He Utterly Hated John Wayne, Now We Know the Reason Why 

Lee Van Clee truly hated him more than anyone. Lee Van Clee was born on January 9th, 1925 in Somerville, New Jersey, was a legendary actor whose career spanned over five decades. He became one of the most recognizable and iconic figures in the world of westerns. Primarily known for his villainous roles that left a lasting impact on the genre, Van Clee’s rugged appearance, sharp features, and piercing eyes made him the ideal choice for playing the cold-hearted, calculating antagonists in many classic films. Yet, his story is

far more than just one of villain. It’s a tale of perseverance, reinvention, and mastery of his craft. Van Clee grew up in the small town of Somerville, New Jersey, where he developed a strong sense of discipline and hard work. His father, a watchmaker, was a significant influence on his early life, teaching him the value of precision and attention to detail.

 Van Clee served in the US Navy during World War II, where he was a radio operator and participated in combat. His wartime experiences shaped much of his later roles, giving him an edge that would be evident in his portrayals of hardened, nononsense characters. After the war, Van Clee attended the University of South Carolina where he pursued a degree in engineering.

 However, the world of acting soon beckoned him and he moved to Hollywood to try his luck in the entertainment industry. Initially, he appeared in small, uncredited roles in films, often portraying military personnel, cowboys, or other secondary characters. It wasn’t until he caught the attention of director Sergio Leone that his career truly began to take off.

Van Clee’s Hollywood career began inospiciously with minor roles in films like High Noon, 1952, where he played a silent henchman with a menacing presence. His angular, sharpedged appearance led to typ casting in villainous roles, particularly in westerns, where his look and demeanor seemed to embody the ruthless, hardened outlaw.

 He played small, uncredited roles in films and TV shows throughout the 1950s and early 1960s, slowly building his reputation as a dependable character actor. However, despite his growing body of work, Van Clee’s career stagnated as he was relegated to playing one-dimensional villains. He struggled to break free from this typ casting and personal challenges, including health issues from a car accident, caused further setbacks in his career.

 Van Clee’s big break came when he was cast as the ruthless gunslinger Angel Eyes in the 1966 film The Good, The Bad, and The Ugly, part of the famed Dollars trilogy directed by Sergio Leone. Although Clint Eastwood starred as the iconic Man with No Name, it was Van Clee’s portrayal of the coldblooded yet skilled bounty hunter that left a lasting impression on audiences and critics alike.

 His performance was marked by a chilling intensity, adding layers of complexity to the stereotypical villain archetype. Van Clee’s distinctive look, his sharp cheekbones, angular face, and eyes that seemed to pierce through his opponents made him a natural fit for playing the villain.

 His career was marked by a series of notable roles in other westerns, including For a Few Dollar More, 1965, where he portrayed the cunning outlaw Collin Douglas Mortimer, and The Big Gundown, 1966, where he played the role of a lawman turned hunter. In these films, his persona as a man of few words, but many actions helped solidify his place in the pantheon of great western actors.

 Van Clee’s portrayal of villains was never one-dimensional. He brought a certain gravitas and complexity to his roles that made his characters more than just simple antagonists. His characters were often driven by their own moral code, even if it was one that put them at odds with the law or society’s expectations. In films like Death Rides a Horse, 1967, and Day of Anger, 1967, Van Clee played aging gunslingers whose wisdom and experience gave them a sense of tragic dignity even as they lived outside the law.

 His ability to convey both menace and vulnerability made him a compelling presence on screen, and he became one of the genre’s most beloved actors. Though he became a legend in westerns, Van Clee’s talents extended beyond this genre. In the 1970s and 1980s, Van Clee began to appear in more varied roles, including in action films and television.

 His distinct voice and commanding presence made him a natural fit for roles in films such as Escape from New York, 1981, where he played the menacing Hawk and The Octagon, 1980, which paired him with martial artist Chuck Norris. His transition to action films allowed him to reach a new generation of fans and expanded his range as an actor.

 Van Clee also appeared on numerous television series including The Master 1984 where he played a martial arts expert alongside actor Timothy Van Patton. His presence in television gave him the opportunity to reach even wider audiences solidifying his status as a versatile actor capable of inhabiting a variety ofroles.

 Lee Van Clee’s personal life, while often overshadowed by his intense and memorable on-screen roles, was marked by several significant relationships, moments of tragedy, and familial devotion. His first marriage to Paty Ruth Kale in 1943, occurred during a pivotal time in his life. Van Clee, still a young man in his late teens and early 20s, was balancing his burgeoning career and personal commitments.

