The Man Who Shot Liberty Valance(in Hollywood Movies) The Man Who Shot Liberty Valance (1962) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream The Man Who Shot Liberty Valance on your mobile, tablets and ipads
Plot: When Senator Ransom Stoddard returns home to Shinbone for the funeral of Tom Doniphon, he recounts to a local newspaper editor the story behind it all. He had come to town many years before, a lawyer by profession. The stage was robbed on its way in by the local ruffian, Liberty Valance, and Stoddard has nothing to his name left save a few law books. He gets a job in the kitchen at the Ericson's restaurant and there meets his future wife, Hallie. The territory is vying for Statehood and Stoddard is selected as a representative over Valance, who continues terrorizing the town. When he destroys the local newspaper office and attacks the editor, Stoddard calls him out, though the conclusion is not quite as straightforward as legend would have it. Runtime: 123 mins Release Date: 21 Apr 1962
"This is the west, sir. When the legend becomes fact, print the legend". (by mattyholmes2004)
"This is the west, sir. When the legend becomes fact, print the legend". - Maxwell Scott, The Man Who Shot Liberty Valance In John Ford's most mournful tale, the legendary director asks the question "How did this present come to be? Just how did an inferior race of men whose only weapon was that of law and books defeat the old gunslingers of the great West? Just what exactly happened to the Western heroes portrayed by John Wayne when law and order came to town? How did the wilderness turn into a garden? In The Man Who Shot Liberty Valance, John Ford depicts a world where <more>
everyone has got everything they wanted, but nobody seems happy with it sound familiar to anyone? Senator Ransom Stoddard James Stewart arrives to Shinbone on a train with his wife Hallie Vera Miles to visit the funeral of an old friend named Tom Doniphon John Wayne, remarkably the film opens where this iconic star is dead . The newspaper men have never heard of him, so why would such a powerful political figure visit the town to attend this funeral of a "nobody"? Through the use of a flashback, Stoddard tells us the tale of how he came to the town as a young lawyer but was immediately attacked by the psychotic villain Liberty Valance terrifyingly played by Lee Marvin who teaches him "Western law". The rest of the film tells the tale of how the man of books eventually defeated the race of the gunslinger and what sacrifices had to be made for that to happen.In truth, The Man Who Shot Liberty Valance is more of a melodrama than a Western. Gone are the vibrant landscapes of Ford's landmark movie The Searchers six years earlier, which was so proudly promoted as being in VISTAVISION WIDESCREEN COLOR and instead the film has given way to a bleak, claustrophobic black and white tale, with so many enclosed sets and not one shot of Monument Valley.There's a lack of a real bar scene, lack of shots of the landscape, lack of horses, lack of gunfights. It's a psychological Western, probably unlike anything ever filmed until maybe Clint Eastwood's Unforgiven.Why is this movie so good then? In basic terms, it's about the sadness of progression and without giving way too much away the film tells a remarkable tale which truly does examine what Ford's view of the West as promoted in his earlier work truly meant. It's a tragic and pessimistic movie but it's a rewarding one, with huge replay value and one that leaves you with so many more questions than it does answers.Do we prefer the legendary tale of our heroes or the truth? Are tales of people such as 'The Man With No Name' just more interesting than Wyatt Earp? Is living a lie as a successful guy better or worse than quietly dying as a hero? The Man Who Shot Liberty Valance is one of the most complex Westerns that has ever been put on film and is a remarkable film when you consider it was directed by a guy who made his living telling grandeur tales of the American West. Well acted, very well written and is one of the most rewarding Westerns for replay value in the history of the genre.Matt Holmes www.obsessedwithfilm.com
Starring the greatest actor ever in Jimmy Stewart and the man who defined Western acting in John Wayne, one knew the movie was going to be good. But this movie tops them all. The movie continues through many great plot twists and unexpected events to arrive at a moving and stunning conclusion. Love, violence, politics, law, law-enforcement: this movie has it all. It is a western drama with action and even a little mystery topped off with a few comedic moments. Start to finish, you won't find anything like it anywhere else. Make sure you see this movie.
