Review of John Wayne DVD Gift Set

Introduction

An era of legends has passed, and it has done so with a whimper, not a bang. You`ve probably all missed it too, the fact that there are shockingly few movie stars left in the world. The passage of time has winnowed the ranks of those shining icons of celluloid, those glittering screen idols whose very presence could enchant a movie audience. Today we get film actors, celebrities whose very lives are tabloid fodder, but whose public personalities embrace a uniform blandness that no longer excites. When was the last time you saw a Keanu movie, a Harrison Ford flick or a Connery picture? Were those films, Johnny Mnemonic, Six Days, Seven Nights, or the Avengers? An actor`s name is no longer enough to guarantee a picture. Today top billing goes to a completely different profession. Now we go to see Scorsese movies, Spielberg movies and Tarantino films, and names like Bruckheimer and Silver can guarantee bums on seats where the Afflecks and J-Los of this world cannot. In modern Hollywood, where the bottom line is king, the movie stars are the Directors and increasingly the Producers. Today the only actor that I am aware of that can single-handedly carry a movie is Jackie Chan, and he isn`t even Hollywood.

But once upon a time, in that apocryphal golden age of cinema, there was the studio system. Actors were invested in, nurtured and groomed for stardom. Collectively they were the goose that laid the golden egg. That was when an actor`s name could make a movie. People would go to see a Cary Grant film, an Audrey Hepburn film, a Humphrey Bogart movie or a Gary Cooper flick. This was an era where personality counted for much more than acting ability. The roles were written for a star and the audience got exactly what they wanted. Cary Grant was Cary Grant in all his films, no matter what the character`s name was. The world would have shattered if that suave persona was altered in the slightest and the same was true of most of the other Hollywood stars.

Perhaps the greatest proponent of this style, acting through sheer force of personality was the Duke himself, John Wayne. In a remarkably prolific career spanning over half a century, John Wayne starred in over 200 films. But he was best known as the quintessential cowboy. A giant among giants, he had a trademark swagger that was unmistakeable, and a unique way of delivering a line that was as devastating as one of his right hooks. His characters followed a code of honour that would leave you in no doubt as to who the good guy was, and audiences would be rewarded with straight talking, hard hitting and fast shooting entertainment. This boxset from Paramount houses seven John Wayne movies. The question is, do they show the Duke at his best?

Hatari!

Sean Mercer leads a group of professional hunters in Africa, though they don`t hunt for sport. The animals they track are caught alive for sale to zoos and similar institutions worldwide. Each year they have a quota to fill, and this year doesn`t get off to a particularly good start when a rhino gores Little Wolf a.k.a. The Indian. While he`s being treated in hospital, a rather arrogant and enigmatic Frenchman is already applying for the job, which Mercer`s team think is in bad taste, though it turns out to be serendipitous that he is the same blood type as The Indian. Still, as The Indian is soon out of danger, a night of celebration is interrupted when Mercer arrives back at his compound to find a strange woman in his bed. Anna Maria D`Allesandro has arrived on behalf of Basle Zoo to observe and photograph the animals that are caught, much to the consternation of Sean Mercer, who believes that the Savannah is no place for a woman.

The Shootist

John Bernard Books has had a long and chequered career as a gunman. Operating on both sides of the law, he is a genuine frontier legend, who through quick wits and ruthlessness has survived countless shootouts. In 1901 America though, he`s the last of a dying breed, an anachronism in a nation on the verge of entering the modern world. A doctor`s examination has him travelling to Carson City for a second opinion from his old friend Dr. E.W. Hostetler. The news couldn`t be worse, he has advanced cancer and a life expectancy measured in months, if not weeks. Books is resigned to spending his last days in Carson City and sees about finding lodgings in the guesthouse of widow Rogers. Mrs Rogers is less than thrilled at having a killer under her roof, but her son Gillom is over the moon at having his idol in his house. But Books` reputation precedes him and the vultures are soon circling. Also when Dr Hostetler candidly explains the final stages of the disease, Books begins to look for an alternative to dying in bed.

