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{{main|John Wayne filmography (1926-1940)|John Wayne filmography (1941-1960)|John Wayne filmography (1961-1976)}}
==1964 illness==
==1964 illness==

Revision as of 18:05, 22 August 2008

John Wayne
John Wayne in Wake of the Red Witch trailer.jpg
John Wayne in Wake of the Red Witch (1948).
Born Marion Michael Morrison
Other names Marion Michael Morrison; Duke
Occupation actor
Years active 19261976
Height 6'4"
Spouse(s) Josephine Alicia Saenz (1933–1945)
Esperanza Baur (1946–1953)
Pilar Pallete (1954–1979)
Children Michael Wayne (1934-2003)
Toni Wayne (1936-2000)
Patrick Wayne (b.1939)
Melinda Wayne (b.1940)
Aissa Wayne (b.1956)
Ethan Wayne (b.1962)
Marisa Wayne (b.1966)
Parent(s) Clyde Leonard Morrison
Mary Alberta Brown

John Wayne (May 26, 1907June 11, 1979) was an Academy Award and Golden Globe Award-winning American film actor. He epitomized rugged masculinity and has become an enduring American icon. He is famous for his distinctive voice, walk and physical presence. He was also known for his conservative political views and his support in the 1950s for anti-communist positions.

In 1999, the American Film Institute named Wayne 13th among the Greatest Male Stars of All Time. A Harris Poll released in 2007 placed Wayne third among America's favorite film stars,[1] the only deceased star on the list and the only one who has appeared on the poll every year.

His career began in silent movies in the 1920s and he was a major star from the 1940s to the 1970s. He is closely associated with Westerns and war movies, but he also made a wide range of films from various genres - biographies, romantic comedies, police dramas, and more.

Early life

Wayne was born Marion Robert Morrison in Winterset, Iowa,[2] but his name was changed to Marion Michael Morrison when his parents decided to name their next son Robert. His family was Presbyterian. His father, Clyde Leonard Morrison (1884–1937), was of Irish and Scots-Irish and English descent,[3] and the son of American Civil War veteran Marion Mitchell Morrison (20 January 184505 December 1915).

Wayne's family moved to Palmdale, California, and then to Glendale, California in 1911, where his father worked as a pharmacist in a drug store. A local fireman at the firehouse on his route to school in Glendale started calling him "Little Duke", because he never went anywhere without his huge Airedale Terrier dog, Duke.[4][5] He preferred "Duke" to "Marion", and the name stuck for the rest of his life.

As a teen, Wayne worked in an ice cream shop for a man who shoed horses for Hollywood studios. He was also active as a member of the Order of DeMolay, a youth organization associated with the Freemasons, which he joined when he came of age. He attended Wilson Middle School in Glendale. He played football for the 1924 champion Glendale High School team.

John Wayne's birthplace in Winterset

Wayne applied to the U.S. Naval Academy, but was not accepted. He instead attended the University of Southern California (USC), majoring in pre-law. He was a member of the Trojan Knights and joined the Sigma Chi fraternity. Wayne also played on the USC football team under legendary coach Howard Jones. An injury curtailed his athletic career; Wayne later noted he was too terrified of Jones' reaction to reveal the actual cause of his injury, which was bodysurfing at the “Wedge” at the tip of the Balboa Peninsula in Newport Beach. He lost his athletic scholarship and without funds had to leave the university.[6]

Wayne began working at the local film studios. Western star Tom Mix had got him a summer job in the prop department in exchange for football tickets. Wayne soon moved on to bit parts, establishing a long friendship with director John Ford, who provided most of those parts. Early in this period, Wayne appeared with his USC teammates playing on-screen football in The Dropkick, Brown of Harvard, and Salute, and was one of the featured football players in Columbia Pictures' Maker of Men (filmed in 1930 and released in 1931).[7]

Film career

After two years working as a prop man at the Fox Film Corporation for $75 a week, his first starring role was in the 1930 movie The Big Trail. The first western epic sound motion picture established his screen credentials, although it was a commercial failure. Before this film, Wayne had only been given on-screen credit once (in Words and Music), as "Duke Morrison". The director Raoul Walsh, who "discovered" Wayne, suggested giving him the stage name "Anthony Wayne", after Revolutionary War general "Mad Anthony" Wayne. Fox Studios chief Winfield Sheehan rejected "Anthony Wayne" as sounding "too Italian." Walsh then suggested "John Wayne." Sheehan agreed and the name was set. Wayne himself was not even present for the discussion.[8] His pay was raised to $105 a week.

