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The plot is diced up in chunks that from time to time looks and feels like a play or something. Ransom is the only really interesting persom because of the change and the ideals he speaks for.


Many of the other characters are pretty useless except for their symbolical value Hallie, Pompey and the swedish couple. However the character Peabody is an interesting take on journalism and Ford says some interesting stuff with him.

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It has a good pacing, the cinematography is nice and the message really delivers. All the films from all the editions, including those subsequently removed, presently totalling An easy way of seeing how…. Director John Ford. Otho Lovering. Farciot Edouart. Wally Westmore. Studios Paramount John Ford Productions. Genre western. When the legend becomes fact, print the legend.

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When the legend becomes the fact, print the legend. The Western Less overtly flashy and cinematic than The Searchers , and takes a while to settle into its pace, but nevertheless a solid Western from John Ford.

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Mejor de lo que me imaginaba, dados mis prejuicios hacia los western. Better the second time. This is John Fords Citizen Kane. But Liberty Valance and his guns work for the cattle barons who want to keep the territory for themselves. Valance challenges Stoddard to a show-down, although he knows Stoddard can hardly hold a gun.

Miraculously, Stoddard kills Valance, wins Hallie Tom's former girl , and goes to the political convention. Realizing that he will be nominated on the grounds that he shot Liberty Valance. Stoddard becomes disgusted and leaves, but Doniphon stops him and reveals that it was he who actually shot Liberty Valance. His own conscience clear, Stoddard goes back into the hall and accepts the nomination; Doniphon goes home alone.

A man of action and few words note his instinctive hatred of the rhetoric in the Convention speeches , Doniphon is very much an individual who minds his own business. When Stoddard nominates him as a representative to the Convention, he refuses, saying, "I've got other plans. Personal plans.

The Man Who Shot Liberty Valance Movie Review () | Roger Ebert

On the other end of the scale, Ford portrays Liberty Valance as the archetypal villain. The deadliest and most sadistic killer in all Ford's films, Liberty Valance has been filtered through all Ford's other villains, emerging as a composite of the worst features in each. Doniphon and Valance, then, represent the individuals of Ford's West, Doniphon standing for order, Valance for anarchy.

When they confront each other in the restaurant, Ford cuts directly back and forth between close shots of the two of them, establishing the direct link between them and the instinctive understanding each one has of the other. Stoddard, on the other hand, is of another breed; the movement West, triggered by Greeley, came after the settlers in the wagon trains, and brought with it well-established Eastern customs.

To Ford, Stoddard represents blind progress. Stoddard's first confrontation with Doniphon reveals absolutely no understanding between them; they eye each other as if the other were a strange animal.

The Man Who Shot Liberty Valance "Steak" Scene

Marvin played Valance, an outlaw headed for a showdown after the lawyer stands up to him. Wayne played a gunslinger who tries to teach the lawyer to defend himself. The version that Taylor is writing follows the essentials of that story but is set in New York City in , at the height of the crack cocaine scourge when the murder rate in the city soared to unprecedented levels.

A young college-educated black policeman volunteers to be stationed in Harlem to make things safer. It becomes about the sacrifices that had to be made to get from where they were then to where we are now. Taylor said the inspiration was time he spent in NYC then to go to NYU Film School and when he worked as bouncer and bartender in Greenwich Village and got a closeup view of a meanness in the city.

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There were well-meaning cops, but it was also the era of the Dirty Thirty scandal at a Harlem precinct house, which made it like the Wild West with some outlaw cops and street violence and corruption. It seems a long time ago. New York is safer and more prosperous, but it has lost some character and the working class can no longer afford to live there.

The film was set in that moment when many of these things were confronted.