Donovan`s Reef

Welcome to the island of Haleakaloha, in the French South Pacific. It`s a peaceful corner of paradise where life drifts by. The centre of attraction on the island is the bar, Donovan`s Reef run by Michael Donovan, who shares his birthday with his ex-navy buddy Thomas Gilhooley, which prompts an annual brawl for reasons no-one can remember. Another former comrade in arms, William Dedham is the island`s Doctor, where he lives with his three children from his marriage to the island`s princess. Add to that the priest who`s always looking for funds for the chapel roof, and the French Governor who is always in search of an easier way of life, and you have a collection of riotous characters. But this little idyll is in for a shake-up when Amelia Dedham`s last relative passes away in Boston, leaving the Dedham Shipping Company in her hands, as long as she can prove that her absent father is unfit to run the company. Soon she is on her way to Haleakaloha. When word reaches the island of her imminent arrival, her father is absent at another island, and Donovan decides that coming face to face with three half-siblings she hadn`t known existed wouldn`t make a good first impression on Amelia Dedham, so he concocts a plan to pass the children off as his own until the Doctor can return.

True Grit

When employee Tom Chaney murders rancher Frank Ross, his daughter Mattie travels to collect the body and see justice done. But the murderer has fled into Indian Territory and joined up with a ruthless band of outlaws led by Lucky Ned Pepper. The local law has no jurisdiction in the territory and Mattie turns to the U.S. Marshals for help, the most ruthless and ornery being Rooster Cogburn. Mattie agrees to pay him $100 for the capture of Chaney on the condition that she accompanies the Marshal. Rooster has enough trouble reconciling his desire for the money with his belief that he works better alone, when a Texas Ranger called La Boeuf who is also hunting Chaney learns of the expedition and decides to tag along. With Rooster finding solace in the bottle, La Boeuf boasting of his Texas born prowess and Mattie wielding the threat of her Lawyer J. Noble Daggett like a weapon, these three prove more dangerous to each other than the bad guys.

The Man Who Shot Liberty Valance

Senator Ransom Stoddard and his wife Hallie return to Shinbone, in what for them is a bittersweet homecoming. Naturally the press is alight with the arrival of such a noted dignitary, but the Senator is less than forthcoming about the reasons for his visit. When it becomes clear that the Senator and his wife are here for the funeral of Tom Doniphon, a man who no one seems to know, the press is even more tantalised. The Senator decides that now is the time for the truth to be told, and he begins to relate the tale of his first visit to Shinbone, several years previously…

Attorney at law Ransom Stoddard is making his way West to open a new practise, when outlaws set upon his stagecoach. Though he attempts to defend himself, he is beaten and whipped by the leader of the bandits, a brute of a man called Liberty Valance. Rancher Tom Doniphon comes across the battered lawyer and brings him to town where he can be treated. Ransom is determined to bring Valance to justice, but the snivelling Town Marshal does little to inspire confidence, and Doniphon sneers at the lawyer`s faith in the written law, in a town where only the gun demands respect. But Ransom is determined to do things his own way, and sets up his practise at the local newspaper, and also begins to teach some of the people of the town how to read and write, all the better for them to learn about their rights. He gets the people of Shinbone interested in democracy so they can take the future of their fledgling community into their own hands. Among his students is Hallie, the waitress who tended his wounds and whom everyone assumes will marry Tom. But the shadow of the cattlemen looms large and soon Liberty Valance and his thugs return to disrupt the elections. It`s the final straw for Ransom, who realises that he must put down his law books and pick up a gun to fight for what he believes in, although Tom is quick to point out his lack of shooting skills.

