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Gary Cooper ĭave Kehr sees him as John Wayne’s principal rival. The quality of westerns he made in the 1960s after his relationship with Mann fell apart tails off noticeably, although he made three late westerns with John Ford, one of which is particularly memorable ( The Man Who Shot Liberty Valance).Ĥ. Between them, Mann and Stewart re-defined in many ways the world of western movies and the stories they told. His high position on this list is due to the five films he made with Mann, in which he usually played a character on the psychological edge in some way. Upon returning from the war, he revived his film career once again with Capra ( It’s a Wonderful Life) and by working with such directors as Alfred Hitchcock, Delmer Daves and Anthony Mann. His only western in that period was 1939’s Destry Rides Again. James Stewart īefore leaving for World War II, he made his reputation in modern films by Frank Capra and The Philadelphia Story (1940), directed by George Cukor.
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Director Eastwood benefited from having an iconic western star (actor Eastwood) at the center of his films, and he knew how to use him.ģ. Beginning with his central role in Sergio Leone’s influential Man With No Name Trilogy in the 1960s, he went on to appear in good westerns in the 1970s ( Hang ‘Em High, for example) and to direct better ones with himself as the star ( High Plains Drifter, The Outlaw Josey Wales, Pale Rider, Unforgiven). Remarkably, he accomplished this mostly during a period when westerns were out of cinematic fashion although he didn’t appear in nearly the number of westerns John Wayne did, his high position on the list results from the unusually high quality of the few westerns he did make. Clint Eastwood Įastwood is the greatest living star in westerns, although he is now in his 80s and is unlikely to make any more westerns either as a leading man or as a director. But he also made very good westerns with directors Howard Hawks, John Farrow, Don Siegel and others.Ģ. Some of his position at the top of this list is due to his long-time relationship with John Ford, the greatest director of westerns, which helped both of them earn their pre-eminence in the field. (He’s probably too old for Angie Dickinson in Rio Bravo, but somehow it works.) He even made a couple of great westerns during the final stage of his career ( The Cowboys, The Shootist).
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He successfully played older than he was in Red River and She Wore a Yellow Ribbon, and he moved into more mature roles naturally in The Searchers and Rio Bravo. While his career in westerns included a number of duds and clunkers, particularly toward the end ( The Undefeated, Rio Lobo, The Train Robbers, etc.), for a long period he was consistently good-and often great.Īlthough, like most male stars, he sometimes seemed to show up in roles too young for him as he aged, he was more successful than most at playing age-appropriate roles as he grew older. He made many forgettable westerns while learning his craft during the 1930s in low-budget quickies, but beginning with Stagecoach in 1939 he made a surprising number of appearances in really good westerns. Wayne’s image is the first that comes to mind when we consider westerns between 1939 and the present. Shooting Stars: A Ranking of the 29 Greatest Western Actors Since 1939ġ.