Liberty openly mocks Stoddard and his ham-handed efforts to use a weapon, it seems that the wounded Stoddard gets off a shot that kills 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. No one ever handed her anything. 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. 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. 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. "[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. John Ford, the director of the 1962 film, and John Wayne, James Stewart and Lee Marvin, the stars, welcomed her into their own club. She didn't care. When the legend becomes fact, print the legend." Ford had to accept those terms or not make the film.

[20], Liberty Valance was released in April 1962, and achieved both financial and critical success. Small rancher Tom Doniphon tries to convince a disgusted Stoddard of this hard fact of their existence, a lesson made all the harder by the rivalry between Stoddard and Doniphon for Hallie, the daughter of the restaurant owner. He also ridiculed Wayne for failing to enlist during World War II, during which Ford filmed a series of widely praised combat documentaries for the Office of Strategic Services and was wounded at the Battle of Midway,[9] and Stewart served with distinction as a bomber pilot and commanded a bomber group. Tom advises Ranse of Valance's trickery.

"It was the only film," he said, "where [Ford] learned about something called pessimism. Valance and his gang vandalize Peabody's newspaper office and beat him nearly to death after Peabody ran a story about Valance's prior murder of some farmers. 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 studio also specified that Wayne's name appear before Stewart's on theatre marquees, reportedly at Ford's request. It was a work of fiction.

Because she seemed to enjoy putting unexpected twists into her plots, and because we're talking about "The Man Who Shot Liberty Valance," I'll end this with a story about the movie I think she might have liked. Senator Ranse Stoddard and his wife Hallie arrive in Shinbone, a frontier town in an unnamed western state, to attend the funeral of Tom Doniphon. I'm glad you made it. He told Bogdanovich that he used the theme in both films to evoke repressed desire and lost love. [13] "Wayne actually played the lead," Ford said, to Peter Bogdanovich. Tom offers to assist Ranse in leaving town, but Ranse stubbornly declines. After she moved back West, she taught college writing courses. Posted on September 1, 2012 by columbiabroadcast1. Once you hear that song, you never forget it. In contrast to prior John Ford Westerns, such as The Searchers (1956) and She Wore a Yellow Ribbon (1949), Liberty Valance was shot in black-and-white on Paramount's soundstages. 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. [12], Stewart received top billing over Wayne on promotional posters, but in the film itself Wayne's screen card appears first and slightly higher on a sign post. "Here's a movie with Jimmy Stewart, Lee Marvin and John Wayne -- and the song doesn't get into the movie," he said. "You might say I'm old fashioned, but black and white is real photography. Your public library, if you're lucky, has some Dorothy M. Johnson books; I think you'll find them a treat. 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. Ford claimed to prefer that medium over color: "In black and white, you've got to be very careful. James Taylor covered it on his 1985 album That's Why I'm Here, as did The Royal Guardsmen on their 1967 album Snoopy vs. the Red Baron. Doniphon is repulsed by what he sees (sometimes rightfully) as Stoddard's weak-kneed naivete, but also sees that the freedom of the Old West that he so loves has also bred men like Liberty and by extension, the large ranchers who are almost as much outlaw as Valance. His alleged killer is a man who must rise to that legend, while his real killer is no saint, merely an immensely practical man. But people continue to think they heard it there. Ford called out, "Don't hit him, Woody, we need him." Ford claimed to prefer that medium over color: "In black and white, you've got to be very careful. Members of the Western Writers of America chose it as one of the top 100 Western songs of all time. They must have had to edit it for time.". I was kind of hoping you would. [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. Edith Head's costumes were nominated for an Academy Award for Best Costume Design (black-and-white), one of the few Westerns ever nominated in that category. Ford responded, "What's wrong with Uncle Remus?" Her writing was so clean, so spare -- she knew just how to draw her readers into a tale and keep them hanging on right up to the last word in the last sentence of the last paragraph. "[7], Another condition imposed by the studio, according to Van Cleef, was that Wayne be cast as Doniphon. We both gotta be professionals." Just as the story depicts a dying Old West, the feature film was really the last of the great Westerns, with Director John Ford overseeing an at times savage deconstruction of the genre that had done so much for himself, Wayne, and to a lesser extent, Stewart. 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.

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