Wayne continued making westerns, most notably at Monogram Pictures, and serials for Mascot Pictures Corporation, including The Three Musketeers (1933), a French Foreign Legion tale with no resemblance to the novel which inspired its title. Coincidentally, he also appeared in some of the Three Mesquiteers westerns whose title was a play on the Alexandre Dumas, père classic. He was tutored by stuntmen in riding and other western skills.[7] He and famed stuntman Yakima Canutt developed and perfected stunts still used today.

Beginning in 1928 and extending over the next 35 years, Wayne appeared in more than twenty of John Ford's films, including Stagecoach (1939), She Wore a Yellow Ribbon (1949), The Quiet Man (1952), The Searchers (1956), The Wings of Eagles (1957), and The Man Who Shot Liberty Valance (1962). His performance in Stagecoach made him a star.

His first color film was Shepherd of the Hills (1941), in which he co-starred with his longtime friend Harry Carey. The following year he appeared in his only film directed by Cecil B. DeMille, the Technicolor epic Reap the Wild Wind, in which he co-starred with Ray Milland and Paulette Goddard; it was one of the rare times he played a character with questionable values.

In 1949, director Robert Rossen offered the starring role of All the King's Men to Wayne. Wayne refused, believing the script to be un-American in many ways. Broderick Crawford, who eventually got the role, won the 1949 Oscar for best male actor, ironically beating out Wayne, who had been nominated for Sands of Iwo Jima.

He lost the leading role in The Gunfighter to Gregory Peck because of his refusal to work for Columbia Pictures after Columbia chief Harry Cohn had mistreated him years before as a young contract player. Cohn had bought the project for Wayne, but Wayne's grudge was too deep, and Cohn sold the script to Twentieth Century Fox, which cast Peck in the role Wayne badly wanted but refused to bend for.

One of Wayne's most popular roles was in The High and the Mighty (1954), directed by William Wellman and based on a novel by Ernest K. Gann. His portrayal of a heroic airman won widespread acclaim. Wayne also portrayed aviators in The Flying Tigers, Island in the Sky, Flying Leathernecks and The Wings of Eagles and Jet Pilot.

John Wayne in The Searchers (1956)

The Searchers continues to be widely regarded as perhaps Wayne's finest and most complex performance. In 2006 Premiere Magazine ran an industry poll in which his portrayal of Ethan Edwards was rated the 87th greatest performance in film history. He named his youngest son Ethan after the character.

John Wayne won a Best Actor Oscar for True Grit (1969). Wayne was also nominated as the producer of Best Picture for The Alamo, one of two films he directed. The other was The Green Berets (1968), the only major film made during the Vietnam War to support the war.[6] During the filming of Green Berets, the Degar or Montagnard people of Vietnam's Central Highlands, fierce fighters against communism, bestowed on Wayne a brass bracelet that he wore in the film and all subsequent films.

According to the Internet Movie Database, Wayne played the lead in 142 of his film appearances.

Batjac, the production company co-founded by Wayne, was named after the fictional shipping company Batjak in Wake of the Red Witch. (A spelling error by Wayne's secretary was allowed to stand, accounting for the variation.) Batjac (and its predecessor, Wayne-Fellows Productions) was the arm through which Wayne produced many films for himself and other stars. Its best-known non-Wayne production was the highly acclaimed Seven Men From Now, which started the classic collaboration between director Budd Boetticher and star Randolph Scott.

In later years, Wayne was recognized as a sort of American natural resource, and his various critics, political and film, looked on him with more respect. Abbie Hoffman, the radical of the 1960s, paid tribute to Wayne's singularity. Reviewing The Cowboys, made in 1972, Vincent Canby, film critic of the New York Times, who did not particularly care for the film, wrote, "Wayne is, of course, marvelously indestructible, and he has become an almost perfect father figure." But years before he became anything close to a father figure, Wayne had become a symbolic male figure, a man of impregnable virility and the embodiment of simplistic, laconic virtues, packaged in an enormous frame.

