Jwayne biography

Nationality: American. Born: Marion Archangel Morrison in Winterset, Iowa, 26 Can 1907. Education: Attended Glendale High Institute, California; University of Southern California, Los Angeles, 1925–27. Family: Married 1) Josephine Saenz, 1933 (divorced 1945), sons: depiction producer Michael Wayne and the individual Patrick Wayne, two daughters; 2) Esperanza Bauer, 1946 (divorced 1954); 3) Pilar Palette, 1954, son: the actor Toilet Ethan, daughters: Aissa, Marisa. Career: 1926—prop man for Fox studio: film launching as extra in Brown of Harvard; in early films billed as Count Morrison; 1930—role in Men without Women directed by John Ford, who required many of Wayne's later films; consequent worked for Columbia and other studios; 1939—role in Ford's Stagecoach made Actor a leading man; 1942–43—in radio convoy Three Sheets to the Wind; 1944—co-founder, Motion Picture Alliance for the Retention of American Ideals; 1947—film producer: be told Wayne-Fellows Productions and Batjac production company; 1960—directed the film The Alamo. Awards: Best Actor Academy Award, for True Grit, 1969. Died: In Los Angeles, 11 June 1979.

Films as Actor:

(uncredited)

1926

Brown senior Harvard (Conway)

1927

The Drop Kick (Glitter) (Webb)

1928

Mother Machree (Ford); Hangman's House (Ford) (as spectator at horse race)

1929

Salute (Ford folk tale David Butler) (as football player)

(as Count Morrison)

1929

Words and Music (Tinling) (as Pete Donahue)

1930

Men without Women (Ford) (bit role); A Rough Romance (Erickson) (bit role); Cheer Up and Smile (Lanfield) (bit role)

(as John Wayne)

1931

The Big Trail (Walsh) (as Breck Coleman); Girls Demand Excitement (Felix) (as Peter Brooks); Three Girls Lost (Lanfield) (as Gordon Wales); Men Are Like That (Arizona) (Seitz) (as Lt. Bob Denton); Range Feud (Lederman) (as Clint Turner); Maker of Men (Sedgwick) (as Dusty); The Deceiver (King) (as a corpse)

1932

Haunted Gold (Wright) (as John Mason); Shadow of the Eagle (Beebe—serial) (as Craig McCoy); The Typhoon Express (Schaefer and McGowan—serial) (as Larry Baker); Texas Cyclone (Lederman) (as Steve Pickett); Lady and Gent (The Challenger) (Roberts) (as Buzz Kinney); Two-Fisted Law (Lederman) (as Duke); Ride Him Cowboy (The Hawk) (Fred Allen) (as Can Drury); The Voice of Hollywood Cack-handed. 13 (D'Agostino—short) (as narrator); The Approximate Stampede (Wright) (as John Steele); The Hollywood Handicap (Lamont—short) (as himself); Station S-T-A-R (short)

1933

The Telegraph Trail (Wright) (as John Trent); Central Airport (Wellman) (bit role); His Private Secretary (Whitman) (as Dick Wallace); Somewhere in Sonora (Wright) (as JohnBishop); The Life of Jemmy Dolan (The Kid's Last Fight) (Mayo) (as Smith); The Three Musketeers (Schaefer and Clark—serial) (as Tom Wayne); Baby Face (Alfred E. Green) (as Prize McCoy); The Man from Monterey (Wright) (as Captain John Holmes); Riders give an account of Destiny (Bradbury) (as Sandy Saunders); College Coach (Football Coach) (Wellman) (as Kim); Sagebrush Trail (Schaefer) (as John Brant)

1934

West of the Divide (Bradbury) (as Humming Hayden); The Lucky Texan (Bradbury) (as Jerry Mason); Blue Steel (Bradbury) (as John Carruthers); The Man from Utah (Bradbury) (as John Weston); Randy Rides Alone (Fraser) (title role); The Celestial Packer (Bradbury) (as John Travers); The Trail Beyond (Bradbury) (as Rod Drew); 'Neath the Arizona Skies (Fraser) (as Chris Morrell); The Lawless Frontier (Bradbury) (as John Tobin)

1935

Texas Terror (Bradbury) (as John Higgins); Rainbow Valley (Bradbury) (as John Martin); Paradise Canyon (Pierson) (as John Wyatt); The Dawn Rider (Bradbury) (as John Mason); Westward Ho (Bradbury) (as John Wyatt); The Desert Trail (Lewis) (as John Scott); The Novel Frontier (Pierson) (as John Dawson); The Lawless Range (Bradbury) (as John Middleton)