 Paty and Lee shared many years together, raising three children, David Allen and Deborah Van Clee. Their family life, however, was likely a challenging one given Van Clee’s frequent absences due to his work in Hollywood and the toll that the erratic lifestyle of an actor can place on a family. Their marriage eventually dissolved in 1958 after 15 years.

 A difficult time for Van Clee who also saw his career briefly stalling at that point. Following his divorce from Paty, Van Clee entered a new chapter of his personal life when he married Joan Marjgerie Dra in 1960. Van Clee’s relationship with Joan coincided with a particularly interesting era in his career.

 After a series of supporting roles in westerns and a hiatus following a car accident that nearly ended his career, Van Clee’s fortunes began to rise again, particularly after Sergio Leone cast him in the iconic spaghetti western for a few dollars more in 1965. His roles in these films dramatically shifted his image in Hollywood, turning him from a reliable character actor to a leading man.

 Joan, who had been by his side during this transformative period, saw him ascend to international fame. Yet the pressures of such a life were likely immense. Despite their shared experiences during this key phase of his career, the couple divorced in 1974, ending a marriage that had lasted 14 years.

 Just 2 years later, in 1976, Van Clee married Barbara Havalone, a relationship that would endure for the remainder of his life. This third marriage seemed to offer Van Clee some stability after the upheavalss in his personal and professional lives. Barbara was with him during his later years when his health began to decline. Despite suffering from heart problems and ongoing complications from his past injuries, Van Clee continued to work in the film industry throughout the 1970s and 1980s, albeit in less prominent roles than he had held during his peak

years. Barbara remained a steadfast partner. And when Van Clee passed away in 1989 due to a heart attack, she survived him, marking the end of a 13-year marriage that saw Van Clee’s gradual exit from the spotlight. Van Clee’s personal life was also marked by a memorable accident that left a lasting physical reminder.

 He lost the last joint of his right-hand middle finger while building a playhouse for his daughter Deborah. This incident is emblematic of the actor’s dual nature. A rugged, tough man on screen who was equally a devoted father in his private life. The loss of part of his finger did little to hinder his acting career and in many ways it added to his tough guy image.

 Viewers rarely noticed the missing joint as Van Clee was adept at hiding the injury in his performances. However, to those who worked closely with him, it became a part of his persona, a physical reminder of the personal sacrifices he made for his family. The injury itself likely required significant medical attention and recovery time.

 Yet, Van Clee didn’t allow it to sideline him for long. He continued to work in Hollywood, demonstrating his resilience and dedication to both his craft and his role as a father. Lee Van Clee truly hated him more than anyone. The relationship between Lee Van Clee and John Wayne was fraught with tension and animosity that ran deeper than mere professional rivalry.

 To the casual observer, it might seem perplexing that two iconic actors in the same genre would have such profound disdain for one another. However, behind the scenes, their differences in personality, politics, work ethic, and career trajectory contributed to an enduring feud. Van Clee, known for his sharp features and intense villainous roles in spaghetti westerns, was far from a fan of John Wayne, the larger than-l life symbol of American westerns, often cast as the noble, rugged hero.

 This mutual dislike became a part of Hollywood lore with the animosity between the two actors spanning years and coloring their interactions within the film industry. One key factor contributing to Van Clee’s hatred for Wayne was their starkly contrasting acting styles. Van Clee was a method actor who immersed himself deeply in his roles.

 He was meticulous, often adopting a gritty, subdued approach to embodying the morally complex characters for which he became famous. In contrast, John Wayne was known for playing essentially the same archetypal character in many of his films, the strong, silent cowboy who upheld traditional values and embodied stoic masculinity.

To Van Clee, this type of acting lacked depth and nuance, and he saw Wayne’sreliance on his persona rather than versatility as a sign of complacency and arrogance. In Van Clee’s eyes, Wayne represented the superficial aspects of Hollywood, capitalizing on a larger than-l life image without putting in the necessary effort to expand his range as an actor.

 Political differences only served to deepen the divide between the two men. John Wayne was famously conservative, a staunch supporter of right-wing causes, and an outspoken defender of American nationalism. He was a vocal supporter of the Vietnam War and played a leading role in advocating for traditional American values, which he believed were under threat in the rapidly changing social landscape of the 1960s and 70s.

 Lee Vanc Clee, on the other hand, was more reserved about his political views, but he leaned more towards progressive ideals, embracing the counterculture movement that criticized American imperialism and traditional values. Van Clee reportedly found Wayne’s political grandstanding distasteful and viewed his unwavering support for militarism and conservatism as emblematic of a narrow-minded worldview.

