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VHS : Man Who Shot Liberty Valance
Books and Publications Average Rating: out of 5 stars

  
: Man Who Shot Liberty Valance
See Larger Image 		Man Who Shot Liberty Valance
starring: John Wayne, James Stewart, Vera Miles, Lee Marvin, Edmond O'Brien
directed by: John Ford
Audience Rating: Unrated
Binding: VHS Tape
EAN: 9780792106982
Format: Black & White, Closed-captioned, NTSC
ISBN: 0792106989
Label: Paramount
Manufacturer: Paramount
Number Of Items: 1
Publisher: Paramount
Release Date: February 19, 1997
Running Time: 123 minutes
Sales Rank: 9880
Studio: Paramount
Theatrical Release Date: April 22, 1962



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Editorial Review:

Amazon.com essential video:
'When the legend becomes fact, print the legend.' That's more than the code of a newspaperman in The Man Who Shot Liberty Valance; it's practically the operating credo of director John Ford, the most honored of American filmmakers. In this late film from a long career, Ford looks at the civilizing of an Old West town, Shinbone, through the sad memories of settlers looking back. In the town's wide-open youth, two-fisted Westerner John Wayne and tenderfoot newcomer James Stewart clash over a woman (Vera Miles) but ultimately unite against the notorious outlaw Liberty Valance (Lee Marvin). Ford's nostalgia for the past is tempered by his stark approach, unusual for the visual poet of Stagecoach and The Searchers. The two heavyweights, Wayne and Stewart, are good together, with Wayne the embodiment of rugged individualism and Stewart the idealistic prophet of the civilization that will eventually tame the Wild West. This may be the saddest Western ever made, closer to an elegy than an action movie, and as cleanly beautiful as its central symbol, the cactus rose. --Robert Horton



Customer Reviews
Average Rating: out of 5 stars

Rating: 5 out of 5 stars - Another John Ford masterpiece
This is perhaps second only to The Searchers in the many great films John Ford directed. Again starring John Wayne as well as the always excellent James Stewart, Vera Miles and Lee Marvin. Essentially its a western which shows the beginning of the end for the old west.

If you watch this you need to remember that although this was made in 1962, and that John Ford had been making films since the early part of the 20th Century (1917). So this has a different feel to any sort of modern film. The pacing is much more relaxed and the amount of 'action' that occurs is limited to two or three key scenes.

However, the performances are uniformly excellent, the script and dialogue are mesmerising and Fords direction is impeccable. What all this 'old-fashioned' film-making allows Ford to do though, is fully develop the characters. So you get a wonderful mixture of sadness, occasional comic moments ... Read More


Rating: 5 out of 5 stars - The Man Who Shot Liberty Valance
What a great western. You can't get much better than this one. John Wayne and Jimmy Stewart together for get about it!


Rating: 1 out of 5 stars - A Film for American Studies Departments
There is good reason to believe that the reviewer M. S. Anderson is as right as right can be. Having just edited an encyclopedia concerned with the Old West, I can confirm that the professorial class is keeping this movie alive. After several months of reading seemingly hundreds of worshipful citations of this routine film and especially of its signature cliché--the meaningless line about printing the legend when the legend becomes fact (as if newspapers routinely print the truth!)--I began watching (in vain, as it happens) for references to the film that pointed out that the sets looked like fiberboard structures on the studio's back lot, the characterization was shallow and predictable, the script was trite and sounded clumsy on the tongue, O'Brien and some other supporting players were inadequate or worse, and Stewart and Wayne were not alone in being thirty years too old for their parts. (Can anyone tell whether ... Read More


Rating: 5 out of 5 stars - Print The Legend
Stylistically, this is a very interesting film from director John Ford. The film begins with alot of colorful characterizations familiar to audiences with films as diverse as "Stagecoach" and "The Searchers". There's also alot of brutal realism which would anticipate the work of Sam Peckinpah. It's also interesting that Ford contrasts the traditional western as represented by John Wayne with the new west represented by James Stewart who made a series of "psychological" westerns in and around this time. Also noteworthy is the presence of Lee Van Cleef who made his mark in the terrific Sergio Leone westerns in the sixties. What is Ford trying to say here? Probably sensing that his days behind the camera were nearing an end he probably understood that a re-evaluation was in order. The paradox here is that the traditional hero represented by John Wayne is left to lick his wounds in the darkness while the more neurotic ... Read More



 

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