Reżyseria:
John FordZdjęcia:
William H. ClothierMuzyka:
Cyril J. MockridgeObsada:
John Wayne, James Stewart, Vera Miles, Lee Marvin, Edmond O'Brien, Andy Devine, Ken Murray, John Carradine, Jeanette Nolan, John Qualen, Willis Bouchey (więcej)VOD (2)
Opisy(1)
In 1910, Sen. Ranse Stoddard and his wife, Hallie, arrive in the small town of Shinbone to attend the funeral of Tom Doniphon. A reporter questions him about his unannounced appearance, and Ranse tells about his early days as a young lawyer in Shinbone, when he opposed the ruthless rule of Liberty Valance, a notorious gunfighter. The only other two men in the town who were unafraid of the outlaw were Dutton Peabody, a drunken but courageous newspaper editor, and Tom Doniphon, a respected rancher in love with Hallie, who was then a young waitress. Valance became outraged when Ranse was elected delegate to a territorial convention and taunted him into a duel. Hallie knew that Ranse could not handle a gun and pleaded with Tom to save Ranse; but Tom, sick of Ranse's foolhardy bravery, refused. Late one night, Ranse and Valance faced each other on the darkened main street of the town. Several shots were fired, and although Ranse was wounded, Valance was the one who lay dead. Ranse became known as "the man who shot Liberty Valance" and was nominated to run for Congress. Unable to face a career built on a killing, he decided to refuse the nomination. Tom then appeared and confessed that it was he who, out of love for Hallie, fired from the shadows that night. Tom, in effect, became Ranse's conscience, the force that carried him to the U. S. Senate and a brilliant career in Washington, while Tom died a pauper. Ranse's story finished, the reporter decides not to print it because in the old West the legend had become fact. (oficjalny tekst dystrybutora)
(więcej)Recenzje (4)
A Western as black-and-white as the Reaper’s last case. At the beginning, it’s pretty naïve, but eventually evil shows itself and you get a proper experience loaded with suspense. What’s also interesting about the movie is the fact that instead of colts, the characters seem to be using politics, which I didn’t find too great. But what can you do, right? It might be the very reason why I won’t easily forget this movie. I don’t think there are more Western movies like this one.
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The development or decline of a genre usually represents a long-term process that cannot be symbolized by a single title or the name of a creator. A certain exception is the classic western, which could have the premiere of the film The Man Who Shot Liberty Valance listed as its date of death on a potential monument. It's not that the western hasn't already been declining for a few years now, but this title perfectly captures its stiffness, exhaustion, and above all, inability to entertain. It doesn't help at all that a strong proven team, led by experienced director John Ford and acting legend John Wayne, participated in its production. The film cannot escape the trap of genre conventions, and its creators cannot convincingly and impressively break those conventions, even where they try to do so - like in the motif of shooting the villain Valance from an ambush and the unjustly earned fame of the hero for neutralizing the criminal. The film attacks the boundaries of absurdity when it pays homage to the American legal system and political system. Sergio Leone later contributed to the renaissance of the genre with his spaghetti westerns, bringing new ideas, energy, and playfulness to them. I recommend watching The Man Who Shot Liberty Valance and Leone's film The Good, the Bad and the Ugly in one day. That is the best way to see what is wrong with Ford's drama. Overall impression: 40%.
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Probably a better film than three stars, but the poor newbie dubbing completely ruined it for me. I haven't heard anything this appalling in a long time. Hopefully, in time, I'll get the DVD and watch The Man Who Shot Liberty Valance with subtitles, enjoy the acting of Wayne, Stewart and Marvin (who won't have an awkward voice), maybe even hear the music, and perhaps laugh at the jokes that the dubbing turned into an endlessly awkward affair. A television disgrace. Gross.
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John Ford was known primarily for filming westerns that deviated slightly from the standard. "The Man Who Shot Liberty Valance" is exactly such a case. It's not a classic western that focuses on shootouts, although an important one does occur (the killing of Liberty Valance), but it's mainly about relationships between people and what is true, and whether it is ever truly the best choice. When to lie and when to let the truth come out. Can lying be in the interest of the majority? Furthermore, the film creates a certain dilemma at the end. Which version, the one presented to us first, or the one we learn later, should we actually believe? What if another lie served the greater good? A reflection on where honor ends, where friendship ends, and where something more begins. I think the ending can leave you quite conflicted, which is definitely an aspect that suits a western that is, after all, quite stretched out. However, John Wayne delivers one of his best performances, and for that, you must love the film. So if you are fans of the genre, or are willing to accept its transcendence, which definitely exists and works in this case.
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