One of the great westerns of all time (by tjackson)
John Ford's 1962 film, The Man Who Shot Liberty Valance, is an ode to the end of the classic western. It is a satiric look at the civilizing of the once wild American west where Ford deliberately uses stereotypical characters and situations to undermine and reexamine the very myths that he helped create. Ford's world is one of moral certainty and untamed villainy where legends are born and cowboy heroes ride free amidst the broad natural landscapes of America's West. In the west of Liberty Valance, the hero is not made nor born, but manufactured by the media. As the editor of the <more>
Shinbone Star says; "This is the West. When the legend becomes the fact, print the legend."The legend concerns lawyer Ransom Stoddard, played in typical earnest aw-shucks fashion by Jimmy Stewart. Stoddard has been brought, bruised and beaten, to the western town of Shinbone following an altercation with a gang of stagecoach highwaymen, led by arch-villain Liberty Valance. As played by Lee Marvin, Valance is deadpan and over-the top evil. His uncompromising performance is one of the pleasures of the film. With his lethal black whip and his giggling and glowering henchmen played by Strother Martin and Lee VanCleef , Marvin is unabashedly nasty and taunting at every turn. His nemesis is that stalwart icon of the heroic west, John Wayne as Tom Doniphan. His code of honor is as solid as his skill with a six-gun. Doniphan knows that might rules the west, and will inevitably vanquish evil. But Stoddard's mission is to see that justice is done through the more civilized rule of law. Of his nemesis Valance, Stoddard says; 'I don't want to kill him, I just want to put him in jail!' Not likely, in John Ford's west.Into the mix come a parade of character actors whose vivid stereotypes have enlivened westerns for decades: Edmond O'Brien as the drunken but noble newspaper editor; Andy Devine as the whimpering, good-hearted, but cowardly sheriff; Woody Strode as the silent, noble black man, backbone of the west; and last and most essential is Vera Miles as Hallie, for whose heart our heroes compete. It is in that romantic triangle that the real heart of west may be won. In this way the Hallie, like the cactus rose she carries to Doniphan's funeral, becomes a bittersweet symbol for the loss and the hope of the new west.Ford makes Liberty Valance into a western that seems to examine itself as a western. He removes the window dressing to focus on the intricate play of characters and symbols. Gone is the Technicolor of the Searchers. This is in stark black and white. Gone are the outdoor landscapes of Ford's west. Most of the film looks like it was on the back lot, and many scenes take place indoors. He moves his camera in on faces not vistas. The world of 1960's America was changing and beginning to reexamine the usefulness of certain cultural mythologies. The new decade was about people; the grand ideals of postwar America were being reexamined and were about to become even dimmer with the assassination of President Kennedy. America was beginning to be about recognizing unique individualities, about embracing change, about individual rights, strong women, sensitive men. Ford didn't like that much, I imagine. The film's characters are flawed and cartoonish. I suspect his film was a wry satire on his own mythology and a critique of what he viewed as a softening of American society. Some critics didn't get it, while others consider this one of his more remarkable films. There is no doubt that it is nothing short of brilliant the ability to balance the elements of satire and seriousness, comedy and melodrama.As the train leaves Shinbone, the truth forever gives way to the legend. The conductor leans over to light Stoddard's cigar saying; 'Nothing is too good for the man who shot Liberty Valance.' In that moment we are incredibly moved. This is, after all, about the creation of stories. But in those stories there live truths about human nature that are universal and forever.
