True Grit

Now personally there are John Wayne performances in terms of acting that I like better than True Grit. Among others Fort Apache, The Searchers, Red River, The Horse Soldiers, to name a few. And certain films like The Commancheros and McLintock and Big Jake I find to be more entertaining.

What True Grit does is succeed on both levels, being both great entertainment and giving John Wayne the acting role of a lifetime in the person of Rooster Cogburn.

Mattie Ross from Darnell and Yell County Arkansas personified by Kim Darby has come to Fort Smith seeking the killer of her father Jeff Corey. Turns out he's also killed a State Senator in Texas so Texas Ranger Glen Campbell informs her. Both of them team up with United States Marshal Rooster Cogburn who resides in Fort Smith with Chin Lee and my favorite movie cat, General Sterling Price.

Corey is now in the outlaw band headed by Robert Duvall at large in the Indian Nation Territory that became Oklahoma. True Grit's plot is the trio's pursuit of Duvall, Corey and the rest of the gang.

But oddly enough True Grit isn't really about plot. It's about the creation of a character. Like Margaret Mitchell who wrote Gone With the Wind with Clark Gable in mind for Rhett Butler, Charles Portis wrote the novel True Grit with only John Wayne in mind as Rooster Cogburn. It must have been one singular delight for Charles Portis to see the Duke flesh out Rooster Cogburn exactly as he conceived him.

Tough old Rooster, likes an occasional drink, isn't above a little larceny, but has one stern moral code about real bad guys. Bring him in dead or alive and make sure you shoot first coming up against them. And he's got quite the colorful past as he relates tales of his younger days to Campbell and Darby on the trail.

In other reviews I've said that John Wayne had one of the great faces for movie closeups. You can see a perfect example of that in that scene with John Fiedler who plays Darby's lawyer J. Noble Daggett. A man who rates high in the legal profession in that area having forced a railroad into bankruptcy.

The camera is facing Fiedler as he's talking to Wayne about his visit with Darby who's life Wayne saved. Wayne's got about a third of his face to the camera. But even with that third, your eyes are focused on the Duke and his reactions and then as the camera slowly pans around to Wayne in full face his reaction shots are hysterical. You don't work with scene stealing character actors like Chill Wills, Walter Brennan, and Gabby Hayes for 30 years without learning something.

John Wayne was up against some stiff competition in 1969 for the Best Actor Oscar. It was his second nomination, the first being for Sands of Iwo Jima. He was facing Richard Burton as Henry VIII in Anne of a Thousand Days and a couple of newcomers named Dustin Hoffman and Jon Voight for Midnight Cowboy. He was certainly the sentimental favorite.

If in no other place in our lives, sentiment does have its place in cinema. It was an honor well deserved, not just for one performance but for a lifetime of achievement in cinema being the player who put more people into movie seats than any other person ever. So many of the Duke's contemporaries like Edward G. Robinson, Errol Flynn, Tyrone Power were never even nominated for an Oscar much less win one.

Because the Motion Picture Academy has deemed this John Wayne's grandest cinematic achievement, it's almost a command to support this fine western and the man who defined the western hero and is still defining it.

Surely one of the purest westerns ever made, a simple tale of a lawman tracking down an outlaw. This film is raised way above the norm in almost all respects: The photography is superb, with the hills, mountains, valleys and forests being the real stars; the acting is first rate, with not a weak performance in sight from even the lowliest minor character; the direction is well paced as we ride along with the 3-person-posse through the landscape and experience the minor twists of the actual hunt, as well as the evolution of the relationships between the group. The episode in which they take over a cabin by a stream and then ambush the following villains is even better than the well known finale.

Why this film hasn't had more votes and a higher rating in imdb is a complete mystery to me. I'm English, and I always thought the Americans really loved their westerns and John Wayne in particular. Can anyone explain please?

I do not think this is John Wayne's best movie or role, but I did like this movie, though I do not think it is perfect. While the film starts and ends very well, the film slackens in the pace in the middle. My other flaws are to do with casting. Glen Campbell is adequate in his role, but I was never engrossed by his character and he never quite make me believe in him. Worst though was Kim Darby, I am not going to go through a debate about whether she was too old for the role(I'll drop a hint, I think she was), but for me she is one of the blandest and most annoying leading ladies in a John Wayne movie.

However, the film does look great. Handsomely shot with great scenery, True Grit is pleasing to the eye. Elmer Bernstein's score is rousing and very fitting, while the story is interesting, most of the characters are credible and the script flows well. Also True Grit is very well directed, and there is a glorious final shoot-out. Other than Campbell and Darby, the other acting is fine. While I would have not personally given the Oscar to this particular performance(I thought he was better in The Searchers, Red River and The Quiet Man) John Wayne is excellent here, and while he doesn't appear until quite later on Robert Duvall also makes a positive impression.

