Questions arise when Senator Stoddard (James Stewart) attends the funeral of a local man named Tom Doniphon (John Wayne) in a small Western town. Flashing back, we learn Doniphon saved Stoddard, then a lawyer, when he was roughed up by a crew of outlaws terrorizing the town, led by Liberty Valance (Lee Marvin). As the territory’s safety hung in the balance, Doniphon, and Stoddard, two of the only people standing up to him, proved to be very important but different foes to Valance.
Movies dealing with changing epochs often seem to hit the mark. Something about a motion picture’s ability to effortlessly span years or decades makes the changes that would not otherwise be apparent day-to-day come alive in the imagination. As but one example, “The Magnificent Ambersons,” directed by Orson Welles, chronicles a wealthy, albeit cloistered, Midwestern family struggling in vain to cope with the advent of the industrial age. “The Man Who Shot Liberty Valance” also contemplates the role of industrialization on disparate interests in the Midwest.
People often forget that the romantic period of the Old West was surprisingly short-lived, covering roughly the last 50 years of the 19th century. It arguably began with the development and manufacture of the Colt six-shooter, partly designed and ordered by the Texas Rangers in 1847. The transcontinental railroad connected the United States from coast to coast in 1869. And by the turn of the 20th century, the modern age had emerged, and the Old West was mainly the stuff of legend.
Still, however brief, the Old West firmly etched itself onto the country’s character, continuing to resonate even today. Such transitions at the moment typically evoke anger and sadness from those who fear loss, as opposed to opportunity. And so it goes with “The Man Who Shot Liberty Valance,” once again highlighting the move to the industrial age, with its corresponding impacts on both the people and their institutions.
John Wayne and James Stewart star in this magnificent film helmed by acclaimed director John Ford. John Wayne plays an enigmatic Tom Doniphon, a farmer in a landscape dominated by ranchers. He can hold his own against all comers, no matter how vile or cruel. James Stewart plays Ransom “Ranse” Stoddard, a lawyer from the East intent on bringing the rule of law to the Midwestern Prairie as it slowly fades into but a relic of the Old West. Doniphon repeatedly refers to Ranse as “Pilgrim,” reminiscent of a line from Sean Connery in “Indiana Jones and the Last Crusade,” who intones to Junior, “We are pilgrims in an unholy land.”
The story opens with Ranse – former governor, now senator in a third term – and his wife, Hallie Stoddard (Vera Miles), arriving by train into the town of Shinbone to pay respects to Doniphon, who recently died. When pressed by reporters for a story, Ranse takes the opportunity to reflect on twenty-five years – all told in flashbacks. The audience learns of Doniphon’s love for Hallie and his expectation of eventual marriage. However, such was not to be, and the whys and wherefores make up a substantial portion of the plot.
Shinbone and the fictional territory in which it resides struggle with the inevitable transition toward encroaching civilization and eventual statehood. Many might find parallels to today’s political climate of tumultuous upheaval and shifting political alliances. Representing the old guard – threatened by change – is Lee Marvin as Liberty Valance in a role that significantly raised his profile with audiences and the Hollywood community. His venomous portrayal of the conniving, treacherous hired gun operating with impunity in the essentially lawless territory is nothing less than chilling. His demeanor is literally a world away from his Oscar-winning role three years later as the characteristically drunken and usually affable Kid Shelleen in “Cat Ballou.”
The increasingly fractious push-and-pull between competing factions drives the bulk of the narrative and Doniphon’s conflicted psyche over the impending loss of Hallie to Ranse. The story is rich with symbolism and allegory that elevate the relatively straightforward – though nonetheless highly compelling – tale to an entirely new level for the Western genre.
A fine supporting cast rounds out things nicely. Woody Strode as Pompey, Doniphon’s loyal farmhand, plays a pivotal role in the unfolding events. Andy Devine vividly depicts the feckless marshal, primarily interested in what’s on the stove for dinner at the local chow house. Edmond O’Brien as Dutton Peabody, the local newspaper editor, demonstrates staunch advocacy for the free press – a time-honored institution clearly intended for display by Ford. In a way, nearly every character in the film serves as a metaphor for the times – in some cases, for all times. Also worthy of note are Valance’s henchmen, played by Strother Martin and Lee Van Cleef, both of whom became stalwart supporting actors in numerous movies following the release of “Valance.”
One of the great strengths of the storyline is the way key elements are revealed in selected flashbacks. Without the use of the technique, the film’s impact would have diminished considerably. The climactic scene where Valance is shot and killed – much to the delight of the townsfolk in Shinbone – is powerful and moving in considerable measure because of the unexpected truth it reveals about both Doniphon and Ranse.
James Warner Bellah and Willis Goldbeck wrote the first-rate screenplay, adapted from the 1953 short story by Dorothy M. Johnson. “Valance” is a film that improves with repeated viewings. Though controversially shot in black-and-white well into the age of Technicolor, the stark, shadowy images resonate far better. “The Man Who Shot Liberty Valance,” released in 1962, stands proudly among the pantheon of great Westerns – easily among Ford’s best. No small feat by any means.
Available on 4K Ultra HD™ as part of the Paramount Presents line May 17th
