Last week I went on a run of watching and writing about some Myrna Loy and William Powell movies I have in my collection. I went through four five of them, three four of which I’ve had here, unwatched, for about five years.
It’s hard to think of John Wayne and romance at the same time. The image of one and the image of the other don’t rest well side by side; one seems to negate the other.
At the end of this I make an admission — but why wait? I prefer Heaven Knows, Mr. Allison to the better known The African Queen, two movies from the same director (John Huston) and superficially similar. I like this movie and always have. But be warned! It’s a quiet one; it’s characterized by restraint.
About three weeks ago I watched The Social Network. I have to watch it again soon because the first experience came as a surprise. It did nothing for me.
It seems like it should be a great story. First World War. Female spy using sex to steal secrets. Executed in the end. Amidst all that? The devious user of love for espionage falls in love herself (as the movies would have it). The result, however, is not so much great as peculiar.
I don’t thing many people would argue that Hondo is the best of John Wayne’s movies. Similarly, I don’t many will argue against it being among his best both as a western and as a performance from Wayne. But if ever there was a movie that illustrated what John Wayne did onscreen, how he came across and essentially provided a definition for those words “John Wayne,” it’s Hondo.
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