El hombre que mató a Liberty Valance

I imagine that many will say that this movie is dated. Since it is filmed in black and white, that will add to it being viewed as an old movie.

However, I believe the characters and acting lead to a most powerful movie. While we often see heroes and heroines portrayed as perfect people, the heroes and heroines in this movie seem much more true to life. They are wonderful, but never perfect. As such the movie hits closer to home and is more heart warming than most movies.

It did take a few minutes before I saw the greatness of this movie. At the start it almost seems a normal western. But as the characters unfold, coupled with excellent acting, the movie simply becomes much more. While John Wayne and Jimmy Stewart have been in many good movies, it is this movie that I likely will remember them the best.

Anticipating Peckinpah and Eastwood, John Ford's Hamlet-like Western The Man Who Shot Liberty Valance deconstructs the legends of the Old West as a place where good always triumphed over evil and civilization overcame barbarism, a myth that he helped to create. Ford's 1962 film, based on the story by Dorothy M. Johnson, looks at how myths are created and, in its complex vision of the passing of an era, both pines for the lawless open spaces and eagerly anticipates the railroads bringing paved roads, schools, and law enforcement. The film contains the classic phrase "When truth becomes legend, print the legend", cited by a journalist who refuses to print newly discovered facts about an incident surrounded in myth that took place years before.

While there are stereotypes and all-too familiar stock characters, Liberty Valance succeeds because of strong performances by John Wayne as the macho embodiment of the old school, and Jimmy Stewart as the man who brings literacy and respect for law to the small town, though unconvincing as a young man just out of law school. Shot in black and white on a studio sound stage, the film opens with gray-haired Senator Ransom Stoddard (James Stewart) arriving at a small frontier town named Shinbone with his wife Hallie (Vera Miles). Met at the train station by a reporter eager for a story, Senator Stoddard tells him that he came to attend the funeral of an old friend, Tom Doniphon (John Wayne).

It is there that he reunites with Tom's dependable ranch hand Pompey (Woody Strode) and, since no one remembers Tom Doniphon, relates his story that takes us back to the time before the coming of the railroads. As Stoddard tells it, he was a young law graduate who arrived from the East in a stagecoach, following the advice "Go West, young man, and grow up with the country" first made in 1851 by John B. L. Soule, editor of the Terre Haute Express and incorrectly attributed to Horace Greeley. His welcome to Shinbone, however, is not what he had hoped. He is met by a sadistic bandit named Liberty Valance (Lee Marvin) who robs the stagecoach and beats Stoddard after he tries to protect a female passenger.

Rancher Tom Doniphon finds him unconscious and brings him to Hallie, his girlfriend's house. When Stoddard recovers, he asks the Marshal Link Appleyard (Andy Devine) to make an arrest but Doniphon soon sets him straight about how justice is done in Shinbone - with the barrel of a gun. Without money, Stoddard works in the family restaurant as a dishwasher and also for the editor of the local newspaper, a man named Dutton Peabody (Edmond O'Brien) who is overly fond of the bottle.

Ransom develops an interest in Hallie and soon sets up classes to teach her and other locals how to read and write and also to convey the finer points of democracy and its institutions. Threatened by Valance and taunted by Doniphon, Stoddard goes against his ideals and learns how to shoot a gun with the help of Doniphon who "educates" him and shows him the error of his liberal ways.

After Stoddard and Peabody defeat Valance in an election to be representatives to the Sate Senate and an editorial appears contrasting the goals of statehood with the interests of Valance and the cattlemen, Dutton is severely beaten by Valance who then baits Stoddard into a gunfight. The showdown between Stoddard and Liberty is the centerpiece of the film and the shot heard round the West allows the victor to build an entire career based on the incident.

The legend of Shinbone will soon be joined by real-life icons Wyatt Earp, Wild Bill Hickok, Buffalo Bill, and Kit Carson and the truth about the West with its corruption, misogyny, domination of the weak by the strong, and Native American genocide will be quietly buried. John Ford helped to romanticize the West and create the myth and, now in The Man Who Shot Liberty Valance, he allows us to understand its melancholy and its lie.