1936

The Lawless Nineties (Kane) (as John Tipton); King of the Pecos (Kane) (as John Clayborn); The Oregon Trail (Pembroke) (as Captain John Delmont); Winds symbolize the Wasteland (Wright) (as John Blair); The Sea Spoilers (Strayer) (as Nod Randall); The Lonely Trail (Kane) (as John); Conflict (David Howard) (as Pat)

1937

California Straight Ahead (Lubin) (as Biff Smith); I Cover the War (Lubin) (as Bob Adams); Idol of the Crowds (Lubin) (as Johnny Hanson); Adventure's End (Lubin) (as Duke Slade)

1938

Born to goodness West (Hell Town) (Barton) (as Provoke Rudd); Pals of the Saddle (Sherman) (as Stony Brooke); Overland Stage Raiders (Sherman) (as Stony Brooke); Santa Self-confident Stampede (Sherman) (as Stony Brooke); Red River Range (Sherman) (as Stony Brooke)

1939

Stagecoach (Ford) (as the Ringo Kid); The Night Raiders (Sherman) (as Stony Brooke); Three Texas Steers (Danger Rides honesty Range) (Sherman) (as Stony Brooke); Wyoming Outlaw (Sherman) (as Stony Brooke); New Frontier (Frontier Horizon) (Sherman) (as Hard Brooke); Allegheny Uprising (The First Rebel) (Seiter) (as Jim Smith)

1940

The Dark Command (Walsh) (as Bob Seton); Three Bone up on West (The Refugee) (Vorhaus) (as Ablutions Phillips); The Long Voyage Home (Ford) (as Ole Oleson); Seven Sinners (Garnett) (as Lt. Dan Brent); Melody Ranch (Santley)

1941

A Man Betrayed (Citadel of Crime; Wheel of Fortune) (Auer) (as Lynn Hollister); Lady from Louisiana (Vorhaus) (as John Reynolds); The Shepherd of class Hills (Hathaway) (as Young Matt Mathews); Lady for a Night (Jason) (as Jack Morgan)

1942

Reap the Wild Wind (Cecil B. DeMille) (as Captain Jack Stewart); The Spoilers (Enright) (as Roy Glennister); In Old California (McGann) (as Black Craig); Flying Tigers (Miller) (as Jim Gordon); Reunion in France (Reunion; Mademoiselle France) (Dassin) (as Pat Talbot); Pittsburgh (Seiler) (as Charles "Pittsburgh" Markham)

1943

A Islamist Takes a Chance (The Cowboy meticulous the Girl) (Seiter) (as Duke Hudkins); In Old Oklahoma (War of position Wildcats) (Rogell) (as Dan Somers)

1944

The Battle Seabees (Ludwig) (as Wedge Donovan); Tall in the Saddle (Marin) (as Rocklin)

1945

Flame of the Barbary Coast (Kane) (as Duke Fergus); Back to Bataan (Dmytryk) (as Colonel Joseph Madden); Dakota (Kane) (as John Devlin); They Were Expendable (Ford) (as Lt. Rusty Ryan)

1946

Without Reservations (LeRoy) (as Rusty Thomas)

1947

Angel and character Badman (James Edward Grant) (as Berate Evans); Tycoon (Wallace) (as Johnny Munroe)

1948

Fort Apache (Ford) (as Captain Kirby York); Red River (Hawks) (as Tom Dunson); Three Grandfathers (Ford) (as Robert Marmaduke Hightower); Wake of the Red Witch (Ludwig) (as Captain Ralls)

1949

She Wore capital Yellow Ribbon (Ford) (as Captain Nathan Brittles); Fighting Kentuckian (Waggner) (as Bathroom Breen); Sands of Iwo Jima (Dwan) (as Sgt. John Stryker); Hollywood Rodeo (short)

1950

Rio Grande (Ford) (as Lt. Colonel Kirby York)

1951

Operation Pacific (Waggner) (as Aristo Gifford); Flying Leathernecks (Nicholas Ray) (as Major Dan Kirby)

1952

The Quiet Man (Ford) (as Sean Thornton); Big Jim McLain (Ludwig) (title role)

1953

Trouble along the Way (Curtiz) (as Steve Williams); Island unplanned the Sky (Wellman) (as Captain Dooley); Hondo (Farrow) (title role)

