Le dernier des géants

A stirring story of an old-timer reconsiderating his life and who holds a personal code of honor . John Wayne's touching last role , here performs a legendary gunslinger afflicted with Cancer who seeks solace , tranquility and peace and to die with a minimum of pain and a maximum of dignity . But town bad guys as Richard Boone and Hugh O'Brian , aren't about to let him rest and are determined to gun him down to revenge past events .

One of Wayne's best in which from the opening edition of clips from Wayne's earliest movies as ¨Rio Rojo , Rio Bravo¨ , to the ending impressive shootout in the cavernous saloon , Siegel film is moving , quiet and subtle . The picture pays tribute to John Wayne with none of the indulgences , humor and irony that permeated ¨True Grit and Rogster Cogburn ¨ . John Wayne heads the top-drawer main and support cast , he gives a very good as well as dignified acting as a dying gunfighter who spends his last days looking for a way to die rightly but prevented from doing so various younger gunmen out for vendetta or to prove their worth against him . However , Paul Newman, Charles Bronson, Gene Hackman and Clint Eastwood turned down the lead role before John Wayne was cast. Infused with an appropriately wintry feel ,the admitted sentimentality and sadness is maintained througly and in keeping with the elegiatic style . This one results to be a valedictory tribute to both , the Western in general and the great Wayne , the Duke , in particular . The interpretations are uniformly top-notch , standing out an awesome plethora of secondaries as James Stewart , Lauren Bacall , Ron Howard ,John Carradine , Sheree North , Bill McKinney , Harry Morgan , among others . It contains an enjoyable and thrilling musical score by Elmer Bernstein in his usual style . Atmospheric and evocative cinematography by Bruce Surtees.

The motion picture was well directed by Donad Siegel who handles both tone and pace wonderfully . Donald made his reputation in the early and mid-'50s with a series of tightly made , expertly crafted , tough but intelligent "B" pictures , among them : The Lineup (1958), Riot in Cell Block 11 (1954) , then graduated to major "A" films in the 1960s and early 1970s . Director Siegel brought an entirely new approach to the Sci-Fi field Invasion of the Body Snatchers (1956) . He made several "side trips" to television, mostly as a producer . Siegel directed what is generally considered to be Elvis Presley's best picture , Flamingo Star (1960). All of Eastwood's later Western and his ¨Dirty Harry¨ movies owe a considerable debt to Sergio Leone and Donald Siegel . As Donald directed Eastwood in various films , such as : ¨Coogan's bluff , The beguiled , Dirty Harry , Escape from Alcatraz and Two mules and sister Sara¨. He had a long professional relationship and personal friendship with Clint Eastwood , who has often said that everything he knows about filmmaking he learned from Don Siegel .

I've never had much use for the swaggering, tough-as-nails `heroic' John Wayne. Perhaps that style of heroism was all one needed to get by in the ‘old west', but even then, death was not an easy thing to face (I bet most gunslingers and sheriffs' boots were filled with liquid just moments before they bit the dust). Finally, here is a film that looks at what courage is really made up of: the ability to accept limitations, to accept change, to have humility, and to be able to say, `I'm afraid'. The Duke is dying of cancer, in reality and within the plot of this film. He is also a living myth in reality and within the plot of this film. That he chose to play out his swan song as a human legend instead of as a mythic one, must have taken a lot of courage. Imagine the Duke propped on a dainty red pillow upon his saddle! Imagine him showing all the physical signs of the wear and tear that illness and age have bestowed on him. Imagine him allowing us to hear the weakness of his infirm body slipping in the bathtub. Imagine his groans of agony. `Death is a very private thing', his character John Books says, but he is man enough to show us how to do it and do it with dignity, despite the fear. Just imagine The Duke admitting that he's afraid of the dark!

