John Wayne managed to save his best performance for last. Not only was this his greatest acting achievement (surpassing The Cowboys in which he was also very, very good) it is also one of the best films ever produced in the Western genre. This movie benefitted from an excellent script and superb casting, but was brought to perfection by the sterling performances of three great stars, Wayne, Bacall and Stewart.
Wayne's interactions with Stewart, Bacall and Howard are moving and powerful. The depth of character in Books is set in contrast to the shallowness and opportunism of others, particularly Dobkins and Serepta, but also Cobb. Becoming, briefly, the father figure needed by Gillom, Books more than makes up in his last week of life for the "havoc" he brought to "society" in his earlier life (as viewed by Mrs. Rogers). Of course, part of the tension in the plot is created by the different evaluations Books and Rogers would assign to Books' life. Both stand in contrast to the view of that life held by Gillom and Moses.
Back in 1969, the Academy, realizing it had never appropriately honored John Wayne and fearful that time was running out to do so, gave him Best Actor for one of his weaker performances and poorer scripts. It is unfortunate his colleagues did not make up for that error by repeating the honor for what was truly a great performance in The Shootist. Nonetheless, the proof of the pudding is still in the eating, and the availability of The Shootist on tape and (hopefully) DVD will allow us to keep eating this one over and over.
John Wayne fans should be encouraging their non-Wayne-fan friends to see this movie. Respect for this great American would grow thereby.
Wayne's interactions with Stewart, Bacall and Howard are moving and powerful. The depth of character in Books is set in contrast to the shallowness and opportunism of others, particularly Dobkins and Serepta, but also Cobb. Becoming, briefly, the father figure needed by Gillom, Books more than makes up in his last week of life for the "havoc" he brought to "society" in his earlier life (as viewed by Mrs. Rogers). Of course, part of the tension in the plot is created by the different evaluations Books and Rogers would assign to Books' life. Both stand in contrast to the view of that life held by Gillom and Moses.
Back in 1969, the Academy, realizing it had never appropriately honored John Wayne and fearful that time was running out to do so, gave him Best Actor for one of his weaker performances and poorer scripts. It is unfortunate his colleagues did not make up for that error by repeating the honor for what was truly a great performance in The Shootist. Nonetheless, the proof of the pudding is still in the eating, and the availability of The Shootist on tape and (hopefully) DVD will allow us to keep eating this one over and over.
John Wayne fans should be encouraging their non-Wayne-fan friends to see this movie. Respect for this great American would grow thereby.