"This is the west, sir. When the legend becomes fact, print the legend!"

In the early 1900s, a train pulls into the town of Shinbone. Only two people get off: Ransom Stoddard (James Stewart) and Hallie Stoddard (Vera Miles). We find out that Stoddard is Senator Stoddard, and he and his wife have returned to attend a pauper’s funeral for someone named Tom Doniphon. The editor of the newspaper wants to know why. Who was Tom Doniphon? We then go to flashback for the next 90 minutes. It’s the story of another time, a time when the west was wild and lethal force reigned.

Stoddard is coming to Shinbone to start a law practice. His stagecoach is robbed by Liberty Valance (Lee Marvin), the cruelest and most treacherous outlaw in the territory. Valance beats Stoddard with a whip, nearly killing him. Twenty minutes into the film, we finally meet Tom Doniphon (John Wayne). He is just as dangerous as Valance, but more law abiding. He’s in love with Hallie. Remember, this is flashback. Hallie and Ransom haven’t yet met. What follows is a double ménage à trois: one of love and one of hate. On the side of love, there is Tom, Ransom, and Allie. On the side of hate, there is Tom, Ransom, and Liberty. The emotional turns and pitfalls are heart wrenching. Ultimately, everyone loses.

By 1962, John Ford had morphed the Western from its weekend serial roots into a serious film genre. He had also become the most awarded director in the history of film, an honor he holds to this day. Ford won Oscars for The Informer (1935), The Grapes of Wrath (1940), How Green Was My Valley (1941), and The Quiet Man (1952), and for his wartime films The Battle of Midway (1942) and December 7th (1943). He was 68 years old when he made The Man Who Shot Liberty Valance and was getting contemplative in his elder years. While the drama revolves around the stars, you can feel Ford grappling with a simple question. Which is better, civilization and its strictures or freedom and its dangers? He finally sees civilization as inexorable but sadly wishes for the days of freedom.

Paramount’s DVD comes with two soundtracks, one is re-mastered 5.1 and the other is a restored mono track. I preferred the 5.1, but it was artificial. Purists will choose the mono soundtrack. Contrary to the usual Ford movie, almost all of this film is shot indoors. The picture is clear and gorgeously hued black and white. Check the opening scene of the train coming around the bend for an excellent test of your system's ability to resolve blacks and dark grays. We also get a trailer but no other extras.