At the period in which this film is set, gunslingers – or `shootists' – were soon to go the way of the horse and buggy. The queen (Victoria) had just died. Electricity, modern plumbing, modern commerce, modern transportation, and creature comforts were beginning to take over (check out the electric ceiling fans and mosaic tiles in the saloon!). Forward to ‘real life'. It is 1976. One by one, the mythic legends created by dime novels and Hollywood movies are being demystified. From Billy The Kid to Buffalo Bill, to Bonnie and Clyde, audiences have been shown for over decade how legends have always been manufactured. There are some who may see this demystification as a negative thing, but when people start adoring soldiers, celebrities and gangsters as something more than human, it's time to set the record straight. That's what all the best films of the seventies did. They broke the myths but they did not break the spirit, for what they did was let US, not the supermen on the screen, become the heroes. We could be afraid, old, young, ill, or weak, and we could feel pain and humiliation. In the process of confronting our limitations we become stronger. To be a stronger human being is to become civilized. Like this film shows us, we CAN reject the gun and join civilization. This film is John Wayne's gift to us. He is enabling us to grow up, to look at the past with respect, but to face the future with responsibility. His John Books is worth more to us than all his superheroes put together. We're all gonna die, we're all afraid, and pain is very, very real. It is in the process of surrendering to this fact with dignity and humility that we in a sense become immortal. To try to live as a superman is to die a fool. Only cowards (and very dangerous people) embrace myths over reality. That dainty red pillow has made The Duke sit very tall in his saddle indeed!

The Shootist is a great swan song to the film career of John Wayne and a great movie on its own merit. The parallels between Wayne's life at the time the film was made and the character(J.B.Brooks) he plays in the movie only add a poignant sadness. This sadness is part of the film, it never lets up. The first jolt of sadness comes when we see Wayne visiting with the town doctor, played by Jimmy Stewart. Wayne is diagnosed with an incurable cancer. This news seems to trouble Stewarts character as much as it does with Waynes. As both characters try to come to grips with this diagnosis, I was left wondering: am I watching the work of two gifted actors play acting in a movie or am I watching two old friends bringing their reality into the movie?. Whatever the case, the scene is very moving.

Also in the cast is Lauren Bacall as the recently widowed inn keeper. She helps keep Wayne's character fulfilled and feisty during his last days. Ironicly, this job was something she was familiar with, as she did this in real life with her late husband Humphrey Bogart.

There are many good performances by the rest of the cast. But it is the circumstances under which they were filmed for Wayne, that make his a truly unbelievable performance. There are two of his scenes that stand out for me: 1) Listening to John Wayne and Scatman Crothers haggle over the selling price of Wayne's horse. Yeah, it might not sound like much here in print, but that's just a testimony of how well these two actors pull that scene off. Just great. 2) Seeing John Wayne enter the saloon with a purpose for the last time. Truly one of the most bone chilling cinematic moments of all time.

If you love John Wayne then I'm certain that you love this film already. If you can take or leave John Wayne, you might at least like this film. But if you don't care for Wayne or for that matter, if you don't like westerns, you'll probably still like this film. At least I hope so. 9/10.

Clark Richards

It is virtually impossible to watch The Shootist, the story of an aging gunfighter dying of cancer, without being frequently reminded that it was John Wayne's last movie and that he was dying of cancer himself. This gives several scenes a real lump-in-the-throat quality, such as when Wayne tells Lauren Bacall "I'm a dying man afraid of the dark."

But even when viewed without that knowledge, The Shootist is a thoughtful, sad and very well acted film. Although I've seen only a handful of Wayne's 200-plus movies, it's hard for me to believe that he ever turned in a better performance than he did here. His portrayal of a terminally ill man wanting to end his life on his own terms is moving and totally convincing. The supporting cast is also outstanding, and Wayne has several great scenes with actors like Jimmy Stewart, Lauren Bacall, Ron Howard and even Scatman Crothers. I found Harry Morgan, whom I usually like, to be a bit cartoonish as the marshall who was anxious to see Wayne's character die as quickly as possible, but that's a minor quibble.

Since the movie takes place in 1901, there are naturally references to the end of the old west and the coming of a new age, and how the time of gunfighters like Wayne's character have come to an end. Again, it is difficult to view these scenes without thinking of the twilight of Wayne's career and the declining popularity of western films, just as you can't help but connect the plight of his character in this film with his own death from cancer a few years later.

It's hard to imagine that any other significant actor ever made a more appropriate and moving farewell film. You don't need to be a fan of westerns, or even a fan of John Wayne, to appreciate The Shootist.

