JOHN WAYNE: the LEGEND and the MAN an Exclusive Look Inside Duke’S Archive
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JOHN WAYNE: THE LEGEND AND THE MAN An Exclusive Look Inside Duke’s Archive
by John Wayne Enterprises
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JOHN WAYNE The Legend and the Man An Exclusive Look Inside Duke’s Archive
Essay by Patricia Bosworth Foreword by Martin Scorsese Remembrance by Maureen O’Hara Interview with Ron Howard Remembrance by Ronald Reagan
Brooklyn, NY PREFACE
Welcome to an inside look on our privileged life—privileged in having a true American Icon as a father, a mentor, a coach, a best friend. A dad we shared with America in some of its finest cinematic moments. I think you will find this book appealing because it provides a glimpse into his personal life; a life that many people have not seen. Its personal effects and best-remembered film moments are our memories and yours.
— Ethan Wayne President, John Wayne Enterprises Director, John Wayne Cancer Foundation
ABOVE Four generations of the Wayne family in a magazine photo-essay from the 1970s.
8 9 ForewordMARTIN SCORSESE
There was a time when John Wayne and America seemed more or less synonymous. When I was young, Wayne was the ideal of American manhood. His grace, his power, his ease, his beauty—there was something remarkable about his authority and the respect he commanded. As I grew older and the country became more divided, many of us realized that it was actually a certain idea of America that he represented, an idea that many young people found hypocritical and brutally insensitive to the rest of the world. But John Wayne the figurehead and John Wayne the actor were two very different entities. Sometimes they converged, though not as often as people once imagined. Many people during the Vietnam era chose to see the cinema through a strictly political lens, but those of us who loved movies knew that art could never be encompassed by politics. Jean-Luc Godard once wrote that when Wayne picked up Natalie Wood and cradled her in his arms in The Searchers, he could forgive him for supporting Barry Goldwater for president. Unlike politics, art could embrace the mysterious, the indefinable, the contradictory. And we knew the truth: that John Wayne was a genuinely great actor who had worked with several great directors—including William Wellman, Raoul Walsh, Don Siegel (who directed his last picture), Howard Hawks and, across five decades, John Ford—to fashion some of the finest pictures ever made. This wonderful collection of photographs gives us John Wayne the figurehead, John Wayne the actor, and John Wayne the human being. It’s a rich experience to look through these pages and see where Wayne’s three roles converged and diverged. Wayne appears to have enjoyed rugged sports, just like the characters he played. But you also get a glimpse of another side. Dick Cavett once wrote a little piece in which he remembered Wayne telling him how much he admired Nöel Coward’s writing, revealing that he knew his plays backward and forward and regretting that he could never convince anyone to cast him in Private Lives. In a few of these photos, you can see a dapper, urbane side to Wayne, and feel his longing to explore that kind of emotional register. You can see the toughness but the tenderness as well, without which his performances in Rio Bravo or The Searchers, not to mention the rich emotional textures of the films themselves, would have been unthinkable. And in all the photos, you see another, earlier America with different ideas of glamour, OPPOSITE PAGE John Wayne beauty, fashion, and behavior, a world that now feels as distant as the Renaissance. with Natalie Wood and Jeffrey A movie-made hero…a superstar, one of the very first…an image of manhood…and a great Hunter in John Ford’s classic filmThe Searchers (1956). American artist. This book affords us a generous look at John Wayne from every angle.
10 11 OPPOSITE PAGE This handsome white horse, Duke, received co-billing alongside John Wayne, (e.g. “Starring John Wayne and Duke, The Wonder Horse” or “Starring John Wayne with Duke, The Miracle Horse”) in several of his B western films in the 193os. ABOVE John Wayne in western costume wearing neckerchief, bib shirt, dungarees, hat, and boots in Stagecoach (1939). RIGHT John Wayne as Breck Coleman in Raoul Walsh’s The Big Trail (1930). It was Walsh and Winfield Sheehan, head of Fox Studios, who gave Duke his screen name “John Wayne.”
36 37 TOP John Wayne with son Patrick and second child, daughter Antonia “Toni” Wayne. ABOVE Wayne with Michael and fourth child, daughter Melinda. ABOVE RIGHT Wayne children with their father. ABOVE Josephine and John RIGHT Wayne children (left to Wayne by the water with son right) Michael, Antonia, Patrick, Michael Wayne. and Melinda.
