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The Man Who Shot Liberty Valance (1962)

Not Rated | | Drama, Western | 22 April 1962 (USA)
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A senator, who became famous for killing a notorious outlaw, returns for the funeral of an old friend and tells the truth about his deed.

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Nominated for 1 Oscar. Another 4 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
... Tom Doniphon
... Ransom Stoddard
... Hallie Stoddard
... Liberty Valance
... Dutton Peabody
... Link Appleyard
... Doc Willoughby
... Maj. Cassius Starbuckle
... Nora Ericson
... Peter Ericson
... Jason Tully - Conductor
... Maxwell Scott
... Pompey
... Amos Carruthers
... Floyd
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Storyline

When Senator Ransom Stoddard returns home to Shinbone for the funeral of Tom Doniphon, he recounts to a local newspaper editor the story behind it all. He had come to town many years before, a lawyer by profession. The stage was robbed on its way in by the local ruffian, Liberty Valance, and Stoddard has nothing to his name left save a few law books. He gets a job in the kitchen at the Ericson's restaurant and there meets his future wife, Hallie. The territory is vying for Statehood and Stoddard is selected as a representative over Valance, who continues terrorizing the town. When he destroys the local newspaper office and attacks the editor, Stoddard calls him out, though the conclusion is not quite as straightforward as legend would have it. Written by garykmcd

Plot Summary | Plot Synopsis

Taglines:

Two Great Stars Appear Together For the First Time! See more »

Genres:

Drama | Western

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

22 April 1962 (USA)  »

Also Known As:

Un tiro en la noche  »

Filming Locations:

 »

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Box Office

Budget:

$3,200,000 (estimated)

Gross USA:

$7,891,143, 31 December 1963
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

| (cut)

Sound Mix:

(Westrex Recording System)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The film later inspired Star Trek: Deep Space Nine: The Homecoming (1993) in which the legendary Bajoran resistance fighter Li Nalas (Richard Beymer) is credited with heroically slaying the infamous Cardassian military leader Gul Zarale after a savage struggle; in reality, Li came across Zarale, whom he did not recognise, bathing in a lake in his underwear and shot him before Zarale could kill him. The subsequent episode Star Trek: Deep Space Nine: Indiscretion (1995) was similarly inspired by The Searchers (1956), another Western directed by John Ford and starring John Wayne. See more »

Goofs

It would have been obvious that Valance had been killed by a bullet fired from a rifle, as this would have caused much more damage than a bullet fired from a revolver. In actuality, the 1873 Winchester rifle is chambered for the .44-40 cartridge and was widely popular during that time due to the fact that the .44-40 was a pistol round in the Colt Frontier Six-shooter. It's popularity was due in large part to the fact that you only needed to carry one caliber of Ammunition for both Rifle and Pistol. See more »

Quotes

[first lines]
Ransom Stoddard: [descending from railway carriage and consulting pocket watch] Thanks, Jason. On time.
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Connections

Referenced in Matinee (1993) See more »

Soundtracks

Oh, My Darling Clementine
(uncredited)
Written by Percy Montrose
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Frequently Asked Questions

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User Reviews

 
More Marvelous Mythology Played Out In The Old West

Ransom Stoddard (Stewart) arrives in the unlikely named town of Shinbone having had his arse 'wupped' by local bad-guy, Liberty Valance (Marvin); but does he seek a bloody revenge on his wicked nemesis? NO. He seeks justice by the book. You see, he's an attorney at law, and he desires to see civilised leanings spring up all over 'south of the Picket Wire'. Laughable really. The only law in the wild-west is the law of the gun. That's what's kept tough rancher, Tom Doniphan (Wayne) alive. And it's the only thing that will work for Stoddard... or is it?!?

Ford doesn't pretend that he's got anything new here. God no! What he's clearly interested in is the marriage (and divorce!) of the primal and the cerebral. He set's the whole thing in the wild-west (a genric canvas second to none) and relies on character and emotion to lead us way beyond the obvious plot. And what he delivers is a sublime debate on the inter-dependency of force and reason. For there are those not prepared to listen to reason and those disenfranchised by the reliance on force; and Ransom Stoddard eventually acknowledges this, embraces the essence of both codes and thereby supercedes Doniphan as the real 'hero' of the new renaissance of the American West.

This is an excellent piece of metaphorical mythology. The monochrome teases us of a 'black and white' world within which the 'reality' of life is oft contained within the shadows. Ford's direction of comedy and drama has never been bettered by himself (not even in the somewhat ponderous 'My Darling Clementine') and the dialogue risks allowing wisdom in Doniphon's horse-poke to be matched by an often acerbic, no-nonsense Stoddard. The characters (and the actors within them) are uniformly excellent. Stewart never puts a foot wrong and this is the high-water mark of Wayne's dramatic capability. The scene in which he realises his love is unrequited and subsequently drinks himself into oblivion reveals a depth few could have thought him capable of. Special mention must also go to Edmond O'Brien's avoidance of (surely tempting) caricaturing the newspaper editor and instead creating a most believable bridge of humanity between the values of the wild west and the civilised east. Lee Marvin's sullen rendition of the bad guy Valance is also outstanding. And it is to Ford's credit that you are always left uncertain as to whether Valance or Doniphan was the tougher cowboy.

The idea of a developing world allowing us to metaphorise our own understanding of and relationship with existence is as old as Zeus (and the God's that preceded him); and in the developing new world of the American west, nobody examined that potential better or more profoundly than John Ford. And this film is one of the crowning moments of that examination.


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