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Author Composer Writer Performer Famous Person: John Wayne

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Famous Person: John Wayne

Famous For: Actor, Director, Producer

Movie Titles:


The Shootist (1976) .... John Bernard Books
Rooster Cogburn (1975) .... Marshal Reuben J. 'Rooster' Cogburn
... aka Rooster Cogburn... and the Lady
Brannigan (1975) .... Lt. Jim Brannigan
... aka Joe Battle
McQ (1974) .... Det. Lt. Lon McQ
Cahill U.S. Marshal (1973) .... U.S. Marshal J.D. Cahill
... aka Cahill (UK)
... aka Wednesday Morning
The Train Robbers (1973) .... Lane
The Cowboys (1972) .... Wil Andersen
Big Jake (1971) .... Jacob McCandles
Rio Lobo (1970) .... Col. Cord McNally
... aka San Timoteo
Chisum (1970) .... John Simpson Chisum
The Undefeated (1969) .... Col. John Henry Thomas
True Grit (1969) .... Marshall Reuben J. 'Rooster' Cogburn
Hellfighters (1968) .... Chance Buckman
The Green Berets (1968) .... Col. Mike Kirby
The War Wagon (1967) .... Taw Jackson
El Dorado (1966) .... Cole Thornton
Cast a Giant Shadow (1966) .... Gen. Mike Randolph
The Sons of Katie Elder (1965) .... John Elder
In Harm's Way (1965) .... Capt. Rockwell Torrey
The Greatest Story Ever Told (1965) .... Centurion at crucifixion
... aka George Stevens Presents The Greatest Story Ever Told (USA: complete title)
Circus World (1964) .... Matt Masters
... aka Henry Hathaway's The Magnificent Showman (UK: complete title)
... aka Samuel Bronston's Circus World
... aka The Magnificent Showman (UK)
McLintock! (1963) .... George Washington McLintock
Donovan's Reef (1963) .... Michael Patrick 'Guns' Donovan
How the West Was Won (1962) .... Gen. William Tecumseh Sherman
"Alcoa Premiere" .... Sergeant-Umpire in Korea (1 episode, 1962)
- Flashing Spikes (1962) TV Episode .... Sergeant-Umpire in Korea
The Longest Day (1962) .... Lt. Col. Benjamin Vandervoort
Hatari! (1962) .... Sean Mercer
The Man Who Shot Liberty Valance (1962) .... Tom Doniphon
The Comancheros (1961) .... Ranger Capt. Jake Cutter
"Wagon Train" .... General William Tecumseh Sherman (1 episode, 1960)
... aka Major Adams, Trail Master
- The Colter Craven Story (1960) TV Episode (as Michael Morris)
.... General William Tecumseh Sherman
North to Alaska (1960) .... Sam McCord
The Alamo (1960) .... Col. Davy Crockett
The Horse Soldiers (1959) .... Col. John Marlowe
Rio Bravo (1959) .... Sheriff John T. Chance
... aka Howard Hawks' Rio Bravo (USA: complete title)
The Barbarian and the Geisha (1958) .... Townsend Harris
I Married a Woman (1958) (uncredited) .... John Wayne/Leonard
Legend of the Lost (1957) .... Joe January
... aka Timbuctý (Italy)
Jet Pilot (1957) .... Col. Jim Shannon
The Wings of Eagles (1957) .... Frank W. 'Spig' Wead
The Searchers (1956) .... Ethan Edwards
The Conqueror (1956) .... Temujin, later Genghis Khan
... aka Conqueror of the Desert
"Screen Directors Playhouse" .... Mike Cronin (1 episode, 1955)
- Rookie of the Year (1955) TV Episode .... Mike Cronin
Blood Alley (1955) .... Capt. Tom Wilder
... aka William A. Wellman's Blood Alley (USA: complete title)
The Sea Chase (1955) .... Capt. Karl Ehrlich
The High and the Mighty (1954) .... Dan Roman
Hondo (1953) .... Hondo Lane
Island in the Sky (1953) .... Capt. Dooley
Trouble Along the Way (1953) .... Stephen 'Steve' Aloysius Williams
... aka Alma Mater
Big Jim McLain (1952) .... Jim McLain
... aka Jim McLain
The Quiet Man (1952) .... Sean Thornton
Miracle in Motion (1952) .... Narrator
Flying Leathernecks (1951) .... Maj. Daniel Xavier Kirby
Operation Pacific (1951) .... Lt Cmdr. Duke E. Gifford
Rio Grande (1950) .... Lt. Col. Kirby Yorke
... aka John Ford and Merian C. Cooper's Rio Grande (USA: complete title)
Sands of Iwo Jima (1949) .... Sgt. John M. Stryker
She Wore a Yellow Ribbon (1949) .... Capt. Nathan Cutting Brittles
The Fighting Kentuckian (1949) .... John Breen
... aka A Strange Caravan
Wake of the Red Witch (1948) .... Capt. Ralls
3 Godfathers (1948) .... Robert Marmaduke Hightower
Red River (1948) .... Thomas Dunson
Fort Apache (1948) .... Capt. Kirby York
... aka War Party
Tycoon (1947) .... Johnny Munroe
