With his real name he would not have made his way into the world of western movies. But sometimes to give birth to a myth you have to cancel the person you have always been until then. And John Wayne did it to such an extent that he literally changed his name and surname, even in the registry office. The hero of many men and women and one of the proponents of the great American cinema was called, in fact, Marion Morrison and he was a provincial boy who came from Iowa. Who would have thought that? 

Summary

  • A “duke” who became a cowboy
  • A long apprenticeship and a great success
  • The last years
  • John Wayne film

A “duke” who became a cowboy

Marion Mitchell Robert Morrison was born in Iowa on May 26, 1907 . She was only four when the family moved to Los Angeles, California in search of a better future. Young Marion was a tall, stout boy who often went out with his own little dog named Little Duke. Neighbors then nicknamed him Big Duke , or Duke (the duke). To attend university, at 17 I started doing small jobs around, including appearing in Hollywood movies. Thus it was that he was discovered and hired for a small role in western films. It was the production that suggested the use of a new name and the boy chose John Wayne.

A long apprenticeship and a great success

The first film was a complete failure, and Marion (who now introduced herself as John Wayne) spent years doing only small roles or unimportant parts. In those years, however, he became friends with a young director, John Ford, thanks to whom he will soon interpret the best films of his life. Red Shadows (1939) was the first real hit , followed by The Fort Apache Massacre, The Wild Paths, The Man Who Killed Liberty Valance , and dozens of others.

The 1950s and 1960s marked the pinnacle of John Wayne’s success, his filmography and a huge list. In the early seventies, to distinguish himself from the role of eternal cowboy, Wayne started making different films: war ( Green Berets ), detective stories ( A dirty business, Lieutenant Parker; Inspector Brannigan ) and other genres, such as one on the circus world! He was also the director of two films: The Battle of the Alamo and Green Berets .

The last years

John Wayne married three times and his seven children now bear his stage last name. From his first wife Josephine Saenz he had four children: Patrick, Tony, Melinda and Michael. His third wife, Pilar Palette, gave him two daughters – Aissa and Marissa – and his son, also an actor, Ethan. His last years were less intense , but never far from the set. 

I always continue to act and direct, despite two tumors undermining his health. The first, lung cancer, was surgically removed. A few years later, however, the disease attacked his stomach again and led to his death on 11 June 1979 . The actor’s last public appearance took place in March of the same year, at the Oscars ceremony, in which the audience gave him a standing ovation and a very long applause. With John Wayne a man disappeared and an eternal myth arose.

John Wayne film

Here is the complete filmography of John Wayne:

  • Brown of Harvard, by Jack Conway (1926) – uncredited
  • Bardelys the Magnificent (Bardelys the Magnificent), by King Vidor (1926) – uncredited
  • The Great K & A Train Robbery, directed by Lewis Seiler (1926) – uncredited
  • Annie Laurie the Scottish Maiden, by John S. Robertson (1927) – uncredited
  • The Drop Kick, by Millard Webb (1927) – uncredited
  • Mother Machree, directed by John Ford (1927) – uncredited
  • The Last Joy (Four Sons), directed by John Ford (1928) – uncredited
  • Hangman’s House, directed by John Ford (1928) – uncredited
  • Noah’s Ark, by Michael Curtiz (1928) – uncredited
  • Speakeasy, directed by Benjamin Stoloff (1929) – uncredited
  • The Black Watch, by John Ford (1929) – uncredited
  • Words and Music, directed by James Tinling (1929) – credited as Duke Morrison
  • Salutation (Salute), by John Ford and David Butler (1929) – uncredited
  • The Forward Pass, directed by Edward F. Cline (1929) – uncredited
  • The submarine (Men Without Women), by John Ford (1930) – uncredited
  • Born Reckless, directed by Andrew Bennison and John Ford (1930) – uncredited
  • Rough Romance, by AF Erickson (1930) – uncredited
  • Cheer Up and Smile, by Sidney Lanfield (1930) – uncredited
  • The Big Trail, directed by Raoul Walsh (1930)
  • Girls Demand Excitement, regia di Seymour Felix (1931)
  • Three Girls Lost, regia di Sidney Lanfield (1931)
  • Arizona, by George B. Seitz (1931)
  • The Deceiver, regia di Louis King (1931)
  • The Range Feud, by D. Ross Lederman (1931)
  • Maker of Men, regia di Edward Sedgwick (1931)
  • The Shadow of the Eagle, regia di Ford Beebe (1932)
  • Texas Cyclone, by D. Ross Lederman (1932)
  • Two-Fisted Law, regia di D. Ross Lederman (1932)
  • Heart of Lovers (Lady and Gent), by Stephen Roberts (1932)
  • Uragano express (The Hurricane Express), regia di J.P. McGowan e Armand Schaefer (1932)
  • Ride Him, Cowboy, regia di Fred Allen (1932)
  • That’s My Boy, directed by Roy William Neill (1932) – uncredited
  • The Big Stampede, regia di Tenny Wright (1932)
  • Haunted Gold, regia di Mack V. Wright (1932)
  • The Telegraph Trail, regia di Tenny Wright (1933)
  • Heroes without a homeland (The Three Musketeers), by Colbert Clark and Armand Schaefer (1933)
  • Wandering Wing (Central Airport), directed by William A. Wellman (1933) – uncredited
  • Somewhere in Sonora, regia di Mack V. Wright (1933)
  • The Life of Jimmy Dolan, by Archie Mayo (1933)
  • His Private Secretary, regia di Phil Whitman (1933)
  • Baby Face, by Alfred E. Green (1933)
  • The Man from Monterey, regia di Mack V. Wright (1933)
  • Riders of Destiny, by Robert N. Bradbury (1933)
  • College Coach, directed by William A. Wellman (1933) – uncredited
  • Sagebrush Trail, by Armand Schaefer (1933)
  • The Lucky Texan, directed by Robert N. Bradbury (1934)
  • West of the Divide, regia di Robert N. Bradbury (1934)
  • Blue Steel, by Robert N. Bradbury (1934)
  • The Man from Utah, by Robert Bradbury (1934)
  • Randy Rides Alone, by Harry L. Fraser (1934)
  • The Star Packer, directed by Robert Bradbury (1934)
  • The Trail Beyond, by Robert Bradbury (1934)
  • The Lawless Frontier, directed by Robert Bradbury (1934)
  • Neath the Arizona Skies, by Harry L. Fraser (1934)
  • I gangsters del Texas (Texas Terror), regia di Robert Bradbury (1935)
  • Rainbow Valley, regia di Robert Bradbury (1935)
  • The Desert Trail, directed by Lewis D. Collins (1935)
  • The Dawn Rider, by Robert Bradbury (1935)
  • Paradise Canyon, regia di Carl Pierson (1935)
  • Towards the West! (Westward Ho), by Robert Bradbury (1935)
  • A Sheriff for Weather Spring (The New Frontier), by Carl Pierson (1935)
  • The Gold of Picano Valley (Lawless Range), by Robert Bradbury (1935)
  • The Oregon Trail, regia di Scott Pembroke (1936)
  • The Lawless Nineties, by Joseph Kane (1936)
  • King of the Pecos, by Joseph Kane (1936)
  • The Lonely Trail, directed by Joseph Kane (1936)
  • Winds of the Wasteland, by Mack V. Wright (1936)
  • Sea Spoilers, regia di Frank R. Strayer (1936)
  • Conflict, by David Howard (1936)
  • California Straight Ahead!, regia di Arthur Lubin (1937)
  • I Cover the War, regia di Arthur Lubin (1937)
  • Idol of the Crowds, regia di Arthur Lubin (1937)
  • Adventure’s End, regia by Arthur Lubin (1937)
  • Born to the West, directed by Charles Barton (1937)
  • Pals of the Saddle, regia di George Sherman (1938)
  • Overland Stage Raiders, regia di George Sherman (1938)
  • Santa Fe Stampede, by George Sherman (1938)
  • Red River Range, regia di George Sherman (1938)
  • Red Shadows (Stagecoach), by John Ford (1939)
  • The Night Riders, regia di George Sherman (1939)
  • Texas Kid (Three Texas Steers), regia di George Sherman (1939)
  • Wyoming Outlaw, regia di George Sherman (1939)
  • New Frontier, by George Sherman (1939)
  • The First Rebel (Allegheny Uprising), by William A. Seiter (1939)
  • The Human Beast (Dark Command), by Raoul Walsh (1940)
  • Three Faces West, directed by Bernard Vorhaus (1940)
  • The Long Voyage Home, by John Ford (1940)