The Sons Of Katie Elder

The four sons of Katie Elder return home near the turn of the Century to say their farewells at their mother`s funeral. Gambler Tom, quiet Matt and youngest son Bud all make it on time, but notorious gunfighter and eldest brother John stays away from the ceremony to avoid trouble. But trouble is inevitable when the four brothers reunite and head into town to settle their mother`s affairs. Their father was murdered six months previously and their ranch is now in the hands of town businessman Morgan Hastings, who won it in a game of cards. Foul play is all too evident, but without proof the brothers can`t reclaim their heritage. Hastings is determined to protect his ill-gotten gains and has hired a gunman, Curley just in case, and Curley is just a little hotheaded. The three eldest brothers want to fulfil their mother`s last wish and put their youngest sibling through college, whether he wants to or not, and John is trying to set a good example, despite his reputation. But Morgan is getting jittery, especially as the Town Marshal is getting to close to the truth, and the brothers are in for a whole heap of trouble.

El Dorado

El Dorado is a town caught in the middle of a range war. The MacDonalds own the water rights and Bart Jason wants them, and he is willing to pay any hired gun to get them. The gun he initially hires belongs to Cole Thornton, but in El Dorado Cole meets his old friend J.P. Harrah, the town sheriff who puts him straight about a few things. Not wishing to end up facing his friend, Cole rides out to turn down Bart Jason`s offer. But word has got through to the MacDonalds about Thornton`s arrival and they are jumpy, and a trigger happy young Luke MacDonald is killed by Thornton is self-defence. Cole feels guilty about this and explains what happened to the MacDonald family, but while the patriarch accepts Cole`s story, Joey MacDonald is having none of it, and she puts a bullet in Thornton`s back, that will come back to haunt him.

Six months later, a chance encounter in a saloon informs Thornton that there is a new gun working for Bart Jason, and his feeling of guilt for the MacDonalds sends him back to El Dorado to help his old friend the sheriff. With him is a young gambler and knife fighter, Mississippi, whose lack of skill with the gun requires him to carry a sawn-off shotgun in his holster. But the intervening months haven`t been good for Sheriff Harrah, who has loved and lost, and has buried his head in the bottle. Getting J.P sober is hard enough, but when one of the MacDonalds is shot, keeping Bart Jason in jail could turn out to be impossible, especially when he has offered $1000 to anyone who can spring him.

Video

Seven different films inevitably means a range of aspect ratios. I always thought that while widescreen TV was 1.78:1, widescreen movies would be 1.85:1 and IMDB seems to agree with me. Still, I`ll give you the ratios as related on the back of the sleeves. The Sons Of Katie Elder is an easy one, a nice 2.35:1 anamorphic ratio. El Dorado and The Man Who Shot Liberty Valance are both stated as having aspect ratios of 1.85:1 anamorphic. The remaining four films have 1.78:1 anamorphic printed on their respective sleeves, and make of that what you will.

A further thing to note is that IMDB states that the original aspect ratio for The Man Who Shot Liberty Valance was 1.66:1, so I assume that the picture on the DVD is cropped. I`ll be honest and say that I really didn`t notice anything detrimental.

The transfer quality varies from disc to disc, with Liberty Valance of course in black and white. The Shootist has the least impressive picture, often feeling like a television movie, but The Sons Of Katie Elder has a sharp and clear anamorphic transfer that does the film justice. On average I would say that the picture quality is acceptable if not astounding, and more often than not, the age of the films is telling.

Audio

Again a multitude of discs means that there are several options depending on which film you are watching. The common denominator is a simple choice of DD 2.0 mono tracks, in English German, Spanish, French and Italian. Hatari!, Donovan`s Reef, True Grit, El Dorado and The Sons Of Katie Elder are all similar in this respect. The Shootist has just a DD 2.0 mono English track, and Liberty Valance has the five mono language tracks, with the English a restored track, as well as a DD 5.1 surround English track. The films that could have benefited from a surround makeover, True Grit and Hatari! have been neglected, while I`m not sure Liberty Valance is much improved by the addition.

Features

All films come with a trailer and a whole host of subtitle tracks. That is with the exception of The Shootist which only has English subtitles but whose extras include the trailer, and most prominently a 22-minute set of interviews regarding the story, the film and John Wayne.