All in all, a very good film but could have been better in my view. 7/10 Bethany Cox

"True Grit" deals with one of the classic Western themes, indeed one of the classic themes in all literature- revenge. A teenage girl, Mattie Ross, is looking for someone who will help her track down Tom Chaney, the man who murdered her father. The man Mattie chooses is Rooster Cogburn, a US Marshal. Cogburn is elderly, fat, one-eyed and a heavy drinker, but Mattie chooses him because she has heard that he has "true grit". The two of them set out into the Indian Territory in search of Chaney, accompanied by La Boeuf (shouldn't that be Le Boeuf?), a Texas ranger who wants to arrest him in connection with another murder.

This is perhaps best remembered today as the film for which John Wayne won his only Oscar. Halliwell's Film Guide rather ungraciously refers to it as a "sentimental Oscar, for daring to look old and fat", but there is more to Wayne's performance than that. The Academy, in fact, had tended to overlook Wayne, just as they overlooked the Western genre which provided him with most of his roles; well over a hundred films had only brought him two previous nominations. Cogburn, however, was one of his best roles. On the surface a hard-bitten, irascible old man, he has hidden depths to his character- not only the courage and determination implied by the phrase "true grit", but also a sense of humour and a capacity for tenderness. Cogburn is a lonely man, divorced from his wife and alienated from his only son, and his only friends are a Chinese storekeeper (a rare acknowledgement from Hollywood that not every inhabitant of the West was either white or an Indian) and his cat. A close relationship, however, grows up between him and the orphaned Mattie, for whom he becomes a substitute father. In turn, she becomes the daughter he never had- or perhaps even a substitute son.

Mattie is a complex character. There is much about her that is androgynous- her tomboy looks, her short hair, even her name, which can be short for Matthew as well as Matilda or Martha. She is brave and determined (there is a suggestion that the phrase "true grit" applies to her as well), but can also be a pain in the neck, especially to Cogburn. She is at times wise in the ways of the world and at others strangely innocent. She is part avenging angel, part bookish intellectual (shown by her rather formal language) and part vulnerable child. It is a role that called for an outstanding performance and got one from Kim Darby who was able to bring out all the various facets of Mattie's character. (This is the only film of hers that I have seen, but it seems strange on the strength of this that her subsequent cinema career has been so patchy). Unfortunately, Glenn Campbell, a singer with little previous acting experience, made a weak La Boeuf. It is probably as well that John Wayne did not get his way when he wanted Karen Carpenter, a singer with absolutely no previous acting experience, to play the role of Mattie instead of Darby. Great actors do not always make great casting directors.

"True Grit" does not perhaps have the depth of meaning of some of the truly great Westerns, such as "High Noon", "Unforgiven" or Wayne's last film, "The Shootist", but it is a very good one. It is a fast-moving and exciting adventure, notable for some beautiful photography of mountainous landscapes (although it is ostensibly set in relatively flat Oklahoma, it was actually filmed in Colorado and California), for one of the great iconic moments of the Western (the scene where Cogburn gallops alone into battle, guns blazing, against four opponents) and for two excellent performances in the two main roles. 7/10

Like most Americans, I have seen hundreds, maybe thousands of westerns in my life. I don't care for them much, primarily because I usually can't fall for them.

In movies, the desire to please as wide an audience as possible seems always to win out, effectively robbing most westerns of the motion picture's essential gambit; the suspension of disbelief. It's very hard to lose oneself in a tale of the late 1800's when the female lead's eye-liner and coiff are pure 1950. Or 1940, 1960, whatever. In True Grit, very little of 1969 is allowed to intrude on this rather simple tale of justice and revenge. This movie is anchored by two very strong themes, shared by all the actors, across most of the scenes.

The first, is language. The dialogue is an absolute delight. Crack open anything by Mark Twain, Henry James or any other late 19th century author, and you will see that people really did speak differently 150 years ago. That the dialogue in 99% of westerns is straight from the time of their filming is a travesty, at best.

Second, is innocence. Not that of any one character however, but the innocence of the human race as a whole. It is probably almost impossible for any of us now, in this day and age, to truly imagine what it must have been like to live back when. But one thing's sure, people were much more naive. There was no such thing as mass-communication, a good percentage of the population didn't read, and newspapers, the only "organized" form of news at the time, were hard pressed to report on anything more than a day's ride from town.

This basic, shared innocence is achingly portrayed by Robert Duvall in two short sentences near the end of the movie when he's caught Mattie and he's attempting to threaten her. Study those two lines, and you'll see that "Lucky" Ned Pepper, the worst villain in the story, really has no idea of what he could possibly do to a slip of a girl. He's totally at a loss. The unspeakable, modern-day atrocities we consume every day with our coffee and bagels are so far from contemplation by Duvall's character, that all he can do is assure her, "I'll do what I have to". It's a priceless moment - frighteningly accurate commentary wrapped in two lines of simple dialogue, delivered with dead-on interpretation.

The only other western I can think of at the moment that delivers with such viscerally historic accuracy is "Unforgiven".

MjM