He had a handsome and hearty face, with crinkles around eyes that gave the impression of a man of action, an outdoor man who chafed at a settled life. He was laconic on screen. And when he shambled into view, audiences sensed the arrival of coiled vigor awaiting only provocation to be sprung. His demeanor and his roles were those of a man who did not look for trouble but was relentless in tackling it when it affronted him. This screen presence emerged particularly under the ministrations of directors John Ford and Howard Hawks.



1964 illness

In 1964, Wayne was diagnosed with lung cancer, and underwent successful surgery to remove his entire left lung and four ribs. Despite efforts by his business associates to prevent him from going public with his illness (for fear it would cost him work), Wayne announced he had cancer and called on the public to get preventive examinations. Five years later, Wayne was declared cancer-free. Despite the fact that Wayne's diminished lung capacity left him incapable of prolonged exertion and frequently in need of supplemental oxygen, within a few years of his operation he chewed tobacco and began smoking cigars.


from The Challenge of Ideas (1961)

Wayne was a conservative Republican. He took part in creating the Motion Picture Alliance for the Preservation of American Ideals in 1943 and was elected president of that organization in 1947. He was an ardent anti-communist, and vocal supporter of the House Un-American Activities Committee. In 1951, he made Big Jim McLain to show his support for the anti-communist cause. He also claimed to have been instrumental in having Carl Foreman blacklisted from Hollywood after the release of the anti-McCarthyism western High Noon, and later teamed up with Howard Hawks to make Rio Bravo as a right-wing response. A supporter of then Vice President Richard Nixon's bid for the White House, he famously expressed his vision of patriotism when John F. Kennedy won the election: "I didn't vote for him but he's my president, and I hope he does a good job." [9]

Wayne used his iconic status to support conservative causes, including rallying support for the Vietnam War by producing, co-directing, and starring in the critically panned The Green Berets (1968). In 1978 however, he enraged conservatives by supporting liberal causes such as the Panama Canal Treaty and the innocence of Patty Hearst.[10][11]

Due to his enormous popularity, and his status as the most famous Republican star in Hollywood, wealthy Texas Republican Party backers asked Wayne to run for national office in 1968, as had his friend and fellow actor, Senator George Murphy. He declined, joking that he did not believe the public would seriously consider an actor in the White House. However, he did support his friend Ronald Reagan's runs for Governor of California in 1966 and 1970. He was also asked to be the running mate for Democratic Alabama Governor George Wallace in 1968. Wayne vehemently rejected the offer.[12] Wayne actively campaigned for Richard Nixon,[13] and addressed the Republican National Convention on its opening day in August 1968. Wayne also was a member of the conservative and anti-communist John Birch Society.[14]

Wayne's strong anti-communist politics led to a particularly unnerving situation. Information from Soviet archives, reported in 2003, indicates that Joseph Stalin ordered Wayne's assassination, but died before the killing could be accomplished. His successor, Nikita Khrushchev, reportedly told Wayne during a 1958 visit to the United States that he had personally rescinded the order.[15][16]

In an interview with Playboy magazine in May 1971, Wayne made infamous remarks. One disclaimed a personal sense of guilt for the historical treatment of Native Americans, the second claimed that African-Americans had been denied educational opportunities and resented that fact, "possibly rightfully so." He went on to say that did not justify turning over the country "to the leadership of the blacks. I believe in white supremacy until the blacks are educated to a point of responsibility. I don't believe in giving authority and positions of leadership and judgment to irresponsible people."[17]

Military service controversy

Visiting Brisbane, Australia in December, 1943

America's entry into World War II resulted in a deluge of support for the war effort from all sectors of society, and Hollywood was no exception. Established stars such as Douglas Fairbanks, Jr. (USN, Silver Star), Henry Fonda (USN, Bronze Star), and Clark Gable (USAAC) as well as emerging actors such as Eddie Albert (USN, Bronze Star) and Tyrone Power (USMC) rushed to sign up for military service. Most notably, James Stewart (USAAC, Distinguished Service Medal, Distinguished Flying Cross, Croix de Guerre) had already enlisted in the US Army Air Corps, surmounting great obstacles in order to do so.

