The Shootist

A stirring story of an old-timer reconsiderating his life and who holds a personal code of honor . John Wayne's touching last role , here performs a legendary gunslinger afflicted with Cancer who seeks solace , tranquility and peace and to die with a minimum of pain and a maximum of dignity . But town bad guys as Richard Boone and Hugh O'Brian , aren't about to let him rest and are determined to gun him down to revenge past events .

One of Wayne's best in which from the opening edition of clips from Wayne's earliest movies as ¨Rio Rojo , Rio Bravo¨ , to the ending impressive shootout in the cavernous saloon , Siegel film is moving , quiet and subtle . The picture pays tribute to John Wayne with none of the indulgences , humor and irony that permeated ¨True Grit and Rogster Cogburn ¨ . John Wayne heads the top-drawer main and support cast , he gives a very good as well as dignified acting as a dying gunfighter who spends his last days looking for a way to die rightly but prevented from doing so various younger gunmen out for vendetta or to prove their worth against him . However , Paul Newman, Charles Bronson, Gene Hackman and Clint Eastwood turned down the lead role before John Wayne was cast. Infused with an appropriately wintry feel ,the admitted sentimentality and sadness is maintained througly and in keeping with the elegiatic style . This one results to be a valedictory tribute to both , the Western in general and the great Wayne , the Duke , in particular . The interpretations are uniformly top-notch , standing out an awesome plethora of secondaries as James Stewart , Lauren Bacall , Ron Howard ,John Carradine , Sheree North , Bill McKinney , Harry Morgan , among others . It contains an enjoyable and thrilling musical score by Elmer Bernstein in his usual style . Atmospheric and evocative cinematography by Bruce Surtees.

The motion picture was well directed by Donad Siegel who handles both tone and pace wonderfully . Donald made his reputation in the early and mid-'50s with a series of tightly made , expertly crafted , tough but intelligent "B" pictures , among them : The Lineup (1958), Riot in Cell Block 11 (1954) , then graduated to major "A" films in the 1960s and early 1970s . Director Siegel brought an entirely new approach to the Sci-Fi field Invasion of the Body Snatchers (1956) . He made several "side trips" to television, mostly as a producer . Siegel directed what is generally considered to be Elvis Presley's best picture , Flamingo Star (1960). All of Eastwood's later Western and his ¨Dirty Harry¨ movies owe a considerable debt to Sergio Leone and Donald Siegel . As Donald directed Eastwood in various films , such as : ¨Coogan's bluff , The beguiled , Dirty Harry , Escape from Alcatraz and Two mules and sister Sara¨. He had a long professional relationship and personal friendship with Clint Eastwood , who has often said that everything he knows about filmmaking he learned from Don Siegel .

This was John Wayne's last film, and it sees the Duke as an aging, ailing but still tough as steel gunslinger named John Bernard Books. Wayne's character rides into town at the start of the film and visits James Stewart's pleasant Doc Hostetler, who tells him that he has terminal cancer and will die within two months. After this, Wayne goes and rents a room with widow Lauren Bacall, and begins to reflect on his situation, trying to figure a way to die retaining the dignity he has fought all his life to keep unscathed.

The film is a particularly appropriate one for Wayne's last picture. The protagonist he plays is a man at the top of his profession with nowhere left to go. Any opponent who has ever fought him has died at the end of Books' barrel; but now, he is fighting an enemy he cannot hope to face and beat like a man. Whatever he does to fight the cancer, it will just take him anyway. And so, Books searches for a way to go down fighting and to die with dignity, not dying a slow crippling death in his bed.

Books is a character that has many faults. He is a man who has killed thirty men and shows no remorse. As he puts it himself, `I never killed a man who didn't deserve it'. However, despite all his faults, he shows himself to a gentleman of the old school. He is like a knight in armour transplanted to the last days of the Wild West, trying hard to keep all the old values of a dignity and honour alive. He is a man who lives by a code which he believes in, and which he applies to others: `I won't be wronged, I won't be insulted, and I won't be laid a hand on. I don't do these things to other people, and I require the same from them.'

There is no real villain in this film. Books, with all his flaws, is not a bad man. The real villains here are the ordinary people who are all around him in the city, willing to exploit him and use his fame, illness and even his death to further their own wealth. The whole town, from reporters to undertakers, are only too eager to exploit him, with only a few good people being an exception to this tragic rule.

There is no mistaking that this is the Duke's final picture, and not anybody else's film. It is his persona and his charisma that carries and controls the film. The character of Books – a rough, tough, but by no means bad, man – is very much similar to that of Wayne's own and this film is essentially a vehicle allowing him to have a dramatic swansong befitting a star of his magnitude.

That isn't to say, however, that the others involved with this don't pull their weight. Lauren Bacall delivers well up to her usual standard of acting, presenting a character both strong-spirited and tenderly gentle at once, something which she does extremely well. Ron Howard also acquits himself admirably as her son, turning in a performance which has the same strength and heart as that of his screen-mother Bacall. James Stewart turns in a powerful cameo, adding to the overall poignancy of the whole affair, and Harry Morgan turns in a repellent performance as the contemptible Marshal Thibado. Dirty Harry director Don Seigel directs with skill and ensures that the film remains poignant, but never sentimental. For a western, this film does not have a great deal of action, but such is the quality of acting, direction and scriptwriting, that this doesn't really matter. When the violence does erupt, however, it is occasionally graphic but always exciting. The film's climactic gunfight is a particular highlight and is one of the Duke's best shoot-outs.

