Most of the mythology surrounding the Old West in American culture has been shaped by Hollywood Westerns, a genre that has left an indelible mark on the collective imagination. Among the directors who played a pivotal role in this process, John Ford stands out as one of the most influential figures. His films, including classics like Stagecoach and The Searchers, have defined the genre and its archetypes. However, Ford was acutely aware that future generations of critics and scholars might scrutinise this mythology, viewing it as emblematic of everything that was wrong with America. With his 1962 film The Man Who Shot Liberty Valance, Ford preemptively addressed this potential criticism by crafting a narrative that deconstructs classic Western myths. In doing so, he effectively inoculated himself against accusations of perpetuating a simplistic and romanticised view of the West.
The plot of The Man Who Shot Liberty Valance is based on a 1953 short story by Dorothy M. Johnson, one of the most respected authors of the Western genre, whose works have served as the basis for many classic Western films. The story begins at the turn of the 20th century, when the highly respected US Senator Ransom "Rance" Stoddard, played by James Stewart, and his wife Hallie, played by Vera Miles, arrive in the town of Shinbone, in an unnamed Western state, to attend the funeral of an old acquaintance, the impoverished local rancher Tom Doniphon, played by John Wayne. Stoddard, who had started his political career in Shinbone and is considered the town's favourite son, is approached by the local newspaper, which demands to know the nature of his connection to this unremarkable person. This prompts Stoddard to recount the events of decades past, when he, as a young attorney from the East, was travelling to start a new practice. On the way, he was robbed, viciously beaten, and left for dead by a gang led by the notorious local gunslinger and thug Liberty Valance, played by Lee Marvin. Stoddard is rescued by Doniphon and brought to Shinbone to recover, where he gets a job in a local restaurant, meets the illiterate Hallie, teaches her to write, sets up a local school, and befriends the newspaper publisher Dutton Peabody, played by Edmond O'Brien. Doniphon, who wants to marry Hallie, tells Stoddard to leave town because he believes that the city slicker lacks the gun skills necessary to have any chance against Valance in an inevitable showdown.
The Man Who Shot Liberty Valance is often considered one of the best, if not the best, films by John Ford. However, at first glance, it may not appear to be the undisputed classic that it is often made out to be. This impression can be explained by the fact that the 1962 film looks a little dated, even for its contemporaries, having been made in black-and-white and almost entirely on Paramount studio sets. The serviceable but not particularly inspired music score by Cyril J. Mockridge does little to dispel this impression. The theme song, written by Burt Bacharach and performed by Gene Pitney, which later became a hit, was not even used in the film itself.
However, Ford's decision to use black-and-white cinematography can be explained by the casting of the film. Two of his biggest stars, John Wayne and James Stewart, were legends in their own right, but they were also in their 50s at the time of filming. The makeup necessary to make their characters appear much younger would likely have been less convincing in colour. This decision, therefore, may have been a deliberate choice to create a more timeless and nostalgic feel, rather than a limitation of the technology available at the time.
Despite its initial appearance, The Man Who Shot Liberty Valance has a very good script, based on the story by James Warner Bellah and William Goldsbeck, which covers some of the main themes of the Western genre in an interesting and effective way. The conflict between the "wildness" of the West and civilisation is resolved through the interactions of three archetypal characters: the rugged old-school Western hero Doniphon, who does the right thing even if it means getting his hands dirty, played by John Wayne in his iconic manner; the almost comically evil Valance, very effectively played by Lee Marvin in one of his last major roles as a villain; and James Stewart as a variation of the "aw shucks" all-American hero he had played decades ago in Hollywood. Doniphon and Stoddard, despite being nominally on the same side, are rivals for the hand of Hallie, who can be interpreted as the apotheosis of America itself.
The conflict is resolved in a manner that is both convincing and realistic, but this is not what the audience wants, and Ford knows it. He solves this dilemma by introducing a twist that gives the citizens of Shinbone and the audience the history they would have liked to happen, rather than the history that actually occurred. Doniphon, despite doing his part in creating a brave new world of civilisation, law, order, and decency, is suddenly redundant and loses fame, respect, the girl, and his purpose in life. The unpleasant truth about the public's preference for "neat" and perfect heroes, rather than "messy" and complicated protagonists, is summed up by the newspaper editor Maxwell Scott, played by Carleton Young, in his famous lines "When the legend becomes fact, print the legend." This statement highlights the tension between the reality of the past and the mythology that has been built around it, and the ways in which the latter can often supplant the former in the popular imagination.
The Man Who Shot Liberty Valance, despite making this point in an effective manner, is not a perfect film. The script complicates things a little in the second part by having the main conflict become part of a larger political struggle between grand cattle barons and ordinary citizens, and there is a bit of unnecessary melodrama in the last twenty minutes or so.
Regardless of these flaws, which prevent the film from living up to its high reputation, The Man Who Shot Liberty Valance is a very good film that should be recommended to audiences who enjoy classic Westerns and iconic stars of the genre. The performances of the cast, particularly John Wayne, James Stewart, and Lee Marvin, are excellent, and the script is well-written and effective in conveying the themes and ideas of the film. While it may not be perfect, The Man Who Shot Liberty Valance is a classic Western that continues to resonate with audiences today, and its influence can still be seen in many modern Westerns and films that explore similar themes.
RATING: 7/10 (+++)
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