As the majority of male leads left Hollywood to serve overseas, John Wayne saw his just-beginning stardom at risk. Despite enormous pressure from his inner circle of friends, he put off enlisting. Wayne was exempted from service due to his age (34 at the time of Pearl Harbor) and family status, classified as 3-A (family deferment). Wayne's secretary recalled making inquiries of military officials on behalf of his interest in enlisting, "but he never really followed up on them."[18] He repeatedly wrote to John Ford, asking to be placed in Ford's military unit, but continually postponed it until "after he finished one more film."[19] Republic Studios was emphatically resistant to losing Wayne, especially after the loss of Gene Autry to the army.[20] Correspondence between Wayne and Herbert J. Yates (the head of Republic) indicates that Yates threatened Wayne with a lawsuit if he walked away from his contract, though the likelihood of a studio suing its biggest star for going to war was minute.[21] The threat was real, but whether Wayne took it seriously or not, he did not test it. Selective Service Records indicate he did not attempt to prevent his reclassification as 1-A (draft eligible), but apparently Republic Pictures intervened directly, requesting his further deferment.[22] In May, 1944, Wayne was reclassified as 1-A (draft eligible), but the studio obtained another 2-A deferment (for "support of national health, safety, or interest").[23] He remained 2-A until the war's end. John Wayne did not "dodge" the draft, but he never took direct positive action toward enlistment. Wayne was in the South Pacific theatre of the war for three months in 1943–44, touring U.S. bases and hospitals as well as doing some "undercover" work for OSS commander William J. "Wild Bill" Donovan, who thought Wayne's celebrity might be good cover for an assessment of the causes for poor relations between General Douglas MacArthur and Donovan's OSS Pacific network. Wayne filed a report and Donovan gave him a plaque and commendation for serving with the OSS, but Wayne dismissed it as meaningless.[24]

The foregoing facts influenced the direction of Wayne's later life. By all accounts, Wayne's failure to serve in the military during World War II was the most painful experience of his life.[25] There were some other stars who, for various reasons, did not enlist. But Wayne, by virtue of becoming a celluloid war hero in several patriotic war films, as well as an outspoken supporter of right-wing political causes and the Vietnam War, became the focus of particular disdain from both himself and certain portions of the public, particularly in later years. While some hold Wayne in contempt for the paradox between his early actions and his later attitudes, his widow suggests that Wayne's rampant patriotism in later decades sprang not from hypocrisy but from guilt. Pilar Wayne wrote, "He would become a 'superpatriot' for the rest of his life trying to atone for staying home."[26]

Personal life

Roadside sign on the way to John Wayne Island

Wayne was married three times and divorced twice. His wives, all of them Hispanic women, were Josephine Alicia Saenz, Esperanza Baur, and Pilar Pallete. He had four children with Josephine and three with Pilar, including the producer Michael Wayne and actor Patrick Wayne. Wayne is also the great-uncle of boxing heavyweight Tommy Morrison.[27] Wayne's son Ethan was billed as John Ethan Wayne in a few films and played one of the leads in the 90's update of the Adam-12 television series.

John Wayne's hair began thinning in the 1940s and he began wearing a hairpiece by the end of that decade (though his receding hairline is quite evident in Rio Grande). He was occasionally seen in public without the hairpiece (notably, according to Life Magazine photos, at Gary Cooper's funeral). The only time he unintentionally appeared on film without it was for a split second in North to Alaska. On the first punch of the climactic fistfight, Wayne's hat flies off, revealing a brief flash of his unadorned scalp. Wayne also has several scenes in The Wings of Eagles where he is without his hairpiece. (During a widely noted appearance at Harvard University, Wayne was asked by a student, "Is your hair real?" Wayne responded in the affirmative, then added "It's not mine, but it's real!")

Wayne had several high-profile affairs, including one with Marlene Dietrich that lasted for three years.[28] In the years prior to his death, Wayne was romantically involved with his former secretary Pat Stacy (1941–1995).[6] She wrote a biography of her life with him, DUKE: A Love Story (1983).

During the early 1960s John Wayne traveled extensively to Panama. During this time, the actor reportedly purchased the island of Taborcillo off the main coast of Panama. It was sold by his estate at his death and changed hands many times before being opened as a tourist attraction.


