John Wayne is remembered as one of the most influential and prolific stars to emerge from the Western
genre. Known for his polarizing characters that represent evil and good, Wayne’s Western films have a clear moral throughline, with most of his leads forced to make challenging decisions based on ethics. Against the backdrop of the chaos of the Wild West, Wayne’s Westerns molded classic hero stories, appealing to viewers who appreciate this nostalgic structure.

Many Westerns took inspiration from the John Wayne style, adhering to the traditional structure, settings, and character archetypes of his films. For example, protagonists like the moralistic sheriff, Will Kane (Gary Cooper) in the 1952 film High Noon are the embodiment of good, choosing to risk their lives to protect their towns and neighbors. In other films, morally gray characters, like Rio (Marlon Brando) in One-Eyed Jacks, decide to change their ways, being subsequently rewarded for their choices.

10

The Magnificent Seven (1960)

Directed By John Sturges

The 1960 western, The Magnificent Seven is famous on its own accord, but has many similarities to a typical John Wayne film. The story follows a band of seven gunslingers from diverse backgrounds, who come together to aid a Mexican village whose residents are being threatened by an oppressive gang of bandits led by the dangerous “Calvera” (Elix Wallach). Famous names like Steve McQueen, who plays Vin Tanner, and Yul Brynner, in the role of Chris Larabee Adams, are among the leaders of the тιтual band of gunslinger crime fighters.

John Sturges’ film can be compared to Wayne’s Western film tropes for a variety of reasons, but chiefly because of its central moral dilemma. By the end of the film, the Magnificent Seven are confronted with the option of fleeing the village or returning to face-off with Calvera and his gang, though they know this will result in mᴀssive casualties. In the end, the group chooses to put their personal safety aside to help the village. Characters like Chris and the other gunslingers operate as the black-and-white archetypes of “good” versus Calvera’s role as the force of evil.

9

High Noon (1952)

Directed By Fred Zinnemann

Fred Zinnemann’s High Noon is another example of a Western clearly influenced by Wayne’s work. In one of Gary Cooper’s best Westerns, he plays Will Kane, a town Marshal who must choose between leaving town with his new bride and staying to fight a dangerous gang led by an outlaw he helped to capture in the past. The train will arrive at high noon, and Kane and the townsfolk anxiously prepare. High Noon is a classic Western by all means, with its hero archetype as the lead, and an obvious villain, the gang leader portrayed by Ian MacDonald.

Kane, similar to many of Wayne’s heroes, is loving and dedicated to both his duty as Marshal and as a husband. However, he is forced by his wife, Amy Fowler (Grace Kelly) to make a moral decision that interests his desires versus those of the town’s protector: leave with her on the next train or stay behind and duel while she leaves. The film delves into larger philosophical themes about pacifism and violence, and how this informs what is right versus wrong. After a classic stand-off, good wins, and Kane kills Frank Miller.

8

Shane (1953)

Directed By George Stevens

One of the most obvious examples of a John Wayne hero is Shane (Alan Ladd) in 1953’s Western Shane. Shane follows the mysterious gunslinger with a heart of gold, who travels to a small Wyoming territory to find work as a farmhand. While working for a homesteader, Joe Starrett (Van Heflin), Shane is called to defend him and the other settlers nearby who are threatened by a selfish cattle baron wanting to steal their land. This is another traditional Wayne trope that fans will recognize

The setting of Shane is a classic, since the majority of the action takes place in the small settlement made up of homesteaders, and Shane acts as their unlikely savior. Good and evil are once again made clear, with Shane as the hero and Rufus Ryker (Emile Meyer) as the villain. Shane’s soft-hearted nature towards town members, especially the young son of the Starretts, is parallel to the kindness that Wayne’s heroes demonstrate in their respective films. By the end, Shane saves the day and rides off once his duty has been fulfilled.

7

Winchester ’73 (1950)

Directed By Anthony Mann

One of James Stewart’s best Westerns, Winchester ’73 may be simple in its main disagreement, but its deeper moral themes of revenge, betrayal, and honor are similar to those found in many of Wayne’s classics. This Western tells the story of Lin McAdam (Stewart), a cowboy who is determined to track down his stolen Winchester rifle, which has been taken by the very nemesis he is chasing across the state, outlaw Henry Dutch Brown (Millard Mitchell).

Good and evil archetypes are embodied by Lin and Dutch, who act in their respective roles as the good-natured cowboy and scheming outlaw. Beyond the materialistic conventions of cowboys, outlaws, and the fights over stolen property, this film has a deeper ethical meaning for its lead, when it is revealed that Dutch is actually Lin’s runaway brother, who sH๏τ and killed their father after a dispute. Because of Dutch’s decision to steal the gun and continue his lawless ways, he is killed by Lin, exacting revenge for his father.

6

The Tall T (1957)

Directed By Budd Boetticher

The Tall T’s main hero, Pat Brennan, played by Randolph Scott in one of his best films, is interchangeable with many of Wayne’s moralistic leads. This movie follows Pat, a kind ranch foreman, who ends up in a carriage that is captured by a group of ruthless outlaws, who hope to hold the travelers in it for ransom. Inside the carriage is also a wealthy heiress, Doretta (Maureen O’Sullivan), and her new husband.

