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Essay on the film stagecoach
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John Wayne “Life is tough, but it’s tougher when you’re stupid.” This was a quote made by the infamous Marion Robert Morrison. John Wayne, being born in Winterset, Iowa, grew up to become an aspiring actor after his college sports scholarship was diminished. He later began to work as an extra, then B movies, up till he reached stardom with The Stagecoach. John Wayne's roles in western movies impacted the future of the western movie industry. First, John Wayne started his career off, simply working as a prop-man. He was originally in college, however was no longer able to attend after he lost his sports scholarship. After his accident, he then began to work as a prop man and extra. It was not till 1930, did John Wayne get his first lead role …show more content…
He starred in The Stagecoach, where it came out as a huge success. This star rocketed his career, allowing him to get into multiple western movies. His portrayal of the character also lead to a greater development for Western films. According to Paul Thompson, “Wayne’s character is a man of principle, and a man of duty; he defies the law only because he’s responding to a higher moral calling. As soon as that destiny is fulfilled, he defers to the rules of the land.” (John Wayne's Influence on the Modern Cowboy) This caused Westerns to come back into the film industry, where it was originally struggling before. It was at this time, the WWII broke out, and male actors began to be drafted. During this time, John Wayne was listed as unable, so he was not drafted and continued to perform in films during this time. However, he did wish to enlist, but would either put it off for a film, or was prohibited to join. This lead to his wanting to be more patriotic, which showed later on in his …show more content…
He played in 84 western films and most were known for being successful. However, if there was anything that helped these movies succeed, it was his portrayal of the American Cowboy. It changed the ways the American people saw cowboys. According to Paul Thompson, “Wayne as the cowboy was an enduring image, and came to define the term for multiple generations of Americans. He was rugged and hard-nosed, but only as far as his surroundings dictated; he was always fair and virtuous, a man of moral conscience and clear principles.” (John Wayne's Influence on the Modern Cowboy) Along with his attitude was his mannerisms which showed that of a tough as iron man. According to John Powers, “No actor has ever been better at embodying male authority.” (John Wayne: Icon Of America's Booming Confidence) His personality as an actor reflected his wanting to be patriotic. John Wayne had always regretted not joining in the war, and felt that for the rest of his life he had to try and make up for it. A factor that was clearly present every time he acted, for he was notable for showing an American way of
John Wayne Gacy was born on March 17, 1942. He grew up in a working class neighborhood of Chicago. He was close to his mother, Mayrum, and sister, Karen. His father was a violent alcoholic, who beat Gacy frequently during his violent outbursts. Gacy loved his father despite his violent temper and homophobic nature. Throughout his childhood, Gacy strove to make his stern father proud of him, but seldom received his approval. This friction between father and son was constant throughout his childhood and adolescence.
Howard Hawkes' 1948 Red River will serve as our example of the western model.The opening credits rise literally out of the landscape, and we're told in the opening narration that this is a story of the landscape, in that it recounts the first major cattle drive along the Chisholm trail from Texas to Abeline, Kansas.In the 1st scene we see a vastly open prairie with a small wagon train almost lost in its expanse.We discover immediately that Dunson (John Wayne) is leaving the wagon train to strike out on his own.The signature trait of Dunson is the first of the western hero's trademarks: once he's made up his mind, "nothing anyone says or does can change it"; despite the entreaties of the wagon master and his putative girlfriend, Dunson sets out south with only his friend, Tom Groot (played by Walter Brennan).
Many westerns contain some of the same elements. For instance, almost every western ever made involves a sheriff. He is usually the peace-keeper of a small town overrun by outlaws and cowboys, which he eventually chases out of town or kills. Another element of westerns is a gunslinger. A gunslinger is usually a young man who makes his living shooting other men in showdowns, a classic example is Billy the Kid. Railroads are also a recurring image in westerns. Since the railroad was the major mode of transportation in the old west, it is always present in westerns. Finally, westerns always have a villain. The villain, usually a man, dresses very slick and will stop at nothing in his quest for power. In addition, the villain usually has a gang to carry out his dastardly deeds. The gang is usually full of incompetent, but loyal thugs, who would love to destroy a small town just for the pleasure of wanton destruction. The elements of a western are very simple, but easily manipulated into a very interesting plot.
Arguably the most popular — and certainly the busiest — movie leading man in Hollywood history, John Wayne entered the film business while working as a laborer on the Fox Studios lot during summer vacations from university, which he attended on a football scholarship. He met and was befriended by John Ford, a young director who was beginning to make a name for himself in action films, comedies, and dramas. Wayne was cast in small roles in Ford's late-'20s films, occasionally under the name Duke Morrison. It was Ford who recommended Wayne to director Raoul Walsh for the male lead in the 1930 epic Western The Big Trail, it was a failure at the box office, but the movie showed Wayne's potential as a leading actor. During the next nine years, be busied himself in a multitude of B-Westerns and serials — most notably Shadow of the Eagle in between occasional bit parts in larger features such as Warner Bros.' Baby Face. But it was in action roles that Wayne excelled, exuding a warm and imposing manliness onscreen to which both men and women could respond.
