Director: Don Siegel
Screenplay: Miles Hood Swarthout and Scott Hale
Based on a Novel by: Glendon Swarthout
Starring: John Wayne, Lauren Bacall, Ron Howard, James Stewart, Richard Boone, Hugh O’Brian, Bill McKinney, Harry Morgan, John Carradine, Sheree North, Scatman Crothers
Country: USA
Running Time: 100 min
Year: 1976
BBFC Certificate: PG
The Shootist, directed by Don Siegel in 1976, based on Glendon Swarthout’s novel, is a fitting and quietly powerful farewell to both the Western genre’s golden age and to one of its most iconic figures, John Wayne, as it was his final film.
The Shootist is being released on Blu-ray by Arrow Video. The details of the limited edition disc can be found at the bottom of the page, and my thoughts on the film itself follow.
The film centres around J.B. Books (Wayne), an infamous but ageing gunfighter who learns he is dying of prostate cancer (something Swarthout had learnt was common back then, in the West) and seeks to spend his final days with dignity in a quiet town where an old doctor friend lives (played by James Stewart).
When people learn of his failing health, most try to exploit him. He finds solace, however, in the presence of Bond Rogers (Lauren Bacall), who owns the house in which he boards. She initially takes a dislike to Brooks, due to his profession and controlling behaviour, but warms to him over time.
The parallels between Books and Wayne are inescapable—Wayne himself had previously battled lung cancer and would die of stomach cancer three years after completing The Shootist. This haunting connection adds real poignancy to the film, especially given how the opening sequence cleverly uses clips from Wayne’s earlier roles, effectively framing The Shootist as a career-spanning tribute.
Wayne delivers a performance that is dignified yet gruff and grounded. There’s a restraint and vulnerability here that separates it from some of his more conventionally heroic past performances. It’s a role seemingly tailor-made for him (though he wasn’t actually first in line for the role), and he plays it with quiet intensity. Knowing that Wayne was genuinely suffering at the time lends an emotional weight that is hard to replicate.
The supporting cast is mightily impressive too, featuring James Stewart, Lauren Bacall, and a young Ron Howard – all of whom bring weight and warmth to the story. Stewart, in particular, is used sparingly but effectively, while Bacall and Howard bring a domestic realism that contrasts nicely with Books’ larger-than-life past. There are also a handful of other memorable classic Western actors playing minor roles. They were keen to get on board when Wayne’s involvement was announced, and their inclusion further enhances the eulogistic nature of the film.
Siegel is known best as the director of tough, no-nonsense action films and thrillers, so he seems an odd choice of director here, but his work is suitably restrained and respectful. Reportedly, Wayne initially tried to assert creative control, but Siegel held firm, and the result is a film that maintains a steady tone – more drama than action, more reflection than bravado.
The decision to keep much of the film indoors reflects not only Wayne’s health but also the story’s introspective nature. Still, there are impressive exteriors and a remarkable attention to period detail throughout, leading to the film getting an Oscar nomination for Best Art Direction-Set Decoration.
Elmer Bernstein provides a wonderfully rich score too. It strikes a nice balance between capturing the legendary status of the character and the poignant drama at the film’s core.
Though the screenplay (co-written by Miles Hood Swarthout, the son of the novel’s author) softens some of the source material’s darker edges, especially the ending, it maintains a tone that is appropriately bittersweet. I admired its honesty too, with some refreshingly frank conversations about death and legacy, on top of enough doses of humour to keep the film from getting maudlin.
While the film may feel a little slow or old-fashioned to modern viewers, that very pacing suits the story and its characters. It’s a film less interested in shootouts and more concerned with honour, memory, and how we meet our end. There are some brief flashes of violence though, and the finale is particularly well constructed. However, even this ends on a powerfully poignant note.
The Shootist wasn’t a massive box office success on release, but it has aged remarkably well. What might once have seemed too restrained now registers as elegant and mature. It’s fairly predictable, perhaps even a touch simplistic in its ideas of what makes a ‘good man’, but it’s also heartfelt and thoughtfully crafted.
As a farewell to John Wayne, The Shootist is incredibly effective – quietly touching, reflective, and ultimately deserving of the respect both the actor and the character command. As such, the film transcends its surface as a traditional Western and instead delivers something far more elegiac, sensitive, and deeply personal.
The Shootist is out on 18th August on region B Blu-Ray, released by Arrow Video. The transfer is great, with a clean image but natural tones, colours and grain. There was one random soft shot, but I imagine that was a source issue. I’ve used screengrabs throughout this review to give you an idea of how it looks. The sound is first-rate too.
LIMITED EDITION CONTENTS
– 2K remaster by Arrow Films from the original 35mm camera negative
– High Definition Blu-ray (1080p) presentation
– Original lossless mono audio
– Optional English subtitles for the deaf and hard of hearing
– Audio commentary by filmmaker and critic Howard S. Berger
– The Last Day, a visual essay by film critic David Cairns
– A Man-Making Moment, an interview with Western author C. Courtney Joyner
– Laments of the West, an appreciation of Elmer Bernstein’s score by film historian and composer Neil Brand
– Contemplating John Wayne: The Death of a Cowboy, a visual essay by filmmaker and critic Scout Tafoya
– The Shootist: The Legend Lives On, archival featurette
– Theatrical trailer
– Image gallery
– Reversible sleeve featuring original and newly commissioned artwork by Juan Esteban Rodríguez
– Illustrated collector’s booklet featuring writing by film critic Philip Kemp
Howard S. Berger provides a commentary. This is excellent. He’s done extensive research and jumps between analysing the film, looking at how it differs from the novel and reading out first-hand accounts from the cast and crew. The latter gives an eye-opening look at the clashes between Wayne and Siegel, as well as some other figures involved in the production.
There’s also a 40-minute interview with Western author C. Courtney Joyner. This is another strong addition to the set. Joyner digs deep into a number of aspects of the production and the lives and careers of a couple of the key players. He spends most of the time talking about the Swarthouts though, aided by the fact that he was a friend of Miles’.
There’s also an essay on Wayne by Scout Tafoya. This is a thought-provoking piece that looks at the complicated legacy of the icon.
There’s another essay on the disc, by David Cairns, that focuses largely on Siegel. This is also well-researched and engrossing.
Adding to the treasure trove of new extras is a piece by Neil Brand on The Shootist‘s score. This is great, clearly demonstrating how the music helps tell the story.
‘The Shootist: The Legend Lives On’ is an archival, cover-all piece. It’s very good, featuring a range of interviews, though it glosses over some of the on-set tensions mentioned elsewhere.
I didn’t get a copy of the booklet to comment on that, unfortunately.
So, Arrow have put together a wonderful package to complement this classic Western. Highly recommended.
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