44 45 OPPOSITE PAGE, BELOW John Wayne as Stony Brooke in Pals of the Saddle OPPOSITE PAGE, ABOVE (1938). Pals of the Saddle is the first George Bancroft, John of eight Three Mesquiteer westerns ABOVE John Wayne and Paulette Wayne, and Louise Platt in John Wayne made for Republic Goddard in Cecil B. DeMille’s Stagecoach (1939). Studios from 1938 to 1939. Reap The Wild Wind (1942).
54 55 LEFT Newspaper photo of Duke’s children Toni, Melinda, Patrick, and Michael turning out to watch their father act as Grand Marshal for Gene Autry’s Rodeo in the L.A. Coliseum. BELOW AND BOTTOM LEFT Newspaper photographs of John Wayne and actor son Patrick in Utah filmingRio Grande (1950). OPPOSITE PAGE John Wayne and son Patrick on location in Utah for Rio Grande (195o). Patrick had a bit part in the third installment of John Ford’s “cavalry trilogy.”
70 OPPOSITE PAGE John Wayne surrounded by fans in Rome at a Gala at the Sistina Theatre. ABOVE John Wayne and Susan Hayward posing with their awards from the L.A. Foreign Press Association, in 1952, precursor to today’s Golden Globes.
78 79 “Goddamn, I’m the stuff men are made of!” John Wayne
OPPOSITE PAGE John Wayne in Hondo (1953).
84 85 RIGHT The Alamo (196o) was nominated for seven Academy Awards including Best Picture. It won one Oscar, for Best Sound.
92 93 ABOVE Pilar Wayne and Duke in Hawaii, 1954. OPPOSITE PAGE Michael Wayne and Duke in Hawaii, 1954.
106 107 LEFT Pilar and Duke aboard a passenger ship on their way to Hawaii. BELOW LEFT Pilar and John Wayne in St. George, Utah during the filming of The Conqueror (1956). BELOW RIGHT Pilar and Duke at a Hollywood function. BOTTOM Pilar and John Wayne on one of their first dates.
ABOVE Duke ordered ten cases of Champagne for the twenty-minute flight to the Big Island.
112 113 “Words are what men live by…words they say and mean.” John Wayne
OPPOSITE PAGE Duke with youngest son Ethan on the set of The War Wagon (1967). LEFT A Duke head shot from later in his career.
202 203 214 215 THIS PAGE Wayne often travelled overseas to enjoy the camaraderie of U.S. servicemen, here during the Vietnam War, something he did quite often. OPPOSITE PAGE John Wayne aboard a U.S. service helicopter.
218 219 JOHN WAYNE The Legend and the Man An Exclusive Look Inside Duke’s Archive
Photographs © 2o12 respective photographers Personal pictures and property © 2o12 John Wayne Enterprises Essay © 2o12 Patricia Bosworth Foreword © 2o12 Martin Scorsese Remembrance © 2o12 Maureen O’Hara Interview © 2o12 Ron Howard “Unforgettable John Wayne” reprinted with permission from Reader’s Digest © 1979 by The Reader’s Digest Association, Inc.
No part of this book may be reproduced in any manner in any media, or transmitted by any means whatsoever, electronic or mechanical (including photocopy, film or video recording, Internet posting, or any other information storage and retrieval system), without the prior written permission of the publisher.
JOHN WAYNE, John Wayne signature, DUKE and THE DUKE are the exclusive trademarks of, and the John Wayne name, image, likeness and voice, and all other related indicia are the intellectual property of, John Wayne Enterprises, LLC. www.johnwayne.com
Published in the United States by powerHouse Books, a division of powerHouse Cultural Entertainment, Inc. 37 Main Street, Brooklyn, NY 112o1-1o21 telephone 212 6o4 9o74, fax 212 366 5247 e-mail: [email protected] website: www.powerHouseBooks.com
First edition, 2o12
Library of Congress Control Number: 2o1294483o
Hardcover ISBN 978-1-57687-590-2
Designed by Francesca Richer / Krzysztof Poluchowicz
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