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THE MAN WHO SHOT LIBERTY VALANCE: In John Ford's stark, melancholy swan song for the conventional frontier Western, aged Senator Ransom Stoddard (James Stewart) returns to the small town of Shinbone with his wife, Hallie (Vera Miles), for the funeral of his friend, Tom Doniphan (John Wayne), where he recounts for reporters his relationship with the man. His arrival in the town years earlier as a newly minted lawyer had been welcomed with a vicious beating by Liberty Valance (Lee Marvin), a flamboyant thug hired by powerful business interests fearful of the lawyer's intentions to stump for statehood. Doniphan, a rancher and feared gunman, finds Stoddard unconscious, takes him into town, and continues to protect him, particularly after coming to realize that the woman he loves cares more for the lawyer. Despite Doniphan's warnings that the only law in the region comes at the end of a gun barrel, the stubborn lawyer insists on teaching the illiterate townspeople about the rule of law in a democratic society. When Stoddard is elected as the regional delegate to the territorial convention, Valance baits the politician, a notoriously inept gunman, into a showdown.
SHANE: George Stevens' classic Western, adaptated from the Jack Schaefer novel, stars Alan Ladd in the title role. Riding the ranges of Wyoming's Grand Tetons, Shane stops at the farm of homesteader Joe Starrett (Van Heflin) just before Ryker (Emile Meyer), a powerful and predatory cattleman, arrives with his hired muscle to make the farmer a threatening offer for land that he intends to get by any means necessary. When Shane lets the cattle baron know that his gun will back Starrett if there's any trouble, the grateful homesteader offers the stranger a job as a hired hand, which he accepts. Joe's young son Joey (Brandon de Wilde) is drawn to the quiet stranger, whose difference from the men he knows is confirmed by the accidental revelation of a gunfighter's lightning reflexes. Shane becomes a valuable asset to the farm, but is slowly drawn into the continuing hostilities between the two opposing groups. To complicate matters, Shane feels an unspoken, and unwanted, attraction to Starrett's wife Marian (Jean Arthur). This creates a sense of ambivalence in Joe, whose son already idolizes the gunslinger. Stevens' meticulous artistry imbues the simple Western with the mythic aura of an Arthurian legend, as Loyal Griggs' beautifully composed images provide the canvas for career performances by Ladd, Heflin, Arthur, and de Wilde, in what many regard as the finest western ever made.
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