Honest, unpretentious and deeply moving... (by Nazi_Fighter_David)
Nostalgic, sour and powerful, Ford's "The Man Who Shot Liberty Valance" is one of the most memorable of all his Westerns... It's triggered off, and that's the right phrase, as it turns out, by flashback... The old device works well in the hands of the master... In fact, John Ford couldn't have got the feeling he's after in any other way... Ford seems to be mourning the Old West... It's a mixed feelingcomposed of pride, regret, and a sense of the inherent injustice of life, and certain forebodings about the future...When a famous elderly Senator Ranse <more>
Stoddard James Stewart , looking every inch the revered veteran political figure, gets off a train at a small Western town with his good lady Vera Miles you can tell by the way his eye roves for and rests on bits of time remembered that this is very much a sentimental journey He's come to pay his last respects to a friend of the long, long agoa small rancher in those days, played by John Wayne...Dissolve into the distant storypresenting young tenderfoot lawyer Stewart, eagerly intent on bringing Eastern law-books to bear on the problems of the West His first taste of the West is a sound beating up, by a man called Liberty Valance Lee Marvin who is a gunman employed by powerful cattlemen who oppose statehood for the Territory...Nor does Ranse find any real custom even among the law-abiding... He starts his career, in fact, as a kitchen hand in a café where he's been taken by Tom Doniphon Wayne following his nasty experience with Liberty... Ford is at his 'domestic' best in this café which is run by a Swedish pair John Qualen and Jeannette Nolan and where Ranse's wife-to-be is one of the employees... Stewart, wearing an apron contrasted with Wayne, pure frontiersman, is something to see in that kitchen... And there's always an edge to their meetings...It isn't hard to guess that before long the waitress, Tom's girl, is going to fail for the injured tenderfoot who takes on her education... Ranse eventually hangs up his sign in the office of the local newspaper editor, Dutton Peabody, a typical 'character', played by Edmond O'Brien, and from then on it's the story of a territory growing up and seeking statehood, with Ranse Stoddard maturing, too, as the natural leader of 'civilized' law and order aspirations...But none of it could have happened without the removal of Liberty Valance... Ranse confronts him and the bullets fly but the bullet that actually drops him comes from another Winchester in the shadows... Ranse goes to Washington on the strength of ridding the territory of Liberty Valance, but he knows that the shot was fired by another man It's another film about the right man being in the right place at the right time in order to advance the course of Western civilization... Skillful, undoubtedly, but in this case the right man never gets his just desertsif he ever wanted them, because the Wayne character in his way is just as much a part of the Old West as Marvin...Herein lies the bitter essence of the film... Wayne, at heart, is as contemptuous of what Stewart stands fortalk and conferences and thick legal tomes as the gunman is And through him you feel Ford saying that the hard men who had it the hardest on the frontier are soon forgotten, and some of the frontier's simple virtues have been buried with them "The Man Who Shot Liberty Valance" is honest, unpretentious and deeply moving... In no other Ford Western does the audience feel so involved... The playing is brilliantfrom the smallest role to the beautifully interpreted ambivalent relationship of Wayne and Stewart...Their acting style are quite different... Stewart had developed a standard repertoire of mannerisms that his public had come to cherish... Wayne's style was spare, clean and unadorned; he stood tall, very much himself... Certainly this film exemplifies a wonderful blending of three great talents, Ford's, Stewart's, and Wayne's, and their seamless mutual chemistry is one of the salient aspect of it...
"A Lawyer ....and a teacher....the first west of the Rosey Buttes." (by bkoganbing)
Senator James Stewart and his wife Vera Miles get a telegram from their old home in Shinbone about the death of a friend. They arrive in Shinbone and go to a sparsely attended service. When prodded a bit by the editor of the Shinbone Star, a paper he was once employed at, Stewart sits down and tells the story of just how his political career got its start.The Man Who Shot Liberty Valance is John Ford's final homage to the western film genre that made his reputation. It's maybe the most nostalgic of westerns he ever did. Beginning with the cast all of whom are way too old for their <more>
parts. But if you notice there's a kind of soft focus photography used on John Wayne, James Stewart, and Lee Marvin which masks their age. The skill of these players does the rest.Stewart arrives in Shinbone, a newly minted attorney who has taken Horace Greeley's advice and the stagecoach he's riding on gets held up by the local outlaw Liberty Valance and henchmen. When Stewart protests Valance, played by Lee Marvin beats him with the butt end of a silver knob whip and leaves him on the road.He's found by John Wayne who brings him to Shinbone to get medical attention. Stewart stays with restaurant owners John Qualen and Jenanette Nolan and their daughter Vera Miles who's Wayne's girl. Miles who can't even read or write takes quite a shine to the educated easterner.But Stewart and newspaper editor Edmond O'Brien keep getting on Liberty Valance's bad side, especially when they come out publicly for statehood whereas the big cattle ranchers who hire Liberty Valance and henchmen want to keep this part of the USA a territory for as long as they can. This is all leading to an inevitable showdown.Lee Marvin as Liberty Valance is one evil man. No subtle psychology here, no explanations of a mom who didn't love him or a girl that dumped him, he's just an evil guy who likes being evil. If Liberty has any redeeming qualities, despite repeated viewings of this film, I haven't found any. Marvin clearly enjoyed this part, but he never turned it into a burlesque of himself. That he waited for Cat Ballou to do.John Wayne who by this time was playing more roughhewn types than he did when he was Ringo Kid in Stagecoach, gets back to that kind of a portrayal here. He's more Ringo than he is Ethan Edwards. But that's at the beginning. Over the course of the film he changes into something like Ethan Edwards, his