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liberty valance real person

"It was the only film," he said, "where [Ford] learned about something called pessimism. "[22], The Monthly Film Bulletin agreed, lamenting that the "final anticlimactic 20 minutes ... all but destroy the value of the disarming simplicity and natural warmth which are Ford's everlasting stock-in-trade." Tom Doniphon finds Ranse and takes him to Shinbone. KUSM, the public-broadcasting station in Bozeman, Montana, put together an affectionate 27-minute documentary on her life called "Gravel in Her Gut and Spit in Her Eye." "[24], Richard L. Coe of The Washington Post called the film "a leisurely yarn boasting fine performances," but was bothered by "the incredulous fact that the lively townsfolk of Shinbone didn't polish off Valence [sic] for themselves. In an unnamed Western US territory moving towards statehood in the late 1800s, the stagecoach carrying Eastern lawyer Ransome Stoddard was robbed by a delinquent gang of troublesome hoodlums led by Liberty Valance, who also beat Stoddard within an inch of his life. Liberty Valance's last victim was the classic screen Western, and the modern type is the child he left behind. You've got to know your job, lay your shadows in properly, get your perspective right, but in color, there it is," he said. "He didn't want Duke [Wayne] to think he was doing him any favors," Van Cleef said. Other cast- and crew-members also noticed Stewart's apparent immunity from Ford's abuse. Stoddard is immensely remorseful for having killed a man, so he almost refuses to join in the fight he started, until he is pulled aside by Doniphon. [13] "Wayne actually played the lead," Ford said, to Peter Bogdanovich. His alleged killer is a man who must rise to that legend, while his real killer is no saint, merely an immensely practical man. Liberty is portrayed as being an almost mystically good shot. When the horses did stop, Wayne tried to pick a fight with the younger and fitter Strode. Pitney told me that he constantly heard two things from fans. In New York, she would go to the public library to read up on the saga of the West and would go to the movies to watch thrilling films on that same theme. Tom advises Ranse of Valance's trickery. On TV he would have been dispatched by the second commercial and the villainy would have passed to some shadowy employer, some ruthless rancher who didn't want statehood. "You might say I'm old fashioned, but black and white is real photography. I was kind of hoping you would. What should have been left to enthrall the imagination is spelled out until there is nothing left to savor or discuss. The studio also specified that Wayne's name appear before Stewart's on theatre marquees, reportedly at Ford's request. Ford had to accept those terms or not make the film. But people continue to think they heard it there. [31] Director Sergio Leone (Once Upon a Time in the West, The Good, the Bad and the Ugly) listed Ford as a major influence on his work, and Liberty Valance as his favorite Ford film. 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. His alleged killer is a man who must rise to that legend, while his real killer is no saint, merely an immensely practical man. Now, I don't know if Mr. Stewart has a prejudice against Negroes, but I just wanted you all to know about it." Ford claimed to prefer that medium over color: "In black and white, you've got to be very careful. "He ended up taking it out on me." "[14], Parts of the film were shot in Wildwood Regional Park in Thousand Oaks, California.[15][16]. Filming in black and white helped ease the suspension of disbelief necessary to accept that disparity. To say that made him a little depressed is an understatement. She worked whatever jobs she could find. Wayne's avoidance of wartime service was a major source of guilt for him in his later years. 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. "Jimmy Stewart had most of the sides [sequences with dialogue], but Wayne was the central character, the motivation for the whole thing. Born in Iowa in 1905, an only child, she soon moved with her parents to Montana. 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. When the legend becomes fact, print the legend." A men's club? She moved to New York, found work at the Gregg Shorthand Co., and eventually became the editor of a women's-interest magazine. This conflict drives Stoddard to seek to confront Liberty, which Doniphon knows is a fool's quest for the shaky Easterner. Her husband had built up numerous debts, including gambling losses; she vowed that she would make good on all of them, and she did. 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. "What a miserable film to make," he added. The Burt Bacharach-Hal David song "(The Man Who Shot) Liberty Valance" became a top-10 hit for Gene Pitney. He called for the crew's attention and announced, "One of our players doesn't like Woody's costume. Stewart said he "wanted to crawl into a mouse hole", but Wayne told him, "Well, welcome to the club. 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. 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. In the original short story, he is less of an outlaw icon, his importance growing in the mind of the humiliated Stoddard, who in both versions, shows signs of settling a grudge more than seeking justice. He reveals to Stoddard that all of his shaky shots at the showdown went wild, and never even touched Liberty. 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. Ford claimed to prefer that medium over color: "In black and white, you've got to be very careful. It was also covered by the Australian rock band Regurgitator on its 1998 David/Bacharach tribute album To Hal and Bacharach. With that cast and that director, the film was destined to be a big hit. The film is considered one of Ford's best,[29] and in one poll, ranked with The Searchers and The Shootist as one of Wayne's best Westerns. 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. The townspeople proclaim him a hero, and Valance's outlaw gang is hunted down and dispersed. 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. Is the statue of liberty a real person? Stoddard's story flashes back 25 years. [8] Strode recounted that Ford "kept needling Duke about his failure to make it as a football player", comparing him to Strode (a former NFL running back), whom he pronounced "a real football player". Stewart replied, "It looks a bit Uncle Remussy to me." 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. Tom offers to assist Ranse in leaving town, but Ranse stubbornly declines. Valance challenges Ranse to a gunfight to be held later in the evening. he demanded. Westerns may not be as popular as they once were, but beautiful writing is eternal. Liberty began to torment newcomer and lawyer Ransom Stoddard (portrayed by the late James Stewart). 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. 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. According to the obituary published in The New York Times, she wrote 17 books, more than 50 short stories and many poems and magazine articles. She died in 1984, at the age of 78. She knew she was good enough to succeed. When the legend becomes fact, print the legend." 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. 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. She changed her byline to Dorothy M. Johnson, feeling that Dorothy Marie sounded too frilly; she wrote the short story that was turned into one of the greatest Western movies ever made. Valance toys with Ranse, shooting him in the arm, and then aims to kill him, when Ranse fires his gun and Valance drops dead. Jimmy Stewart, director John Ford and John Wayne appear on the set of 'The Man Who Shot Liberty Valance' in 1962. The film is recognized by American Film Institute in these lists: This article is about 1962 film. It was a work of fiction. You've got to know your job, lay your shadows in properly, get your perspective right, but in color, there it is," he said. Tom sees how much the two care for each other, and he retreats to his farm in a drunken rage where he burns down his house. Wayne later told Strode, "We gotta work together. Zane Grey, Max Brand, Owen Wister, Luke Short, Jack Schaefer, Louis L'Amour -- right up to today, those are the kinds of names most frequently associated with famous Western novels. After she moved back West, she taught college writing courses. 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. Both sets of fans, Pitney said, were wrong.

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