 those who question the relevance of classic film to American political meta-narrative, one need only mention Ronald Reagan who rose to power by confusing the two realms.
The two Ford movies are Fort Apache in 1947 and The Man Who Shot Liberty Valance in 1962. The former is a cavalry and Indians story and the latter is a gunfighter and bad man story. Ford was an amazing director and both are excellent fiction films that reinforce Manifest Destiny and American cultural values — to the point of necessarily burying unpleasant truths and encouraging popular legends.
At the end of The Man Who Shot Liberty Valance, a newspaper editor learns that dude lawyer Jimmy Stewart really didn’t shoot the bad gunman Liberty Valance, played by Lee Marvin. The shooting of Valance in a western town at night made Stewart famous and got him elected a US senator. The editor learns that gunfighter John Wayne knew Valance would kill his tenderfoot pal Stewart, so Wayne had dry-gulched Valance with a rifle from a nearby alley.uestion is, will the editor spill the beans and destroy good-guy Stewart’s senatorial career. In what is now an iconic line, the editor says: “This is the West, sir. When the legend becomes fact, print the legend.”
Both the official and popular histories of the Vietnam War are rife with this kind of slippage. The emotional emphasis on anti-war activists “spitting” on soldiers and the emphasis on the heroics of individual soldiers in Vietnam are just two examples. In both cases, the larger, historical realities are buried in favor of popularly endorsed and highly publicized narratives on an individual and personal level. The fact anti-war activists were actually opposing LBJ, Robert McNamara, Richard Nixon, Henry Kissinger and the cruel and insidious war they and the institutions they controlled were determined to escalate is lost in the cynical, patriotic focus on individual heroism.
The colonel’s debacle and a newly promoted Wayne promotes the legend by Unknown
Fort Apache is a perfect analogy for the Vietnam War. John Wayne is a cavalry captain in Apache country; he’s a good soldier who respects Cochise and his braves. At this point, along comes Henry Fonda as a tight-ass lieutenant colonel taking command of the garrison; he resents being sent with his teenage daughter Shirley Temple to this smelly armpit of the world — in this case, Ford’s favorite location, the incredibly austere Monument Valley in Utah.
Besides the grand-scale scenes of precise cavalry units advancing on horseback amongst the mesas and desert tabletops, there’s the usual John Ford cotillion dances with officers in formal uniforms and ladies in gowns that are simply preposterous for the frontier. And there’s the usual male camaraderie and buffoonery amongst the enlisted men centered on drinking to lighten things up. Plus a Romeo and Juliet romance between upper class Temple and the fresh West Point 2nd lieutenant son of grizzled Sergeant Major Ward Bond, a Civil War Medal Of Honor winner.
Fonda wants to reestablish military discipline at the fort and to regain the glory he once had as a general in the Civil War. (It seems rank was shuffled considerably once that conflagration was over.) He also wants to rip into the goddamned savages who caused him this ignoble assignment.
Fonda reluctantly allows Wayne to go with only a Spanish translator to talk with Cochise unarmed in his stronghold. (Cochise speaks Spanish but not English.) Wayne and Cochise get on smartly and agree that Cochise can resettle in his former lands. But Fonda has different plans. He dismisses Wayne’s agreement and orders the garrison to mount up to meet Cochise. To Wayne, it’s a loathsome betrayal.
The Apaches have the US cavalry outnumbered ten to one. But this doesn’t phase the madman Fonda. He orders the recalcitrant Wayne to guard the wagons and orders a frontal attack that takes his troops right into an Apache ambush that Wayne warned him was there.
Fonda is shot off his horse, and Wayne rides like the wind to save the wounded officer. But Fonda shoves him away and mounts Wayne’s ho