John Wayne’s Last Collaboration with John Ford Marked a Significant Shift from Their Previous 13 Films

John Wayne and John Ford’s relationship in the film industry began in earnest with Ford casting Wayne in his first significant role in 1926, and continued through to their last collaboration, Donovan’s Reef, in 1963. This final project feels like an unexpected conclusion to their four-decade partnership, especially considering that they had created some of the most iconic Westerns and war films of the mid-20th century together. Interestingly, after their well-remembered joint effort in The Man Who Shot Liberty Valance, they shifted gears to produce a lighter comedic work.

Although John Wayne’s understated comedic abilities are often overlooked, they represent a lesser-known facet of his performance style. Conversely, John Ford is primarily known for his sweeping depictions of the American landscape and grand storytelling, featuring large ensemble casts. His ventures into slapstick comedy and delightful tropical escapades are not as celebrated. Thus, the essence of Donovan’s Reef—where these unconventional elements collide—marks a significant departure from their past cinematic endeavors.

The Final Collaboration: Donovan’s Reef

A Shift in Tone from Stagecoach

Wayne’s debut in a starring role under John Ford’s direction was in the legendary 1939 Western Stagecoach. In stark contrast, his swan song, Donovan’s Reef, presents a dramatic tonal shift, differing not only from Stagecoach but also from the other dozen films they created together.

In Donovan’s Reef, Wayne portrays Michael Patrick “Guns”Donovan, a World War II veteran who relocates to a picturesque tropical island in the post-war years. This film presents a somewhat atypical family-oriented comedy rich in miscommunications, featuring Lee Marvin, who portrayed the antagonist in The Man Who Shot Liberty Valance, as Donovan’s navy comrade “Boats”Gilhooley, along with Elizabeth Allen as his love interest, Amelia Dedham.

A Departure into Comedy: Donovan’s Reef

Breaking the Historical Mold

The confluence of this extravagant premise and unique casting results in a film that feels oddly mismatched, as Donovan’s Reef doesn’t fully capitalize on Wayne’s strengths as an actor. The anticipated excitement of a bar fight instead leans heavily into slapstick humor, a diversion from the more serious demeanor Wayne typically brought to his roles.

Set against the vibrant backdrop of French Polynesia, Wayne’s character feels somewhat disoriented within a modern 1960s environment, lacking the historical depth that typically defined his films. When juxtaposed with The Quiet Man, a prime example of Wayne’s successful collaborations with Maureen O’Hara, it is evident that Donovan’s Reef struggles to present a coherent narrative with engaging themes.

This film joins the ranks of John Wayne’s films with Ford that deviated from historical context, alongside war-themed movies like The Long Voyage Home and They Were Expendable, both of which were produced during World War II.

Ultimately, Donovan’s Reef aims high with its storytelling ambitions but fails to deliver a compelling experience, as the humor and romantic elements often miss the mark. This lackluster conclusion to one of the most celebrated actor-director partnerships in film history is disappointing. While John Wayne continued to enthrall audiences with his Westerns until his passing in 1979, Donovan’s Reef marked both John Ford’s penultimate directorial venture and their final collaboration. It’s wiser to cherish the rich tapestry of films they crafted together before this underwhelming farewell.

Source & Images