Review: The Shootist

Aging, notorious gunfighter J.B. Books (John Wayne) is informed by long-time friend Doc Hostetler (Jimmy Stewart) that he has incurable cancer and only about two months to live. In order to live out his days peacefully and with dignity (despite being in enormous pain that even prescribed laudanum is unable to entirely numb), he rents a room from widow Lauren Bacall, who initially has no idea of his infamy. However, her impressionable son Gillam (Ron Howard) does, and starts to hero worship the man, which troubles no-nonsense Bacall, though as time goes on, she comes to bond with the dying man. Mean-spirited Marshal Harry Morgan, by contrast seems to take great delight in poor Books’ illness and can’t wait for him to be gone. Meanwhile, a trio of killers (card-sharp Hugh O’Brian, bully Bill McKinney, and grudge-holding gunslinger Richard Boone) also get wind of Books’ arrival in town, and each man would very much like to kill Books before the illness does. The always welcome Scatman Crothers plays a well-meaning stable hand, whilst John Carradine is a rather  opportunistic undertaker. Sheree North plays a former flame who, along with journalist Rick Lenz, tries to make money off of Books’ plight as well.

Although John Wayne didn’t actually die from cancer until three years later, there can be no doubt that this likeable, though melancholy 1976 western-drama from Don Siegel (“Dirty Harry”, “Hell is For Heroes”, “Escape From Alcatraz”) packs an emotional wallop anyway. The film marks the end of a career, and an entire era in cinema. It’s not a masterpiece, but this is arguably the Duke’s best-ever performance (and sadly his last). The film sure does leave you with a bit of a lump in your throat, as it offers us a more complex, remarkably human John Wayne than we had seen in previous decades, without the man losing his stubborn, macho courage and typically dominant, iconic screen presence. Certainly it’s a nice swan song, starting by depicting Wayne’s infamous exploits via flashbacks (really clips from previous Duke films), a lovely touch. It’s almost a love letter to the actor/icon, with even some of the cast looking like they might’ve been saying goodbye to a friend. Jimmy Stewart and Sheree North, in particular to me felt like the film was personal for them (Apparently Wayne himself had asked for Bacall, Stewart, Boone, and Carradine to be cast). Watch the scene where Stewart’s doctor has to tell Duke’s John Books that he has inoperable cancer and tell me there’s not a little bit of Jimmy Stewart the person in there. Sure, Wayne was apparently not cancer-stricken at the time, but he was clearly in his twilight here and did get ill with the flu during filming).

Lauren Bacall is excellent as the woman who is initially wary of Books, but eventually comes to understand and care about the dying gunfighter. Ron Howard is also better than most child actors, as clichéd as his role is. Sheree North’s virtual cameo is especially affecting, though her companion played by Rick Lenz is the film’s one dud acting note. Lenz is wooden. Harry Morgan’s cynically comedic character doesn’t really belong here, but he’s quite funny nonetheless. Scatman Crothers’ trademark ebullience is certainly welcome here, even if his stable hand character is not much of anything. The great John Carradine (Duke’s co-star in 1939’s “Stagecoach” and 1962’s “The Man Who Shot Liberty Valance”) was born to play an undertaker and also lends his great speaking voice to the film.

However, for all that is very good here, it ends up being frustrating – it’s two-thirds a great film. I was especially disappointed with the script’s treatment of the three heavies. Three bad guys is probably too many for one less than two hour film, and whilst Hugh O’Brian, Bill McKinney, and the always terrific Richard Boone are all up to the task of being bad, the script just doesn’t have time to make us terribly interested in them. I’m sure there’s a reason why Books is given three adversaries to deal with, but Boone on his own would’ve more than sufficed. So it’s a shame that such a great actor as Boone wasn’t afforded more screen time. I think part of the problem with the film is the choice of director. Siegel is a rock-solid hand, but the film is too short for so many characters and great actors walking around. Siegel is not really your epic-length Sergio Leone or John Sturges-type, he’s more geared for crime and action than what is really a character-driven western drama. So the film ends up being a frustrating mixture of A and B picture, really. Don’t get me wrong, Siegel is a very solid, dependable director who has made some good films (“Dirty Harry” and “Escape From Alcatraz” especially). However, in another, more suited director’s hands, this could’ve been Wayne’s “The Misfits” (my favourite film of all-time, a film about the dying of the old west, and featuring several actors towards the end of their lives/careers).

There’s the makings of an all-time classic here, but it never quite gets there. A larger-than-life screen icon’s last stand, this has the deep feeling of a real-life goodbye weaved through the fabric of a fictional western. Wayne gives perhaps his best-ever performance in sadly his last-ever performance. The supporting cast is more than game. It’s just a shame the film is only good, not great. Still, good is good and the film is worth seeing. The screenplay is by Miles Hood Swarthout and Scott Hale, the former adapting his dad’s novel, and the latter a one-shot film screenwriter and occasional dialogue coach who also had small roles in several Siegel films.

Rating: B-