Synopsis
Two great stars together for the first time!
A senator, who became famous for killing a notorious outlaw, returns for the funeral of an old friend and tells the truth about his deed.
The Man Who Shot Liberty Valance
Cast
John Wayne James Stewart Vera Miles Lee Marvin Edmond O'Brien Andy Devine Ken Murray John Carradine Jeanette Nolan John Qualen Willis Bouchey Carleton Young Woody Strode Denver Pyle Strother Martin Lee Van Cleef Robert F. Simon O. Z. Whitehead Paul Birch Joseph Hoover Charles Akins John Barton Rudy Bowman Chet Brandenburg Jerry Brown George Bruggeman Noble 'Kid' Chissell Russell Custer Duke Fishman Show All…
Director
Producers
Writers
Story
Editor
Cinematography
Assistant Directors
Art Direction
Set Decoration
Visual Effects
Stunts
Composers
Sound
Costume Design
Makeup
Studios
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Language
Alternative Titles
L'uomo che uccise Liberty Valance, El hombre que mató a Liberty Valance, Човекът, който застреля Либърти Валънс, Mies joka ampui Liberty Valancen, Ο άνθρωπος που σκότωσε τον Λίμπερτι Βάλανς, Aki lelőtte Liberty Valance-t, Ribati baransu wo utta otoko, Czlowiek, który zabil Liberty Valance'a, Kahramanin Sonu, Mannen som sköt Liberty Valance, Un tiro en la noche, O Homem que Matou o Facínora, 리버티 벨런스를 쏜 사나이, Людина, яка застрелила Ліберті Веленса, Der Mann, der Liberty Valance erschoß, Der Mann, der Liberty Valance erschoss, 리버티 밸런스를 쏜 사나이, Mannen som skjøt Liberty Valance, L'Homme qui tua Liberty Valance, O Homem que Matou Liberty Valance, Человек, который застрелил Либерти Вэланса, Kahramanın Sonu, 双虎屠龙, Manden der skød Liberty Valance, Muž, který zastřelil Liberty Valance, האיש שירה בליברטי ואלאנס, Człowiek, który zabił Liberty Valance'a, Bărbatul care l-a împușcat pe Liberty Valance, リバティ・バランスを射った男, L'home que va matar Liberty Valance, مردی که لیبرتی والانس را کشت, 雙虎屠龍
Genre
Themes
Releases by Date
Theatrical limited
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USAPG-13
03 May 1962
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UK
05 Nov 1962
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Spain
07 Jan 1963
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Spain
Theatrical
22 Apr 1962
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USAPG-13
23 Apr 1962
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Canada
28 May 1962
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UKU
08 Jun 1962
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IrelandPG
04 Aug 1962
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Japan
12 Sep 1962
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Italy
14 Sep 1962
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Finland
20 Sep 1962
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Germany12
27 Sep 1962
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Argentina
28 Sep 1962
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Sweden15
02 Oct 1962
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FranceTP
26 Oct 1962
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South Africa
28 Nov 1962
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Portugal12 anos
01 Jan 1963
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Brazil12 anos
08 Feb 1963
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Denmark15
28 Mar 1963
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Mexico
12 Jul 1963
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Australia
02 Feb 1966
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Turkey
13 May 1971
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Italy
22 Jun 2005
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France
27 Jun 2012
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Netherlands12
06 Aug 2014
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France
Physical
18 Jan 2002
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Netherlands12
06 Jun 2005
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Brazil
05 Aug 2020
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United Arab Emirates
24 May 2022
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Israel
TV
10 Mar 1971
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Spain
03 Jun 1999
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Germany
21 Oct 2014
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Poland12
Releases by Country
Argentina
27 Sep 1962
- Theatrical
Australia
12 Jul 1963
- Theatrical
Brazil
01 Jan 1963
- Theatrical12 anos
06 Jun 2005
- Physical DVD
Canada
23 Apr 1962
- Theatrical
Denmark
08 Feb 1963
- Theatrical15
Finland
14 Sep 1962
- Theatrical
France
02 Oct 1962
- TheatricalTP
22 Jun 2005
- Theatrical Re-release
06 Aug 2014
- Theatrical Re-release, restored version
Germany
20 Sep 1962
- Theatrical12 West Germany
03 Jun 1999
- TV
Ireland
08 Jun 1962
- TheatricalPG
Israel
24 May 2022
- Physical Blu-ray
Italy
12 Sep 1962
- Theatrical
13 May 1971
- Theatrical Re-release
Japan
04 Aug 1962
- Theatrical
Mexico
28 Mar 1963
- Theatrical
Netherlands
18 Jan 2002
- Physical12 DVD
27 Jun 2012
- Theatrical12 Blu ray
Poland
21 Oct 2014
- TV12
Portugal
28 Nov 1962
- Theatrical12 anos
South Africa
26 Oct 1962
- Theatrical
Spain
05 Nov 1962
- Theatrical limited Madrid
07 Jan 1963
- Theatrical limited Barcelona
10 Mar 1971
- TV
Sweden
28 Sep 1962
- Theatrical15
Turkey
02 Feb 1966
- Theatrical
UK
03 May 1962
- Theatrical limited London
28 May 1962
- TheatricalU
USA
13 Apr 1962
- Theatrical limitedPG-13
22 Apr 1962
- TheatricalPG-13
United Arab Emirates
05 Aug 2020
- Physical Blu-ray
Popular reviews
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83
"You knew where I wanted to go, didn't you?"