This is a powerful, entertaining and enjoyable film, regardless; however, it is further ennobled by it being the Duke's final performance. There is something curiously heart-warming about the whole affair, not least the fact that he is enabled to go out in such great style. This is a must for fans of the western genre, for fans of the Duke, or for anyone who just wants to see a well made, poignant film. Highly recommended. [8]

The legendary John Wayne gives a fantastic understated performance as J.B. Books an aging gunfighter suffering from stomach cancer and looking to live out the final days of his life in peace. Of course, the entire existence of the gunfighter is predicated on the inevitability that once you reach top there is always going to be someone looking to knock you off your pedestal. Here that means J.B.'s retirement won't be so peaceful. Besides this plot point, there is the mature twilight romance between J.B. and Bond (Lauren Bacall) and his mentor relationship with Gillom (Ron Howard). James Stewart (who co-starred with Wayne in The Man Who Shot Liberty Valance) puts in a cameo as J.B.'s physician. Recommended.

The Shootist is a great swan song to the film career of John Wayne and a great movie on its own merit. The parallels between Wayne's life at the time the film was made and the character(J.B.Brooks) he plays in the movie only add a poignant sadness. This sadness is part of the film, it never lets up. The first jolt of sadness comes when we see Wayne visiting with the town doctor, played by Jimmy Stewart. Wayne is diagnosed with an incurable cancer. This news seems to trouble Stewarts character as much as it does with Waynes. As both characters try to come to grips with this diagnosis, I was left wondering: am I watching the work of two gifted actors play acting in a movie or am I watching two old friends bringing their reality into the movie?. Whatever the case, the scene is very moving.

Also in the cast is Lauren Bacall as the recently widowed inn keeper. She helps keep Wayne's character fulfilled and feisty during his last days. Ironicly, this job was something she was familiar with, as she did this in real life with her late husband Humphrey Bogart.

There are many good performances by the rest of the cast. But it is the circumstances under which they were filmed for Wayne, that make his a truly unbelievable performance. There are two of his scenes that stand out for me: 1) Listening to John Wayne and Scatman Crothers haggle over the selling price of Wayne's horse. Yeah, it might not sound like much here in print, but that's just a testimony of how well these two actors pull that scene off. Just great. 2) Seeing John Wayne enter the saloon with a purpose for the last time. Truly one of the most bone chilling cinematic moments of all time.

If you love John Wayne then I'm certain that you love this film already. If you can take or leave John Wayne, you might at least like this film. But if you don't care for Wayne or for that matter, if you don't like westerns, you'll probably still like this film. At least I hope so. 9/10.

Clark Richards

"The Shootist" was John Wayne's swan song as a film legend and, to put it mildly, he hit a home run. It is a terrific end to a legendary career.

After a brief prologue made up of film clips of Wayne in his career prime, we meet his cinematic alter ego, John Bernard Books, an aging gunfighter who rides into Carson City, Nevada in the early 1900's looking for Doc Hostetler (James Stewart), the old sawbones who once saved his life and apparently the only man he trusts. It seems the old guy has prostate cancer and only a few weeks to live, and as Hostetler tells him, it will not be a pleasant death. Books, with no where else to go, checks into Bond Rogers' (Lauren Bacall) boarding house to live out his final days in peace under the alias "William Hickok." When Bond's delinquent son Gillom (Ron Howard, in a nice change-of-pace performance and his last major film appearance before becoming a director) informs her of his true identity, she tries to throw him out but relents when she finds out his condition and agrees to help him die in peace.

Unfortunately, things don't go as planned as everyone from the town mortician (John Carradine) to an old girlfriend (Sheree North) to a newspaper editor (Richard Lenz) try to take advantage of his situation and turn a fast buck. And then there are several lowlifes (Richard Boone, Hugh O'Brien, Bill McKinney, etc.) who want to seal their reputations by taking him out. Since it's obvious that no one will leave him alone in his final days, and since he grows fond (to put it mildly) of both Bond and Gillom and wishes them no harm, Books decides to go out in style and on his own terms, and to take a few scumbags along with him.

"The Shootist" is one of those rare films that seems to have gotten better with age. It wasn't particularly successful with critics or audiences at the time, as they were apparently put off by its leisurely pace and relative lack of action. Typical of the reaction was a TV guide critic (who shall remain nameless), who once derided it and its stars as coming across as "relics of the old West." (Wasn't that the point?) However, it is now pretty much considered a classic, and rightfully so, especially when viewed next to some of the lesser films of Wayne's 1970's period ("Cahill," "Rooster Cogburn," "The Cowboys"). In fact, it is now hard to believe that Wayne was not nominated for an Oscar here, as Books is clearly one of the best performances of his career and definitely eclipses his extravagantly praised, Oscar-winning mugging in "True Grit." Indeed, "The Shootist" deserves to stand alongside Clint Eastwood's "The Outlaw Josey Wales" and Oscar-winning "Unforgiven" as the last three great Westerns in cinema history. Everything about it is immaculate--the sets, the costumes, the supporting cast (including Harry Morgan in a terrific cameo as an unsympathetic sheriff who tells Books, "What I put on your grave won't pass for roses."), the script, and the chemistry between Wayne and Bacall, teaming up for the first time since "Blood Alley." And everything is held together by old pro director Donald Siegel who, aside from the late Hal Ashby, may very well be the most underappreciated director in cinema history.

But "The Shootist" is John Wayne's film all the way. He is simply sensational, and BRAVE, since he apparently knew at the time his cancer was back and that this would probably be his last film. It's not every film legend who gets to end his/her career on a high note, but Wayne did just that. I just hope he knew it before his death barely three years later. ****1/2 (out of *****)