John Wayne: Screen Image (Part 6)

Part 6 in a Series of Article

Wayne’s Demands for Script Revisions

Wayne’s demand for revisions was based on strong instincts as to the elements that best suited him.  He asked John Ford, for example, to make changes in The Were Expendable, because he did not like the humiliation involved in the evacuation scene from Bataan. Thus, a new scene, in which he was willing to disobey orders and sneak off to a jungle guerrilla, until a superior officer orders him back aboard, was added.

By contrast, Wayne liked the scene in which he loathes leaving the battlefront, “I got business here,” because it was congruent with the independent and rebellious streak in his screen persona.

Director John Ford also changed the ending of She Wore a Yellow Ribbon” to a more optimistic one. Initially, Wayne was to take his leave and be seen at the film’s end, riding off to a new settlement. But Ford did not want to end the picture on a sad note, with Wayne fading off, so he added a new scene in which a dispatch rider is sent after Wayne, assigning him a new appointment, as the Chief of Scouts with the rank of Lieutenant Colonel.

Changes in Red River

A few changes were also introduced into Red River” to suit Wayne’s public image. At first, Hawks wanted him to play Thomas Dunson as a coward, which Wayne flatly rejected. Instead, he played him as a strong man who has fears, reasoning that, “as a man, you can be scared, but you can’t be a coward.”

Because Wayne was only forty-one when he played the aging cattleman, Hawks asked veteran actor Walter Brennan to teach the star how to walk like an old man. Once again, Wayne objected, claiming that none of the outdoorsmen he knew were tottery, stoop-shouldered, or bow-legged.

The movie differs from the original story, on which it is based, in other ways. In the book, Dunson competes with Matt Garth for the love of Tess Millay, but in the movie, Tess is interested in Wayne just in order to protect Matt, her true love. Moreover, contrary to the original, in which Wayne is killed, Hawks decided to keep his characters alive; death was incongruent with Wayne’s screen immortality.

Rio Bravo Modified

Howard Hawks’s Rio Bravo originated in opposition to Zinnemann’s 1952 High Noon, a Western that neither Wayne nor Hawks liked, feeling that its spirit severely deviated from their idea of the “Real West.” Hawks did not think that “a good sheriff was going to go running around town like a chicken with his head off asking for help.” Instead, he claimed, “a good sheriff would turn around and say, ‘How good are you Are you good enough to take the best they’ve got'” (McBride, 1972, 15-16).

Wayne’s objections to the film were even stronger than Hawks’s. He described its plot with great contempt: “In that picture, four guys come in to gun down the sheriff. He goes to the church and asks for help and the guys go, ‘Oh well, Oh. gee.’ And the women stand up and say, ‘You’re rats. You’re rats. You’re rats.’ So Cooper goes out alone.” “It’s the most un-American thing I’ve seen in my whole life,” charged the actor, for the rugged men of the frontier, who had battled the Indians as well as nature, would not be afraid of four villains. Instead, they would have united, as they had united “to make the land habitable.” Wayne was also humiliated by the movie’s last scene, showing Cooper “putting the United States marshal’s badge under his foot and stepping on it.” (Playboy,” May 1971). Walking away from his job, as Cooper did, was inconceivable to Wayne’s commitment to responsibility and public office.

In Rio Bravo, Wayne’s sheriff refuses all but selected help, and he gets more assistance than he expects. Offered help, he characteristically says, “If they are really good, I’ll take them. If not, I’ll just take care of them.” Another major difference is that Cooper’s marshal was scared and faced a severe inner conflict before deciding to handle the crisis by himself, whereas Wayne’s sheriff is independent and unwaveringly courageous. In contrast to Cooper, Wayne plays a superior and self-assured sheriff, who could easily inspire and rally the men around his leadership.

Wayne denounced another popular 1950s Western starring Cooper, “They Came to Cordura,” in which Cooper’s Marshal Thomas Thorn is assigned, due to cowardice in battle, the degrading task of “Awards officer” to the Mexican expedition of 1916. His task is to select five men as candidates for the Congressional Medal of Honor, because Washington needs heroes in a hurry for a World War I recruiting campaign. “How they got Gary Cooper to do that one,” Wayne wondered, “to me, at least, it simply degrades the Medal of Honor.” “The whole story makes a mockery of America’s highest award for valor,” Wayne elaborated, “the whole premise of the story was wrong, illogical,” because “they don’t pick the type of men the movie picked to win the award, and that can be proved by the very history of the award.”

In contrast, When Otto Preminger cast Wayne in the high-profile War movie, “In Harm’s Way,” it was in complete harmony with Wayne’s favorite screen role. “In this picture,” he described the role, “I must show that I care about other people. Otherwise, when they go off and get killed on my orders, people will hate me.” He didn’t mind “audiences hating me,” he said, as they “did perhaps in Red River,” but they understood my point of view.” (Tomkies, 1971, 124).

The Duke Versus Kirk Douglas

In one crucial scene, Kirk Douglas, Wayne’s brooding executive officer, rapes Jill Hayworth, the fiancé of Wayne’s son. Later, she commits suicide and Douglas, to redeem himself, sacrifices his life in a risky mission. Wayne did not like the way the scene was written. “If I were playing this part,” he said, “I would want the girl’s boyfriend to return, face me, and kill me.” Dying on screen did not bother him, he claimed, “if the confrontation is direct,” based on his belief in “facing everything directly.”

Dirty (or for Wayne Sleazy) Harry

Wayne’s strict principles resulted in rejecting “sleazy’ screenplays, like Dirty Harry, the 1971 vigilante crime movie that catapulted Clint Eastwood to mega-star status and led to several sequels, and many more imitation.

The Shootist: How Wayne Made the Western Less Grim 

At the same time, Wayne insisted on what he called “cleaning up” others.  The initial screenplay for “The Shootist,” which became Wayne’s swan song in 1976, by Miles Hood Swarthout and Scott Hale, was considered by him to be too graphic in its depiction of cancer, and too grim and downbeat in its ending.

As a result, Wayne suggested that it be less gloomy by adding a few light touches in the way that his hero dealt with his fatal disease. Moreover, in the original script, Ron Howard was a punk who robs Wayne after his death in the saloon. At Wayne’s suggestion, Howard’s character was made more positive, and, after avenging Wayne’s death, he throws down his gun and runs out of the saloon.