~John Wayne~

Born: May 26, 1907 in Winterset, Iowa, USA
Died: June 11, 1979 in Los Angeles, CA, USA
~John Wayne at USC in 1925~
Arguably the most popular -- and certainly the busiest -- movie leading man in Hollywood history,
John Wayne entered the film business while working as a laborer on the Fox lot during summer
vacations from U.S.C., which he attended on a football scholarship. He met and was befriended by
John Ford, a young director who was beginning to make a name for himself in action films,
comedies, and dramas. Wayne was cast in small roles in Ford's late-'20s films, occasionally under
the name Duke Morrison. It was Ford who recommended Wayne to director Raoul Walsh for the
male lead in the 1930 epic Western The Big Trail, and, although it was a failure at the box office, the
movie showed Wayne's potential as a leading man. During the next nine years, be busied himself in
a multitude of B-Westerns and serials -- most notably Shadow of the Eagle and The Three
Mesquiteers series -- in between occasional bit parts in larger features such as Warner Bros.' Baby
Face, starring Barbara Stanwyck. But it was in action roles that Wayne excelled, exuding a warm
and imposing manliness onscreen to which both men and women could respond.

In 1939, Ford cast Wayne as the Ringo Kid in the adventure Stagecoach, a brilliant Western of
modest scale but tremendous power (and incalculable importance to the genre), and the actor
finally showed what he could do. Wayne nearly stole a picture filled with Oscar-caliber
performances, and his career was made. He starred in most of Ford's subsequent major films,
whether Westerns (Fort Apache [1948], She Wore a Yellow Ribbon [1949], Rio Grande [1950], The
Searchers [1956]); war pictures (They Were Expendable [1945]); or serious dramas (The Quiet Man
[1952], in which Wayne also directed some of the action sequences). He also starred in numerous
movies for other directors, including several extremely popular World War II thrillers (Flying
Tigers [1942], Back to Bataan [1945], Fighting Seabees [1944], Sands of Iwo Jima [1949]); costume
action films (Reap the Wild Wind [1942], Wake of the Red Witch [1949]); and Westerns (Red River
[1948]). His box-office popularity rose steadily through the 1940s, and by the beginning of the
1950s he'd also begun producing movies through his company Wayne-Fellowes, later Batjac, in
association with his sons Michael and Patrick (who also became an actor). Most of these films were
extremely successful, and included such titles as Angel and the Badman (1947), Island in the Sky
(1953), The High and the Mighty (1954), and Hondo (1953). The 1958 Western Rio Bravo, directed
by Howard Hawks, proved so popular that it was remade by Hawks and Wayne twice, once as El
Dorado and later as Rio Lobo. At the end of the 1950s, Wayne began taking on bigger films, most
notably The Alamo (1960), which he produced and directed, as well as starred in. It was well
received but had to be cut to sustain any box-office success (the film was restored to full length in

During the early '60s, concerned over the growing liberal slant in American politics, Wayne
emerged as a spokesman for conservative causes, especially support for America's role in Vietnam,
which put him at odds with a new generation of journalists and film critics. Coupled with his
advancing age, and a seeming tendency to overact, he became a target for liberals and leftists.
However, his movies remained popular. McLintock!, which, despite well-articulated statements
against racism and the mistreatment of Native Americans, and in support of environmentalism,
seemed to confirm the left's worst fears, but also earned more than ten million dollars and made
the list of top-grossing films of 1963-1964. Virtually all of his subsequent movies, including the
pro-Vietnam War drama The Green Berets (1968), were very popular with audiences, but not with
critics. Further controversy erupted with the release of The Cowboys, which outraged liberals with
its seeming justification of violence as a solution to lawlessness, but it was successful enough to
generate a short-lived television series.

Amid all of the shouting and agonizing over his politics, Wayne won an Oscar for his role as marshal
Rooster Cogburn in True Grit, a part that he later reprised in a sequel. Wayne weathered the
Vietnam War, but, by then, time had become his enemy. His action films saw him working alongside
increasingly younger co-stars, and the decline in popularity of the Western ended up putting him
into awkward contemporary action films like McQ (1974). Following his final film, The Shootist
(1976) -- possibly his best Western since The Searchers -- the news that Wayne was stricken ill with
cancer (which eventually took his life in 1979) wiped the slate clean, and his support for the Panama
Canal Treaty at the end of the 1970s belatedly made him a hero for the left.

Wayne finished his life honored by the film community, the U.S. Congress, and the American
people as had no actor before or since. He remains among the most popular actors of his
generation, as evidenced by the continual rereleases of his films on home video.

Biography by Bruce Eder, AllMovie.com
~Silent Filmography~

Words and Music (1929) (as Duke Morrison) .... Pete Donahue  
Hangman's House (1928) (uncredited) .... Horse Race Spectator/Condemned Man in Flashback
Four Sons (1928) (uncredited) .... Officer
Mother Machree (1928) (uncredited) .... Extra
The Drop Kick (1927) (uncredited) .... Football Player/Extra in Stands
... aka Glitter (UK)
Annie Laurie (1927) (uncredited) .... Extra
The Great K & A Train Robbery (1926) (uncredited) .... Extra
Bardelys the Magnificent (1926) (uncredited) .... Guard
Brown of Harvard (1926) (uncredited) .... Yale Football Player

Four Sons (1928) (uncredited)