There are films that can mark the end of an era, but few do it so clearly as The Shootist, 1976 western directed by Don Siegel. Made in a time when westerns, once the most popular Hollywood genre, went into terminal decline, it is best known as the last film in long and distinguished filmography of John Wayne, legendary actor who enjoys the reputation of the western genre icon. Scenes from the western films he have starred in through his years serve as an illustration in the prologue for this film, depicting thirty years in the life of the protagonist, legendary gunfighter J. B. Books. In January 1901 he still can rely on his deadly skills, but an old age and bad health have apparently caught with him, so he comes to Carson City, Nevada to visit Dr. Hoestetler (played by James Stewart), physician, old acquaintance and one of the few people he trusts. He examines him and delivers a devastating news – he has advanced cancer and only few weeks to live before slow and agonising death. Books decides to spend his last days quietly and Hoestetler sends him to rent a room under assumed name in the house owned by widow Bond Rogers (played by Lauren Bacall). When she discovers who Books really is, she is at first horrified, unlike her rebellious son Gillom (played by Ron Howard) who starts to worship ailing but still charismatic man. While Marshal Thibido (played by Harry Morgan) doesn’t want Books in Carson, seeing him as a relic of barbaric Old West in a town that is embracing modern 20th Century civilisation, various other citizens try to opportunistically use his presence for financial gain. At the same time, many gunfighters, motivated with vengeance or desire for fame, are arriving to Carson in order to kill Books. He begins to see the inevitable showdown as the better and more dignified way to end his life.
John Wayne’s last performance is arguably the most moving in his career, and especially in the light of the fact that the actor, just like his character, had cancer. Unlike Books, Wayne struggled with that ailment for years before finally succumbing to it three years after the premiere, and this was accompanied with other illnesses, like influenza that had him hospitalised during production of The Shootist. Despite all of that, Wayne plays his character very well, successfully portraying ultra-machistic no-nonsense character finally coming to grips not only with his own mortality and vulnerability, but also with the new, modern and orderly world symbolised by telephones, electricity and “horseless carriages” which doesn’t have any uses for people who enjoy wide open spaces and dispense their own individual brand of justice. Wayne is well-matched by two other Classic Hollywood stars – Lauren Bacall as quiet, dignified woman who struggles with conflicting emotions when faced with her charismatic lodger, while Wayne’s old friend James Stewart, also billed as “guest starring”, delivers another strong performance. The other members of the cast are mostly adequate, including young Ron Howard in his last major role before he switched career to directing.
Don Siegel, also one of Wayne’s old associates, directs film reasonably well. The film, despite actually being shot at authentic locations, at times looks like glorified television production. This could be attributed to lack of particularly memorable music and too many scenes taking place indoors. Siegel partially acquits himself by staging an effective final showdown, although its impact isn’t as strong as it could have been, because villains and their motivations aren’t developed enough. Yet, despite all that, this film is very good film that could satisfy even those viewers not particularly fond of Wayne or westerns. In the end, The Shootist represents one of the most effective rides into sunset in cinema’s history.
RATING: 7/10 (++)
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