Jwayne biography

Nationality: American. Born: Marion Archangel Morrison in Winterset, Iowa, 26 Might 1907. Education: Attended Glendale High Secondary, California; University of Southern California, Los Angeles, 1925–27. Family: Married 1) Josephine Saenz, 1933 (divorced 1945), sons: blue blood the gentry producer Michael Wayne and the theatrical Patrick Wayne, two daughters; 2) Esperanza Bauer, 1946 (divorced 1954); 3) Pilar Palette, 1954, son: the actor Crapper Ethan, daughters: Aissa, Marisa. Career: 1926—prop man for Fox studio: film inauguration as extra in Brown of Harvard; in early films billed as Marquess Morrison; 1930—role in Men without Women directed by John Ford, who scheduled many of Wayne's later films; succeeding worked for Columbia and other studios; 1939—role in Ford's Stagecoach made Thespian a leading man; 1942–43—in radio progression Three Sheets to the Wind; 1944—co-founder, Motion Picture Alliance for the Conservation of American Ideals; 1947—film producer: watchful 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 be partial to Harvard (Conway)

1927

The Drop Kick (Glitter) (Webb)

1928

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

1929

Salute (Ford gain David Butler) (as football player)

(as Baron 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 Wind-storm 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 Lever 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 Pry McCoy); The Man from Monterey (Wright) (as Captain John Holmes); Riders exert a pull on 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 Sharpedged 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 Understanding 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 Unique 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 disregard the Wasteland (Wright) (as John Blair); The Sea Spoilers (Strayer) (as Cork 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 primacy West (Hell Town) (Barton) (as Argue with Rudd); Pals of the Saddle (Sherman) (as Stony Brooke); Overland Stage Raiders (Sherman) (as Stony Brooke); Santa Come down 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 Stoney Brooke); Allegheny Uprising (The First Rebel) (Seiter) (as Jim Smith)

1940

The Dark Command (Walsh) (as Bob Seton); Three Cup West (The Refugee) (Vorhaus) (as Toilet 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 illustriousness 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 Negro 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 Moslem Takes a Chance (The Cowboy prep added to the Girl) (Seiter) (as Duke Hudkins); In Old Oklahoma (War of character Wildcats) (Rogell) (as Dan Somers)

1944

The Struggle 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 say publicly Badman (James Edward Grant) (as Lambaste 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 unmixed Yellow Ribbon (Ford) (as Captain Nathan Brittles); Fighting Kentuckian (Waggner) (as Ablutions 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 Lord 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 behave the Sky (Wellman) (as Captain Dooley); Hondo (Farrow) (title role)

1954

The High unacceptable 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 lose 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 pivotal the Geisha (Huston) (as Townsend Harris)

1959

The Horse Soldiers (Ford) (as Colonel Bathroom Marlowe); RioBravo (Hawks) (as John Well-organized. 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 Always 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 Amazon 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 direct to a Legend (Ford—doc) (as narrator)

1971

Big Jake (Sherman) (as Jacob McCandles); Directed soak 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 Toilet 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 conference Film (London), Spring 1975.

On WAYNE: books—

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

Ricci, Mark, Boris Zmijewsky, service 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 comprehend John Wayne, New York, 1974.

Campbell, Martyr Jr., The John Wayne Story, Spanking 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 forerunner John Wayne, Borgerhout, Belgium, 1979.

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

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

Lepper, David, John Wayne, London, 1987.

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

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

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

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

Wayne, Pilar, with Alex Thorleifson, John Wayne: Low Life with the Duke, New Dynasty, 1989.

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

Minshall, Bert, On Fare with the Duke: John Wayne countryside 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 greatness 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 Awe Knew You: John Wayne's Friend's & Colleagues Remember His Remarkable Life, Canticle Publishing Group, 1998.

Wills, Garry, John Wayne's America: The Politics of Celebrity, Unusual 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 Sundown Post (Philadelphia), 14 August 1965.

Hall, Run. J., "Tall in the Saddle," play a part 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," inlet Journal of Popular Film (Bowling Naive, Ohio), v. 6, no. 2, 1977.

Beaver, J., "John Wayne," in Films shoulder Review (New York), May 1977, representation also issue for August/September 1977 existing February 1978.

Obituary in New York Times, 12 June 1979.

Kroll, Jack, "John Wayne," in The Movie Star, edited provoke 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," bland Literature/Film Quarterly (Salisbury, Maryland), January 1988.

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

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

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

Stars (Mariembourg), thumb. 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: Extra John Agar Creature Features," in Filmfax (Evanston), February-March 1997.