The seven discs are all packaged in a cardboard slipcase emblazoned of course with the rugged visage of John Wayne.

Conclusion

It must be getting close to Christmas, that time of the year when postman`s hernia is the most common ailment. Retailers don`t help with the boxset boom reaching epidemic proportions. This isn`t the only John Wayne boxset available, but it certainly is the heftiest. It isn`t my dream collection either, though it does have its fair share of gems. I would have loved to see The Alamo, How The West Was Won, Fort Apache, Hellfighters, Chisum, Rio Bravo and She Wore A Yellow Ribbon. Also conspicuous by their absence are the classic Stagecoach and The Searchers. I would have also liked to see the mediocre Brannigan, if only for the scene where John Wayne throws Tony Robinson into the Thames, and finally for sheer comedy value The Fighting Kentuckian, where John Wayne starred alongside Oliver Hardy (You read that right!) Give me a minute and I`ll think of half a dozen others.

Unfortunately we live in the real world, and Paramount are limited to the measly few films that they have the rights to. (14 according to IMDB) That they could put together seven films for this boxset is amazing in itself, but the fact that of those seven, five are genuine classics, the sixth is quite good and the seventh really only suffers in comparison, is nothing short of miraculous. It`s true that these films are from 1960 onwards, only a small fraction of John Wayne`s career, but when we are treated to the excellent Hatari!, the critically acclaimed The Man Who Shot Liberty Valance and the Oscar winning True Grit, it`s hard to complain about limited choice. To top it all off, there is John Wayne`s swansong, the touching and altogether poignant The Shootist, read on…

Hatari!

Hatari! is one of those action films of yore, the ones that will have you sighing, "They don`t make `em like they used to." Action, adventure, excitement, romance, a little music, a whole lot of comedy and the sort of great dialogue that only John Wayne can deliver, all go together in a 2½ hour package that is unbridled entertainment from beginning to end.

Yet, I approached Hatari! with a little trepidation. I have never been impressed with films about `The Great White Hunter`, especially those that were produced before or around the same era as this film. Some upper class twit would inevitably stride of into the jungle to bag some game, whilst being waited on hand and foot by the ignorant natives. However, Hatari! came as a pleasant surprise, despite the 1961 production date. In fact even in today`s society the film is halfway politically correct. These animals aren`t hunted for sport, rather they are captured alive as exhibits for zoos. While such a practice can`t be condoned today, and I doubt the film will get a Humane Society Seal of approval, it does show a remarkable degree of enlightenment for it`s own age, both in the treatment of animals, and the way the principle characters interact with the native population. If there is any one thing that would draw the ire of today`s moral establishment, it would be the sight of most of the characters chain-smoking their way through the film.

When all is said and done, the plot comes across as thin to say the least. A group of hunters must fill their quota of animals before the end of the season, but this is simply an excuse for a wonderful National Geographic tour of the wilderness of eastern Africa, with wildlife in amazing abundance. Also this film is a shining example that while you can take John Wayne out of the Western, you can`t take the Western out of John Wayne, and he looks as perfectly at home lassoing giraffes and rhinos from the seat of a jeep than he would roping longhorn cattle from the back of a horse. In fact some of the hunting sequences are absolutely thrilling with the rhino chases nail-biting in tension. Insurance companies would go absolutely bonkers to see modern actors getting up to half the stuff that these stars do in this film. To offset all this action, the film is wonderfully light-hearted, with healthy doses of romance and comedy. Sean Mercer has been burned by a past romance, and the arrival of photographer Anna Maria in a male environment puts his nose out of joint. Meanwhile Brandy de la Corte, whose father died on one of the hunts, has suddenly blossomed and various members of the group begin to see her in a new light, which is cause for further hilarity. (9/10)

The Shootist

This may not be John Wayne`s finest performance, I always prefer his role in The Searchers, but it`s up there. It certainly is his most measured performance, and The Shootist certainly ranks among the best films he ever made. It`s a peach of a film, with an excellent story, and a fine cast. Admittedly much of the poignancy that tinges the film comes with the knowledge that its star himself had cancer, yet even putting that aside, The Shootist has a lot to say about the Wild West and the people that lived it. America at the turn of the century was balanced between two worlds, where the old world of frontier justice was rapidly giving way to civilisation of a sort. The gunman had a strange sort of notoriety in America. Where else would killers be afforded the attention that today would be paid to pop stars? Yet the day of the gunman was drawing to a close and this movie reflects that transition well.

