O Homem que Matou o Facínora

Senator James Stewart and his wife Vera Miles get a telegram from their old home in Shinbone about the death of a friend. They arrive in Shinbone and go to a sparsely attended service. When prodded a bit by the editor of the Shinbone Star, a paper he was once employed at, Stewart sits down and tells the story of just how his political career got its start.

The Man Who Shot Liberty Valance is John Ford's final homage to the western film genre that made his reputation. It's maybe the most nostalgic of westerns he ever did. Beginning with the cast all of whom are way too old for their parts. But if you notice there's a kind of soft focus photography used on John Wayne, James Stewart, and Lee Marvin which masks their age. The skill of these players does the rest.

Stewart arrives in Shinbone, a newly minted attorney who has taken Horace Greeley's advice and the stagecoach he's riding on gets held up by the local outlaw Liberty Valance and henchmen. When Stewart protests Valance, played by Lee Marvin beats him with the butt end of a silver knob whip and leaves him on the road.

He's found by John Wayne who brings him to Shinbone to get medical attention. Stewart stays with restaurant owners John Qualen and Jenanette Nolan and their daughter Vera Miles who's Wayne's girl. Miles who can't even read or write takes quite a shine to the educated easterner.

But Stewart and newspaper editor Edmond O'Brien keep getting on Liberty Valance's bad side, especially when they come out publicly for statehood whereas the big cattle ranchers who hire Liberty Valance and henchmen want to keep this part of the USA a territory for as long as they can. This is all leading to an inevitable showdown.

Lee Marvin as Liberty Valance is one evil man. No subtle psychology here, no explanations of a mom who didn't love him or a girl that dumped him, he's just an evil guy who likes being evil. If Liberty has any redeeming qualities, despite repeated viewings of this film, I haven't found any. Marvin clearly enjoyed this part, but he never turned it into a burlesque of himself. That he waited for Cat Ballou to do.

John Wayne who by this time was playing more roughhewn types than he did when he was Ringo Kid in Stagecoach, gets back to that kind of a portrayal here. He's more Ringo than he is Ethan Edwards. But that's at the beginning. Over the course of the film he changes into something like Ethan Edwards, his character from The Searchers. What happens to make him that way in fact is the story of the film.

But actually the film really does belong to Stewart. He's on screen for most of it, he's the protagonist here and until almost the end, what's happening to him is what The Man Who Shot Liberty Valance is all about.

Ford once again rounds out his cast with many of his favorite players in support. Andy Devine as the cowardly marshal, John Carradine as a pompous windbag politician, Woody Strode, Denver Pyle, Strother Martin, all who had appeared in Ford films before.

There are two to single out however. This was the last film Jack Pennick ever did with John Ford. You might not know his name, but he and that horse-face countenance appeared in just about every sound John Ford film there is. He has a bit role as a bartender. Pennick died after completing this film.

Edmond O'Brien made his one and only appearance in this film as Dutton Peabody, founder, editor, and owner of the Shinbone Star and as he said himself, he sweeps the place out occasionally. He's a regular character in Ford films, the wise friend of the hero who has a bit of a drinking problem. Kind of like Thomas Mitchell as Doc Boone in Stagecoach.

Like Stewart, O'Brien is an eastern immigrant who came west to be his own newspaper editor like his former boss Horace Greeley. Words are his weapons, like the law is Stewart's. It's no wonder that these two annoy Lee Marvin so. Even the fast draw hired gun can't kill public opinion.

When they're both chosen as Shinbone's Delegates to the territorial convention it is O'Brien who makes the nominating speech to draft Stewart for the job. It is one of his finest bits in his long and distinguished career. It encapsulates a lot of what Ford was trying to say about progress and progress in the American west. In the end it is the farmer, the merchant, the builder of cities will eventually triumph just about anywhere. Stewart and he are as much pioneers as Wayne and the others in Shinbone are, they're just the next logical step.

Progress always comes at a price. We see the price in the beginning and the end of the film, the scenes of Shinbone during the early Twentieth Century. The paved streets, the electric lights are there because of who came before and what they did. There wasn't room in the changing west for many like Wayne and Marvin, their time came and went, just as Stewart's time came and went too.

Actually I think the real winner in this film was always Vera Miles. She started out as an illiterate girl working in her parent's restaurant and wound up the wife of a United States Senator. That's progress too.

