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
The one cast member who could get away with just about anything on the set was Lee Marvin. John Ford appreciated him not only for his acting and his World War II service as a Marine, but for Marvin's genuineness as a person. One day, Ford came on the set and Marvin whistled loudly through his teeth. The crew froze, certain there would be trouble. Instead Ford just smiled, because he recognized that what Marvin was doing was giving the admiral's whistle and piping the director "on board." See more »
When Stoddard is setting the paint cans on the fence posts, they make a tinny sound that clearly indicates they're empty. Yet when shot by Doniphon, they discharge a great amount of paint. See more »
[descending from railway carriage and consulting pocket watch]
Thanks, Jason. On time.
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I just read the comments of someone from August 30, 2004, who had reached the conclusion that John Wayne's character had stepped aside "for the better man," played by Jimmy Stewart. From my view, nothing could be farther from the truth. For all Ransom Stoddard's disdain for frontier violence, in the end, he was left with no choice but to pick-up a gun to finally silence Liberty Valance, something Valance knew better than to do with Wayne's Tom Doniphon. Call Stoddard the idealist and Doniphon the realist, but don't call him the better man. In 1946, John Ford directed My Darling Clementine, perfectly blending Wayne and Henry Fonda with his usual cast of characters to create a masterwork. Sixteen years later, he put Wayne together with Stewart (plus all the ol' gang) and made another peerless film. There was a time I didn't really "get" John Ford and John Wayne. One day, I awoke and now, the greatness of these two giants of the cinema is undeniable.
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