Angel and the Badman (1947) .... Quirt Evans
... aka The Angel and the Outlaw
Without Reservations (1946) .... Rusty Thomas
... aka Thanks God, I'll Take It from Here
Dakota (1945) .... John Devlin
They Were Expendable (1945) .... Lt. (j.g.) 'Rusty' Ryan
Back to Bataan (1945) .... Col. Joseph Madden
... aka The Invisible Army
Flame of Barbary Coast (1945) .... Duke Fergus
... aka Flame of the Barbary Coast (UK)
Tall in the Saddle (1944) .... Rocklin
The Fighting Seabees (1944) .... Lt. Cmdr. Wedge Donovan
... aka Donovan's Army
In Old Oklahoma (1943) .... Daniel F. Somers
... aka War of the Wildcats (USA: reissue title)
A Lady Takes a Chance (1943) .... Duke Hudkins
... aka The Cowboy and the Girl
Reunion in France (1942) .... Pat Talbot
... aka Mademoiselle France (UK)
... aka Reunion
Pittsburgh (1942) .... Charles 'Pittsburgh' Markham/Charles Ellis
Flying Tigers (1942) .... Capt. Jim Gordon
In Old California (1942) .... Tom Craig
The Spoilers (1942) .... Roy Glennister
Reap the Wild Wind (1942) .... Captain Jack Stuart
... aka Cecil B. DeMille's Reap the Wild Wind (USA: complete title)
Lady for a Night (1942) .... Jackson Morgan
The Shepherd of the Hills (1941) .... Young Matt
Lady from Louisiana (1941) .... John Reynolds
... aka Lady from New Orleans
A Man Betrayed (1941) .... Lynn Hollister
... aka Citadel of Crime (UK)
... aka Wheel of Fortune (USA: reissue title)
Seven Sinners (1940) .... Lt. Dan Brent
... aka Cafe of the Seven Sinners
The Long Voyage Home (1940) .... Ole Olsen
Three Faces West (1940) .... John Phillips
... aka The Refugee (UK)
Dark Command (1940) .... Bob Seton
Allegheny Uprising (1939) .... James Smith
... aka The First Rebel (UK)
New Frontier (1939) .... Stony Brooke
... aka Frontier Horizon (USA: reissue title)
Wyoming Outlaw (1939) .... Stony Brooke
Three Texas Steers (1939) .... Stony Brooke
... aka Danger Rides the Range
The Night Riders (1939) .... Stony Brooke
Stagecoach (1939) .... The Ringo Kid
Red River Range (1938) .... Stony Brooke
Santa Fe Stampede (1938) .... Stony Brooke
Overland Stage Raiders (1938) .... Stony Brooke
Pals of the Saddle (1938) .... Stony Brooke
Born to the West (1937) .... Dare Rudd
... aka Hell Town (USA: reissue title)
Adventure's End (1937) .... Duke Slade
Idol of the Crowds (1937) .... Johnny Hansen
I Cover the War (1937) .... Bob Adams
California Straight Ahead! (1937) .... Biff Smith
Conflict (1936) .... Pat Glendon
Sea Spoilers (1936) .... 'Bos'n' Bob Randall
Winds of the Wasteland (1936) .... John Blair
The Lonely Trail (1936) .... Captain John Ashley
King of the Pecos (1936) .... John Clayborn
The Lawless Nineties (1936) .... John Tipton
The Oregon Trail (1936) .... Capt John Delmont
Lawless Range (1935) .... John Middleton, aka John Allen
The New Frontier (1935) .... John Dawson
Westward Ho (1935) .... John Wyatt
Paradise Canyon (1935) .... John Wyatt aka John Rogers
... aka Paradise Ranch
The Dawn Rider (1935) .... John Mason
The Desert Trail (1935) .... John Scott, aka John Jones
Rainbow Valley (1935) .... John Martin
Texas Terror (1935) .... John Higgins
'Neath the Arizona Skies (1934) .... Chris Morrell
... aka 'Neath Arizona Skies
The Lawless Frontier (1934) .... John Tobin
The Trail Beyond (1934) .... Rod Drew
The Star Packer (1934) .... U.S. Marshal John Travers
... aka He Wore a Star (UK)
Randy Rides Alone (1934) .... Randy Bowers
The Man from Utah (1934) .... John Weston
Blue Steel (1934) .... John Carruthers
... aka An Innocent Man (USA)
West of the Divide (1934) .... Ted Hayden, posing as Gat Ganns
The Lucky Texan (1934) .... Jerry Mason
... aka Gold Strike River (USA: alternative title)
Sagebrush Trail (1933) .... John Brant (using alias John Smith)
... aka Stolen Goods (USA: alternative title)
College Coach (1933) (uncredited) .... Student greeting Phil
... aka Football Coach (UK)
Riders of Destiny (1933) .... Singin' Sandy Saunders
The Man from Monterey (1933) .... Captain John Holmes
Baby Face (1933) .... Jimmy McCoy Jr.
His Private Secretary (1933) .... Dick Wallace
The Life of Jimmy Dolan (1933) .... Smith
... aka The Kid's Last Fight (UK)
Somewhere in Sonora (1933) .... John Bishop