In his last movie, John Wayne plays J B Books, an ageing former gunfighter who arrives in Carson City. Books has in the past killed thirty men in gunfights and has become a legend of the West, but this hard-won status has brought him unwelcome attention from would-be gunslingers hoping to gain their own place in history as `the man who shot J B Books'. Early on, Books is told by his old friend Dr Hostetler that he is dying of terminal cancer, and the film chronicles the last week of his life, from 22nd to 29th January 1901, his search for a dignified death in accordance with his own code of honour.

The film is about both endings and new beginnings, so it is significant that the action takes place in the first month of a new century. January 1901 marked not only the beginning of a century, but also the end of an era, because it was the month in which Queen Victoria died; this event is referred to several times in the film. The days of the `Old West' were also coming to an end; under the influence of new inventions such as the motor car and the telephone (both of which appear in the film) it was becoming a quieter and less lawless place.

The time of year is significant in another way. A film which is about both the end of a man's life and the end of an era will inevitably be elegiac in tone, and the standard way of making it would be to film it in autumn, with plenty of shots of falling leaves and grey, misty skies. Don Siegel, however, takes an alternative approach, setting the film during a brief period of brilliant winter sunshine and mild weather known as a `false spring'. This not only provides some strikingly beautiful images, but also has a double symbolic meaning. For Books and for the Old West it is winter; but for the younger generation, spring is coming. One of the most touching features of the film is the relationship between Books and Gillom, the son of his landlady. Gillom idolises Books and treats him as a hero; Books, in the last days of his life, treats the young man as the son he never had and tries to teach him that there is a better way than that of the gun. The Old West may be passing into history, but there are indications that the New West, although it may be less picturesque, will be a better place in which to live. If winter comes, can spring be far behind?

The film itself also turned out to mark the end of an era in more ways than one. Although there is some doubt whether Wayne actually knew in 1976 that his cancer had returned, we now of course know that it was to be his last film and that he was to die about three years later, and this knowledge makes the film all the more poignant. It was also one of the last of the great Westerns. Although the genre had seemed in reasonable health in the early seventies, it was to suffer, for various reasons, a sharp decline in the second half of the decade and throughout the eighties. Perhaps the standard conventions of the genre had become so familiar that they seemed like clichés; perhaps the post-Vietnam generation had no time for films which often had as their themes honour, glory and courage. (It is notable that the patriotic war film underwent a similar decline at the same time). Certainly, the financial failure of `Heaven's Gate' made investors wary of backing westerns. Even Clint Eastwood, who had seemed to be the heir-apparent to Wayne's crown as King (or should that be Duke?) of the West, abandoned the genre for a time, although he was to return to it triumphantly with `Unforgiven' in the early nineties.

Wayne's great strength as an actor was his ability to convey the tough but honourable man of action. Both these qualities are present in `The Shootist', but he was able to add further qualities, pathos and as sense of a less honourable past. Although Books is hard-bitten and irascible, he is also fundamentally decent, resorting to force only in self-defence. He can show pity- early in the film he spares the life of a villain who tries to rob him at gunpoint, even though he has the man at his mercy. Nevertheless, we are always well aware that he did not gain his fearsome reputation by a scrupulous observance of the Ten Commandments; although this is not an overtly religious film, the story of his last days can be seen as the story of his search for atonement as well as for dignity. In his last film, Wayne achieves one of his greatest performances; it is remarkable that he was not even nominated for an Oscar.

The other performance that stands out is that of Ron Howard as Gillom. Howard, of course, is now best known as a director; if his acting career is remembered it is for his role that bland TV series `Happy Days'. Nevertheless, he was also capable of giving good contributions in films (`American Graffiti' is another example), and here he brings a touching youthful innocence to the part. There are also good contributions from James Stewart as the gentle, dignified doctor and from Lauren Bacall as Gillom's mother. (She has the unusual Christian name Bond, possibly symbolic of the close ties that grow between her and Books at the end of his life).

`The Shootist' is a marvellous film, sombre and elegiac, and yet at the same time with a message of hope. A fitting end to Wayne's career. 9/10.