Red River (1948)

By all accounts John Wayne and Montgomery Clift did not get along well on set of Red River. Though allegedly this had to do with their differing political views (likely stemming from the fact that the House Un-American Activities Committee was in full swing by this point), it doesn't take too much digging to find another “dramatic” contrast between these men.

While Wayne had no formal training and had gradually worked his way up from bit player to star, Clift had studied “The Method” as member of The Actor’s Studio and had cut his teeth on the stage. Wayne epitomized the classic, “Show up on time, know your lines, and don’t bump into the furniture” school of acting. Clift (who predated Marlon Brando and James Dean on the screen) was something radically new in the world of film acting. He wanted to understand and feel every moment his character went through. He wanted it to be real.

Viewed in this context, is it too great of a leap to think that perhaps just as “Old West” Dunson was threatened by Matt’s “New West” in the film, “Old Hollywood” Wayne was threatened by “New Hollywood” Clift on the set? When you throw in the fact that this film was released into a world which had only recently started using terms like “teenager” and “juvenile delinquent” to describe its children, things get even more interesting. In a subtle way, this film is the opening salvo in a battle which would eventually be won by the likes of Bonnie and Clyde, The Graduate and Easy Rider.