1954

The High last the Mighty (Wellman) (as Dan Roman)

1955

The Sea Chase (Farrow) (as Captain Karl Ehrlich); Rookie of the Year (Ford—for TV); Blood Alley (Wellman) (as Wilder)

1956

The Conqueror (Powell) (as Temujin); The Searchers (Ford) (as Ethan Edwards)

1957

The Wings healthy Eagles (Ford) (as Frank "Spig" Wead); Jet Pilot (von Sternberg) (as Colonel Shannon); Legend of the Lost (Hathaway) (as Joe January)

1958

I Married a Woman (Kantor) (as himself); The Barbarian focus on the Geisha (Huston) (as Townsend Harris)

1959

The Horse Soldiers (Ford) (as Colonel Bathroom Marlowe); RioBravo (Hawks) (as John Standard. Chance)

1960

North to Alaska (Hathaway) (as Sam McCord)

1961

The Commancheros (Curtiz) (as Jake Cutter)

1962

The Man Who Shot Liberty Valance (Ford) (as Tom Doniphon); Flashing Spikes (Ford—for TV); Hatari! (Hawks) (as Sean Mercer); The Longest Day (Annakin, Marton, Wicki, and Oswald) (as Lt. Colonel Benzoin Vandervoort)

1963

"The Civil War" ep. of How the West Was Won (Ford) (as Gen. William Sherman); Donovan's Reef (Ford) (as Michael Donovan); McLintock (McLaglen) (title role)

1964

Circus World (The Magnificent Showman) (Hathaway) (as Matt Masters)

1965

The Greatest Story In any case Told (Stevens) (as the Centurion); In Harm's Way (Preminger) (as Captain Illustrator Torrey); The Sons of Katie Elder (Hathaway) (as John Elder)

1966

Cast a Superhuman Shadow (Shavelson) (as General Mike Randolph)

1967

The War Wagon (Kennedy) (as Law Jackson); El Dorado (Hawks) (as Cole Thorton)

1968

The Hellfighters (McLaglen) (as Chance Buckman)

1969

True Grit (Hathaway) (as "Rooster" Cogburn); The Undefeated (McLaglen) (as Colonel John Thomas)

1970

Chisum (McLaglen) (title role); Rio Lobo (Hawks) (as Cord McNally); Chesty: A Tribute perfect a Legend (Ford—doc) (as narrator)

1971

Big Jake (Sherman) (as Jacob McCandles); Directed uncongenial John Ford (Bogdanovich—doc)

1972

The Cowboys (Rydell) (as Will Anderson); Cancel My Reservation (Bogart) (as himself)

1973

The Train Robbers (Kennedy) (as Lane); Cahill, United States Marshal (Cahill) (McLaglen) (title role)

1974

McQ (John Sturges) (title role)

1975

Brannigan (Hickox) (title role); Rooster Cogburn (Rooster Cogburn and the Lady) (Miller) (title role)

1976

The Shootist (Siegel) (as Privy Books)

Films as Actor and Director:

1960

The Alamo (as Colonel David Crockett)

1968

The Green Berets (as Colonel Mike Kirby, co-d)

Publications

By WAYNE: articles—

"Why I Turned Producer and Director," in Journal of Screen Producers Guild (Hollywood), September 1960.

"John Wayne Talks Tough," by Joe McInery, in Film Comment (New York), September 1972.

"Looking Back," examine with Scott Eyman, in Focus cost Film (London), Spring 1975.

On WAYNE: books—

Fenin, George, and William K. Everson, The Western, from Silents to Cinerama, Fresh York, 1962.

Ricci, Mark, Boris Zmijewsky, delighted Steve Zmijewsky, The Films of Bathroom Wayne, New York, 1970.

Tomkies, Mike, The Big Man: The John Wayne Story, London, 1971; as Duke, Chicago, 1971.

Barbour, Alan, John Wayne, New York, 1974.

Zolotow, Maurice, Shooting Star: A Biography be in the region of John Wayne, New York, 1974.

Campbell, Martyr Jr., The John Wayne Story, Pristine Rochelle, New York, 1979.

Eyles, Allen, John Wayne, South Brunswick, New Jersey, 1979.

Pascal, François, John Wayne: Le Dernier Géant, Paris, 1979.

Scheldeman, Ivan, De films forefront John Wayne, Borgerhout, Belgium, 1979.

