The Man Who Shot Liberty Valance Reviews

Ford's last masterpiece. A truly epic story of the end of the old west, Stewart and Wayne put in masterful performances.

I initially wasn't too enthused about the idea of sitting down with this film. While I certainly admire John Ford, I had grown accustomed to the more coarse view of human nature on display in the spaghetti westerns of Leone, Corbucci, and Petroni. However, I was in for quite a pleasant surprise with this film.
The film centers on the life of Rance Stoddard (Jimmy Stewart) and his return to the Western town where he came of age. In a series of flashbacks, we follow the exploits of Stoddard and his brush with the town's hero Tom Doniphon (John Wayne), and the town menace Liberty Valance (Lee Marvin). Yet, while this seems to have all the makings of a classic good vs. evil confrontation, Ford plays around with the idea of justice.
As if representing two adverse parts of the brain, Wayne and Stewart are ardent about fighting their own fights in their own ways. For Wayne, justice can be achieved with old-school heroism, a little gunpowder, and a dash of wit. For Stewart, the law of the land is sufficient and he is intent on reshaping the town's attitudes in such a way. Both men mock the avenues taken by their counterpart and blindly follow what they know to be true. They are two opposing forces, both immensely powerful in their own right. However, influence eventually leaks in on both sides and both men seem to come to at least some sort of understanding regarding the importance of their separate ways.
This sense of duality is strongly diffused throughout the picture and Ford highlights this visually by his expert use of shadows. In most shots, the characters shadows are projected on the wall behind them as if to showcase the dual nature that lurks in the hearts of these men. Yet, rather than casting judgement, it seems as though Ford wants to illuminate and understand these two opposing ways of life, and to lament the passing of western way.
Being one of Ford's last films, the viewer gets a sense that he knew the rule of the Western was coming to an end. Although Wayne is just in his own way, his character seems to know that the times are changing. No longer does having the fastest draw bring virtue and success and Wayne's character goes through a heartbreaking acceptance that Stewart's generation is taking over. In one shot in particular, Ford has Stewart's character standing in front of an old stage coach covered in dust and cobwebs. It is an homage to the old west that is both understanding and mournful.
While Clint Eastwood's "The Unforgiven" has long be touted as the definitive eulogy of the western, I would argue that Ford's film is a much more fitting tribute to such a wonderful genre of film.

The Man Who Shot Liberty Valance asks the question: can the moralist Jimmy Stewart civilize the west, or will it uncivilize him? Stewart, John Wayne, and Lee Marvin come together under the guidance of master John Ford in a film that appears to adhere to respective Hollywood persona's only to shatter them later on. Who ever expected to see Stewart pick up a six shooter and duel or Wayne shoot a man square in the back? Nobody.

An ageing senator returns to a frontier town for the funeral of an old friend and reminisces over his life as a young man. Considered one of John Ford's best and a classic of the genre, The Man Who Shot Liberty Valance is the closest Ford came to making a Frank Capra movie. It charts the transition of the west from law of the gun to law and order, as an idealistic young lawyer comes to town in the shape of a typically fantastic James Stewart and finds his courage and knowledge are useless in the face of the violence he encounters. Up steps John Wayne as a pragmatic gunman, and as was the case with many of John Ford's films, there was a perfect John Wayne shaped hole in the script that enabled him to shine. Add enjoyable turns from Lee Marvin as the total shit-heel of the title and Edmond O'Brien as a sozzled newspaper man and you have one the the great tales of the old west. It's a shame it gets a bit wordy and heavy handed at the end, but it's still essential viewing for true cinephiles.

Easily one of the greatest movies ever made and a true Hollywood classic. John Wayne and John Ford always make flawless movies together, this is no exception. However, this falls into the extra special category in the same reign as The Searchers or Stagecoach; it signifies everything the western genre aspires to be. I feel that this particular movie dealt with the idea of a legend so perfectly that no western has really tried since, except for Assassination of Jesse James nearly fifty years later. It has it all, beautiful cinematography, direction and acting from two megastars. John Wayne and James Stewart really have some great chemistry together and really play well off of their very different styles. This is a movie that everyone should see, it's a true gem.

Liberty Valance: You lookin' for trouble, Doniphon?
Tom Doniphon: You aim to help me find some?

A solid western that puts a number of great stars and western icons together. The film is well made, well acted, and has the right kind of elements that emphasize why these actors are all well regarded.

Senator Ranse Stoddard, played by Jimmy Stewart, returns to the city of Shinbone in the Wild West, to go to the funeral of his friend, Tom Doniphon. To a journalist, who's wondering what the senator is doing in Shinbone, he tells how his career started as "the man who shot Liberty Valance". As a lawyer he came to Shinbone to bring law and order to the west by means of law books. When the stagecoach is held up by outlaws, he is savagely beaten by Liberty Valance, played by Lee Marvin. He survives the attack and is nursed by his future wife, Hallie, played by Vera Miles. Hallie is being wooed by a local rancher, Tom Doniphon, played by John Wayne, who also starts to help Ranse with his principled grude against Valance. Ranse teaches the people of Shinbone to read and write, all the while trying to find a way of bringing Valance to justice.

I really liked the fact that this film shows me exactly what I find entertaining about each of the three male leads. Stewart is a nice guy, but principled and doing what he believes is right. Wayne embodies the cool cowboy swagger. Marvin is just bad ass throughout, even if he is a pretty big dick in this movie.