To Van Clee, Wayne’s public persona seemed like an extension of the roles he played on screen. The unyielding, self-righteous cowboy, unable to see the complexities of the world beyond his own belief system. Their political opposition added a layer of personal resentment to their already tense professional relationship.

 Another contributing factor to their animosity was their very different approaches to fame and how they navigated their careers in Hollywood. John Wayne had achieved superstardom early on and maintained his A-list status throughout his career. He was beloved by audiences and seen as an American hero which afforded him a level of influence and control over his projects that few actors enjoyed.

 Van Clee, on the other hand, had a more turbulent journey in the film industry. Early in his career, he was often cast in supporting roles as the villain, overshadowed by leading men like Wayne. It wasn’t until he found success in the spaghetti westerns of the 1960s, particularly in Sergio Leone’s films like For a Few Dollars More and The Good, The Bad, and The Ugly, that Van Clee finally received the recognition he deserved as a leading actor.

 Even then his fame pald in comparison to Wayne’s and Van Clee resented the way Hollywood dominated by stars like Wayne had pigeonholed him for so long. He felt that actors like Wayne monopolized the spotlight leaving little room for others to break through and this fueled a deep-seated bitterness towards him. There were also more personal grievances between the two men stemming from their interactions off camera.

 Van Clee reportedly found Wayne to be pompous and doineering both on set and in social circles. Wayne’s larger than-l life persona extended beyond his roles, and he was known for throwing his weight around in the industry, often insisting on having things done his way. Van Clee, who was more introverted and reserved in his personal life, despised this kind of brashness and often avoided social gatherings where Wayne would be present.

 Stories from the set suggest that when the two did interact, the tension was palpable. Wayne was allegedly dismissive of Van Clee’s talents, seeing him as little more than a character actor who excelled in villainous roles, but lacked the star power or charisma to be a leading man. This attitude infuriated Van Clee, who felt that Wayne’s success was more a product of luck and timing than raw talent.

 The professional rivalry between Van Clee and Wayne was exacerbated by the fact that they were both vying for dominance in the western genre, which had reached its peak during their careers. While Wayne represented the old guard of Hollywood westerns with films that often depicted clear-cut heroes and villains, Van Clee became synonymous with the darker, morally ambiguous characters of the spaghetti westerns.

Films like The Good, The Bad, and The Ugly presented a stark contrast to Wayne’s more traditional westerns like The Searchers or True Grit. Van Clee believed that his style of western was more reflective of the complexities of the real world, while Wayne’s films perpetuated outdated ideals of American exceptionalism and frontier justice.

This ideological clash between their portrayals of the Wild West only intensified Van Clee’s disdain for Wayne, as he felt that Wayne’s portrayal of Western heroes was overly simplistic and failed to acknowledge the moral gray areas that existed in the actual history of the American West. In the end, the deeprooted animosity between Lee Van Clee and John Wayne was a complex mix of personal, professional, and political differences.

 Van Clee’s hatred for Wayne wasn’t just about competition for roles or fame. It was about a fundamental clash of values and ideologies. Wayne represented everything Van Clee despised. a man who had become the face of a sanitized version ofAmerican history and a Hollywood system that often overlooked more nuanced challenging performances.

 For Van Clee, working in an industry dominated by figures like Wayne was a constant reminder of the struggles he faced in his own career. And this bitterness stayed with him until the end of his life. While they were both legends in their own right, the two men’s legacies remain forever entwined in the narrative of their unrelenting dislike for one another.

 A feud that has become as much a part of Hollywood folklore as the movies they starred in. Lee Van Clee passed away on December 16th, 1989 at the age of 64 from a heart attack. His death marked the end of an era in western cinema as he was one of the last great icons of the genre. Despite his passing, Van Clee’s legacy continues to live on through his extensive body of work.

 He helped to redefine the role of the villain in westerns, taking a character that could have been one-dimensional and making it one that audiences could never forget. In the years following his death, his films have continued to be celebrated by film enthusiasts and scholars alike, especially within the context of the spaghetti western subg genre.

 Van Clee’s ability to blend menace with charisma and his knack for imbuing his roles with layers of complexity has made him a timeless figure in cinematic history. Whether it was playing a ruthless bounty hunter, a charming outlaw, or a determined lawman, Van Clee’s contribution to film cannot be overstated.

 His performances in films like The Good, The Bad, and The Ugly, and For a Few Dollars More remain benchmarks of great western film making with his characters remembered as among the most compelling ever to grace the silver screen. Lee Van Clee’s career is a testament to the power of reinvention, dedication, and the ability to craft characters who resonate with audiences long after the credits roll.

 He was and continues to be a defining figure in the world of film.