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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:

Together For The First Time - James Stewart - John Wayne - in the masterpiece of four-time Academy Award winner John Ford 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

Woody Strode frequently performed his own stunts, partly because he was such a good athlete and partly because it was hard to find a black double to match his build and looks (this had also been the case on Spartacus (1960)). In the scene where Doniphon sets fire to his house, Strode had to race in and drag him out of the building. John Wayne was using a double but the 47-year-old Strode wasn't. John Ford told his star, "Duke, Woody is an old man, and he's got to carry you and he doesn't need a double!" Wayne decided to do the scene without one. See more »

Goofs

Out on the plains, all the cactus plants look the same (props). 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 Tales from the Crypt: Showdown (1992) See more »

Soundtracks

Camptown Races
(uncredited)
Written by Stephen Foster
See more »

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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