Budd Boetticher’s Western features all the classic archetypes, with Pat as the hero, Doretta as the lovely and maltreated female damsel in distress, and Frank Usher (Richard Boone), the money-hungry bandit. Pat’s goodness shines through when he is not only able to defeat Frank and his band of outlaws but also protects Doretta when her selfish husband fails to do so. By the end, The Tall T, emphasizes the familiar themes of selflessness, courage, and working together for the collective good. By doing so, Pat and Doretta are rewarded with their lives.

5

The Wild Bunch (1969)

Directed By Sam Peckinpah

Few Western classics are as decorated as Sam Peckninpah’s 1969 Western The Wild Bunch, which is currently the 79th film on the American Film Insтιтute’s 100 Best Films List. This Western tells the story of a group of outlaws in 1913 Texas, who are hoping to pull off one last heist before they age out of the profession. However, things go wrong for the group when its leader, Pike Bishop (William Holden), realizes he has been set up by his trusted partner, Deke Thorton (Ben Johnson).

Though the leads of The Wild Bunch may be outlaws, it is clear that Pike wishes to make a change and live in peace, laying down his gun and retiring from his old ways. In this way, Pike takes on the role of the hero attempting to head in a moral direction, while Thorton’s betrayal makes him the villain. Beyond this, the film is a love letter to classic Western films, as it depicts the bittersweet end of the classical age of the American West, with its cowboys, bandits, frontier towns, and more. Because of this, The Wild Bunch has many elements that Wayne fans will appreciate.

4

One-Eyed Jacks (1961)

Directed By Marlon Brando

In Marlon Brando’s directorial debut, One-Eyed Jacks, he manages to successfully capture the essence of Wayne’s classic Western films. Brando also stars as Rio, an outlaw who has recently been released from prison. When Rio organizes a scheme to exact revenge on his former partner, Sheriff Dad Longworth (Karl Malden), who sold him out, his plan becomes complicated by his affection for Longworth’s daughter, Louisa (Pina Pellicer).

Among this cast are Rio as the reformed bandit and hero, Louisa as the damsel in distress, and Longworth, the traitor and villain in Rio’s story. Rio is also forced to confront a moral quandary over whether he should proceed with his revenge or protect the love he has for Louisa, abandoning his goal of hurting her father. In the end, Rio chooses love, though he kills Longworth in the end out of necessity, not retaliation. In this way, Rio receives the John Wayne hero treatment, promising to return to his now-pregnant girlfriend and live happily.

3

Ride Lonesome (1959)

Directed By Budd Boetticher

Another Budd Boetticher Western, Ride Lonesome, follows bounty hunter Ben Brigade (Randolph Scott) as he escorts an outlaw, Billy John (James Best), to a prison in California. However, along the way, things are complicated when they are followed by Billy’s brother, Frank (Lee Van Cleef). This Western features the classic tropes of the bounty hunter harboring the goal of fighting crime, while dangerous outlaws threaten his safety and those around him.

It is clear that Ben is the moral authority in the film, as he helps characters like the damsel in distress, Mrs. Lane (Karen Steele), when she is abandoned by her husband and threatened by the dangers of the Wild West. Ben also attempts to provide a chance at redemption for characters like Billy, who he saves from being hanged in the end, leaving him with the message that he will give up his immoral lifestyle in exchange for a fresh start.

2

Ride The High Country (1962)

Directed By Sam Peckinpah

Ride the High Country is another classic Western with themes of betrayal, selflessness, and virtue. The film is a traditional tale, following an ex-union soldier, Steve Judd (Joel McCree), who is tasked with transporting gold from a mining town, through the dangerous Wild West. He recruits a former partner, Gil Westrum (Randolph Scott), who plans to double-cross him and steal off with the gold. Like many of Wayne’s cowboy films, Ride High Country is highly philosophical, employing characters who are strictly religious to introduce messages about morality and selflessness.

For example, Steve Judd goes on several tangents in the film about knowing how to discern right from wrong, and how he chooses to live by the rules of goodness, rather than selfish desires. In the end, Steve is successful in changing the minds of Gil and his gun-slinging partner, and both men decide to stand by Judd’s side on his journey. Not to mention, damsel in distress, Elsa Knudsen (Mariette Hartley) is saved by Judd when men repeatedly attempt to ᴀssault her, after which she becomes involved in their journey west.

1

Johnny Guitar (1954)

Directed By Nicholas Ray

Nicholas Ray’s 1954 western, Johnny Guitar, may be unconventional because of its female lead, Vienna (Joan Crawford), but again has many of the classic elements of a John Wayne film regardless. The story follows Vienna, a saloon owner who is wrongly accused of a bank robbery by a mob led by her nemesis, Emma (Mercedes McCambridge), who disapproves of her free-spirited lifestyle.

Both Vienna and Johnny Guitar (Sterling Hayden), her former lover and reformed gunslinger, operate as the heroes of the film, defending Vienna’s right to lead an independent lifestyle as well as clearing her name. In contrast, Emma is the villain: fueled by personal jealousy and insecurities. The film’s main action is also contained within the small frontier town, giving it a traditional feel setting-wise. Of course, good triumphs over evil, like in many great Western movies, when Emma and her mob refuse to leave Vienna alone, and the two leads escape successfully, unscathed.

Source: American Film Insтιтute