John Wayne gives a touching and understated performance as J. B. Books, a man coming face to face with his own mortality. This film is less about how he reacts, but how the people around him react. Like any famous person, his impending demise draws out the vultures that wish to cash in on his notoriety, but there is also a prize reaction from the Carson City Marshal Thibido, played with zeal by Harry Morgan. Lauren Bacall plays Bond Rogers, the widow whose guesthouse Books stays in, and the initially disapproving woman he manages to enchant. Ron Howard plays her son Gillom, who is in awe of the ailing gunfighter. There is also a fine performance from James Stewart as Dr Hostetler.

But while Books contemplates a peaceful demise in Widow Rogers` guesthouse, it soon becomes evident that his notoriety will always attract violence. Also when a man like Books is faced with a debilitating and terminal disease, going out in a blaze of glory is attractive in comparison. The inevitable shootout is directed with flair by Don Siegel, and certainly rivals the best Spaghetti Western shootouts. If you see the interviews, you can hear how the original ending of the novel was changed to what we see here. Personally I prefer the ending in the movie. It is to a degree sentimental, but given the tone of the film, and John Wayne`s reflective performance it is perfectly judged. It also is in many ways forward looking and optimistic, as Gillom is faced with a choice, and it is he who decides whether the shootout will herald the passing of the torch, or the closing of a chapter.

The Shootist is an exceptional film in its own right, and as the final film in John Wayne`s career, simply crowns the legacy of a genuine movie star. (9/10)

Donovan`s Reef

It takes a bit of a stretch to see John Wayne in a role that would normally be occupied by the likes of Cary Grant, but given the lively feel of the film and the occasional fracas, it comes as a happy compromise between a traditional sixties romantic comedy and your typical John Wayne movie. It`s certainly filled with a cast of interesting characters, not least of which is Lee Marvin giving another quirky performance as Donovan`s foil Gilhooley. Also providing entertainment are Cesar Romero as Marquis Andre de Lage, the island`s Governor, and Dorothy Lamour as Miss Lafleur. But it does occasionally seem as if Elizabeth Allen as Amelia is often overwhelmed by John Wayne`s as-usual expressive performance as Donovan.

If there is a drawback to Donovan`s Reef it`s its lack of coherence. The film has a rather disjointed and free flowing narrative that just seems to drift from one scene to another. It certainly introduces flamboyant characters like Gilhooley and Andre, but fails to make use of them satisfactorily. Indeed, Gilhooley vanishes after the first third of the film after a resounding introduction only to resurface close to the end as the King of The United States of America. In addition to the disjointed story, the film also seems to have another role as travelogue, making the most of the Polynesian setting, and while it is easy on the eye, it does tend to detract from what is going on.

Donovan`s Reef is splendid rambunctious entertainment, with old-fashioned romance and laughs aplenty. Being a John Wayne movie, there is the occasional expression of fisticuffs and a barroom brawl, but in the end it leaves you curiously unsatisfied. It`s enjoyable, yes, but something of a missed opportunity. (7/10)

True Grit

Picture the scene, on one side of a valley are four ruthless outlaws, on the other a solitary U.S. Marshal on his faithful horse. Only one side will survive this showdown. Taking the reins in his teeth, the Marshal spurs his steed forward, pistol in one hand, rifle in the other with all guns blazing. The outlaws also charge forward, intent on killing the Marshal. This is one of those moments that you will tell your grandkids about, even if it is only a movie.