»The Man Who Shot Liberty Valance« (1962) wins a top spot among my favourite classic westerns. The first shots of the film take us to Shinbone, a border town in an unnamed Western state, and the arrival of Senator Rans Stoddard and his wife Hallie. The funeral of local small rancher Tom Doniphon brings them, after many years, back to the town where the senator began his career, becoming known as "the man" from the title line. In an interview with a young reporter and editor-in-chief of a local newspaper covering this occasion, hence in the accompanying retrospective, he tells a never-before-told story: the real truth about the early trigger of his sudden local popularity and the consequent lightning-fast rise on the political ladder... Avoiding the main spoiler, let it be only known that subsequent to hearing that far unknown, history changing facts, the editor-in-chief, to Ranse's surprise, theatrically tore up his reporter's notes, giving the following explanation, "when the legend becomes fact, print the legend." Thus uncompromising, legend goes on and, in the last scene on the train, thankful for the railroad's courtesies Ranse continues to be honoured with the answer that will force him to swallow lumps in his throat for the rest of his days and beyond, "Nothing's too good for the man who shot Liberty Valance!"

What is most interesting is that it was exactly Ford who has, in his rich oeuvre, often (but by no means exclusively) directed Westerns (or as he liked to introduce himself: "My name is John Ford and I make Westerns .") and built many of these myths and legends, but here, towards the end of his directorial career, he relativizes them.

Unfortunately, in the present world filled with overdependence on technology (that makes us conformists), intolerance to the hardships and inconveniences of nature, reduction of warm feelings and empathy as well as increased insensitivity among people... especially newer generations are becoming less exposed to the good stuff of the past, including John Ford's movies. Ford knew how to choose a perfect scenario or bring a less perfect one to perfection, and, although himself somewhat withdrawn and distanced, infused such a scenario with emotions and sentiment. Often he filled them with humour and the joy of life, but also wisdom and humanism, making them deeply woven into what a man actually is and thus engraved in the minds of generations of movie goers. Nowadays, somehow we have all forgotten the importance of such films that go beyond their simple purpose of being just a forgettable pastime, and the film "The Man Who Killed Liberty Valance" is exactly such a film that, seasoned with Ford's beautiful aesthetics, has an added value in itself and then for the culture and civilization which produced it.

Not even a decade after the golden age of Hollywood films, Ford warns of the danger that politics destroys the beauty in people, it erases the legend, while, in fact, the legend and the storytelling are more important to people than a purely political narrative. Here, and especially here, for the umpteenth time we experience the phenomenon of the western, the miracle of that once most popular genre, which does not reflect our lives in any obvious way (neither in the manner or content, nor in the location or scenography), and yet, though hard to believe, it appears as if in itself it keeps some kind of a core to each one of them (our lives). Furthermore, the action in the film is so universal that despite the fact that it is a complete fabrication, not based on a real place and events, it seems as if we are watching a documentary presentation of historical events. And whenever a film portrays a historically important time, whether real or imaginable, it is very interesting to experience that cinematic meta-moment prophetically dedicated to events that will only happen, once or repeatedly, thus reversing sentimentality for the past, a nostalgia, and advancing it to the predictable future. Included here are depictions of a free press, town meetings, territorial conventions and statehood debates, subjecting politics to interest lobbies and corruption, violence in elections... foreseeing their future recurrences and anticipating nostalgia for them.

The acting contributions are very worth mentioning. Despite his shorter screen time, thanks to his usual commanding presence John Wayne skilfully brings about the pivotal role of Tom Doniphon, while both main opponents show versatility of their onscreen persona at times of temptation: Lee Marvin as infamous outlaw, tough and mean Liberty Valance, shows weakness when, subsequent to his failed attempt to get nominated for the regional delegate to the upcoming statehood convention at the territorial capital, he resorts to excessive vandalism and then drowns his frustration in alcohol, while James Stewart as Ransom "Ranse" Stoddard, at first, after Valance bullies him in the restaurant, begins practicing with an old gun, and then responds to Valance's gunfight challenge when his attempts to bring Valance to justice through the law fail. Outstanding in supporting roles are Vera Miles (who, sadly, missed an earlier opportunity to join Jimmy Stewart in another magnum opus, Alfred Hitchcock's "Vertigo," due to her real-life pregnancy at the time) as the not-meant-to-be Tom's, eventually Ranse's wife Hallie Stoddard, Edmond O'Brien as Dutton Peabody, founder, owner, editor of the local free press (the Shinbone Star), uncompromising "old servant of the public weal", waiting for his "shining hour" ... yet to come," who, also, "sweeps out the place", Woody Strode as Pompey, Tom Doniphon's hired hand, John Carradine as Maj. Cassius Starbuckle, speaker on behalf of the cattle barons at the territorial convention, Strother Martin and Lee Van Cleef as Floyd and Reese, Valance's myrmidons, Andy Devine as the fearful Sheriff Link Appleyard, looking only for the ways not to have beef with the criminals but rather a free beef on his plate, and some more, all benefiting from Ford's unique way of handling actors, bringing out the best in them, as many acknowledged subsequently.

