<p> Although more than 30 years have passed since his death, John Wayne is still one of Hollywood's most universally recognized stars. The controversy he aroused may be history, but that history continues to inform attitudes about him. Wayne's outspoken political views made it hard for many to separate the man from the actor, much less the man from his opinions, and positions on Wayne's talent often seem determined by whether you're still appalled by <em>The Green Berets</em>, the only resolutely pro-Vietnam War movie Hollywood ever made. </p> <p>Wayne's career began on the low rent side of Hollywood and climbed within a few busy years to the plateau he would occupy through his death. His talents were by no means protean, but he used his broad-shouldered, ruggedly chiseled features and gruffly affable manner to the best advantage. His career trajectory is sketched out by the contents of a two-DVD set, “John Wayne in the Saddle,” whose six films span 1935 through 1947the years when he rose from matinee filler to stardom. None of these selections are well known, and although they don't include the worst of Wayne's early screen efforts, “In the Saddle” tosses in some trailers from those groaners of the early '30s. In one, the Duke's horse receives equal billing and in another, the tag “John Wayne Rides Again” is actually used. </p> <p>Although he quickly climbed from worse to a little better, the earliest films on “In the Saddle” were still creaky with wooden acting and worse dialogue. But by the time of <em>Angel and the Bad Man</em> (1947), Wayne rode comfortably; he had gained gravitas and had grown into his persona. Written and directed by James Edward Grant and co-starring gorgeous Gail Russell, <em>Angel and the Bad Man </em>was among the more interesting of Wayne's non-John Ford westerns, partially because he was an ambiguous figure for a long while working on both sides of the law, and for its exploration of idealism and pragmatism. Wayne's wounded protagonist finds refuge with a Quaker family preaching non-violence and the goodness of all who have been shown the light. The only light Wayne knows is reflected from the barrel of his six-gun, but in a funny kind of way, <em>Angel and the Bad Man</em> affirms that both sides have a point. </p>
