Un tiro en la noche
Un tiro en la noche
Director:
John FordCámara:
William H. ClothierMúsica:
Cyril J. MockridgeReparto:
John Wayne, James Stewart, Vera Miles, Lee Marvin, Edmond O'Brien, Andy Devine, Ken Murray, John Carradine, Jeanette Nolan, John Qualen, Willis Bouchey (más)Streaming (2)
Sinopsis(1)
Ransom Stoddard, un anciano senador del Congreso de los Estados Unidos, explica a un periodista por qué ha viajado con su mujer para asistir al funeral de su viejo amigo Tom Doniphon. La historia empieza muchos años antes, cuando Ransom era un joven abogado del este que se dirigía en diligencia a Shinbone, un pequeño pueblo del Oeste, para ejercer la abogacía e imponer la ley. Poco antes de llegar, fue atracado y golpeado brutalmente por el temido pistolero Liberty Valance. (Paramount Pictures España)
(más)Reseñas (4)
A Western as black-and-white as the Reaper’s last case. At the beginning, it’s pretty naïve, but eventually evil shows itself and you get a proper experience loaded with suspense. What’s also interesting about the movie is the fact that instead of colts, the characters seem to be using politics, which I didn’t find too great. But what can you do, right? It might be the very reason why I won’t easily forget this movie. I don’t think there are more Western movies like this one.
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The development or decline of a genre usually represents a long-term process that cannot be symbolized by a single title or the name of a creator. A certain exception is the classic western, which could have the premiere of the film The Man Who Shot Liberty Valance listed as its date of death on a potential monument. It's not that the western hasn't already been declining for a few years now, but this title perfectly captures its stiffness, exhaustion, and above all, inability to entertain. It doesn't help at all that a strong proven team, led by experienced director John Ford and acting legend John Wayne, participated in its production. The film cannot escape the trap of genre conventions, and its creators cannot convincingly and impressively break those conventions, even where they try to do so - like in the motif of shooting the villain Valance from an ambush and the unjustly earned fame of the hero for neutralizing the criminal. The film attacks the boundaries of absurdity when it pays homage to the American legal system and political system. Sergio Leone later contributed to the renaissance of the genre with his spaghetti westerns, bringing new ideas, energy, and playfulness to them. I recommend watching The Man Who Shot Liberty Valance and Leone's film The Good, the Bad and the Ugly in one day. That is the best way to see what is wrong with Ford's drama. Overall impression: 40%.
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Probably a better film than three stars, but the poor newbie dubbing completely ruined it for me. I haven't heard anything this appalling in a long time. Hopefully, in time, I'll get the DVD and watch The Man Who Shot Liberty Valance with subtitles, enjoy the acting of Wayne, Stewart and Marvin (who won't have an awkward voice), maybe even hear the music, and perhaps laugh at the jokes that the dubbing turned into an endlessly awkward affair. A television disgrace. Gross.
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John Ford was known primarily for filming westerns that deviated slightly from the standard. "The Man Who Shot Liberty Valance" is exactly such a case. It's not a classic western that focuses on shootouts, although an important one does occur (the killing of Liberty Valance), but it's mainly about relationships between people and what is true, and whether it is ever truly the best choice. When to lie and when to let the truth come out. Can lying be in the interest of the majority? Furthermore, the film creates a certain dilemma at the end. Which version, the one presented to us first, or the one we learn later, should we actually believe? What if another lie served the greater good? A reflection on where honor ends, where friendship ends, and where something more begins. I think the ending can leave you quite conflicted, which is definitely an aspect that suits a western that is, after all, quite stretched out. However, John Wayne delivers one of his best performances, and for that, you must love the film. So if you are fans of the genre, or are willing to accept its transcendence, which definitely exists and works in this case.
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