True Grit is unmitigated fun from beginning to end. John Wayne creates his most memorable character as the boozing blustering Marshal Rooster Cogburn. He delivers every line with gusto and relish, but what really makes the film work is the wonderful chemistry between the Marshal and Mattie Ross as played by Kim Darby. In comparison to the cantankerous Cogburn, she is prim and proper, even puritanical, but absolutely determined to achieve her goals and will brook no opposition from any quarter. It`s also interesting to see early appearances from Robert Duvall and Dennis Hopper.

True Grit is one of those films that certainly is timeless, but also has a kind of broad-spectrum appeal that so many modern films lack. Yes, True Grit is a Western, but there is also gentle comedy, witty dialogue and excitement that will appeal to a large demographic. The characters are well written and rounded, but brought to life with performances that light up the screen. It`s also one of those films that just get better with repeat viewing. (9/10)

The Man Who Shot Liberty Valance

The Man Who Shot Liberty Valance is another great movie from director John Ford. It`s full of larger than life characters, and certainly entertains from beginning to end. It tells a compelling story and does it well. I was hooked from the moment the film started, and stayed glued to the screen right up till the end, despite already knowing who had shot Liberty Valance from the first time I had seen this classic film. It`s a film of contrasts, not least of which is the clash between the old west and the new way. But perhaps the most fascinating of contrasts is between John Wayne and James Stewart.

Stewart stars as the good-natured lawyer Ransom Stoddard, with his customary laconic style and soft-spoken manner, whereas Wayne is his usual larger than life self as Tom Doniphon, with whom Stoddard competes for the heart of Hallie, played by Vera Miles. It`s a gripping triangle, as Doniphon sees his dreams fade as Hallie falls for the charming young lawyer, but his own sense of honour won`t let him act against Stoddard. There are some other great performances, most notably from Andy Devine as the Marshal Link Appleyard, a man with the most recognisable voice in Western cinema. Also worth watching is Edmond O`Brien as Dutton Peabody, whisky soaked editor of the Shinbone Star. Lee Marvin is a typical heavy-lidded villain as Liberty Valance, but he does bring a spark of individuality to the role, and the menace he exudes when the character gets violent is certainly palpable, and not for the littlest kids to watch.

The Man Who Shot Liberty Valance is an entertaining film with much to recommend it, not least of which is a great script and the excellent performances. It`s rightfully a classic with some excellent humour and some gentle satire thrown in for good measure. The end is quite bittersweet and a little ambiguous too, with the old fashioned, gun-slinging hero in Tom Doniphon receiving what amounts to a pauper`s funeral, with hardly anyone to mourn him. It`s a clear example of how the careers of politicians are built on the blood sweat and tears of others, and even an honourable man like Ransom Stoddard must continue to live a lie as the legend has grown more potent than the truth. (9/10)

The Sons Of Katie Elder

For reasons that are best forgotten, this film was always known as the Sons Of Kate Adie in our house. No idea why, as I can`t recall the intrepid BBC journalist ever strapping on a pair of six-shooters and riding hell for leather into Tiananmen Square. Unfortunately, that is the most positive comment I can make about this film, as The Sons Of Katie Elder is just dull and unexciting. The script is about the worst thing in this film, turgid and uninspiring at the best of times, at others it`s downright nonsensical. The performances are lacklustre to say the least. John Wayne looks too old to be one of the sons, and he seems to just breeze his way through the material. Michael Anderson Jr. is invariably loud as Bud Elder, while Earl Holliman is quiet to the point of absence as Matt Elder. The only actor to come away with any credit is Dean Martin who manages to give Tom Elder a semblance of personality. Even still, the most voluble of the Elder clan has to be the dead mother Katie, who makes her presence felt whenever the camera lingers on her creaking rocking chair, which casts her shadow over the four brothers. Non Elder wise, the performances are not much better, with George Kennedy blustering his way through a by the numbers villain role, and Dennis Hopper whining incessantly as the snivelling son of Morgan Hastings. This certainly isn`t one film to have on your CV.