In “The Thematic Paradigm,” Robert Ray explains how there are two vastly different heroes: the outlaw hero and the official hero. The official hero has common values and traditional beliefs. The outlaw hero has a clear view of right and wrong but unlike the official hero, works above the law. Ray explains how the role of an outlaw hero has many traits. The morals of these heroes can be compared clearly. Films that contain official heroes and outlaw heroes are effective because they promise viewer’s strength, power, intelligence, and authority whether you are above the law or below it.
Few events in history have impacted a culture as much as the introduction of the horse into plains Indian culture. The positive impact of the horse on North America's indigenous people has been romanticized forever in popular culture. The portrait of a plain Indian horse created by the likes of John Wayne and Clint Eastwood is far from complete. While the horse did make nearly every aspect of Native American life more efficient, the spread of horses also contributed to the violence in the southwestern region of the United States in three ways. The trade of horses among the plains Indians created competition for resources, encouraged and contributed to raiding, and allowed the domination of the region by the Apache Indians.
Most westerns have a heroic cowboy that fights against corrupt officials to save a small helpless town or a person in need of help. They also have women who are attracted to the cowboy, and Indians who the cowboy usually fights. The cowboy is moral and fights for good because he is free from civilization its deceit and the wilderness (Wright, 2001, pp. 18-58; Belton, 2009, pp. 248-249). Most cowboys who emerge in western films are honest and forthright.
debut as an actor. Although he never made it to Hollywood, he would often appear
Somewhere out in the Old West wind kicks up dust off a lone road through a lawless town, a road once dominated by men with gun belts attached at the hip, boots upon their feet and spurs that clanged as they traversed the dusty road. The gunslinger hero, a man with a violent past and present, a man who eventually would succumb to the progress of the frontier, he is the embodiment of the values of freedom and the land the he defends with his gun. Inseparable is the iconography of the West in the imagination of Americans, the figure of the gunslinger is part of this iconography, his law was through the gun and his boots with spurs signaled his arrival, commanding order by way of violent intentions. The Western also had other iconic figures that populated the Old West, the lawman, in contrast to the gunslinger, had a different weapon to yield, the law. In the frontier, his belief in law and order as well as knowledge and education, brought civility to the untamed frontier. The Western was and still is the “essential American film genre, the cornerstone of American identity.” (Holtz p. 111) There is a strong link between America’s past and the Western film genre, documenting and reflecting the nations changes through conflict in the construction of an expanding nation. Taking the genres classical conventions, such as the gunslinger, and interpret them into the ideology of America. Thus The Western’s classical gunslinger, the personification of America’s violent past to protect the freedoms of a nation, the Modernist takes the familiar convention and buries him to signify that societies attitude has change towards the use of diplomacy, by way of outmoding the gunslinger in favor of the lawman, taming the frontier with civility.
“When the legend becomes fact, print the legend,” this single quote by the newspaper editor Maxwell Scott (Carlton Young), utters throughout the whole film on what Ford is trying to get across. The whole film tells of a lively era that is so deep in the roots of American history, but we seem to lose sight of that in the here and now. The standard critical approach to Liberty Valance has been to emphasize the contrasts between its two worlds, the old and the new, and to characterize it as celebrating the mythic western frontier and remember its passing by the industrialized times it had to give in to. John Ford brought back that view in his westerns, and although it was the last film with the duo of Ford and Wayne, it can now be referred to as a classical tale of fact and legend.
John Wayne Gacy was born in Chicago, Illinois on March 17 1942. Gacy had an uneventful childhood up until the age of eleven. While out playing he had been struck on the head by a swing. Subsequently he suffered fainting fits for many years.
In 1939 John Ford gave Wayne another break by casting him as the Ringo Kid in Stagecoach. The roll threw Wayne into the top ranks of the movie stars and finally, in the 1940’s, his legend began to take shape. Relieved from military duty due to physical problems, Wayne became the film industry’s hard-core soilder, but had that compassionate side. Movies released during the war, such as Flying Tigers (1942), The Fighting Seabees (1944) and Back to Bataan (1945) left Wayne with some pretty big shoes to fill.
Johnny Cash was born and raised in Arkansas. He was the son of a poor Southern Baptist sharecropper who moved his family to new farms when Johnny was only three (“Johnny
He is always thinking of others before himself and willing to risk his life for another that is worthy. In the movie, The Last of the Mohicans, he is constantly risking his life for the two sisters, and is willing to die for them. “He was in the very act of raising the rifle..when the buzz of a bullet passed so near his body..and an Indian leaped out of the bushes.. He [Hawkeye] rose on the instant, and levelled his own rifle at his uncovered foe…” (Cooper). In the situation, Hawkeye is being shot out, and while most would duck for cover in the boat, he stands straight up to defend himself. The other Indian man darted back into cover when he noticed Hawkeye was ready to fight. However, Hawkeye still continued on the land, showing his true bravery when he knew there were men out there trying to kill him. This also can lead into how fair and generous Hawkeye
starred in many of the war movies made at that time. By seeing so many