"This is the west, sir. When the legend becomes fact, print the legend". - Maxwell Scott, The Man Who Shot Liberty Valance In John Ford's most mournful tale, the legendary director asks the question "How did this present come to be? Just how did an inferior race of men whose only weapon was that of law and books defeat the old gunslingers of the great West? Just what exactly happened to the Western heroes portrayed by John Wayne when law and order came to town? How did the wilderness turn into a garden? In The Man Who Shot Liberty Valance, John Ford depicts a world where everyone has got everything they wanted, but nobody seems happy with it… sound familiar to anyone? Senator Ransom Stoddard (James Stewart) arrives to Shinbone on a train with his wife Hallie (Vera Miles) to visit the funeral of an old friend named Tom Doniphon (John Wayne, remarkably the film opens where this iconic star is dead). The newspaper men have never heard of him, so why would such a powerful political figure visit the town to attend this funeral of a "nobody"? Through the use of a flashback, Stoddard tells us the tale of how he came to the town as a young lawyer but was immediately attacked by the psychotic villain Liberty Valance (terrifyingly played by Lee Marvin) who teaches him "Western law". The rest of the film tells the tale of how the man of books eventually defeated the race of the gunslinger and what sacrifices had to be made for that to happen.

In truth, The Man Who Shot Liberty Valance is more of a melodrama than a Western. Gone are the vibrant landscapes of Ford's landmark movie The Searchers six years earlier, which was so proudly promoted as being in VISTAVISION WIDESCREEN COLOR and instead the film has given way to a bleak, claustrophobic black and white tale, with so many enclosed sets and not one shot of Monument Valley.

There's a lack of a real bar scene, lack of shots of the landscape, lack of horses, lack of gunfights. It's a psychological Western, probably unlike anything ever filmed until maybe Clint Eastwood's Unforgiven.

Why is this movie so good then? In basic terms, it's about the sadness of progression and without giving way too much away the film tells a remarkable tale which truly does examine what Ford's view of the West as promoted in his earlier work truly meant. It's a tragic and pessimistic movie but it's a rewarding one, with huge replay value and one that leaves you with so many more questions than it does answers.

Do we prefer the legendary tale of our heroes or the truth? Are tales of people such as 'The Man With No Name' just more interesting than Wyatt Earp? Is living a lie as a successful guy better or worse than quietly dying as a hero? The Man Who Shot Liberty Valance is one of the most complex Westerns that has ever been put on film and is a remarkable film when you consider it was directed by a guy who made his living telling grandeur tales of the American West. Well acted, very well written and is one of the most rewarding Westerns for replay value in the history of the genre.

Matt Holmes

www.obsessedwithfilm.com

With Jimmy Stewart and John Wayne leading the way, it's easy to join the caravan of people who enjoy The Man Who Shot Liberty Valance. This movie tells a compelling story about the changing atmosphere of West as well as the impact of legends. It's also full of interesting characters, including Lee Marvin as a despicable villain. I completely understand why this Western is considered a classic.

»The Man Who Shot Liberty Valance« (1962) wins a top spot among my favourite classic westerns. The first shots of the film take us to Shinbone, a border town in an unnamed Western state, and the arrival of Senator Rans Stoddard and his wife Hallie. The funeral of local small rancher Tom Doniphon brings them, after many years, back to the town where the senator began his career, becoming known as "the man" from the title line. In an interview with a young reporter and editor-in-chief of a local newspaper covering this occasion, hence in the accompanying retrospective, he tells a never-before-told story: the real truth about the early trigger of his sudden local popularity and the consequent lightning-fast rise on the political ladder... Avoiding the main spoiler, let it be only known that subsequent to hearing that far unknown, history changing facts, the editor-in-chief, to Ranse's surprise, theatrically tore up his reporter's notes, giving the following explanation, "when the legend becomes fact, print the legend." Thus uncompromising, legend goes on and, in the last scene on the train, thankful for the railroad's courtesies Ranse continues to be honoured with the answer that will force him to swallow lumps in his throat for the rest of his days and beyond, "Nothing's too good for the man who shot Liberty Valance!"

