The Man Who Shot Liberty Valance

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The Man Who Shot Liberty Valance may not be the film that altered the course of the Western genre, but you could consider it a major turning point in a genre that was in transition. In fact, when you consider the stars of the film and its content, you quickly realize that it is a movie that embodies changing circumstances and values.

The cast of this film is truly excellent, starring two titans of Hollywood’s Golden Age James Stewart and John Wayne. Lee Marvin and Vera Miles are also terrific – I could not imagine a more perfect Liberty Valance than Marvin – but it is John Wayne and James Stewart that represent the change. Released in 1962, John Ford elected to shoot the film in black and white because these big stars looked too old for the plot in color. They were getting old. An audience may have bought James Stewart as the Stately Senator in color, but as the bright young lawyer – that would have been a harder sell.

From the beginning of the film, it is clear that the world in which it takes place is changing. Ransom Stoddard (Stewart) returns to the town he left years before by train, when previously it had only been accessible by stagecoach. The stagecoach is a major symbol of the western genre, rendered useless by modern technology. In the beginning of the film before the flashback that comprises its main content, the stagecoach remains only as a dust covered relic. In addition to the railroad, Hallie (Vera Miles) expresses desire for other kinds of modernization, saying, “…maybe someday, if they ever dam the river, we’ll have lots of water, and all kinds of flowers.” The desire for change is present, and the means for it not far off. And with the arrival of the aforementioned bright young lawyer, more than just the physical landscape of the west is changing. Vigilantism and wild ways will soon be taken over by law and order.

Change is also evident in the actions of Tom Doniphon (John Wayne), a true western hero. There are many aspects to the code of the western hero, tantamount among them being that he does not fire unless drawn upon first. In Doniphon’s first encounter with Liberty Valance in this film, we see him abide by this rule, warning as Liberty is about to draw on him, “Try it, Liberty. Just try it.” If Liberty draws, Doniphon will draw too, but not before. But later, in Rance’s time of need during a duel, Doniphon shoots Valance from the shadows of an alley. No one else knows he was the man who shot Liberty Valance, other than Rance who is informed later, but Doniphon sure knows, and he does not take the fact that he broke his code lightly. It completely ruins him. He loses his girl, he descends into alcoholism, and he even tries to burn his house down with himself inside. That this descent begins immediately after the code is broken is surely not accidental – we are dealing with John Ford, perhaps the greatest director of westerns, and John Wayne, the prototypical western hero, both of whom knew this character as thoroughly as anyone. This marks a major development in the character of the western hero. It would be pushed further in the direction of anti-hero through the 60’s in Spaghetti Westerns, and flipped on its head entirely with Butch Cassidy and the Sundance Kid in 1969.

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The Maltese Falcon: Defining the Film Noir Genre’

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“Film Noir”, for many of us, brings to mind specific visual styles, possibly a sepia-toned color palette wrapped around established, grittier than not, themes or visual motifs. Yet an exact definition of this very specific Genre’ can often seem as elusive as the dreams and desires of its characters. Equally difficult to define, is the exact period for the Film Noir era. Its influences span several decades and countries. However, The Maltese Falcon , first released in 1941, is widely regarded as the ’Godfather’ (pun intended) of major Film Noir in what some consider its classic era.

Regardless of whether you can specifically trace the emergence of Film Noir as its own distinct style to The Maltese Falcon , you may likely agree that it is prototypical for the entire Genre’. It provides an excellent introduction to its world with expressionistic lighting, cynical characters, base motivations, and questionable moral codes: much like the world that existed for many in 1941 … and possibly remains relevant, today. Humphrey Bogart is the perfect embodiment of Private Eye, Sam Spade. However, it’s not the Private Eye that defines Film Noir. Instead, Film Noir may be better defined by the story about a Main Character unwittingly, if not involuntarily, caught in the midst of two worlds that could be defined as Good and Evil. The story arch, however, doesn’t permit the audience to draw black and white distinctions between right and wrong; or, good or evil. Following good, in the story, may result in an immorality. Like its color palette, Film Noir forces the audience to recognize there are shades of grey (no pun intended) that permeate real life. For Sam Spade, in The Maltese Falcon , legal is presented as, shall we say, less than legal. Sam Spade, as a Private Eye very naturally moves the plot forward as he must live and work with both ‘Cops’ and ‘Criminals’. The Sam Spade convention employed by The Maltese Falcon is probably why many people associate Private Eye storylines with Film Noir; despite that the majority of Film Noir Screenplays simply don’t feature a Detective Character. Mary Astor, as Brigid O’Shaughnessy, portrays a prototypical femme fatale, an ever-duplicitous antagonist seemingly effortlessly using her attractiveness, sexuality, and feigned emotions to serve her unbridled self-interest. You may ask yourself where Dashiell Hammett, a Hollywood Novelist upon whose book the film is based and Hollywood Writer-Director John Huston, who wrote the Screenplay – Two men steeped in 1940s Hollywood – would come up with a Character such as Brigid O’Shaughnessy … or possibly not.

