Recently New York Times blogger and humanities professor Stanley Fish referenced my Big Hollywood review of the Coen Brothers’ remake of John Wayne and Henry Hathaway’s True Grit. Though I have reviewed a film or two for various publications I’ve never thought of myself as a film critic. So Professor Fish referring to me as such was certainly interesting, if not flattering.  Agree with my review or not, I am glad a western is making money, but Professor Fish had more heady matters on his mind.

Fish’s main point is that in the new True Grit, purposely there is no relationship between physical heroism and virtue. To the professor physical heroism is displayed by almost everyone in the new film, “‘good’ and ‘bad,’ and the universe seems at best indifferent, if not hostile.” He sees young Mattie Ross as far more heroic for her acceptance of the world as random and brutal, Jeff Bridges Cogburn’s heroism is merely an after thought. The professor didn’t in the least misunderstand my desire to instead see the kind of heroics John Wayne displayed in the original film when he takes on the outlaw gang single-handedly with his “Fill your hands, you son-of-a-bitch!” charge to glory.

Justifiable violent responses to real life threats are often not random. America has always had common men heroes and well trained professionals who can reach down deep into themselves and find the kind of inner courage needed to risk life and limb to save the life of another or stand up to the evil and power hungry. The elitist left who for the time being control most of the public debate on popular culture would have us believe that all is relative. Despite the current “no tolerance” foolishness in American schools, sometimes you have to hit back, and hard, or else the bully will take far more then just your lunch. You’re own personal dignity is indeed something worth fighting for. (more…)

The centenary of John Wayne’s birth passed in 2007 with hardly any attention from the U.S. media, which shows both how out of touch the critical community is and how much more astute audiences are than the great majority of those who would presume to guide them. This year marks the thirtieth anniversary of the death of the greatest movie star of all time, John Wayne, and his films still remain immensely popular on television and video, while critics grossly underestimate both his talent and his cultural significance.

Wayne surely wasn’t the most skilled actor ever, but he played a much wider variety of roles than is commonly acknowledged, and he brought his characters vividly to life with a force of personality very few, if any, other performers have even approached. A tall, powerfully built, former college football player, Wayne was a huge presence in the motion picture industry, and a superb actor whose skills were consistently underrated by the critics and still are.

Audiences, however, knew just how great he was, and they made his movies nearly automatic successes at the box office. (more…)

In yesterday’s post about the third most popular movie star in America today, I referenced 6 John Wayne masterpieces and 12 classics. A few emails resulted asking which films that referred to, so here are the masterpieces ranked in order of masterpiecery.

These films don’t need anyone to defend them and thousands upon thousands of words have already been written about them. What you have here is a few paragraphs about each that focuses on what keeps me coming back time and again.

For the record, “The Searchers,” in my opinion, is the greatest movie ever made and though I don’t think John Wayne is our greatest actor (though, he’s in the top five), I do think his performance as Ethan Edwards is the finest ever captured on film. (more…)