Doc Holliday wrote:famously sleective in memory
John-Locke wrote:John Wayne was a goddamn putz.
TonyWilson wrote:John Wayne was a stick
TonyWilson wrote:Tell me you've seen Repo Man, Doc?
John-Locke wrote:John Wayne was a goddamn putz.
But even he would have posted this in Movie Reviews not Movie News.
TonyWilson wrote:John Wayne was a stick
ThisIsTheGirl wrote:TonyWilson wrote:John Wayne was a stick
I know I'm late, but I couldn't live with myself if I didn't respond - "The hell he was!"
"He was too you guys. I installed 2-way mirrors at his pad in Brentwood, and he come to the door in a dress"
OK, now I've got that out of the way, The Searchers and Rio Bravo are my favourite Wayne movies. I quite like True Grit too, and Jizzum - sorry Chisum. I would love to have seen him do a few more non-Western roles like Brannigan as well.
Funny you mention The Shootist - the first ten minutes or so of that movie is excellent, but for me, when Wayne turns up it all starts to go wrong - it just feels really corny. And it's sad how he has to pitch his horse up by a rock because he couldn't jump on and off like he did in his younger days. Just my opinion of course - and I do really like the first few minutes of the movie, odd as that sounds.
TonyWilson wrote:I often wonder about people like Wayne and Cary Grant, who while not being amazing actors were huge stars. The studio system really worked for those guys; they didn't give a shit about "typecasting". And that's what made such icons. Their onscreen persona was nearly always similar...that's how they made legends back then. Can you imagine Clooney playing only suave ladies man roles? Or Brad Pitt only playing matinee idol roles? They'd hate it and I think that's a very modern thing, well certainly a 70's and beyond thing. I'd like the moviestar machine to work a little more often to be honest.
Cheers Boob-lady![]()
ThisIsTheGirl wrote:TonyWilson wrote:I often wonder about people like Wayne and Cary Grant, who while not being amazing actors were huge stars. The studio system really worked for those guys; they didn't give a shit about "typecasting". And that's what made such icons. Their onscreen persona was nearly always similar...that's how they made legends back then. Can you imagine Clooney playing only suave ladies man roles? Or Brad Pitt only playing matinee idol roles? They'd hate it and I think that's a very modern thing, well certainly a 70's and beyond thing. I'd like the moviestar machine to work a little more often to be honest.
That is an excellent point - I'd never thought of it that way before, but as soon as I read that, it made sense to me instantly - I reckon you could be spot-on there, TW....Cheers Boob-lady![]()
You're spot-on there too, sugar
TonyWilson wrote:
I often wonder about people like Wayne and Cary Grant, who while not being amazing actors were huge stars. The studio system really worked for those guys; they didn't give a shit about "typecasting". And that's what made such icons. Their onscreen persona was nearly always similar...that's how they made legends back then. Can you imagine Clooney playing only suave ladies man roles? Or Brad Pitt only playing matinee idol roles? They'd hate it and I think that's a very modern thing, well certainly a 70's and beyond thing. I'd like the moviestar machine to work a little more often to be honest.
MonsieurReynard wrote:Whoa, whoa, whoa, I love Cary Grant, Charade being the epitome of that era's pure cool.
But it wouldn't be cruel to say there are better actors. Like a lot of actors of that era, it was about persona. An immaculately crafted one, but a persona none the less.
havocSchultz wrote:Charles Bronson would've kicked Wayne's ass in a heart-beat...then he would've taken his coat...
Doc Holliday wrote:havocSchultz wrote:Charles Bronson would've kicked Wayne's ass in a heart-beat...then he would've taken his coat...
Then the door to the closet would've closed behind him when he was hanging it up and he'd have been all like "Wahhh...closed spaces....wahhh....panicpanicpanic.....sweat sweat sweat......can't breath, can't fucking breath"
Pussy.
Robert Osborne wrote:I'm such a movie fan and I should have been in awe of these people but, when I first came to Hollywood, Lucille Ball was my boss—and she used to take a few of us out [on the town]. Because she was in television, I wasn't in awe of her—I was in awe of movie stars—and watching her [interact with movie stars] gave me an operating base that helped me not to be in awe. I walked in once on Lucille Ball and Marlene Dietrich was standing there scrambling eggs in the kitchen. All I remember was Marlene Dietrich, without even looking up, saying "close your mouth." Thanks to Lucy, I was always aware that these were basically ordinary people.
happydude3 wrote:The politics leave much to be desired, but 'putz' and 'f@g?' What are you, 13? Oh, right. Many of his movies are terrible. But The Searchers and Red River are two of the greatest movies ever made. Sometimes I get the feeling peoply roundly dismiss something because either A) They haven't actually seen it or B) They're trying to sound different. As far as the politics go, I guess it boils down to whether or not you can separate the art from the artist, but he's been in some great movies.
Bill Hunt wrote:In announcement news today, Warner Home Video has set a new John Wayne DVD box set for release on 5/20, set to include 40 classic films starting Wayne from the Warner and Paramount catalogs. The 38-disc John Wayne: The Epic Collection box set ($149.98) includes: Big Stampede (1932), Ride Him Cowboy (1932), Haunted Gold (1932), Telegraph Trail (1933), Somewhere in Sonora (1933), Man from Monterey (1933), Allegheny Uprising (1939), Reunion in France (1942), Tall in the Saddle (1944), Back to Bataan (1945), They Were Expendable (1945), Without Reservations (1946), Tycoon (1947), Fort Apache (1948), The Three Godfathers (1948), She Wore a Yellow Ribbon (1949), Flying Leathernecks (1951), Operation Pacific (1951), Big Jim McLain (1952), Trouble Along the Way (1953), Blood Alley (1966), The Sea Chase (1955), The Searchers (1956), The Wings of Eagles (1957), Rio Bravo (1959), Hatari (1962), The Man Who Shot Liberty Valance (1962), How the West Was Won (1962), Donovan’s Reef (1963), In Harm’s Way (1965), The Sons of Katie Elder (1965), El Dorado (1966), The Green Berets (1968), True Grit (1969), Chisum (1970), The Cowboys (1972), Cahill: U.S. Marshall (1973), The Train Robbers (1973), McQ (1974), and The Shootist (1976). You’ll also get “hours of special features include commentaries, documentaries, featurettes, vintage shorts and classic cartoons” plus a coffee table book and “special John Wayne collectibles include personal correspondence, script pages/covers, pages with Wayne’s notations and behind-the-scenes artifacts.”
Aliya Whiteley wrote:Remakes are part and parcel of the movie world, but it’s unusual for the same director to remake his own work. Rio Bravo is unique. Director Howard Hawks remade it, not once, but twice, and with the same lead actor every time – John Wayne. And after that, the film went on to influence a number of other directors, resulting in some brilliant movies that owe a great deal to this 1959 Western about a cowboy, a sidekick, and a drunkard who choose to make a stand in the name of justice.
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