Central Airport (1933) (uncredited) .... Co-pilot in Wreck
The Three Musketeers (1933) .... Lt. Tom Wayne
The Telegraph Trail (1933) .... John Trent
Haunted Gold (1932) .... John Mason
The Big Stampede (1932) .... Deputy Sheriff John Steele
That's My Boy (1932) (uncredited) .... Football Player
Ride Him, Cowboy (1932) .... John Drury
... aka The Hawk
The Hurricane Express (1932) .... Larry Baker
Lady and Gent (1932) .... Buzz Kinney
... aka The Challenger
Two-Fisted Law (1932) .... Duke
Texas Cyclone (1932) .... Steve Pickett
The Shadow of the Eagle (1932) .... Craig McCoy
Running Hollywood (1932)
Maker of Men (1931) .... Dusty Rhodes
... aka Yellow
Range Feud (1931) .... Clint Turner
The Deceiver (1931) .... Richard Thorpe as a corpse
Arizona (1931) .... Lt. Bob Denton
... aka Men Are Like That (USA: review title)
Three Girls Lost (1931) .... Gordon Wales
Girls Demand Excitement (1931) .... Peter Brooks
The Big Trail (1930) .... Breck Coleman
Cheer Up and Smile (1930) (uncredited) .... Bit Part
Rough Romance (1930) (uncredited) .... Lumberjack
Born Reckless (1930) (uncredited) .... Extra
Men Without Women (1930) (uncredited) .... Radioman on surface
The Forward Pass (1929) (uncredited) .... Extra
Salute (1929) (uncredited) .... Bill (midshipman)
Words and Music (1929) (as Duke Morrison) .... Pete Donahue
The Black Watch (1929) (uncredited) .... Extra
... aka King of the Khyber Rifles (UK)
Speakeasy (1929) (uncredited) .... Extra
Noah's Ark (1928) (uncredited) .... Flood Extra
Hangman's House (1928) (uncredited) .... Horse Race Spectator/Condemned Man in Flashback
Four Sons (1928) (uncredited) .... Extra
Mother Machree (1928) (uncredited) .... Extra
The Drop Kick (1927) (uncredited) .... USC Football Player
... aka Glitter (UK)
Annie Laurie (1927) (uncredited) .... Extra
The Great K & A Train Robbery (1926) (uncredited) .... Extra
Bardelys the Magnificent (1926) .... Guard
Brown of Harvard (1926) (uncredited) .... Yale Football Player


Hondo and the Apaches (1967) (TV) (producer)
The Alamo (1960) (producer)
Escort West (1958) (producer) (uncredited)
China Doll (1958) (producer) (uncredited)
Man in the Vault (1956) (producer) (uncredited)
Gun the Man Down (1956) (producer)
... aka Arizona Mission (USA: reissue title)
Seven Men from Now (1956) (producer) (uncredited)
Good-bye, My Lady (1956) (producer)
... aka Goodbye, My Lady (USA: cable TV title)
... aka The Boy and the Laughing Dog (USA: reissue title)
Blood Alley (1955) (producer) (uncredited)
... aka William A. Wellman's Blood Alley (USA: complete title)
Track of the Cat (1954) (producer)
Ring of Fear (1954) (producer) (uncredited)
The High and the Mighty (1954) (producer)
Hondo (1953) (producer)
Island in the Sky (1953) (producer) (uncredited)
Plunder of the Sun (1953) (producer) (uncredited)
Big Jim McLain (1952) (producer) (uncredited)
... aka Jim McLain
Bullfighter and the Lady (1951) (producer)
... aka Torero (USA)
The Dangerous Stranger (1950) (producer) (uncredited)
The Fighting Kentuckian (1949) (producer)
... aka A Strange Caravan
Angel and the Badman (1947) (producer)
... aka The Angel and the Outlaw

Big Jake (1971) (uncredited)
The Green Berets (1968)
The Comancheros (1961) (uncredited)
The Alamo (1960)
Blood Alley (1955) (uncredited)
... aka William A. Wellman's Blood Alley (USA: complete title)

Authors Description: The movies he starred in rode the range from out-of-the-money sagebrush quickies to such classics as "Stagecoach" and "Red River." He won an Oscar as best actor for another western, "True Grit," in 1969. Yet some of the best films he made told stories far from the wilds of the West, such as "The Quiet Man" and "The Long Voyage Home." In the last decades of his career, Mr. Wayne became something of an American folk figure, hero to some, villain to others, for his outspoken views. He was politically conservative and, although he scorned politics as a way of life for himself, he enthusiastically supported Richard M. Nixon, Barry Goldwater, Spiro T. Agnew, Ronald Reagan and others who, he felt, fought for his concept of Americanism and anti-Communism. But it was for millions of moviegoers who saw him only on the