Angel and the Badman, Movie Review by G.C. Stevens

 

The Capital Theater in Newton Iowa. Photo(s) by the Author. 

ANGEL AND THE BAD 2026

This is where I have to put a on date myself, because it's important to how I viewed this movie. I am sixty-eight years old, and trust me, I've viewed a whole bunch of westerns. The very first important western movies that I the pleasure to watch were "The Magnificent Seven" (1960) which I saw on T.V. in 1965, which was a movie that set the tone for westerns that came after it, The Good The Bad and The Ugly" (1966) which I actually saw the theater when it came out. In between all of that, I was raised on a healthy dose of John Wayne movies, T'.V. westerns, "Gun Smoke", "Have Gun, will travel", "Bonanza" and "Davy Crocket" and a whole cavalcade of other westerns and frontier movies that came along. Add to that, the next level dramatic westerns like Sam Peckinpah's , "The Wild Bunch.", "True Grit", and 'The Long Riders." In the author's humble opinion, the last great western made was "Tombstone."  But I must point out, that during the last fifty years of film making, a whole lot of things have changed in the way that films were shot and produced. Especially with the introduction of computer technology in film making. The technical aspects and cinemaphotography are considerably different than they were in 1960, but so is the mindset of our culture, this last fact is very important to take note of where Angel and the Badman is concerned.

But with all of that said, if you're looking for the Good The Bad and the Ugly or true Grit, you're not going to find it in Angel and the Bad Man, but if you go back and watch the original version of Angel and the Badman that was made in 1947, you'll find the actual model for the 2026 version, except that the 21st century version moves Angel and The Bad Man into a more mature vision that deals with immorality, violence, family and faith in God, which by the way, isn't any different than the original and just like the days of early film making, there are no emotional or dramatic movie musical scores, you'll only hear the typical music that supports each scene. In fact, the background music isn't very memorable at all. A big take away here is that Angel and the Badman relied on something ancient and obscure to both actors and movies goers, in that the movie relied on two basic things, that being cinemaphotography and real acting and dialog between people, just like the 1947 version employed. I enjoyed the simple rolling scenery of the desert and rolling plains, because I understand that most of the American west is rolling plains and scrub brush desert and it's not all monument Valley Utah. A warning to historians and thread counters, the wardrobe in Angel and the Badman is not exactly historically correct attire, and it seems that the wardrobe is used as a way to highlight the characters and scenes.  I won't go into too many details of the movie, and you'll get no spoilers from me, because I think you should see the movie. If you do decide to see this movie for any reason, my advice is to see it as a witness to the shift in culture and to watch the western genre trying repeat its formula for success from the very beginning. On October 4th, 2026, I wrote a review of the original 1947 version of Angel and the Badman,  you can read that here. The Angels Studios version used a lot of the original plot, but it made some significant artistic changes. The biggest part of the plot leaves western fans with one mystery and question, where did the Confederate gold come from? My mind went to Jesse James and the Knights of the Golden Circle. But you'll have to figure it out on your own.

G.C. Stevens, See you on the dusty trail!

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John Wayne Birthplace Celebration 2026: TRIBUTE TO AMERICA!!

 

Mark your Calendars!

2026 John Wayne Birthday Celebration Welcome Reception

Friday, May 22, 5pm at John Wayne Birthplace Museum

and The Iowa Theater, $50

Please join us on Friday, May 22 for a lively reception at the John Wayne Birthplace Museum where guests will enjoy a casual mingle with John Wayne fans from across the United States and beyond. The reception will include beverages and heavy hors d’oeuvres. Afterwards we’ll move up the street to The Iowa theater for a special screening of “John Wayne’s Tribute to America.”  Originally aired on NBC in 1970, the all-star spectacular is a patriotic journey through American history and features entertainment legends Lucille Ball, Glen Campbell, Johnny Cash, Ann-Margret and many, many more. 

250 YEARS OF AMERICAN HISTORY!

Western Movie Review: The Man Who Shot Liberty Valance, By" G.C. Stevens

 "This is the west sir. 

When the legend becomes fact, print the legend.”

