Spiritedness, Reason, and the Founding of Law and Order: John Ford's The Man Who Shot Liberty Valance

Abstract

John Ford's 1962 classic Western, The Man Who Shot Liberty Valance, analyzes the difficulties inherent in founding a new political order based on the rule of law. Some critics have concluded that the film mordantly portrays the closing of the frontier, the tragic loss of the rugged individualism it promoted (represented by Tom Doniphon), and the ascendance in its place of a fraudulent political class (represented by Ransom Stoddard), while exposing that even free societies are founded on crime. Yet, as others have argued, Doniphon also represents the spirited part of the Platonic tripartite soul, revealing spiritedness's ambiguous relation to justice: he refuses to fight unless personally threatened; perpetuates servitude, if not slavery; and shows no interest in promoting equality of women. Doniphon stands in opposition to the principles of the Declaration of Independence, pointedly recited at the film's chronological center, and his eclipse by Stoddard is not a tragic mistake. In addition, John Locke's state of nature teaching unlocks why Valance's death is not a crime that sullies the foundations of the society. Finally, the legend told as fact at the film's conclusion combines both men into a single entity, “the man who shot Liberty Valance,” thereby propagating a salutary lesson for future citizens: reason must combine with and rule over spiritedness if law and order are to prevail.