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Dimanche, mars 21st, 2010 |
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This film is one of the better later-day John Wayne films, though strangely violent for a Wayne film. The Duke stars Jacob MacCandles (maybe a reflection of his staunch life family place) as a tough man, estranged from his wife and grown sons. Bobby Vinton gives a quickie performance as Wayne’s eldest son, shot when (the large) Richard Boone and his band of cutthroats nearly slaughter all on Jacob’s ranch in the kidnapping of his grandson (played by Wayne youngest son Ethan) . Patrick Wayne, his genuine son, plays second eldest son and youngest son, Michael, is played by Christopher Mitchum (Robert Mitchum’s son!) .
In tow are Wayne regulars, Harry Carey (disgusting tobacco chewing baddie), Bruce Cabot as the Indian tracker showing age with Jacob, Glen Corbett as breed the hastily gun that faces off against Patrick Wayne in a gun fight, the most natural actor to ever grace the hide, the gradual Richard Boone, and a aesthetic appearance by the eternally handsome Maureen O’Hara, once again playing John’s long suffering wife whot loves him, but cannot live with him.
It is spruce to glance Wayne with Cabot, Carey, Boone and O’Hara, and Jim Davis (later rose to fame once more as Jock Ewing of Dallas) and though the film is intensely violent, I don’t look it was gratuitous. The violence came from the extinguish of a very violent era, times were changing, but not posthaste enough. The violence of the kidnappers had to be there to demonstrate Wayne’s to-the-wall rescue of his dinky grandson was called for. Wayne’s character was a violent man when the times called for it, but it was fair as willing to let things go - if ONLY the other person walked away.
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He worked well with his sons and Mitchum, and the interaction between Jacob and his two sons provides the Wayne ticket humour in the film.
The times were changing for the code of the faded west, and in the same design, times were changing for John Wayne….
I give Wayne credit for not pulling punches in a film that does him credit.
One of John Wayne’s better late-career vehicles, “Mammoth Jake” (1971) is an toothsome turn-of-the-century Western that mixes humor and gunplay in equal measure. The cinematic icon remains expansive in the saddle as Texas rancher Jacob McCandles - taking on villainous Richard Boone and anyone else responsible for the kidnapping of his grandson. Archaic director George Sherman keeps the action interesting at a relaxed dart. However, the climactic shootout is bloodier than expected for a Wayne Western. In a disappointingly diminutive role, Maureen O’Hara appears with the Duke for the last time as McCandles’ estranged wife.