What is most interesting is that it was exactly Ford who has, in his rich oeuvre, often (but by no means exclusively) directed Westerns (or as he liked to introduce himself: "My name is John Ford and I make Westerns .") and built many of these myths and legends, but here, towards the end of his directorial career, he relativizes them.

Unfortunately, in the present world filled with overdependence on technology (that makes us conformists), intolerance to the hardships and inconveniences of nature, reduction of warm feelings and empathy as well as increased insensitivity among people... especially newer generations are becoming less exposed to the good stuff of the past, including John Ford's movies. Ford knew how to choose a perfect scenario or bring a less perfect one to perfection, and, although himself somewhat withdrawn and distanced, infused such a scenario with emotions and sentiment. Often he filled them with humour and the joy of life, but also wisdom and humanism, making them deeply woven into what a man actually is and thus engraved in the minds of generations of movie goers. Nowadays, somehow we have all forgotten the importance of such films that go beyond their simple purpose of being just a forgettable pastime, and the film "The Man Who Killed Liberty Valance" is exactly such a film that, seasoned with Ford's beautiful aesthetics, has an added value in itself and then for the culture and civilization which produced it.

Not even a decade after the golden age of Hollywood films, Ford warns of the danger that politics destroys the beauty in people, it erases the legend, while, in fact, the legend and the storytelling are more important to people than a purely political narrative. Here, and especially here, for the umpteenth time we experience the phenomenon of the western, the miracle of that once most popular genre, which does not reflect our lives in any obvious way (neither in the manner or content, nor in the location or scenography), and yet, though hard to believe, it appears as if in itself it keeps some kind of a core to each one of them (our lives). Furthermore, the action in the film is so universal that despite the fact that it is a complete fabrication, not based on a real place and events, it seems as if we are watching a documentary presentation of historical events. And whenever a film portrays a historically important time, whether real or imaginable, it is very interesting to experience that cinematic meta-moment prophetically dedicated to events that will only happen, once or repeatedly, thus reversing sentimentality for the past, a nostalgia, and advancing it to the predictable future. Included here are depictions of a free press, town meetings, territorial conventions and statehood debates, subjecting politics to interest lobbies and corruption, violence in elections... foreseeing their future recurrences and anticipating nostalgia for them.

The acting contributions are very worth mentioning. Despite his shorter screen time, thanks to his usual commanding presence John Wayne skilfully brings about the pivotal role of Tom Doniphon, while both main opponents show versatility of their onscreen persona at times of temptation: Lee Marvin as infamous outlaw, tough and mean Liberty Valance, shows weakness when, subsequent to his failed attempt to get nominated for the regional delegate to the upcoming statehood convention at the territorial capital, he resorts to excessive vandalism and then drowns his frustration in alcohol, while James Stewart as Ransom "Ranse" Stoddard, at first, after Valance bullies him in the restaurant, begins practicing with an old gun, and then responds to Valance's gunfight challenge when his attempts to bring Valance to justice through the law fail. Outstanding in supporting roles are Vera Miles (who, sadly, missed an earlier opportunity to join Jimmy Stewart in another magnum opus, Alfred Hitchcock's "Vertigo," due to her real-life pregnancy at the time) as the not-meant-to-be Tom's, eventually Ranse's wife Hallie Stoddard, Edmond O'Brien as Dutton Peabody, founder, owner, editor of the local free press (the Shinbone Star), uncompromising "old servant of the public weal", waiting for his "shining hour" ... yet to come," who, also, "sweeps out the place", Woody Strode as Pompey, Tom Doniphon's hired hand, John Carradine as Maj. Cassius Starbuckle, speaker on behalf of the cattle barons at the territorial convention, Strother Martin and Lee Van Cleef as Floyd and Reese, Valance's myrmidons, Andy Devine as the fearful Sheriff Link Appleyard, looking only for the ways not to have beef with the criminals but rather a free beef on his plate, and some more, all benefiting from Ford's unique way of handling actors, bringing out the best in them, as many acknowledged subsequently.