The Man Who Shot Liberty Valance

Ford's purest and most sustained expression of the familiar themes of the passing of the Old West, the conflict between the untamed wilderness and the cultivated garden, and the power of myth. Stewart plays a respected senator who returns on a train (in an opening echoing that of My Darling Clementine) to attend the funeral of his old friend Wayne. In one scene, Stewart wipes the dust off a disused stagecoach, marking in a simple gesture the distance between the Old West inhabited by Wayne and the new West which he himself represents. In the central flashback sequence, it is revealed that it was not Stewart who shot the outlaw Liberty Valance (Marvin) but Wayne, the gun law of the Old West paving the way for the development of a new civilisation. For Ford, the passing of the Old West is also the passing of an age of romantic heroism. The only link between the two worlds is the desert rose, a flowering cactus hardy enough to survive the harshness of the desert and humanise the wilderness.