John Wayne died of stomach cancer on June 11, 1979, at the UCLA Medical Center, and was interred in the Pacific View Memorial Park cemetery in Corona del Mar. According to his son Patrick, he converted to Roman Catholicism shortly before his death.[29] He requested his tombstone read "Feo, Fuerte y Formal", a Spanish epitaph meaning "ugly, strong and serious".[30] However, the grave, unmarked for twenty years, is now marked with a quotation from his controversial 1971 Playboy interview: "Tomorrow is the most important thing in life. Comes into us at midnight very clean. It's perfect when it arrives and it puts itself in our hands. It hopes we've learned something from yesterday."

A relatively large number of the cast and crew of Wayne's 1956 film The Conqueror developed various forms of cancer. The film was shot in Southwestern Utah, east and generally downwind of where the U.S. Government had tested nuclear weapons in Southeastern Nevada, and many contend that radioactive fallout from these tests contaminated the film location and the film crew working there. Despite the suggestion that Wayne’s 1964 lung cancer and his 1979 stomach cancer resulted from this nuclear contamination, he himself believed his lung cancer to have been a result of his six-pack-a-day cigarette habit.[31] The effect of nuclear fallout on The Conqueror's cast and crew, and particularly on Wayne, is the subject of James Morrow's science-fiction short story Martyrs of the Upshot Knothole.[32]

Congressional Gold Medal and Presidential Medal of Freedom

John Wayne's enduring status as an iconic American was formally recognized by the United States Congress on May 26, 1979 when he was awarded the Congressional Gold Medal. Hollywood figures and American leaders from across the political spectrum, including Elizabeth Taylor, Frank Sinatra, Mike Frankovich, Katharine Hepburn, General and Mrs. Omar Bradley, Gregory Peck, Robert Stack, James Arness, and Kirk Douglas, testified to Congress of the merit and deservedness of this award, most notably Robert Aldrich, then president of the Directors Guild of America, who stated, "It is important for you to know that I am a registered Democrat and, to my knowledge, share none of the political views espoused by Duke. However, whether he is ill disposed or healthy, John Wayne is far beyond the normal political sharp shooting in this community. Because of his courage, his dignity, his integrity, and because of his talents as an actor, his strength as a leader, his warmth as a human being throughout his illustrious career, he is entitled to a unique spot in our hearts and minds. In this industry, we often judge people, sometimes unfairly, by asking whether they have paid their dues. John Wayne has paid his dues over and over, and I'm proud to consider him a friend, and am very much in favor of my Government recognizing in some important fashion the contribution that Mr. Wayne has made." Maureen O'Hara, Wayne's close friend, initiated the petition for the medal and requested the words that would be placed onto the medal: "It is my great honor to be here. I beg you to strike a medal for Duke, to order the President to strike it. And I feel that the medal should say just one thing, 'John Wayne, American.'"[33] The medal crafted by the United States Mint has on one side John Wayne riding on horseback, and the other side has a portrait of Wayne with the words, "John Wayne, American." This Congressional Gold Medal was presented to the family of John Wayne in a ceremony held on March 6, 1980 at the United States Capitol. This medal is now at the John Wayne Museum in Winterset, Iowa. Copies were made and sold in large numbers to the public.

On June 9, 1980, Wayne was posthumously awarded the Presidential Medal of Freedom by Jimmy Carter (at whose inaugural ball Wayne had appeared "as a member of the loyal opposition", as Wayne described it in his speech to the gathering). Thus Wayne received the two highest civilian decorations awarded by the United States government.

American icon

John Wayne rose beyond the typical recognition for a famous actor to that of an enduring icon who symbolized and communicated American values and ideals. By the middle of his career, Wayne had developed a larger-than-life image, and as his career progressed, he selected roles that would not compromise his off-screen image. By the time of his last film The Shootist (1976), Wayne refused to allow his character to shoot a man in the back as was originally scripted.[34]

Wayne's rise to being the quintessential movie war hero began to take shape four years after World War II when Sands of Iwo Jima (1949) was released. His footprints at Grauman's Chinese theater in Hollywood were laid in cement that contained sand from Iwo Jima.[35] His status grew so large and legendary that when Japanese Emperor Hirohito visited the United States in 1975, he asked to meet John Wayne, the symbolic representation of his country's former enemy.