Certainly helping is the layout of this story. Flashbacks are handled appropriately and John Ford's direction further shows off the talent of a man who has directed a huge number of films.

Solid flick all around.

Link Appleyard: Did you know Liberty Valance is in town tonight?
Dutton Peabody: I'd be a poor newspaperman indeed if I didn't know what everybody knows!

Another fantastic John Ford picture.

Another legendary work from John Ford, this one tells the tale of the arrival of the rule of law in the Old ("Wild") West. I subtract a few points for being slow and stagey in the early going, but this film is no less than a truly American classic. For the Western lover in all of us, we have the Duke as well as a brutish Lee Marvin, and for the "rest of us", a stunning performance by Jimmy Stewart that is as good as any in his career. Great story, at once heartwarming and heartbreaking, and featuring one of the best final lines in film history, this is unquestionably one for the "don't die without seeing" file.

I'm not a big fan of black-and-white westerns, but I really enjoyed this film, specially because of Stewart's awesome performance, as well as Wayne's solid acting, and the well-written story with this nice twist.

Exceptional elegy.
A poignant and romantic story about the meaning of honor, and the thin line that separates legends from facts.

A really good movie that actually had me not really minding John Wayne. Of course he's like an old reliable rock next to Jimmy Stewart's extremely likable performance. The Man Who Shot Liberty Valance isn't a western so much as a movie that takes place in the Old West. Great performances all around, namely from Stewart and the straight-up rotten Lee Marvin. And that batshit crazy performance out of John Carradine towards the end was great, gross and scary all at the same time. The ending felt a little rushed and downbeat and that's where most of my minor disappointment comes in here. This movie's definitely worth the watch but at the same time not the best "western" I've ever seen.

Another masterpiece from John Ford starring Jimmy Stewart playing his usual common man transplanted into the rough and tumble world of the west. John Wayne plays his polar opposite, a gunslinging cowboy who knows how to use a gun. There are two people between them. One is the damsel in the tiny western town played by Vera Miles. The other is Liberty Valance, a sadistic gun for hire played by the great Lee Marvin.
This film is more about the taming of the west. When Stewart's character arrives it's a madhouse like all wild west towns are, but by the end of the film everything has become more civilized, even though the Easterner had to use means that he is against at the start of the picture.
Stewart and Wayne play their trademark roles in this film. This film is almost like looking at both icons in the stereotypes they have become in the mind of the general public. Vera Miles returns from Hitchcock land (ironically she was supposed to have starred with Stewart in Hitchcock's Vertigo) and gives a nice performance as the love interest of both men. It's Lee Marvin that brings pure evil to the screen as Liberty Valance. His performance ranks up there with some of the other classic western villains as he destroys everything in his path. He probably has the greatest gang backing him up as well, with Strother Martin playing a looney stooge while Lee Van Cleef shows us a glimpse of the quiet and dangerous force he would unleash when he went to Italy.
The Man Who Shot Liberty Valance is a classic western that ranks as one of John Ford's best. The use of black and white is almost a way for Ford to bring the film back to simpler times. Unlike other Ford epics, the backgrounds do not overshadow the actors in the foregrounds. A great western.

Wayne
Marvin
Stewart
The guy who does the voice for Friar Tuck in Disney's Robin Hood

Purely cinematic Gold. So much more complex and engaging than I ever anticipated

A brilliant western, with an impeccable cast and a simple, but nuanced and deep plot arc. Nowhere can you find the chemistry that erupts between the polar opposites of Stewart and Wayne. Each supporting character, however shallow their portrayal, is memorable and fun to watch... a comedic ensemble in a deeply serious western drama.

One of the greatest westerns I have ever seen.

Fascinating emotional director John Ford's latest western film with his star John Wayne. James Stewart's part could well be called Mr. Smith goes to Shinbone, it draws so much on his most famous image. Combined with Ford's visual sense and belief in sparse dialogue, as well as fine enemble playing in supporting roles.

rich in detail, plot, action, and gunplay...crank open a brewski and see why you wished you were a cowboy all those years ago...wonder how it is that anyone could take a punch from the duke and then get up...how can they do that? nobody can do that...

This wasn't the classic typical John Wayne western I thought it was going to be. Jimmy Stewart and John Ford are usually good too. The leads are very well casted into a smartly directed story.

Jimmy Stewart reduces the Duke to a block of wood with a classical performance but it doesn't matter much in the end. The plot thickens nicely and the good guys of course come out ahead. What you want from a good western.

Liberty Valance sounds like a stripper name. You know what, I'm gonna spoil it. He was killed the Chastity Summers. Can't have any competition now. No, but seriously, though it suffers from a slow pace and some overdevelopment, the film is supported by a compelling story, fine performances, strong characters, tense spots and a solid twist. Wow, what a redundant first cons/pros list. Thank goodness this film has an interesting element worth discussing: Director John Ford.

Ford's direction is a fascinating one, indeed. He paints the villains as flawed human beings and the heroes as irrational and somewhat immoral. It's hard to distinguish a true hero, but by the end, good and evil are defined in a way that makes you ponder. Well, that's not the only thing that makes the mystery interesting. Ford makes sure to develop a motive for every suspect and keeps his time with them balanced. They're all equally overdeveloped. But seriously though, no character stands out too much and runs the risk of being predicted as the killer by the audience.

In the end, "The Man Who Shot Liberty Valance" might keep you waiting a little too long, but ultimately stands as a well-acted, compelling and thought-provoking portrait on violence begets violence.