"Well, you said you wanted to see the cactus blossoms..."
At once yet another crystallization of John Ford's frontier community, as well as a brutal examination of the mythic ramifications of 'The West' as it is known, and not how it actually was. Very much a definitive late-Western, echoing tendencies of Noir and realism from Anthony Mann and proceeding the revisionist era. But John Ford was already ahead of the game, and The Man who Shot Liberty Valance defines itself as a haunted portrait of a dying world, with gestural significance aplenty. Even before the titular story begins, the prologue is packed with pain and melancholy, and it establishes a story of political transition, of moral righteousness, lawlessness, and the apathy amidst America's construction. Vera Miles provides one of the greatest performances in any John Ford film.
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now listen here pilgrim, this is one of the most moving & melancholic films ever made
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Leone said this was the film where Ford discovered pessimism. Apparently this is the only Ford film Leone ever saw, but never mind that for now. It is certainly the bleakest in a canon typified by failures in victory, forced retirements, and the burial of truth to maintain a false but reassuring sense of order. The latter comes to the fore here with even more force than in the resigned iconization of the Custer figure in FORT APACHE, as a man who comes to the West to bring law must instead defend it with a gun. The fallout presents him with the relief of not having taken a life but being tasked for exploiting that death for good, a dab…
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idealism corrupted and transformed into soulless bureaucracy. tale as old as time. hopefully we can break the cycle.
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Ford’s bookend to Stagecoach, a reimagining of the mythic westerns he perfected over the years, only weathered with cynicism. Thoughtful and gritty, political and pessimistic, Liberty Valance feels like a bridge that connects the golden age western to the violent, bleakness of the sun soaked spaghetti realm—Makes sense that this is Leone’s favorite Ford picture.
This feels like the end of a cycle in a way... the aging monolithic actors and the examination of heroic irony, the wrestling with the myths Ford himself helped create while deconstructing it all with one of Hollywood’s greatest lines:
“This is the West, Sir—When the legend becomes fact, print the legend.”
Also, Lee fucking Marvin and Lee Van Cleef. -
The appearance of John Wayne and James Stewart in The Man Who Shot Liberty Valance accentuates the diverse concepts in play in this western directed by John Ford. It’s adapted from a 1953 short story written by Dorothy M. Johnson, and it principally examines the evolution from rugged frontier individuality to enlighten law and order. With a script by James Warner Bellah and Willis Goldbeck, it’s one of Fords masterpieces and intrinsically one of the cornerstones upon which his huge reputation’s constructed. The Man Who Shot Liberty Valance is beautifully shot and stars two actors in the September of their years delivering sterling performances.
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"You know what scared 'em—the spectacle of law and order here, risin' up out of the gravy and the mashed potatoes!"
The Man Who Shot Liberty Valance presents the Wild West as a flashback about a dead guy. This narrative framework is crucial to Ford's deconstruction of his own mythology (as Sergio Leone proclaimed, this is where Ford "learned pessimism"): the Western hero's fate was always already sealed because his history/fantasy was only ever a retroactive narrativization. John Wayne is much more than just a dead guy in a coffin, he's a vanishing mediator, a symbol of the unacknowledged violence of the foundation on which society rests. The town has changed so much since the arrival of the railroad (a…
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