Why John Wayne Is Still Among Today’s Hottest Stars

Several months ago, the Harris Poll released its annual list of our top ten most popular movie stars. Notably absent from the list were Tom Cruise, Nicole Kidman and Brad Pitt (although Angelina was featured for the first time, tied for last place with Morgan Freeman).

Ranked ahead of the current box office it attracts Tom Hanks and Johnny Depp, and just behind Denzel and Clint at the top of the heap we find John Wayne. Notably, his is the only name from Hollywood’s Golden Age, and the only name to have appeared on every Harris top ten list in the past fifteen years.

On May 26, John Wayne would have turned 102 years old. Though he’s been gone thirty years, his movies and his hulking character refuse to fade away.

Not surprisingly, the Duke is more popular with people over sixty and plays better in the West and with Republicans. But still… think of all the great actors from that vibrant period when Wayne was making movies: Bogart, Grant, Brando, Newman, to name just a few. At the time, it could be argued that each of these names was more popular than Wayne’s, and yet they are not on the list. They seem part of the past, while the Duke lives stubbornly.

What explains the strange resistance of this actor? Other better actors played cowboys, such as Gary Cooper and Jimmy Stewart. Other bigger stars like Clark Gable and Gregory Peck played soldiers. But all over the world, whenever John Wayne played a cowboy or a soldier, he was America. Wayne’s personality, the greatness, the toughness of him, but also the decency of him, literally came to define our heritage. And to a surprising degree, he still does.

Wayne himself would never have predicted the longevity of his image, and he would be incredulous if he knew. During his life, he was no stranger to setbacks and doubts. After an unsuccessful first attempt at stardom in 1930’s “The Big Trail,” the Duke toiled in Western “B” movies for nearly ten years before director John Ford gave him another shot at making it big. great.

And then, even when he did, over the years Ford, his frequent collaborator and mentor, told him repeatedly that he just couldn’t act. He took the abuse stoically. Although his range was limited, he could act, and after Wayne’s memorable performance in “Red River” (1949), even Ford had to admit it, though not to his face.

One could reasonably assume that Wayne’s right-wing politics would also work against the popularity he still enjoys. Although he (ironically) accepted Gary Cooper’s Oscar in 1952, Wayne supported McCarthy’s communist witch hunt and criticized the classic “Noon” for being un-American. (In fact, several years later Howard Hawks and Wayne would make “Rio Bravo” as a “patriotic” response to the earlier film.)

When he won his only Oscar for 1969’s “True Grit,” he was still an outspoken hawk, openly defending the Vietnam War, and to prove it, he starred in the 1968 film “The Green Berets.”

Unsurprisingly, he was also clearly old-fashioned in his views on gender and race. But there was an open, braggart quality about Duke Wayne that made people forgive and even respect him. He was principled without being conceited, supportive of the right of others to differ from him, and mellowed considerably after his first serious brush with cancer in 1964.

He even had a well-disguised sensitive side. His lifelong friend, Claire Trevor, who co-starred with him in “Stagecoach” (1939), once showed me a moving poem he had written about the death of her stepson, with whom he had been unusually close. The verse was heartfelt and moving, the work of a man capable of deep feeling. I have never forgotten to read it.

For someone who supposedly couldn’t act, John Wayne certainly made a lot of great movies. I am going to list some of the lesser known titles of his that are my personal favorites. Add your own top picks from Duke, along with any thoughts you have on what keeps his star burning so bright.

The Long Voyage Home (1940) – After the success of “Stagecoach”, John Ford was eager to show off his new find again. Here, Wayne plays simple Swedish sailor Ole Olsen, who finds himself on a merchant ship at the start of World War II, surrounded by a nervous crew. The ship is carrying much-needed ammunition for the British, making it a highly desirable target for German submarines. There may also be spies on board.

Featuring stunning cinematography by Gregg Toland, who would go on to collaborate with Orson Welles on “Citizen Kane,” Ford’s film generates tension mixed with subtle melancholy. The anchor of this unannounced seascape is the brilliant Thomas Mitchell as old “Drisk” Driscoll, ably supported by actors Barry Fitzgerald and John Qualen, among others.