character from The Searchers. What happens to make him that way in fact is the story of the film. But actually the film really does belong to Stewart. He's on screen for most of it, he's the protagonist here and until almost the end, what's happening to him is what The Man Who Shot Liberty Valance is all about. Ford once again rounds out his cast with many of his favorite players in support. Andy Devine as the cowardly marshal, John Carradine as a pompous windbag politician, Woody Strode, Denver Pyle, Strother Martin, all who had appeared in Ford films before.There are two to single out however. This was the last film Jack Pennick ever did with John Ford. You might not know his name, but he and that horse-face countenance appeared in just about every sound John Ford film there is. He has a bit role as a bartender. Pennick died after completing this film.Edmond O'Brien made his one and only appearance in this film as Dutton Peabody, founder, editor, and owner of the Shinbone Star and as he said himself, he sweeps the place out occasionally. He's a regular character in Ford films, the wise friend of the hero who has a bit of a drinking problem. Kind of like Thomas Mitchell as Doc Boone in Stagecoach. Like Stewart, O'Brien is an eastern immigrant who came west to be his own newspaper editor like his former boss Horace Greeley. Words are his weapons, like the law is Stewart's. It's no wonder that these two annoy Lee Marvin so. Even the fast draw hired gun can't kill public opinion. When they're both chosen as Shinbone's Delegates to the territorial convention it is O'Brien who makes the nominating speech to draft Stewart for the job. It is one of his finest bits in his long and distinguished career. It encapsulates a lot of what Ford was trying to say about progress and progress in the American west. In the end it is the farmer, the merchant, the builder of cities will eventually triumph just about anywhere. Stewart and he are as much pioneers as Wayne and the others in Shinbone are, they're just the next logical step.Progress always comes at a price. We see the price in the beginning and the end of the film, the scenes of Shinbone during the early Twentieth Century. The paved streets, the electric lights are there because of who came before and what they did. There wasn't room in the changing west for many like Wayne and Marvin, their time came and went, just as Stewart's time came and went too.Actually I think the real winner in this film was always Vera Miles. She started out as an illiterate girl working in her parent's restaurant and wound up the wife of a United States Senator. That's progress too.
The man, the story, the truth, the legend--Stick with the legend (by Mickey-2)
This film had every element of classic western action/story. Directed by John Ford, and starring John Wayne and James Stewart, the film focuses on an eastern lawyer attempting to make a career out west. Early on, he runs up against Liberty Valance, the baddest of the bad, keenly played by Lee Marvin, in one of his most villainous roles.Stewart manages to bring some sense of education and fair play to the town citizens, but ultimately gets embroiled in conflict with Valance. In a shootout outside the local saloon, Valance takes dead aim on the eastern dude, Stoddard, Stewart . Shots ring out, <more>
and surprisingly, Valance falls to the ground. But, who really fired the fatal shot?That question is answered in a convention meeting attended by Stoddard as a delegate, where Tom Doniphan Wayne reveals the truth of the fatal shooting.This movie is unique in that it was one of the last of the truly great westerns shot in black and white, and the story is presented in flashback sequences. The viewer can settle back to a truly marvelous story.
John Ford's Meditation On The Passing Of The Wild West (by gftbiloxi)
Based on a short story by Dorothy M. Johnson, THE MAN WHO SHOT LIBERTY VALANCE tells the story of Ransom Stoddard, an eastern attorney who has the misfortune to be victimized by notorious outlaw Liberty Valance during a stagecoach robbery. Left for dead, Stoddard is rescued by rancher Tom Doniphon and brought to the small town of Shinbone. Disgusted by the lawlessness of the area, he determines to use not a gun but the law itself to end Valance's reign of terror.Released in 1962, VALANCE was among the last films directed by John Ford, who was more closely associated with the Western than <more>
any other Hollywood director--and in one sense it certainly has the classic "good guy vs. bad guy" plot one expects from from a western classic. But Ford was not a superficial artist, and VALANCE is a remarkably multi-layered film that plays much deeper than you might expect.Tom Doniphon is all that is right about the west; Liberty Valance is all that is wrong. But both are part and parcel of the same code, a society in which law and order are merely words on the lips of a cowardly marshal, a world where a man either dominates through fear or is dominated by it. It is a world that is coming to an end--and Rance Stoddard is in the vanguard of the new civilization. Both Doniphon and Liberty must fall before Stoddard if the worst of the west is to be tamed.The cast is superior. James Stewart Stoddard and John Wayne Doniphon have unexpected chemistry on screen, and Lee Marvin Valance is easily one of the most unpleasant black-hats you could ever want to see in a western, vicious to the point of being psychotic. Supporting players Vera Miles, Andy Devine, Edmund O'Brien, and Woody Strode are equally fine. Although the script is occasionally a shade overwrought, it is laced with a very fine irony and sense of loss, and John Ford brings all the various pieces together without beating the viewer to death in the process.GFT, Amazon Reviewer
Everything about this film is first class, especially the cast. Stewart and Wayne of course but also supporting actor par excellance Edmond O'Brien The Killers, The Barefoot Contessa, Seven Days in May etc. , Lee Marvin as one of the most vicious screen villains ever , and Vera Miles amongst others. The story of an aging Senator returning to the site where his legend was made and the sacrifice for the greater good by his friend of both love and glory make this film much akin to Casablanca in my mind. Having an avid interest in the history of this period I was very intrigued by the <more>
conflict between the interests of the cattle ranchers and those of the 'common people.' All in all an entertaining and even informative not to mention moving classic Western.