The Man Who Shot Liberty Valance (1962) is one of the authors favorite movies and one of John Ford’s most provocative films and it seems to break ranks with previous westerns made by the famed director and takes the course of deconstruction of the frontier myths that John Ford had spent decades romanticizing. Separated from the sweeping Monument Valley epics of Ford’s earlier career, this film moves from grand landscapes to the confined studio set, where the actions take place in a quintessential black-and-white western town, focusing instead on ideals, character, and the bittersweet cost of progress. It remains as one of the genres most essential films for western movie buffs, especially for those who are interested in how the West was mythologized, even as it quietly mourns what was lost in the progress.

The story begins with a lengthy flashback framed by an elderly Senator Ransom Stoddard (James Stewart) and his wife Hallie (Vera Miles) returning to the old dusty town of Shinbone for a funeral of the true hero in the western saga. Young Ranse (Stewart) arrives as an idealistic Eastern lawyer, promptly beaten up by the stereotypical sadistic outlaw "Liberty Valance" (Lee Marvin at his snarling best). Rescued and mentored by the tough, independent rancher Tom Doniphon (John Wayne), Stoddard begins teaching the townsfolk to read, respect the law and pushes for statehood. A legendary gunfight ensues, in which Valance is allegedly killed by Stoddard, and it cements his reputation as “the man who shot Liberty Valance, propelling him into politics. Though in the final analysis, it's revealed that Doniphon was the person who shot Valance and not Stoddard. The film’s most famous line “When the legend becomes fact, print the legend”—delivered by a pragmatic newspaperman, solidifies its core irony: nations and careers are often built by convenient fiction.

Ford excels at telling the human side of his stories. Stewart’s Stoddard embodies nervous intellect, law books, the ideals of republic, and law and order while Wayne’s Doniphon represents raw frontier justice, self-reliance, and quiet sacrifice. The tension between these ideas are apparent, each actor playing subtly against type—Stewart vulnerable and morally torn, Wayne swaggering and bitter. Supporting actors shine too: Marvin’s Valance is a pure force of chaotic evil, Edmond O’Brien brings boozy energy as the editor, and Woody Strode adds dignity as Pompey. The film’s political sequences feel surprisingly modern, portraying town meetings, elections, and media complicity with a mix of cynicism and hope.

What elevates the movie is its willingness to be downbeat. There are no glorious sunsets or heroic rides into the sunset. Instead, Ford presents a transition from violence to order that feels inevitable yet laced with regret. Tom Doniphon’s unsung heroism carries genuine tragic weight, highlighting the personal price paid for civilization. The black-and-white photography and soundstage confinement reinforce the darker tone, stripping away spectacle to force viewers to confront the ideas: the role of violence in founding societies, the civilizing power of education and the press, and the ethical ambiguities of myth-making. In many ways, it functions as a political allegory, echoing Plato’s Republic in its exploration of justice, power, and the founding of a community.

Critically, the film appears to have limitations, it is not flawless. It was Shot mainly indoors due to budget and perhaps intentional restraint, but for what it lacks the visual appeal, it makes up in total acting, dialog and interaction of characters. It's more like a visual book tell all.  

The Man Who Shot Liberty Valance endures because it questions the very legends it prints. It’s intelligent, emotionally resonant, and profoundly American—bittersweet in its acknowledgment that progress demands sacrifice and that truth often yields to useful stories. For fans of thoughtful Westerns that prioritize character and consequence over spectacle, it stands as a late-career masterpiece from a director confronting his own legacy. This movie is Highly recommended, especially if you’ve moved beyond simpler tales of six-shooters, dusty trails and sunsets. 

*Note: The drawing here was created by AI. 

Book Review: Screen Greats Vol IV, Hollywood COWBOY HEROES: By G.C. Stevens

        Subtitle: Authors big find at the local Salvation Army

 Resale Store, a very nice Dietz Kerosene Lantern

 and a copy of "Hollywood Cowboy Heros, Screen Greats Vol IV."

                              

The front cover of "Screen Greats Vol IV, Hollywood 

"COWBOY HEROES"

It was Hollywood and T.V. that introduced my generation to the western genre, we learned American history by T.V. osmosis.                  