They Were Expendable (1945): Director Ford returns to deliver a powerful human story of barely sustained hope during the darkest days of World War II. This is the story of the PT boats during those tough early days in the Pacific. Captain John Brickley (Robert Montgomery) and his right-hand man, Rusty Ryan (Wayne), have difficulty convincing higher-ups in the Navy of the value of PTs to the war effort. Eventually, these nimble ships play a vital role in turning the tide, allowing General MacArthur to keep his promise to return there.

Montgomery (father of Elizabeth from “Bewitched,” and a decorated PT boat skipper) is excellent as the beleaguered but stoic Brickley, with Duke an ideal counterpoint as the gruff Ryan. Donna Reed also has a fascinating love interest as the nurse who falls in love with Rusty.

She Wore A Yellow Ribbon (1949) – In this second part of John Ford’s Cavalry Trilogy, Wayne ages considerably to play Captain Nathan Brittles, a career frontiersman facing impending retirement, a prospect that fills him terrified, since his only family is the army. . However, he is faced with one last mission: an Indian uprising is brewing and, with a small team, Brittles must escort his superior’s wife (Mildred Natwick) and niece (Joanne Dru) out of harm’s way.

“Ribbon” still registers, thanks to an emotionally layered performance from Wayne, combined with Victor McLaglen’s comedic turn as a sharpshooter sergeant, and color cinematography that turns Monument Valley into an animated Remington painting (earning director of photography Winston Hoch an Oscar). A young Ben Johnson is also featured as Sergeant Tyree, a brave soldier very much in the Brittles mold.

Hondo (1953) – The best John Wayne Western not directed by John Ford or Howard Hawks, “Hondo” shows the Duke at his best. Hondo Lane (Wayne) is a cavalry rider who meets Angie (Geraldine Page) and her young son on a farm near Apache territory. Hondo warns her that the Apaches are on a warpath, but she refuses to leave. When Hondo returns, hostilities have begun and he must protect the family while keeping a terrible secret.

Directed by John Farrow (Mia’s father), the film is strikingly shot in glossy Technicolor, with a polished story brought to life by a luminous Page in her feature debut, and Ward Bond (Duke’s real-life friend) as Hondo’s friend. Also look for James Arness in a pivotal role (he would soon make his career in westerns on the long-running TV show “Gunsmoke”) and Wayne himself would host the first episode.

Hatary! (1962)- Sean Mercer (Wayne) leads a group of hunters in Africa who capture animals for zoos. Sean’s sense of order is shaken when his trusted driver (Bruce Cabot) is injured, and even more so when the elegant photographer Dallas (Elsa Martinelli) arrives to shoot a magazine. Will Sean keep Dallas safe until she can take the photos of her and go home?

Howard Hawks’ gracious exit was a nice change of pace for Wayne, with his jocular tone and gorgeous on-location shots. (Don’t miss out on those exciting wild animal chases.) “Hatari” features skillful performances by Cabot, Red Buttons and Hardy Kruger, who make up Mercer’s core team. And we can well understand how Martinelli’s Dallas would get under Sean’s thick skin. A catchy score by Henry Mancini completes this exuberant and entertaining picture, ideal for all ages.

The Shootist (1976) – For his swan song, Wayne teamed with “Dirty Harry” director Don Siegel for this elegiac tale of a dying gunslinger who yearns for a noble end, but must contend with vultures trying to feed on his reputation and gloat over his impending demise. Renowned for his six-shot prowess and high body count, JB Books (Wayne) arrives in Carson City to seek out his trusted friend, Dr. Hostetler (James Stewart), who confirms that Books has terminal cancer. . Hoping to end his days quietly, Books retires to a boarding house run by widow Bond Rogers (Lauren Bacall) and her son Gillom (Ron Howard). But with Books’ violent past, can this old legend ease into that good night?

Here, the aging star is by turns courteous, stoic and world-weary, playing the part of Bacall’s rigid but ultimately sympathetic widow. And from that opening montage of the old Wayne movies, you realize you’re watching a movie not just about the demise of the Old West, but about the end of an actor’s legendary career. Therefore, “The Shootist” cannot help. but be touching. Unsurprisingly, the Duke does it proud… right down to the last gunfight.