big screen that John Wayne really existed. He had not created the western with its clear-cut conflict between good and bad, right and wrong, but it was impossible to mention the word "western" without thinking of "the Duke," as he was called. By the early 1960's, 161 of his films had grossed $350 million, and he had been paid as much as $666,000 to make a movie--although in his early days on screen, his salary ran to no more than two or three figures a week. It was rarely a simple matter to find a unanimous opinion on Mr. Wayne, whether it had to do with his acting or his politics. Film critics were lavish in praise of him in some roles and shrugged wearily as they candled his less notable efforts; one critic, apparently overexposed to westerns, angered him by commenting, "It never Waynes, but it pours." Mr. Wayne was co-director and star of "The Green Berets," a 1968 film that supported the United States action in Vietnam. The movie was assailed by many major critics on all grounds, political and esthetic, but the public apparently did not mind; in only six months, it had earned $1 million above its production cost of $7 million. Won Growing Respect As the years passed, Mr. Wayne was recognized as some sort of American natural resource, and his various critics, political and film, looked on him with more respect. Abbie Hoffman, the radical of the 1960's paid tribute to Mr. Wayne's singularity. Reviewing "The Cowboys," made in 1972, Vincent Canby, film critic of The New York Times, who did not particularly care for it, wrote, "Wayne is, of course, marvelously indestructible, and he has become an almost perfect father figure." But years before he became anything close to a father figure, Mr. Wayne had become a symbolic male figure, a man of impregnable virility and the embodiment of simplistic, laconic virtues, packaged in a well-built 6-foot-4-inch, 225- pound frame. He had a handsome and hearty face, with crinkles around eyes that were too lidded to express much emotion but gave the impression of a man of action, an outdoor man who chafed at a settled life. He was laconic on screen. And when he shambled into view, one could sense the arrival of coiled vigor awaiting only provocation to be sprung. His demeanor and his roles were those of a man who did not look for trouble but was relentless in tackling it when it affronted him. This screen presence emerged particularly under the ministrations of John Ford and Howard Hawks, the directors. Overcame Great Odds Appearances were not altogether deceiving. Mr. Wayne loved adventure and the outdoors. He did believe that things were either right or wrong, and he came back against great odds. In 1964, a malignant tumor was removed from his chest and left lung, and within several months he was on location making another movie. More recently, he found himself the target of much hate mail from the right wing, whose political idol he had been, after he supported President Carter's espousal of the Panama Canal treaties. He did not mind. Although his basic views had not moderated, his tolerance, it seemed, had. He had even shown up at a function to congratulate Jane Fonda, who was to the left what he was to the right, on winning a screen award. Mr. Wayne made his last public appearance at the Academy Awards ceremony in April, where he drew an emotional standing ovation when he strode out on stage to present the Oscar for best picture. He was recently presented with a special Congressional medal of the kind given to such national figures as the Wright Brothers. Between his first starring role in "The Big Trail" in 1930, and his last one, as the most celebrated gunslinger in the West who finds he is dying of cancer in "The Shootist," in 1976, Mr. Wayne shot his way through generations of film fans with little change in style or personality. He had consciously adapted his posture for that first movie and retained it. He was sometimes inseparable from it in the flesh. Watched Movies Being Made "When I started, I knew I was no actor and I went to work on this Wayne thing," he once recalled. "It was as deliberate a projection as you'll ever see. I