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

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

During his last years Closet Wayne's image hardened and became simplified: the movie star became either tidy national institution or an object be more or less ridicule and vilification (depending upon one's political viewpoint). Wayne himself clearly pleased this transformation, the potential for which was always there in his increase, at least from the 1950s care about. His decision to direct and celestial in The Green Berets marks put in order crucial point of transition, confirmed induce his subsequent political pronouncements and probity tendency to choose self-mythologizing roles. That development has had the unfortunate overnight case of obscuring for many people distinction complexities of the Wayne persona innermost the extremely interesting uses to which it was put by two nucleus Hollywood's greatest directors, John Ford lecturer Howard Hawks.

Ford is reported as dictum, after seeing Red River, that do something had never realized that Wayne could act. The operative criterion of meticulous here appears to be the threadbare one of versatility, the ability joke "become" different characters. If a home actor, Wayne was always, from wreath first major role in Stagecoach, rest extremely capable performer: the scenes put off develop his relationship with Claire Trevor are played with considerable delicacy take sensitivity. Though the components of rendering Wayne persona were already clearly put down to there in The Long Voyage Home, Ford did not make full in relation to of them until after World Conflict II, when the dominant tone an assortment of his work modulated from idealism (associated with Henry Fonda) to disillusionment coupled with retreat into stoicism. Through the iii films of the "cavalry trilogy" (Fort Apache, She Wore a Yellow Ribbon, and Rio Grande) the Wayne solitary reaches full expression. The makings become aware of the later "national institution" are convince there—conservatism, militarism, adherence to tradition, weight on patriotic duty—but they are engaged within a complex thematic network respect which the sustaining of faith condensation American civilization becomes increasingly problematic, award way to stoical resignation. Significantly, Filmmaker also used Wayne centrally in pictures in which he abandons American enlightenment altogether, for a retreat either smash into the Irish past (The Quiet Man) or to a South Seas hire-purchase land (Donovan's Reef ). Ford's last use of Wayne, however, was type the incarnation of the lost composure of a mythical Old West, rendered obsolete by the civilization it helped build, in The Man Who Concentrate Liberty Valance.

Hawks never showed much troubled in the established social order excluding as something to escape from, stall Wayne is less central to rulership work than he is to Ford's. Red River, while in many structure impressive, suffers from Hawks's insufficient arrive at of the material's moral and state implications, to which Wayne's Thomas Dunson is central. Interestingly, in relation defy Wayne's later career, the character develops marked connotations of fascism which glory film tries to cope with nevertheless finally evades. Hawks's finest use fine Wayne is undoubtedly in Rio Bravo: here the stoicism, self-reliance, and speculation of moral infallibility at once find out their most complete expression and bear out subjected to a subtle criticism become absent-minded defines their limitations. The infallible General is alternately juxtaposed with the all-too-fallible Dean Martin and confronted with rectitude amorous but ironic Angie Dickinson. Both relationships are being used by Hawks to probe, question, and affectionately burlesque the Wayne image, exposing its in the flesh deficiencies while reaffirming its strength.

It quite good with Hawks also—in El Dorado title Rio Lobo—that Wayne enters the latest phase of his career, where ethics central concern becomes age and flaw powers. The Cowboys was not, by the same token some asserted, the first film enjoy which Wayne died (they forget, cherish example, Reap the Wild Wind, Sands of Iwo Jima, and, far betterquality reprehensibly, Liberty Valance), but it disintegration the first of his major roles in which he was killed opposite by the bad guy. Even enhanced pertinent is The Shootist, in which he plays an aging gunfighter who is dying of cancer, the ailment against which he himself struggled here this late period. If The Cowboys (in which Wayne explicitly becomes boss role model for the young possession America) celebrates the "national institution," regular at this stage of his vitality where the image is at sheltered most petrified it still carries connotations—pain, loss, failure, stoical endurance—which makes raise less simple than the popular judgment of "hawk" patriarch suggests.

Perhaps due profit Wayne's larger-than-life iconography as the main American hero, he is as public with audiences today as he was during his lifetime. His films curb never off the television screen careful remain among the fastest sellers bill video stores. His directorial debut, The Alamo, a personal project in which he also starred, has been stylish to its original director's cut volume after 30 years during which solitary the abbreviated version released to theaters by United Artists was available—and reissued on tape and laser disc join the lucrative collector's market in systematic format that retained the film's wide-screen grandeur. In the wake of neat commercial success, two of Wayne's rowdiest and most popular non-Ford and non-Hawks Westerns, McLintock and Hondo, have eventually found their way to television mount video stores after many years hegemony hibernation, as well.

—Robin Wood, updated invitation John McCarty