  • Seven Sinners, directed by Tay Garnett (1940)
  • A Man Betrayed, by John H. Auer (1941)
  • Lady from Louisiana, by Bernard Vorhaus (1941)
  • The Shepherd of the Hills, by Henry Hathaway (1941)
  • Lady for a Night, by Leigh Jason (1942)
  • Reap the Wild Wind, directed by Cecil B. DeMille (1942)
  • The Spoilers, by Ray Enright (1942)
  • I Dominatori (In Old California), by William C. McGann (1942)
  • Flying Tigers, by David Miller (1942)
  • Black Gold Rush (Pittsburgh), by Lewis Seiler (1942)
  • La grande flame (Reunion in France), by Jules Dassin (1942)
  • Miss and the Cowboy (A Lady Takes a Chance), by William A. Seiter (1943)
  • Black Earth (In Old Oklahoma), directed by Albert S. Rogell (1943)
  • The Conquerors of the Seven Seas (The Fighting Seeabees), directed by Edward Ludwig (1944)
  • Novel of the West (Tall in the Saddle), by Edwin L. Marin (1944)
  • Flame of the Barbary Coast, Joseph Kane (1945)
  • Back to Bataan, by Edward Dmytryk (1945)
  • Dakota, by Joseph Kane (1945)
  • I sacrificati (They Were Expendable), regia di John Ford (1945)
  • California Express (Without Reservations), regia di Mervyn LeRoy (1946)
  • The Last Conquest (Angel and the Badman), by James Edward Grant (1947)
  • The Great Conquest (Tycoon), by Richard Wallace (1947)
  • The Fort Apache Massacre (Fort Apache), by John Ford (1948)
  • Red River, by Howard Hawks (1948)
  • Three Godfathers, by John Ford (1948)
  • Wake of the Red Witch, by Edward Ludwig (1948)
  • After Waterloo – The Fighting Kentuckian, by George Waggner (1949)
  • The Knights of the North West (She Wore a Yellow Ribbon), by John Ford (1949)
  • Iwo Jima, Desert of the Fuco (Sands of Iwo Jima), guided by Allan Dwan (1949)
  • Rio Bravo (Rio Grande), directed by John Ford (1950)
  • Operation Pacific, directed by George Wagner (1951)
  • Flying Leathernecks, by Nicholas Ray (1951)
  • Miracle in Motion – three-minute short film, narrator (1952)
  • The Quiet Man, by John Ford (1952)
  • Marijuana (Big Jim McLain), regia di Edward Ludwig (1952)
  • Three Lives – short film, commentator (1953)
  • L’irresistibile Mr. John (Trouble along the Way), by Michael Curtiz (1953)
  • Island in the Sky, directed by William A. Wellman (1953)
  • Hondo, by John Farrow (1953)
  • Prisoners of Heaven (The Higt and the Mighty), by William A. Wellman (1954)
  • The Sea Chase, by John Farrow (1955)
  • Blood Alley, by William A. Wellman (1955)
  • Screen Directors Playhouse – serie TV, 1 episodio (1955)
  • The Conqueror, by Dick Powell (1956)
  • The Searchers, by John Ford (1956)
  • The Wings and Eagles, by John Ford (1957)
  • Jet Pilot, directed by Josef von Sternberg (1957)
  • Timbuctu (Legend of the Lost), regia di Henry Hathaway (1957)
  • The Barbarian and the Geisha, by John Huston (1958)
  • My wife… what a woman! (1958) – himself, uncredited
  • One Dollar of Honor (Rio Bravo), by Howard Hawks (1959)
  • The Horse Soldiers, by John Ford (1959)
  • The Alamo, by John Wayne (1960)
  • Fists, pupae and nuggets (North to Alaska), directed by Henry Hathaway (1960)
  • Wagon Train – TV series, 1 episode (1960)
  • I comancheros (The Comancheros), by Michael Curtiz (1961)
  • The Man Who Shot Liberty Valance (The Man Who Shot Liberty Valance), by John Ford (1962)
  • Hatari!, regia in Howard Hawks (1962)
  • The Longest Day, by Ken Annakin and Andrew Marton (1962)
  • Fred Astaire – TV series, 1 episode (1962)
  • La conquista del West (How the West Was Won), regia di John Ford, Henry Hathaway (1962)
  • The Three of the Southern Cross (Donovan’s Reef), by John Ford (1963)
  • McLintock !, Andrew V. McLaglen (1963)
  • Circus World, directed by Henry Hathaway (1964)
  • The Greatest Story Ever Told, directed by George Stevens (1965)
  • First Victory (In Harm’s Way), directed by Otto Preminger (1965)
  • Katie Elder’s Four Children (The Sons of Katie Elder), directed by Henry Hathaway (1965)
  • Fighters of the Night (Cast a Giant Shadow), directed by Melville Shavelson (1966)
  • Howard Hawks Regal El Dorado (1966)
  • The War Wagon, by Burt Kennedy (1967)
  • The Green Berets, by John Wayne (1968)
  • Hellfighters, by Andrew V. McLaglen (1968)
  • True Grit, by Henry Hathaway (1969)
  • The Undefeated, by Andrew V. McLaglen (1969)
  • Chisum, Andrew V. McLaglen (1970)
  • Rio Lobo, regia in Howard Hawks (1970)
  • Big Jake, by George Sherman (1971)
  • I cowboys (The Cowboys), regia di Mark Rydell (1972)
  • Cancel My Reservation (1972) – himself, uncredited
  • That Damn Shot at the Rio Grande Express (The Train Robbers), directed by Burt Kennedy (1973)
  • The Tin Star (Cahill US Marshal), directed by Andrew V. McLaglen (1973)
  • It’s a dirty business, Lieutenant Parker! (McQ), by John Sturges (1974)
  • Inspector Brannigan, Death Follows Your Shadow (Brannigan), directed by Douglas Hickox (1975)
  • “El Grinta” (Rooster Cogburn) is back, directed by Stuart Millar (1975)
  • The Shootist, by Don Siegel (1976)

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