Indeed, John Wayne aged along with the Western. The West was old but the Western was young, and in movies like STAGECOACH John Wayne conveyed that youthful spirit of the frontier. It was as if Manifest Destiny reborn, happening all over as American Saga in the form of the Western. But the Western genre made it 'young' again, and a very handsome John Wayne was there almost from the beginning, especially as the star of Raoul Walsh's magnificent THE BIG TRAIL.
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Already by the time the first Western movie hit the screen, the Wild West was mostly thing of memory. In a way, the West had a second life through the Western. (Hitchcock likely also had the impact of TV on mind when he made PSYCHO, especially as he lent his name to a TV series.) Likewise, Sam Peckinpah's THE OSTERMAN WEEKEND is partly a commentary on the rise of home video and its impact on culture, not least cinema.
Not only has the West been tamed but the Western itself has been tamed as weekly TV shows on all three networks. The use of sound-stage over actual locations suggest at this. When the Western became generic fare in every living room, it lost the silver screen luster, and in a way, THE MAN WHO SHOT LIBERTY VALANCE seems to be addressing the issue of TV and its impact on the Western. It was made at a time when the Western too had grown old and was on the way out, ironically not least due to its great success on the TV screen. But Shinbone’s cleanliness and newness-its clear artificiality-were quite deliberate representations of progress and the end of the frontier. Ford was known for shooting on location because he loved authenticity. The film is poorly paced as well, burning through screen time. John Wayne and Jimmy Stewart, both fine actors given the impossible job of playing men in their 20s, even though they were aged 54 and 53 at the time. I find it a deeply flawed, grating, and often ridiculous film. John Ford’s last great film The Man Who Shot Liberty Valance (1962) enjoys the status of a classic.
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