Wayne was a popular visitor to the war zones in World War II, Korea, and Vietnam. By the 1950s, perhaps in large part due to the military aspect of films such as the Sands of Iwo Jima, Flying Tigers, They Were Expendable, and the Ford cavalry trilogy, Wayne had become an icon to all the branches of the U.S. Military, even in light of his actual lack of military service. Many veterans have said their reason for serving was in some part related to watching Wayne's movies. His name is attached to various pieces of gear, such as the P-38 "John Wayne" can-opener, so named because "it can do anything", paper towels known as "John Wayne Toilet Paper" because "it's rough and it's tough and don't take shit off no one", and C-Ration crackers are called "John Wayne crackers" because presumably only someone as tough as Wayne could eat them. A rough and rocky mountain pass used by army tanks and jeeps at Fort Irwin in San Bernardino County, California is aptly named "John Wayne Pass."

Various public locations have been named in memory of John Wayne. They include John Wayne Airport in Orange County, California, where his life-size statue graces the entrance; the John Wayne Marina near Sequim, Washington; John Wayne Elementary School (P.S. 380) in Brooklyn, NY, which boasts a 38 foot mosaic mural commission by New York artist Knox Martin entitled "John Wayne and the American Frontier";[36] and a 100-plus mile trail named the "John Wayne Pioneer Trail" in Washington state's Iron Horse State Park. A larger than life-size bronze statue of Wayne atop a horse was erected at the corner of La Cienega Boulevard and Wilshire Boulevard in Beverly Hills, California at the former offices of the Great Western Savings & Loan Corporation, for whom Wayne had done a number of commercials. (The building now houses Larry Flynt Enterprises.)

On December 5, 2007, California Governor Arnold Schwarzenegger and First Lady Maria Shriver inducted Wayne into the California Hall of Fame, located at The California Museum for History, Women and the Arts.[37]

For his new anthology Very Best of Billy Idol: Idolize Yourself, released on June 24th 2008, popular British rockstar Billy Idol recorded a brand-new, celebrative song titled "John Wayne". Idol himself claimed to be a fan of Wayne's movies.

Celebrations and landmarks

Several celebrations took place on May 26, 2007, the centenary of John Wayne's birth.

In his birthplace of Winterset, Iowa, the John Wayne Birthday Centennial Celebration was held on May 25-27, 2007. The celebration included chuck-wagon suppers, concerts by Michael Martin Murphey and Riders in the Sky, a Wild West Revue in the style of Buffalo Bill's Wild West show, symposia with John Wayne co-stars, cavalry and trick horse demonstrations as well as many of John Wayne's films. This event also included the ground-breaking for the John Wayne Museum and Learning Center at his birthplace house.

In 2006, friends of Wayne's and his former Arizona business partner, Louis Johnson, inaugurated the "Louie and the Duke Classics" events benefiting the John Wayne Cancer Foundation and the American Cancer Society.[38][39] The weekend long event each fall in Casa Grande, Arizona includes a golf tournament, an auction of John Wayne memorabilia and a team roping competition".[38]

Missed roles

  • John Wayne desperately wanted the role of "Jimmy Ringo" in the 1950 film The Gunfighter, directed by Henry King. But the role went to Gregory Peck instead. John Wayne's final film, The Shootist (1976) directed by Don Siegel was very similar to The Gunfighter.[citation needed]
  • An urban legend has it that John Wayne was offered the leading role of Matt Dillon in the longtime favorite television show Gunsmoke, but he turned it down, recommending instead James Arness for the role. The only part of this story that is true is that Wayne did indeed recommend Arness for the part. Wayne introduced Arness in a prologue to the first episode of Gunsmoke.[40]
  • Wayne was approached by Mel Brooks to play the part of The Waco Kid in the film Blazing Saddles. After reading the script he said, "I can't be in this picture, it's too dirty...but I'll be the first in line to see it."[41]
  • He also claimed to have turned down the title role in Dirty Harry, although the film's director Don Siegel said Wayne would have been too old to play the part anyway. Wayne later made two cop movies of his own, McQ and Brannigan, which were not particularly successful.[citation needed]
  • According to his autobiography Kiss Me Like A Stranger, Gene Wilder states that he wanted to work with Wayne for the film The Frisco Kid. Wayne loved the script, especially Wilder's "little rabbi character", but when the producers tried to get him to accept $750,000 instead of his $1,000,000 fee, he backed out. Harrison Ford played the role intended for him instead.[citation needed]