The subject of The Maltese Falcon ; its characters and storyline, has been the subject of dozens of reviews relating to the Film Noir style and Hammett’s Novel in general. One thing that may stand out today, is the portrayal of women – not simply femme fatale, Brigid O’Shaughnessy; but all the female characters. It’s as if we’re watching the Grandmothers for what will become Reality TV, albeit an admittedly unfair and overly-broadly-brushstroked observation of the TV Genre’ (… just saying).

Let’s take a look at The Maltese Falcon ’s Three prominently featured female characters. Brigid O’Shaughnessy is motivated exclusively by self-interest; which makes her dangerous. She’s not above resorting to murder, as expediency for what she wants. Arguably, Brigid is the mold for all future femme fatale. Iva Archer is no saint, either. She is a cheating wife and needy widow whom Sam wants to avoid, even though (possibly especially because) they have a romantic history. The only female character in the film seemingly not corrupt in some way is Sam’s Office Assistant, Effie Perine. The audience will either see Effie as the perfect, reliable partner (read “wife material” of the1940s – because bad, over-sexed, non-virgin Girls don’t find husbands; and, in 1940s era movies, married couples sleep in separate beds) stripped of any real sexuality. As if to place an exclamation point behind it, Effie is rendered innocuous for the audience, with Sam’s famous line – “You’re a good man, sister”. Some may argue Effie is actually a Sister/Mother figure. Lacking any Psychiatric credentials, however, I’ll leave Effie’s analysis (pun intended) at this juncture.

The role of women may have been more impactful during my most recent viewing of The Maltese Falcon because of the drastic difference between its female characters and those found in Kingsman: The Secret Service , for which I wrote a recent Movie Review Article. Today’s female characters are portrayed, as well they should be, as strong and working side-by-side the male characters. The Maltese Falcon , while a splendid achievement from Hollywood’s Golden Age, unfortunately also represents an interesting period truth about the role of women according to 1940s society. Fortunately, there has been – and hopefully will continue to be – a development of society’s view for female characters. Wouldn’t it be interesting if Characters were Gender interchangeable for purposes of storyline; you know, like the Starbuck Character in the 2004 iteration of TV’s Battlestar Galactica ?

Revisit The Maltese Falcon and let me know if you agree. You may find the movie well worth it.

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Kingsman: The Secret Service

I was fortunate enough to be invited to the very first pre-premiere screening of ‘Kingsman: The Secret Service’ in Los Angeles, only a few days ago. This Movie is a delight, and I highly suggest that you see it once it is released in your area. ‘Kingsman’ hits theaters in February, and you will likely thank me for recommending this Action ride in the vein of a very updated and relevant ‘Batman Begins’ meets ‘James Bond’ meets ‘Iron Man’.

Updated, too, is Director Matthew Vaughn’s modern storytelling that portrays a more Prince William and Princess Kate British Aristocracy, focusing upon the actual worth of one’s deeds and not merely your family’s high social status or amassed wealth. (No disrespect to her Majesty, by the way. I remain a fan of the Queen of England. If you do some research into her life, you’ll find that she’s been a Royal Action Heroine since the 1930s, at least.)

Writer Jane Goldman is able to tell her story about the Movie’s hero, Eggsy, who must learn to stand up and take responsibility instead of simply lashing out in violence because it’s easier or a more rapid solution, without boring her audience. Instead of being a cliché, Goldman’s story sends the perfect message that one is able to stand up for themself when they learn to stand up for a good cause, their friends and their family. (Something France and the world are experiencing, right now, in the wake of indefensible Terrorist violence.) Goldman gets this message across while never interfering with the essence of her Action storytelling.

Without slowing the pace or interrupting Mark Millar, Dave Gibbons and Goldman’s good story, Vaughn is able to tackle some truly troubling present-day issues like domestic violence and discerning real ‘Save the Planet’, from ‘Save the Planet for Profit’ hucksters.

While the movie is sexy … without being salacious … there is NO sexism. Women beat the snot out of men and work side-by-side them without having to expose body parts as an indication of their worth. I’m recommending the Movie to my Nieces. Yeah, it’s that good and my nieces are that strong.

But there is no want for ACTION. The 129 minutes of movie flies by and feels like 90, as Vaughn presents a very positive role model for both men and women. Make no mistake: this is an Action Movie! But unlike some action Movies that inspire audiences to leave the theater picking fights when they emulate the movie’s characters, I actually experienced noticeably courteous and gentlemanly behavior from the exiting ‘Kingsman’ audience. I have to admit being a little taken aback by it; but in a very uplifting way.

Finally, don’t walk out on the credits. Imbedded within the Final Credits are additional scenes that add to, rather than merely prolong, the ending.

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