My father has always maintained that two of his favorite films are The Magnificent Seven and True Grit. The first one makes sense with its stellar cast, resplendent score, and some top rate gunslinging. The second film, well, it makes sense too, but for completely different reasons.
Director Henry Hathaway is never flashy but he is a self-assured worksmith of early film-noir and westerns such as The Sons of Katie Elder. Those are minor classics, and yet each one is gripping in its own way.
John Wayne is just John Wayne pure and simple except with an eye patch slung over his eye, but do we care? Not in the slightest. When you have such a presence in a film, it will never lack at least a shred of viewing value. He was always memorable, but he was probably never more iconic than his turn as Marshall Rooster Cogburn. He’s a gruff, tough, drinking man who is willing to take on anyone and everyone at the drop of a hair. Yet despite all of that fury, Wayne embodies him in such a way that makes him lovable all the same.
Wayne is usually a given to steal the spotlight but Kim Darby gave him more than he bargained for as the stubborn, no-nonsense Maddie Ross. Following suit, singer Glen Campbell showed he can do more than knock back a tune, playing the Texas Ranger.
Darby beautifully embodies the rational-minded young Maddie with her terse and straightforward rhetoric. She knows what she wants and she will not budge on those proclivities – whatever they might be. Glen Campbell was hardly an actor, but instead a country music superstar and yet the musician makes a handy Texas Ranger in a pinch bringing a sense of camaraderie and humor to wrangle with his counterparts.
As with many of his other great westerns, Wayne and company are surrounded by a solid group of stock characters including the likes of Dennis Hopper, Robert Duvall, Strother Martin, and even John Fiedler.
The film is adapted from the Charles Portis novel where Maddie, intent on catching the man who killed her father, hires Cogburn to track him down. They are joined by Laboeuf and thus begins their search.
Looking at the plot alone, this film is about a journey to apprehend a fugitive man named Tom Cheney, who killed Maddy’s father as well as a Senator back in Texas. But really what we’re watching is this unlikely trio joins forces to do things we would never expect from them. It’s certainly no coon hunt, but then again it’s hardly a single-minded mission. Maddy has one opinion, the Texas Ranger has another, and Rooster Cogburn’s mostly drunk when he’s not belittling his rival or poking fun at “Baby Sister.” Do we mind? Certainly not because time makes these three companions into friends. Their ribbing gives way to trust and their anger and annoyance breed mutual respect.
Nothing beats the adrenaline rush of seeing Wayne charge across a vast meadow towards Ned Pepper and his cronies, with his guns drawn and a bridle between his teeth. The sequence is enhanced by the spectacular Colorado landscape that adds another character to the entire film. You cannot witness such a scene and simply write it off as average. That’s part of the reason we go to the movies – to see men with True Grit.
The Coen Brothers brought us a darker, more dramatic interpretation of this film, but it is hard to beat the fun of Henry Hathaway’s version. John Wayne, Rooster Cogburn, whatever you want to call him, he has True Grit. Isn’t that right baby sister?
I completely agree with you. The 1969 version is a terrific film, and Darby and Campbell are really quite good here.
Personally, I think the Coen Bros version is truer to the novel and is very well done, but in my mind it will never take the place of the John Wayne version.
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That’s a perfect analysis. Both good films but in different ways. I’m also usually a sucker for John Wayne
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