I imagine that many will say that this movie is dated. Since it is filmed in black and white, that will add to it being viewed as an old movie.

However, I believe the characters and acting lead to a most powerful movie. While we often see heroes and heroines portrayed as perfect people, the heroes and heroines in this movie seem much more true to life. They are wonderful, but never perfect. As such the movie hits closer to home and is more heart warming than most movies.

It did take a few minutes before I saw the greatness of this movie. At the start it almost seems a normal western. But as the characters unfold, coupled with excellent acting, the movie simply becomes much more. While John Wayne and Jimmy Stewart have been in many good movies, it is this movie that I likely will remember them the best.

Every time I watch a movie from decades ago I realize that even without all the special effects, 4K cameras and all things Hollywood, they manage to tell stories in a masterful way.

Here we follow Ransom (A lawyer) who after a robbery is rescued by Tom (A farmer) and arrives in the violent city of Shinbone that is dominated by the dangerous Liberty Valance, an unscrupulous bandit. At that moment we are introduced to the other main characters Hallie a waitress who likes Tom very much but is never proposed to her. Mr Peabody is the editor-in-chief of the local Shinbone Star newspaper in charge of covering the region's news. Link Appleyard the most cowardly sheriff who ever lived.

Tormented by Liberty Valance, Shinbone, is just another place that hasn't developed due to lack of education in the city because apparently many people can't read and in a way this contributes to everything in the city being resolved through bullets being therefore a land no law.

At that moment our character Stoddard seeks to apply a system of laws in that region and make the city a recognized state and not just a territory and somehow bring progress to that region, beforehand Ransom seeks to teach the people of the region to read and write , which includes Hallie, who at one point was enchanted by Tom's bravery and now begins to fall in love with Ransom's calmness and passivity. This approach obviously makes Doniphon jealous and from there we have the beginning of a somewhat confused friendship between a man who only believes in the power of the law and another in the power of bullets.

Given this introduction, what intrigued me the most about this film is that both Ransom and Tom are heroes and anti-heroes in the same film, being practically impossible to say which is the good and the bad of the story, I preferred Tom, in a way he had more honor. A great movie, I recommend it to everyone.

Based on a short story by Dorothy M. Johnson, THE MAN WHO SHOT LIBERTY VALANCE tells the story of Ransom Stoddard, an eastern attorney who has the misfortune to be victimized by notorious outlaw Liberty Valance during a stagecoach robbery. Left for dead, Stoddard is rescued by rancher Tom Doniphon and brought to the small town of Shinbone. Disgusted by the lawlessness of the area, he determines to use not a gun but the law itself to end Valance's reign of terror.

Released in 1962, VALANCE was among the last films directed by John Ford, who was more closely associated with the Western than any other Hollywood director--and in one sense it certainly has the classic "good guy vs. bad guy" plot one expects from from a western classic. But Ford was not a superficial artist, and VALANCE is a remarkably multi-layered film that plays much deeper than you might expect.

Tom Doniphon is all that is right about the west; Liberty Valance is all that is wrong. But both are part and parcel of the same code, a society in which law and order are merely words on the lips of a cowardly marshal, a world where a man either dominates through fear or is dominated by it. It is a world that is coming to an end--and Rance Stoddard is in the vanguard of the new civilization. Both Doniphon and Liberty must fall before Stoddard if the worst of the west is to be tamed.

The cast is superior. James Stewart (Stoddard) and John Wayne (Doniphon) have unexpected chemistry on screen, and Lee Marvin (Valance) is easily one of the most unpleasant black-hats you could ever want to see in a western, vicious to the point of being psychotic. Supporting players Vera Miles, Andy Devine, Edmund O'Brien, and Woody Strode are equally fine. Although the script is occasionally a shade overwrought, it is laced with a very fine irony and sense of loss, and John Ford brings all the various pieces together without beating the viewer to death in the process.

GFT, Amazon Reviewer