If you are a general movie fan (let’s be honest: if you’re here, you probably are) then you are probably aware how casting works for most films. Directors and producers seeks out the stars, or soon-to-be stars, that they really like for the roles and either build a film around them or make them work into their project.

But what if time and space folded in on itself, causing films like Inception and Drive to get made in the film era of Bela Lugosi and James Dean? Or if John Wayne actually got the part to play Superman instead of George Reeves?

These are questions that digital artist Peter Stults thought would be cool to explore, as he takes popular films and drops them into different eras and genres, with the farthest possible actors taking on the iconic roles.

After the jump, you can take a look at the whole slew of them, which include Sean Connery in The Fifth Element, Fritz Lang’s 2001: A Space Odyssey, and our personal favorite: Leonard Nimoy in Die Hard.

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As if we weren’t excited enough when the first trailer for the Coen Brothers’ upcoming remake of True Grit hit last week, a brand new, full-feature trailer has hit the web, and not only does it have more Jeff Bridges as US Marshall Reuben “Rooster” Cogburn, but a killer Johnny Cash tune, and even some kind of man-bear riding a horse.

The film comes from Ethan and Joel Coen, who made their stamp on visually stunning Western-style dramas with No Country For Old Men. The cast is rounded out enough with Bridges leading the charge, filling in the shoes of John Wayne, while Matt Damon and Josh Brolin fill out the supporting cast.

Between this film and his upcoming dual roles in Tron Legacy, it looks like the next year will be pretty big for Jeff Bridges, and could bring him another Oscar for True Grit.

Check out the full trailer for the film after the jump, and catch it in it’s full Western glory in theaters on Christmas Day.

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Way back in February we brought you some casting news about the Coen Brothers remake of the John Wayne classic western True Grit. And now, thanks to the magic of the Interwebs, we can bring you the first teaser trailer for the film.

With a cast that includes Matt Damon as La Beouf, Josh Brolin as killer Tom Chaney and Jeff Bridges as Rooster Cogburn (the role made famous by Wayne) the trailer brings us a bit of the flavor of the film and brings to light the fact that this film is going to be pretty amazing. The original film, based on a 1968 novel by author Charles Portis, starred Wayne in a role so popular it earned him his only Oscar.

In case you’re not familiar with the story, it concerns 14-year-old farm girl Mattie Ross who sets out to capture her father’s killer. To help, she hires tough yet abrasive U.S. Marshall Rooster Cogburn, a man with “true grit.” Over Cogburn’s objections, Maddie accompanies him on the quest and they are joined by another Marshall, La Beouf, who wants Chaney for his own reasons.

True Grit hits theaters on December 25th. Check out the trailer after the jump.

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“I’m a dying man, scared of the dark.”

I’ve put off watching The Shootist for a long time.  It has such a weighty legend hanging over it.   It’s John Wayne’s final film, and features melancholy appearances from a lot of  greats such as Jimmy Stewart and Richard Boone. Even Humphrey Bogart’s ghost looms over it because of Lauren Bacall’s sad and spare performance.  Even the horse figures prominently — Dollar was Wayne’s favorite horse, and its appearance was a condition of his doing the film.

My goal was to watch (or rewatch) all of Wayne’s Westerns before tackling this one.   But it’s been hanging on my DVR for a few weeks, tempting me, and I decided to stop putting it off.  Wayne died several years before I was born. There’s a finite amount of his movies any way you slice it, and why put off the inevitable?

Which is, of course, what The Shootist is about.  Acceptance.   It’s a powerful film. No matter how you feel about Wayne, it’s a moving portrait and one of his best performances.   We all know Wayne wasn’t the most nuanced or gifted actor. He played himself.

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In celebration of the Normandy D-Day invasion on June 6, 1944, this week’s review is the 1962 “Grandaddy of all war movies” The Longest Day. Legendary producer Darryl F. Zanuck and directors Ken Annakin (British scenes), Andrew Marton (American scenes), Bernhard Wicki (German scenes) and an uncredited John Wayne bring Cornelius Ryan’s 1959 best selling novel to the big screen.