This is a cleanly constructed, sturdy Western that uses its theme of the underdog taking on the bully and gives it real depth and a perspective on how we are shaped by a decent society, and how in turn that society shapes us. But it's something else, too, a character study of one man who makes a monumental decision that allows his small part of the frontier, the town of Shinbone, to advance on the road of progress and, at the same time, leave that man by the wayside for the rest of his miserable existence. He knows this, and does it anyway.The man is Tom Doniphon, and may well be John <more>
Wayne's single best performance. For those who said the man can't act, their education in reality should begin here. He has never looked meaner in a movie, perhaps because he was being dogged by John Ford on the set about his empty war record yet he manages to make us aware of his character's deeper good, even if lawyer Rance Stoddard James Stewart sees him as just another cutthroat. Doniphon sees farther. He should probably hate Stoddard, who is winning over his girl, but he sees him instead as the territory's one true hope of achieving law and order. Without Doniphon, Stoddard would just be another pile of carpetbagging vulture chow on the stage road. Without Stoddard, Doniphon would be the boss of Shinbone, with the woman of his dreams by his side, living in that new room he built for her back at the ranch. So what does he do? He makes Stoddard a hero, torches his dream house, and drifts away into drunken obscurity, his obituary not even making the Shinbone Star. Go figure.No wonder Doniphon presses Stoddard's buttons so, drenching him in paint and needling his vows of non-violence. He wants to test his mettle, and hopes in some way the man will chicken out. If he doesn't, Doniphon understands its his duty to stand behind not beside, he must give Stoddard the pretense of solitude the man and help him see his quest through. There's that word he keeps calling Stoddard, "pilgrim." Well of course he calls him "pilgrim," you say, it's John Wayne. But this is the only movie of Wayne's I remember him saying it in, and it's a telling term. "Pilgrims" after all were the people that first carved out law and order in this new land of ours, and took us on the first steps toward freedom and liberty. Calling Stoddard "pilgrim" is one way Doniphon clues us in to the fact he knows what's really at stake here.I really like this movie. I wish I loved it, but its self-mourning, elegiac tone distracts sometimes. I'm so not caught up with Stewart, who seems a trifle windy and overbearing in this one, and Vera Miles doesn't really add much in her central role. The Ford regulars are all eagerly overripe, but that's why Ford movies are so good, because he's not afraid of some broad gestures and low comedy here and there. Shakespeare understood their usefulness, too. A lot of funny bits of business, most featuring Andy Devine and Edmond O'Brien. Liberty Valance's post-mortum is a one-word classic. The message in the schoolroom is a trifle heavy-handed, but it is delivered entertaining and sets up the central message of the movie well.Lee Marvin's is the other standout performance here. His is a world-weary villainy, one knowing like Doniphon that his time is quickly passing, but unlike Doniphon ready to do anything to fight that change. Marvin lets us see the callow fear, the false bravado, beneath the smirk. Like Wayne, it's a multi-dimensional performance that's easy to overlook because we latch onto the character so completely, rather than the actor behind him.Wish they had used Gene Pitney's title song in the movie. It's a great song, written by Burt Bacharach in his pre-paisley days, and would have been a solid compliment to the opening and closing credits. By the way, what other classic film is told in the form of a reminiscence to a reporter, only to have the story's key thrown into the furnace at film's end? C'mon, movie lovers, you must know this!