Production
Red River was filmed in 1946 but not released until September 30, 1948. Footage from Red River was later incorporated into the opening montage of Wayne's last film, The Shootist, to illustrate the backstory of Wayne's character. The film was nominated for Academy Awards for Best Film Editing (Christian Nyby) and Best Writing, Motion Picture Story. In 1990, Red River was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant." John Ford—who worked with Wayne on many films (such as The Searchers, Stagecoach, and The Man Who Shot Liberty Valance)—was so impressed with Wayne's performance that he is reported to have said, "I didn’t know the big son of a bitch could act!" In June 2008, AFI listed Red River as the fifth-best film in the western genre.
The character name Cherry Valance was also later used in the novel The Outsiders.
The character name Matthew Garth was also later used in the movie Midway.
In the 1971 Peter Bogdonovich film "The Last Picture Show", the final movie shown in the movie theatre is "Red River", which was changed from "The Kid From Texas" in Larry McMurty's book.
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Famous quotes containing the word production:
“The heart of man ever finds a constant succession of passions, so that the destroying and pulling down of one proves generally to be nothing else but the production and the setting up of another.”
—François, Duc De La Rochefoucauld (1613–1680)
“[T]he asphaltum contains an exactly requisite amount of sulphides for production of rubber tires. This brown material also contains “ichthyol,” a medicinal preparation used externally, in Webster’s clarifying phrase, “as an alterant and discutient.””
—State of Utah, U.S. public relief program (1935-1943)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)