Famous movie quotes

  • "I won't be wronged, I won't be insulted, and I won't be laid a hand on. I don't do these things to other people, and I require the same from them." (The Shootist)
  • Speaking to his young cavalry lieutenants: "Don't apologize—it's a sign of weakness." (She Wore a Yellow Ribbon)
  • "Fill your hand, you son of a bitch!" (True Grit)
  • "That'll be the day!" (The Searchers - Spoken several times; inspired Buddy Holly to write a song with that title.)
  • "Pilgrim." (The Man Who Shot Liberty Valance - Reportedly he used the expression "Pilgrim", as in "tenderfoot" or "dude" or "amateur", 23 times in that film, and once also in McLintock!. It became a catchphrase for impressionists such as John Byner, and Rich Little)
  • "I haven't lost my temper in 40 years; but, Pilgrim, you caused a lot of trouble this morning; might have got somebody killed; and somebody oughta belt you in the mouth. But I won't. I won't. The hell I won't!" (He belts him). (To Leo Gordon in McLintock!).
  • "You can call me Dad, you can call me Father, you can call me Jacob and you can call me Jake. You can call me a dirty old son-of-a-bitch, but if you EVER call me Daddy again, I'll finish this fight." (To his son, played by his real-life son Patrick Wayne, in Big Jake).
  • "Don't say it's a fine morning or I'll shoot ya!" , in McLintock!.


Preceded by
Cliff Robertson
for Charly
Academy Award for Best Actor
for True Grit
Succeeded by
George C. Scott
for Patton

See also

Notes and sources

  1. ^ The Harris Poll: Denzel Washington: America’s Favorite Movie Star - Harris Interactive
  2. ^ Madison County, Iowa, birth certificate
  3. ^ WorldConnect Project - Connecting the World One GEDCOM at Time
  4. ^ Roberts, Randy, and James S. Olson (1995). - John Wayne: American. New York: Free Press. p.37. - ISBN 0029238370
  5. ^ Munn, Michael (2003). - John Wayne: The Man Behind the Myth. London: Robson Books. p.7. - ISBN 0451212444
  6. ^ a b c Biography -]
  7. ^ a b Biography of John Wayne. - Think Quest: Library
  8. ^ Roberts & Olson, p. 84
  9. ^ Mc Carthy, Todd. Howard Hawks: The Grey Fox of Hollywood. p. 583. 
  10. ^ Warner, Edwin. - "That Troublesome Panama Canal Treaty". - TIME. - October 31, 1977
  11. ^ Lithwick, Dahlia. - "The Brainwashed Defense". - Slate. - January 28, 2002
  12. ^ Jim Beaver, "John Wayne". Films in Review, Volume 28, Number 5, May 1977, pp. 265-284
  13. ^ Judis, John. - "Kevin Phillips, Ex-Populist: Elite Model". - The New Republic. - (c/o Carnegie Endowment for International Peace) - May 22, 2006
  14. ^ Dowell, Pat. - "John Wayne, Man and Myth". - The Washington Post. - September 25, 1995
  15. ^ Montefiore, Sebag (2003). Stalin: The Court of the Red Tsar. London: George Weidenfeld & Nicholson. ISBN 1842127268
  16. ^ "Why Stalin loved Tarzan and wanted John Wayne shot". - Daily Telegraph. - 6 April 2004
  17. ^ Playboy, May, 1972
  18. ^ Roberts & Olson, John Wayne: American, p. 211
  19. ^ Roberts & Olson, John Wayne: American, p. 212
  20. ^ Gene Autry, who was also Wayne's age, gave an interview in 1942 that seemed to later biographers to chastise Wayne for his refusal to enlist and provide an example for younger actors in Hollywood: "I think the He-men in the movies belong in the Army, Marine, Navy or Air Corps. All of these He-men in the movies realize that right now is the time to get into the service. Every movie cowboy ought to devote time to the Army winning, or to helping win, until the war is over - the same as any other American citizen. The Army needs all the young men it can get, and if I can set a good example for the young men I'll be mighty proud." Source: Wills, Gary, John Wayne's America, pp. 221-223
  21. ^ Roberts & Olson, p. 220
  22. ^ Roberts & Olson, p. 213
  23. ^ Roberts & Olson, p. 213
  24. ^ Roberts & Olson, p. 253
  25. ^ Roberts & Olson, p. 212
  26. ^ Wayne, Pilar, John Wayne, pp. 43-47
  27. ^ The Great White Hope climbs back between the ropes
  28. ^ Olson & Roberts, John Wayne: American, pp. 195-197
  29. ^ The religion of John Wayne, actor
  30. ^ Candelaria, Nash. John Wayne, Person and Personal The love affairs of an American legend in Hopscotch: A Cultural Review - Volume 2, Number 4, 2001, pp. 2-13, Duke University Press
  31. ^ Bacon, James. - John Wayne: The Last Cowboy. - US Magazine. - (c/o - June 27, 1978
  32. ^ Morrow, James (2004). The Cat's Pajamas and Other Stories. Tachyon Publications. ISBN 1892391155
  33. ^ Hearing Before the Subcommittee on Consumer Affairs of the Committee on Banking, Finance and Urban Affairs, House of Representatives, 96th Congress, First Session, on H.R. 3767, A Bill to Authorize the President of the United States to Present on Behalf of the Congress a Specially Struck Gold Medal to John Wayne, May 21, 1979, Serial 96-10
  34. ^ Trivia - The Shootist (1976) - IMDb
  35. ^ Endres, Stacey and Robert Cushman. Hollywood At Your Feet. Beverly Hills: Pomegranate Press, 1993 ISBN 0-938817-08-6
  36. ^ Exhibitions. - Knox Martin
  37. ^ Wayne inducted into California Hall of Fame, California Museum, Accessed 2007
  38. ^ a b Olson, Jim. - "Louie and the Duke Classics 2006". - Grande Living. - October 2006. - (Adobe Acrobat *.PDF document)
  39. ^ News and Events: 2006 Archive - John Wayne Cancer Foundation
  40. ^ Gunsmoke - - 6 August 2007
  41. ^ Interview: Mel Brooks. Blazing Saddles (DVD). Burbank, California: Warner Brothers Pictures/Warner Home Video, 2004. ISBN 0790757354

