Why John Wayne created Rio Bravo in response to High Noon | Pretty Reel

Both High Noon and Rio Bravo are classic Westerns, but here’s why John Wayne made the latter film in response to High Noon’s political message.

Here’s why John Wayne created his 1959 Western Rio Bravo in response to High Noon. From his onscreen breakthrough with Stagecoach in 1939 to his final role as a terminally ill shooter in 1976’s The Shootist, Wayne’s on-screen persona is inexorably tied to westerns. He starred in some of the genre’s most famous examples, including The Searchers and The Man Who Shot Liberty Valance.

Another of his classics is Rio Bravo – which later became an unofficial trilogy. It sees Sheriff Wayne Chance tasked with holding a prisoner while he and his motley crew of men are besieged by mercenaries. The film is often on lists of the greatest westerns of all time and is a favorite of Quentin Tarantino and John Carpenter, the latter’s Assault On Precinct 13 being heavily inspired by it. For those who pay attention to the Rio Bravo story, they will find many parallels with another famous Western: 1952’s High Noon.

This western revisionist directed by Fred Zimmerman cast Gary Cooper as Field Marshal Will Kane, who is about to retire with his new Quaker wife Amy (Grace Kelly) when he learns that an outlaw whom he has ostracized comes back to town. Although they have repeatedly tried to enlist the help of the townspeople, they avoid Cooper – who is heavily referenced in Landscapers – Kane and he is left alone to face a gang of killers. Unlike other Westerns of the era, High Noon is a stripped-down thriller that takes place in real time and is unafraid to portray its protagonist’s fear and disillusionment. The film was also a bitter commentary on Hollywood’s blacklist at the time – earning Wayne’s ire for several reasons.

Wayne Felt High Noon was ‘un-American’

During the production of High Noon, the House Committee of Un-American Activities – which investigated allegations of alleged communist activities in the United States – had taken a particular interest in Hollywood and the messages placed in the films. The careers of many filmmakers were heavily impacted or outright destroyed during this Cold War period, for if they were called before the committee and refused to “name the names” of those with alleged links to communism, they were effectively blacklisted. Leading this charge within the industry was the Motion Picture Alliance for the Preservation of American Ideals (AKA the MPA), which comprised mostly conservative members who wished to defend the company against those with communist or fascists.

The MPA counted Wayne, Clark Gable, Ronald Reagan, John Ford and even Gary Cooper in its ranks. Wayne himself was president of the MPA for four years and rejected the High Noon lead because of its political subtext. As well as Wayne (who appeared in 80 Westerns throughout his career) finding the material ‘un-American’ – being particularly offended that Kane would run around asking for help when the townspeople also refused him come to the aid – he was bowled over by the final scene of the marshal throwing away his badge at the end of the showdown. The film’s screenwriter, Carl Foreman, was also a member of the Communist Party USA for several years and later declined to provide names to the HUAC when called as a witness.

This led to her being blacklisted from the industry and drastically downplaying her role in production. Wayne would later be proud of his role in this, stating in his 1971 Playboy interview that he had no regrets about having “…helped run Foreman out of the country.” Despite his hatred of High Noon, he still accepted an Oscar on behalf of close friend Cooper for the film, when the latter was unable to attend the ceremony. Wayne – who went by the nickname ‘Duke’ – and director Howard Hawks then teamed up to make Rio Bravo, which saw the tough sheriff of old never ask for help or doubt his duty. Rio Bravo also had a more optimistic view of the Old West, as many people come to Chance’s aid regardless. High Noon and Rio Bravo are classics in their own right, even though their visions of America come from opposing points of view.