 -G.C. Stevens

Screen Greats Vol IV was originally published in 1981 by Starlog Press Inc. Which was a publishing company better known for their sci-fi mags, but Starlog went out of business in 2009 along with many of our other beloved magazines from that time period that disappeared when the internet started taking over media. I did an immediate search for information on "Cowboy Heros" I found that there are still some copies that can be found on sale. This magazine contains forty different chapters covering subjects from silent movie period, early serial period, big screen movies and television. It contains actors from "Bronco Billy Anderson to John Wayne and just about every cowboy actor in between" 

The is booklet is 82 pages long, it's packed from cover to cover with many photos. Each page contains multiple vignettes in alphabetical order. The booklet is in black & white, (except for inside covers photos which are in color.) and the pages show some age. The paper it is printed on does not appear to be acid free paper, so there is some discoloration. The book starts out with one of these authors favorite movies "The Great Train Robbery" filmed in 1903, to a complete list of John Wayne's filmography from 1929 to 1976. Cowboys Heros is a direct reflection of what we saw at on T.V. and at the movies. It was Hollywood and T.V. that introduced my generation to the western genre, we learned American history by T.V. osmosis. Our entertainment was a good western and six-guns blazing and the local theater. As I turned the pages in this book, I could smell buttered popcorn in the air, and the crack and pop of the film projector in the background. I'm glad I was able to add "Hollywood Cowboy Heros" to my collection.

 

 

 

  My new Dietz #76, which was a very popular 

Lantern introduced in 1976 a great find.

A very dashing Gary Cooper, well mounted and handsome.

A list of early silent westerns.

John Wayne, The Searchers an Enduring Film, ... By GC Stevens

The Enduring Legacy of 

John Wayne in,

"The Searchers"

  Video Courtesy of Lucas Cavanaugh

John Wayne's portrayal in the 1956 Western masterpiece The Searchers was directed by the famed Director John Ford. The film remains one of American cinema's most profound and iconic explorations of vengeance, frontier warfare and redemption. Wayne stars as Ethan Edwards, a hardened Confederate Civil War veteran who embarks on a relentless quest to rescue his niece, Debbie (Natalie Wood), a victim of an Indian attack who is abducted by Comanche raiders who massacre his brother's family. Debbie is stolen away but not forgotten by the settlers and family who loved her. The years pass across the harsh Texas frontier, as Ethan and Martin (Pawley) Debbie's half-brother, played by Actor Jeffrey Hunter, search for multiple seasons and years to find Debbie. Martin and Ethan find themselves frequently locked in a war of words, loyalty and morals, as the navigate a very rough hostile environment, trying save their kin folk. As the film delves into Ethan's love of family, and burning anger blurs the lines of peace in a difficult time as he seeks to recover his lost and endangered family member.  Ford's brilliant eye and vivid Technicolor landscapes of the deserts of the "American west" and Wayne's intensity, lights the fire of a tale beyond typical Western films. 

 Ethan's journey is fraught with moral ambiguity; his initial intent to kill Debbie, viewing her as "tainted" by her captors, evolves into a forgiving Christian act of mercy. This culminates in the film's unforgettable final scene, a masterstroke of visual storytelling that cements Wayne's iconic status. As Ethan returns with the rescued Debbie and miraculously reunites with her adoptive family inside the Jorgensen homestead, Ethan then lingers in the doorway, framed by the wooden threshold like a humble man and a knight of old. The camera captures Wayne's weathered face in profile, with left arm gripping his right arm. A nod to Actor Harry Carey. John Wayne's massive silhouette dwarfed by the vast, unforgiving desert beyond. Ethan perhaps too scarred by war, on the frontier and in the civil war, fades into the background like so many patriots and hero's of the past have done and men with stoic character hold their anguish on the inside. A God given right.

G.C. Stevens

Western Poetry: The Tall Man, In Honor of John Wayne: By G.C. Stevens

 

John Wayne, public domain photo 

Copyright (c) 2025

               By G.C. Stevens

Memories  of The Tall Man

You rode in on the stagecoach against a dusty brown sky.

Your presence, tall, lean, with clear intent

A Kentuckian born in Iowa, clad in buckskin, a cowboy through and through

The dark sands of a hostile Island, told us the story, one of many we knew

Flying Leathernecks and Flying Tigers, lit up your sky

Another gunfight to settle, another trail to ride

You stood in the doorway, the light of honor surrounded your frame

Well mounted splashing across the Rio Grande, you came

Apache's on the bluff, miles of desert and monument valley below.

With True Grit in your heart, that only an American would know.

 

John Wayne Birthday Celebration May 23 and 24th Winterset Iowa

 

Hello Pards! Looks like the schedule is in for the 2025 John Wayne birthday celebration

 in Winterset Iowa. 

Click here for more details

The John Wayne Birthplace and Museum

 I'm proud to  be a new member of the John Wayne Birthplace Museum!