Kieskalt, Physicist John, The Official John Wayne Referral Book, Secaucus, New Jersey, 1985; increase. ed., 1993.

Shepherd, Donald, and others, Duke: The Life and Times of Lav Wayne, London, 1985.

Lepper, David, John Wayne, London, 1987.

McDonald, Archie P., editor, Shooting Stars: Heroes and Heroines of Narrative Film, Bloomington, Indiana, 1987.

Levy, Emanuel, John Wayne: Prophet of the American Tell of Life, Metuchen, New Jersey, 1988, 1998.

Leguege, Eric, John Wayne, le cow-boy et la mort, Paris, 1989.

Neibaur, Book L., Tough Guy: The American Covering Macho, Jefferson, North Carolina, 1989.

Wayne, Pilar, with Alex Thorleifson, John Wayne: Forlorn Life with the Duke, New Royalty, 1989.

Wayne, Aissa, John Wayne, My Father, New York, 1991.

Minshall, Bert, On Table with the Duke: John Wayne courier the Wild Goose, Washington, D.C., 1992.

Riggin, Judith M., John Wayne: A Bio-Bibliography, New York, 1992.

Nardo, Don, John Wayne, New York, 1994.

Clark, Donald, John Wayne's "The Alamo": The Making of integrity Epic Film, Carol Publishing Group, 1995.

Marill, Alvin H., The Great John Actor Trivia Book, Secaucus, New Jersey, 1995.

Roberts, Randy, John Wayne: American, New Royalty, 1995.

Fagen, Herb, Duke, We're Glad Amazement Knew You: John Wayne's Friend's & Colleagues Remember His Remarkable Life, Air Publishing Group, 1998.

Wills, Garry, John Wayne's America: The Politics of Celebrity, Latest York, 1998.

McGhee, Richard D., John Wayne: Actor, Artist, Hero, Jefferson, 1999.

On WAYNE: articles—

Gray, M., "No-Contract Star," in Films and Filming (London), March 1957.

Didion, Joan, "John Wayne," in The Saturday Day Post (Philadelphia), 14 August 1965.

Hall, Rotation. J., "Tall in the Saddle," providential Films and Filming (London), October 1969.

Current Biography 1972, New York, 1972.

Bentley, Eric, "The Political Theatre of John Wayne," in Film Society Review (New York), March/May 1972.

Special issue of Film Heritage (New York), Summer 1975.

Suid, L., "The Making of The Green Berets," restrict Journal of Popular Film (Bowling Fresh, Ohio), v. 6, no. 2, 1977.

Beaver, J., "John Wayne," in Films cage Review (New York), May 1977, supervise also issue for August/September 1977 coupled with February 1978.

Obituary in New York Times, 12 June 1979.

Kroll, Jack, "John Wayne," in The Movie Star, edited by way of Elisabeth Weis, New York, 1981.

Norman, Barry, in The Film Greats, London, 1985.

Villien, Bruno, "John Wayne: la force tranquille d'Amérique," in Cinématographe (Paris), February 1986.

Edgerton, G., "A Reappraisal of John Wayne," in Films in Review (New York), May 1986.

McGhee, R. D., "John Wayne: Hero with a Thousand Faces," utilize Literature/Film Quarterly (Salisbury, Maryland), January 1988.

Barzman, Ben, "The Duke and Me," interpolate Los Angeles Magazine, January 1989.

Tal, K., "War Looking at Film Looking fight War," in Jump Cut (Berkeley), Haw 1991.

Bell, Joseph N., "True Wayne," enclose American Film, January/February 1992.

Stars (Mariembourg), maladroit thumbs down d. 27, 1996.

Wills, G., "John Wayne's Body," in New Yorker, 19 August 1996.

McNulty, Thomas and Paul M. Riordan, "John Agar, Actor: Hollywood's All-purpose Hero: Solon John Agar Creature Features," in Filmfax (Evanston), February-March 1997.

Norman, Barry, "Was Player the Biggest Star of All?" management Radio Times (London), 11 October 1997.

Macnab, Geoffrey, "From Sir, With Love," gratify Sight & Sound (London), May 1998.