The Longest Day stars over forty two (at that time) of the most acclaimed international actors including Eddie Albert (Colonel Thompson, 29th U.S. Infantry Div.), Paul Anka (U.S. 2nd Ranger Battalion), Richard Beymer (Pvt Arthur “Dutch” Schultz, 82nd Airborne Div.), Red Buttons, (Pvt. John Steele, 82nd Airborne Div.), Mel Ferrer (Major General Robert Haines) and Henry Fonda (Brig. General Theodore Roosevelt Jr., Deputy Commander 4th U.S. Infantry Div.).

It also featured Jeffery Hunter (Sgt. (later Lt.) John Fuller), Roddy McDowall (Pvt. Morris, 4th U.S. Div.), Robert Mitchum (Brig. General Norman Cota, Asst. Commander 29th U.S. Infantry Div.), Robert Ryan (Brig. General James M. Gavin, Asst. Commander 82nd Airborne Div.), and the Duke himself, John Wayne as Lt. Col. Benjamin Vandervoort, Commander 2nd Battalion, 505th Parachute Infantry Reg.

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“What did you expect? ‘Welcome, sonny’?  ‘Make yourself at home’? ‘Marry my daughter’? You’ve got to remember that these are just simple farmers. These are people of the land. The common clay of the new West. You know . . . morons.” — Blazing Saddles

But dang, did they cut a dashing figure in a gray uniform. I’m talking about you, Rock Hudson. Look at the rakish bend of your hat brim! Aren’t you just the handsomest Confederate I’ve seen since Bill Compton traded his uniform for a pair of fangs!

One of my new cinematic fascinations (if you’ll forgive such a pompous label) is the way Hollywood and pop culture imagines the Civil War. It’s not something I ever thought about beyond Gone With the Wind,  Firefly, and True Blood, but it’s an intriguing subset of American culture.

Since no cannonball has been left unturned when it comes to the War Between the States, I’m sure there are already twelve books about this very topic. If there’s not, well, maybe I will write one when Western Wednesdays is through.

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The Train Robbers has been sitting in my Netflix queue for ages, hoping every Tuesday night that I’ll finally pick it for a Western Wednesday.  It may have stayed there forever had not Justin Gray suggested it.  Gray, as you should know by now, is coauthor of the DC series Jonah Hex. If he says “You should watch The Train Robbers!”, you call up the Netflix queue, and then you apologize to John Wayne that you required someone to intercede on his behalf.

However about halfway through, I began wondering if I had picked the right movie.  Nothing was happening. The villains were a dustcloud shrouded bunch who just thundered around,  Ann-Margaret was getting on my nerves,  the sidekicks were blurring together, and Wayne was just being Wayne.  I checked the clock and was relieved to see there was only about 15 minutes left.

And in that 15 minutes, The Train Robbers becomes an epic, edge-of-your-seat Western that just beg the question “Why the heck did they save up all the good stuff until now?” There’s explosions, a dynamite-loaded mule, guns, a creepy town,  a train used as an entire weapon, and a big twist.  It’s really one of the best action pieces I’ve seen in a Wayne Western.

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The Coen Brothers’ latest film, a remake of the 1969 western True Grit, has found its Mattie Ross, the spunky teen who enlists the aid of alcoholic US marshal Rooster Cogburn to avenge her father’s murder. The role, played by Kim Darby in the original, will be filled by relative newcomer Hailee Steinfeld.

With two short films and a small role on the cancelled FOX sitcom Back to You, Steinfeld will certainly have her work cut out for her taking on the major role of Ross, described by the casting call as “tough, strong, and [telling] it like it is”–to say nothing of working with Hollywood heavyweights the Coens.

The casting of Steinfeld also comes after several other casting announcements, including Matt Damon as La Beouf, a Texas Ranger who joins forces with Ross and Cogburn (and played by Glen Campbell in the original); Josh Brolin as killer Tom Chaney (originally played by Jeff Corey); and Jeff Bridges as Rooster. The film is scheduled to begin shooting in the spring with a tentative release date of December 2010.