For a John Wayne movie, the singular lack of humour is the most telling flaw. There are the occasional sparks of excitement in the film, most particularly when Tom Elder decides to auction off his glass eye, and when the brothers get into the inevitable brawl, but these moments are few and far between, and even begin to look out of place with the rest of the film. (5/10)

El Dorado

El Dorado is the quintessential classic Western, providing thrills and spills, good old gun fighting action and great dialogue as well as more than a few laughs. John Wayne once again is that larger than life character that he is so well known for, but Robert Mitchum is excellent as the Sheriff laid low by the demon drink. It`s all tongue in cheek and pretty much played for laughs, especially the cure and his reaction to it. Providing the noxious cure is Mississippi, played by James Caan. His is an entertaining character, defined more by the ridiculous hat and pocket blunderbuss than any particular quirk of performance, and his tendency to lapse into poetry soon begins to grate. Arthur Hunnicutt as the cantankerous Bull Harris, who has an excellent way with words if not a bugle, completes the unconventional group.

El Dorado isn`t the kind of film made to provoke thought or make any particular statement about the old West, it`s just about fun pure and simple, and in that respect is delivers admirably. It`s the sort of basic good guys versus bad guys story that was a staple of the genre, relying more on stereotypes than any detailed characterisations. There`s always the code of the gunmen, a siege situation to promote some male bonding, some pretty women to remind the heroes what they are fighting for, and some foolhardy action sequences that will make those same women fret, and that anyone other than the heroes would have no chance of surviving. But what it boils down to is that these films weren`t about innovation and originality, they were about comfortable movies that delivered exactly what you expected. If you went to see a John Wayne movie, then by golly that is what you would get. El Dorado sticks to the perfect Western formula and keeps it fresh and entertaining. This is the kind of movie that you can rely on, and it`s nice to watch a dependable movie from time to time. (8/10)

It`s tempting to be cynical about boxsets like these. All these titles are available individually, and if you shop around you`ll probably find them cheaper than the boxset. The only thing that distinguishes the boxset from the individual discs is the box itself, and losing a couple of millimetres of shelf space to cardboard is hardly incentive to buy this. The whole thing smacks of last minute desperation. Time`s running low, and you pop into town on December 23rd, and dad`s gift is still waiting, then you hear this boxset calling you from the shop shelf. Don`t get me wrong, the films are fine, but as a boxset, it is ultimately lacking in extras. True fans of the Duke will be happy enough with these films, but surely one film could have been sacrificed for an extras disc. Interviews, commentaries, deleted scenes, behind the scenes footage, or biographies, for a John Wayne boxset, the only thing missing is John Wayne. Or, and I know it`s old fashioned, but how about a book? A bit of cardboard just isn`t enough.

But that`s the cynic in me. Another problem is that for a long while now, Westerns haven`t really been in vogue, and that situation doesn`t seem like changing anytime soon. Consequently, with very few exceptions, back catalogue Westerns just aren`t getting the top drawer DVD treatment. While flagship back catalogue titles get the full works in terms of restoration, both picture and sound, very few Westerns get a new lick of paint, and watching these films on disc is hardly dissimilar to watching them on TV.

Yet packaging and presentation aside, there is something about these films that defies the passage of time, an energy and a joie de vivre that is tangible across the television screen. They hark back to an age of simple fun and enjoyment that seems to have been lost in a sea of CGI and ever increasing budgets. These films were about entertainment, a contract that the studios made with audiences to deliver their favourite stars in the films that suited them best. These films are John Wayne movies, and that says something about them that is constant and undeniable. It was an age of greats, the age of the movie star, and today`s actors may be more talented, are certainly better paid, but they are still pale shadows of their illustrious predecessors.

In terms of the movies, this is certainly the perfect dad`s gift, and my dad will be grinning from ear to ear watching John Wayne with Robert Mitchum, Dean Martin, James Stewart, Lauren Bacall, and Lee Marvin, movie stars all. But I`ll let you into a little secret, I`ll watch these films more often than he will.