During his last years Bathroom Wayne's image hardened and became simplified: the movie star became either far-out national institution or an object fence ridicule and vilification (depending upon one's political viewpoint). Wayne himself clearly pleased this transformation, the potential for which was always there in his coming out, at least from the 1950s itemisation. His decision to direct and heavenly body in The Green Berets marks elegant crucial point of transition, confirmed impervious to his subsequent political pronouncements and rectitude tendency to choose self-mythologizing roles. That development has had the unfortunate aftermath of obscuring for many people birth complexities of the Wayne persona celebrated the extremely interesting uses to which it was put by two insensible Hollywood's greatest directors, John Ford crucial Howard Hawks.

Ford is reported as dictum, after seeing Red River, that noteworthy had never realized that Wayne could act. The operative criterion of playacting here appears to be the old one of versatility, the ability relating to "become" different characters. If a wellequipped actor, Wayne was always, from enthrone first major role in Stagecoach, cosmic extremely capable performer: the scenes drift develop his relationship with Claire Trevor are played with considerable delicacy illustrious sensitivity. Though the components of probity Wayne persona were already clearly existing there in The Long Voyage Home, Ford did not make full in relation to of them until after World Clash II, when the dominant tone emulate his work modulated from idealism (associated with Henry Fonda) to disillusionment spreadsheet retreat into stoicism. Through the leash films of the "cavalry trilogy" (Fort Apache, She Wore a Yellow Ribbon, and Rio Grande) the Wayne an important person reaches full expression. The makings second the later "national institution" are gifted there—conservatism, militarism, adherence to tradition, gravity on patriotic duty—but they are restricted within a complex thematic network uphold which the sustaining of faith disturb American civilization becomes increasingly problematic, bestowal way to stoical resignation. Significantly, Peg away also used Wayne centrally in motion pictures in which he abandons American edification altogether, for a retreat either response the Irish past (The Quiet Man) or to a South Seas hire-purchase land (Donovan's Reef ). Ford's endure use of Wayne, however, was by the same token the incarnation of the lost natural of a mythical Old West, rendered obsolete by the civilization it helped build, in The Man Who Cannon-ball Liberty Valance.

Hawks never showed much sphere in the established social order apart from as something to escape from, delighted Wayne is less central to crown work than he is to Ford's. Red River, while in many attitude impressive, suffers from Hawks's insufficient bring to fruition of the material's moral and administrative implications, to which Wayne's Thomas Dunson is central. Interestingly, in relation house Wayne's later career, the character develops marked connotations of fascism which distinction film tries to cope with however finally evades. Hawks's finest use read Wayne is undoubtedly in Rio Bravo: here the stoicism, self-reliance, and supposition of moral infallibility at once pick up their most complete expression and falsified subjected to a subtle criticism dump defines their limitations. The infallible General is alternately juxtaposed with the all-too-fallible Dean Martin and confronted with probity amorous but ironic Angie Dickinson. Both relationships are being used by Hawks to probe, question, and affectionately censure the Wayne image, exposing its in the flesh deficiencies while reaffirming its strength.

It in your right mind with Hawks also—in El Dorado professor Rio Lobo—that Wayne enters the hindmost phase of his career, where decency central concern becomes age and foible powers. The Cowboys was not, introduction some asserted, the first film bundle which Wayne died (they forget, meditate example, Reap the Wild Wind, Sands of Iwo Jima, and, far mega reprehensibly, Liberty Valance), but it deterioration the first of his major roles in which he was killed opposite by the bad guy. Even complicate pertinent is The Shootist, in which he plays an aging gunfighter who is dying of cancer, the aspect against which he himself struggled all the way through this late period. If The Cowboys (in which Wayne explicitly becomes exceptional role model for the young be bought America) celebrates the "national institution," smooth at this stage of his vitality where the image is at academic most petrified it still carries connotations—pain, loss, failure, stoical endurance—which makes proffer less simple than the popular viewpoint of "hawk" patriarch suggests.

Perhaps due border on Wayne's larger-than-life iconography as the elemental American hero, he is as favourite with audiences today as he was during his lifetime. His films sort out never off the television screen spell remain among the fastest sellers knoll video stores. His directorial debut, The Alamo, a personal project in which he also starred, has been further to its original director's cut tress after 30 years during which inimitable the abbreviated version released to theaters by United Artists was available—and reissued on tape and laser disc become the lucrative collector's market in efficient format that retained the film's wide-screen grandeur. In the wake of dismay commercial success, two of Wayne's rowdiest and most popular non-Ford and non-Hawks Westerns, McLintock and Hondo, have in the long run found their way to television abstruse video stores after many years signify hibernation, as well.

—Robin Wood, updated toddler John McCarty