The original film, based on a 1968 novel by author Charles Portis, starred John Wayne as Rooster Cogburn, a role so popular it earned Wayne an Oscar (his only win) as well as a sequel, Rooster Cogburn, which also starred Katherine Hepburn as an elderly spinster.

Welcome back to Western Wednesdays’ properly scheduled day and time. In honor of its return to normalcy, I’ve chosen the weightiest film I could outside of Unforgiven: John Ford’s The Searchers.

I’ve been anxious to revisit The Searchers. I haven’t seen it in years, and it’s the kind of film that’s referenced so often that it practically buries an individual memory. Am I remembering actual film, or simply George Lucas or Quentin Tarantino’s visual quotation of it? The lines can really blur. So when it popped up on Netflix Instant, I grabbed the chance to watch it again.

This is a fascinating film, though I’m not sure it’s a particularly enjoyable one. It goes without saying that it’s visually stunning — the sunsets, the famous door frame shots, those endless expanses of Monument Valley, a snowbound herd of buffalo. You’ve seen The Searchers even if you’ve never actually sat down and watched it.  Every shot has been imitated a dozen times over, but that doesn’t make them any less stunning.

But I’ve never felt the story was entirely sure of itself.  Is Ford criticizing the treatment of Native Americans and the racist opinions of his characters? Or does the film uphold them by its uneasy worship of John Wayne’s Ethan Edwards, and its laughter over Marty Pawley’s abuse of his “wife”? Is it saying that violence merely begets more violence?

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When you write a feature titled Western Wednesday, you’d think you could actually make the deadline, wouldn’t you?  But this is the Wild Wild West and there are a lot of dangers between my keyboard and Monument Valley. Sometimes you don’t make it — but I promise you by my imaginary spurs that I’ll return to my titular day next week.

Given my tardiness, I thought this week’s selection ought to be about the necessity of speed and keeping to a schedule.  As I have managed to go through my 20-odd years without having seen John Ford’s Stagecoach, what better pick could there be?

But even if you haven’t seen Stagecoach, you know it. At its center is a classic Western image — the howling Indians shooting at a racing stagecoach, exchanging shots with frantic passengers — and its plotline has been used a thousand times over. A motley group of people are thrown together, and eventually become fast friends because their lives could end at any moment. Through the lens of the eternally optimistic Ford it becomes a miniature version of the American promise, a magical West where even an outlaw and a prostitute can find redemption and a better life.

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It’s taken five weeks of Western Wednesdays, but The Duke has finally arrived. I haven’t meant to neglect him. In fact, half the reason I took on this feature is because my knowledge of Wayne is so very poor. He’s all over my Netflix queue, but I kept putting him off simply because he’s a bit daunting. He has cast such a long shadow over this genre that I thought I ought to watch films he wasn’t in in order to better appreciate his stature.

This week, I had decided that the last column 2009 had to go out with Wayne. As divine providence would have it, Justin Gray suggested The Comancheros. Gray has wonderful taste in film, and he’s the co-author of DC’s Jonah Hex which gives him Eastwood stature. When he suggests a Western, you watch it immediately.

The Comancheros is a great, great Western that avoids a lot of the pitfalls of the genre. It’s a big movie, but it’s tightly plotted, and never gets lost in the sprawl of the desert. There isn’t a single character you meet that doesn’t have something to do with the storyline.

I’m so used to throwaway scenes that when the film started in New Orleans, I was very skeptical it would make it to the Republic of Texas in any way that was believable. But it does! And it’s so fun to watch it make it’s way that I’ll only give you the barest of summaries:

Paul Regret (Stuart Whitman) is a Louisiana dandy who begins the film as only one cocky half of a New Orleans duel.  He kills his opponent, and is threatened with the hangman’s noose because this particular honor-seeker happened to be a judge’s son. He flees Louisiana, but the lawman’s arm is long, and he’s finally nabbed by Ranger Capt. Jake Cutter (John Wayne). But that’s only the beginning of the adventure, and you’ll have to watch to find out if Regret ever makes it to the hangman’s noose.

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