I can never get enough John Ford. I am picky about which ones though, just like I am about everything else. It’s the Westerns mostly. And some of his American frontier ones like Young Mr. Lincoln (1939) and Drums Along the Mohawk (1939). At home I just watched a trio of Westerns I consider to be his last great successes of that genre: The Horse Soldiers (1959), Two Rode Together (1961) and The Man Who Shot Liberty Valance (1962). And these last 2 particularly are something like variations on a theme—Two Rode Together revisits issues from The Searchers (1956) and The Man Who Shot Liberty Valance harks back to My Darling Clementine (1946). Wait, can I say variations on a theme? In classical music I think it only applies to a composer reworking a piece from another composer, like lately I been really into Brahms’s “Variations and fugue on a theme by Handel, Op. 24,” but I digress.
The Man Who Shot Liberty Valance had a ton of stuff I’d never noticed before. And this is a movie I’ve always loved and first saw it when I was in my early 20s. It’s really saying a lot about a movie if it gets better through the years. First of all there’s its subject matter, which along with My Darling Clementine uses characters who serve as symbols for the dualism of man’s nature in terms of wild/domesticated, or civilized/savage, and the clash of a society torn between civilization/wilderness, or law/anarchy; and these 2 characters in both films are caught in a love triangle with a woman.
What I noticed this time around were certain aspects of TOM DONIPHON. He’s masculine as hell. And he’s the wild part of man’s nature. He smokes cigarettes. He drinks whiskey. And ultimately we see him quit shaving, get falling-down drunk, belligerent, and burn down the part of his house he’d built as an annex for the woman he planned on marrying—but when he destroys the part meant for her, he takes down his own home along with it. That’s powerful stuff. That house symbolizes his heart. I think something that helped me see this aspect was that when I was in film school I picked up on how in David Peoples’ script for Unforgiven (1992, Clint Eastwood) the house LITTLE BILL builds for himself being deformed is a symbol of his interpretation of the law: crooked, and everyone knows it. In contrast, RANSOM STODDARD is the domestic, even feminine. In the scene where Stoddard brings the steak for Doniphon, what’s Valance say? Something like: hey get a load of the new waitress. And Stoddard doesn't drink.
Another thing that caught my attention for the first time is the meal Stoddard is served. All the other men eat steak. But what’s Stoddard eat? It looks like bread and beans. Because in the Old West vegetarians were probably considered pussies. Nowadays he'd send the toast back and inform the staff he was gluten free.
Even the biggest part of the story took on a new aspect for me. I’d always thought The Man Who Shot Liberty Valance is about how Stoddard came back to pay his respects to his best friend, and how Tom Doniphon is a noble, virtuous, generous, doing what’s best for society forward-thinker. But is he? At the end when Stoddard asks his wife who put the cactus rose on the coffin he seems to say it with contempt. Like maybe he disapproves. Like maybe he’s jealous. And worse, when he suggests moving back, could he be implying that now that Doniphon is dead it’d be a great place to live?
And even though he has his problems, Doniphon is unquestionably the hero. But there are more problematic aspects of his character. Like the way he treats HALLIE. She’s constantly angry with him, and then there’s the scene where she yells at him about not being his property. Yet when he tells her he’s leaving town for a few days, the way she leaves the house after he’s left to watch him go is one of the most moving scenes in the movie—a very Fordian touch if there ever was one. (Also this moment recalls the same thing HANNAH does when COL. MARLOWE leaves in The Horse Soldiers.) I wonder if this occurs in other of Ford’s films, I know I’ll be looking from now on.
Another thing about Ford is what he leaves out. Like WYATT EARP never telling CLEMENTINE CARTER he loves her, there are some crucial things left unsaid in The Man Who Shot Liberty Valance, much to its advantage. Doniphon never tells Hallie that he loves her. After the night Stoddard is elected, what happens to Tom Doniphon? Did he and Hallie ever speak again? Why did Hallie marry Stoddard? How did Doniphon die? The point is none of this matters, and the story works better without these answers. Doniphon represents an outdated way of life, and Stoddard his replacement.
There’s also the problem about POMPEY. In the standoff with Valance, Doniphon refers to Pompey as his “boy.” But worse is the scene where Stoddard is educating Pompey in the schoolroom and Doniphon barges in yelling about how Pompey has chores to do and pulls him away. Coud this be seen as resembling slavery? No. Because Doniphon later fights for Pompey to be served in the saloon, where there’s clearly a policy of not allowing black people to drink in there. But my point is despite the way Doniphon treats Stoddard, Hallie, or Pompey, (Applyard maybe?) they’re the only ones to mourn him at his funeral. The morals of The Man Who Shot Liberty Valance are nuanced.
8/20/2022
Paramount Pictures 2017 blu-ray
Atlanta, GA
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