Very well written (although I could've done without the flashback mechanism) and performances to match. The strange marriage of Stewart and Wayne comes off perfectly, and it's hard to beat Marvin as a heavy.

90.000

greate and beatiful from john ford

James Stewart, John Wayne, John Ford. Enough said.

Over-the-top acting, a multiplicity of Ford cliches, and yet this sentimental movie has a political density and a core of folk wisdom (not to mention a touch of Roshomon-like ambiguity) that makes it a masterpiece.

20 pionts for the ending only!

The beginning and ending of the film is too long, needed to be cut down a bit. John Wayne usually bugs me but he was good here, it was nice to see him get less screen time than the superior actor - Stewart. Probably my favorite John Ford movie so far.

71

A great movie. The cast is superb, the story is engaging, and it ends on a memorable note. A few weak points, but those are overshadowed by Ford's direction, Wayne, Stewart, Marvin, Miles, the rest of the cast, and the engaging story.

a bit uneven, there are extremely enveloping parts, but there are pieces of it that seem to float by without leaving any memory that something happened. who can deny stewart's acting prowess; but in this one here he just doesn't do anything special.

I mean, really? Best western ever made? I think it's shallow. Mediocre, even. And talk about a predictable plot twist.

James Stewart is perfect for his role and Wayne steps out of the limelight while giving a solid performance. By no means a surprising western but filled with enough charm and good direction to make it memorable.

Ford's last, and greatest masterpiece.

I'm a bit mixed about this. John Ford knew how to use Jimmy Stewart in exactly the same way that Frank Capra did. However, he didn't seem to know what to do with John Wayne. His companion was the more interesting character, especially the subtle criticisms of racism made in the film (and one obvious one that fell flat). Stewart and Lee Marvin were fantastic, but the mishandling of John Wayne and the useless Andy Devine frustrate me that I can't like this as much as The Searchers or Rio Bravo.

A melancholic, intelligent and such a moving western, that would be matched (and overcame, I would say) years later by Clint Eastwood's Unforgiven in its richness of feelings and beauty.

A great classic and the moment when the so-called classical western began to morph into the modern.

John Wayne sure likes to say “pilgrim” a lot. There’s certainly something appealing about his swagger. James Stewart is pretty much his usual self here. This isn’t quite your typical western - not so much of the sprawling vistas and wide-open spaces. Some of it was a bit dull, to be honest, but it had some nice lighting and music and was decent overall.

Almost a funeral dirge for the death of the classic Ford Western, Jimmy Stewart invades a classic white hat/black hat western, wearing no hat at all and an apron instead. "The Man Who Shot" deconstructs the Western in analyzing how the classic John Wayne is fun to watch, but ultimately perpetuates a cycle of violence that brings us Western after Western, leaving Jimmy Stewart to kill the system altogether. The pacing of the ending is off but it's fun. Score is not a grade.

#72