Further reading

  • Roberts, Randy, and James S. Olson. John Wayne: American. New York: Free Press, 1995 ISBN 978-0029238370
  • Campbell, James T. "Print the Legend: John Wayne and Postwar American Culture". Reviews in American History, Volume 28, Number 3, September 2000, pp. 465-477
  • Shepherd, Donald, and Robert Slatzer, with Dave Grayson. Duke: The Life and Times of John Wayne. New York: Doubleday, 1985 ISBN 0-385-17893-X
  • Carey, Harry Jr. A Company of Heroes: My Life as an Actor in the John Ford Stock Company. Lanham, Maryland: Scarecrow Press, 1994 ISBN 0-8108-2865-0
  • Clark, Donald & Christopher Anderson. John Wayne's The Alamo: The Making of the Epic Film. New York: Carol Publishing Group, 1995 ISBN 0-8065-1625-9 (pbk.)
  • Eyman, Scott. Print the Legend: The Life and Times of John Ford. New York: Simon & Schuster, 1999 ISBN 0-684-81161-8
  • McCarthy, Todd. Howard Hawks: The Grey Fox of Hollywood. New York: Grove Press, 1997 ISBN 0-8021-1598-5
  • Maurice Zolotow., Shooting Star: A Biography of John Wayne. New York: Simon & Schuster, 1974 ISBN 0671829696
  • Jim Beaver, "John Wayne". Films in Review, Volume 28, Number 5, May 1977, pp. 265-284.
  • McGivern, Carolyn. John Wayne: A Giant Shadow. Bracknell, England: Sammon, 2000 ISBN 0-9540031-0-1
  • Munn, Michael. John Wayne: The Man Behind the Myth. London: Robson Books, 2003 ISBN 0-451-21244-4

External links

{{subst:#if:Wayne, John|}} [[Category:{{subst:#switch:{{subst:uc:1907}}

|| UNKNOWN | MISSING = Year of birth missing {{subst:#switch:{{subst:uc:1979}}||LIVING=(living people)}}
| #default = 1907 births

}}]] [[Category:{{subst:#switch:{{subst:uc:1979}}

|| LIVING  = Living people
| UNKNOWN | MISSING  = Year of death missing
| #default = 1979 deaths