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Landesman's introduction reviews Wayne's career, noting the mentality of the studios and the critics along the way. It should be noted that the rest of the book does not focus on Wayne per se but rather discusses each movie as a separate entity. The nearly 200 films are arranged alphabetically; one of the appendixes lists them chronologically from 1926 to 1976. Wayne started as a production crew member and extra during his University of Southern California college football days, so the earliest film entries note his role as a stand-in or prop boy (e.g., Brown of Harvard, 1926). Entries vary in length from a half page to four pages. Each one includes the film's date and length, cast, crew, review excerpts, plot synopsis (often taken directly from contemporaneous newsletters and press releases), and notes. Notes vary in content and length but usually include production cost, Wayne's salary, opening venue, minibiographies of directors or selected cast members,^B and other films released at the same time. It is not clear how the author chose whom to cover in these notes, which is a weakness. Furthermore, the notes are printed as one long paragraph, so the different subject matter cannot be easily distinguished; boldface type for the minibiography names also would have helped readability.
Besides the chronological appendix, there are appendixes of box-office hits, most popular Wayne films shown on TV, an extensive bibliography, and unreleased movies featuring Wayne as well as released movies where someone else took over Wayne's role. This latter appendix is probably the most intriguing; imagine Wayne in High Noon or Patton. An index of people and movies concludes the volume.
This filmography covers all of Wayne's movies and shows his range from sports to comedy, from westerns to war. Recommended for large motion-picture collections. Lesley Farmer
Copyright © American Library Association. All rights reserved
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