figured I needed a gimmick, so I dreamed up the drawl, the squint and a way of moving meant to suggest that I wasn't looking for trouble but would just as soon throw a bottle at your head as not. I practiced in front of a mirror." His entrance into films was as fortuitous as any made by a young fellow who grew up near the Hollywood badlands. But the Wayne saga actually started much farther east, in the small town of Winterset, Iowa, where he was born May 26, 1907, and was named Marion Michael Morrison. His father, Clyde L. Morrison, had a drugstore, but when Marion was 6 years old, his father, because of ill health, moved the family to Southern California and became a homesteader with an 80-acre farm. Not long after, the family settled in Glendale, where Mr. Morrison again went and opened a pharmacy. His store was in the same building as a theater, and young Marion, who rose at 4 A.M. to deliver newspapers and then, after school and football practice, delivered orders from the store, went to the movies four or five times a week, free. Even earlier, when he was 7, he had learned about horses and played cowboy. In Glendale, he saw movies being made at the Triangle Studios, where they often shot outdoor scenes. The link between horse and camera was yet to be forged, but the influences were there from the beginning. Along the way he had acquired the nickname "Duke." It came from an Airedale terrier he had had, he used to say as he debunked press releases that tried to explain the moniker as some sort of rubbed-off nobility. Came to Ford's Attention He worked as truck driver, fruit picker, soda jerk and ice hauler and was an honor student and a member of an outstanding football team at high school. His athletic talents brought him a football scholarship at the University of Southern California, but in his second year he broke an ankle and dropped out. While he was still at school, he got a job, as other football players did, as a scenery mover at Fox Films. John Ford was attracted to the youth's hulking physique and made him a "fourth-assistant prop boy." When Mr. Ford was making a submarine film on location in the channel off Catalina Island, the regular stuntmen refused to go into the water because of rough seas. Mr. Ford asked the prop boy if he would. He did, immediately, and became part of the Ford team. In an early film, Republic Pictures gave him a screen credit as Michael Burn and, in another, as Duke Morrison. When Raoul Walsh cast him as the star of "The Big Trail," his expensive, $2 million western, the director thought that Marion was too sissified a name for a western hero, and "John Wayne" was born. Rode in 40 Westerns The movie was a flop. It had been shot as a talking picture on 72-millimeter film, a "superwestern" designed for large screens that required protection equipment that few movie houses were equipped with. After two nonwesterns, Mr. Wayne retreated into short-order horse operas. Between 1933 and 1939, he made more than 40 westerns, all Grade B or C undertakings, interspersed with several that took him off the range but not into any particular recognition. Then, like a good guy riding in to relieve the oppressed, his old benefactor, Mr. Ford, came along to cast Mr. Wayne as the Ringo Kid in the Oscar-winning "Stagecoach," the 1939 movie that took westerns from the Saturday afternoon for-kids-only category and attracted the attention of more intellectual film critics. It was a turning point also for Mr. Wayne. His next major role found him in a milieu far from the cactus sets. He played a simple Swedish lad in the crew of a freighter in "The Voyage Home," Mr. Ford's 1940 film based on the sea plays of Eugene O'Neill. Mr. Wayne's work from that point reads like a bill of lading of popular Hollywood wares. He starred with Marlene Dietrich in three films: "Seven Sinners" (1940), "Pittsburgh" (1943) and "The Spoilers" (1942). Others included Cecil B. De Mille's "Reap the Wild Wind" (1942), as well as a slew of World War II movies that embraced Mr. Ford's "They Were Expendable" in 1945. Later came "Fort Apache" and "Red River," in 1948, and "Three Godfathers" and "She Wore a Yellow Ribbon," both in 1949. In 1952, Mr. Wayne showed off to best effect as the young Irish-American returned to Ireland in Mr. Ford's "The Quiet Man." It was a much-acclaimed film and is still a frequent feature on television. Invested in 'The Alamo' By the late 1940's, Mr. Wayne had already been transformed from a dashing young adventurer to an older one, no less dashing, but in a somewhat more restrained tempo. In "Red River," directed by Mr. Hawks, Mr. Wayne portrayed a ruthless cattle baron, not altogether a good guy, but one with some depth to him. In this instance, Montgomery Clift, the co-star, represented the forces for good. Mr. Wayne invested $1.2 million in 1960 to make "The Alamo," about the fight between the Americans--the good guys--and the Mexicans--the bad guys. He played Davy Crockett. The picture was very dear to his heart because, he said, "We wanted to re-create a moment in history that will show this generation of Americans what their country still stands for . . what some of their forebears went through to win what they had to have or die*liberty and freedom." He was bitterly disappointed when the film failed. However, he quickly went on to other work: "The Man Who Shot Liberty Valance," "Hatari" and "The Longest Day," all in 1962; "How the West Was Won" in 1963, and "El Dorado" in 1967, another film directed by Mr. Hawks. In 1969, Mr. Wayne was almost universally hailed when he starred in "True Grit," directed by Henry Hathaway. Mr. Wayne played a disreputable, one-eyed, drunken, fat old man who was a Federal Marshal called Rooster Cogburn. In 1970, the Academy of Motion Picture Arts and Sciences awarded him an Oscar for his portrayal. The success of "True Grit" led to "Rooster Cogburn," in 1975, in which he co-starred with Katharine Hepburn in her first western. Mr. Wayne starred in his first television special, "Swing Out, Sweet Land," a paean of patriotism, in 1970, and later became well-known for various television appearances. He never made a television series and had deep reservations about the medium's approach to the western. "Television has a tendency to reach a little," he observed, referring to television westerns' propensities for psychological insights. "In their westerns, they are getting away from the simplicity and the fact that those men were fighting the elements and the rawness of nature and didn't have time for this couch-work." His anti-Communist sentiments led Mr. Wayne to help found the Motion Picture Alliance for the Preservation of American Ideals in 1944, and he was its president for two terms. The organization, which eventually disbanded, was accused of having given the names of suspected Communists in the film industry to the House Committee on Un-American Activities, although Mr. Wayne said later that he had never been party to any such thing. Once, interviewed about civil rights, he said: "I believe in white supremacy until the blacks are educated to the point of responsibility. I don't believe in giving authority and positions of leadership and judgment to irresponsible people." He said that when he was in school, he was a "socialist," but not for long. He said that he was a rebel, but not one like the youngsters of the late 60's. "Mine is a rebellion against the monotony of life," he said. "The rebellion in these kids*particularly the S.D.S.'ers and those groups*seems to be a kind of dissension by rote." In his later years, Mr. Wayne, who had invested in oil and also in a shrimp business in Panama, among other things, became more financially conservative than he had been. He had not kept a very tight hand on his money earlier, and at one point realized he was not as well off as he had thought. However, he was not impoverished. He lived with his third wife, Pilar Palette Wayne, who was born in Peru, in an 11-room, seven-bathroom, $175,000 house in Newport Beach, Calif., where he had a 135-foot yacht. He owned cattle ranches in Stanfield and Springerville, Ariz. Mr. Wayne's first two marriages, to Josephine Saenz and Esperanzo Bauer, also Latin Americans, ended in divorces. He had seven children from his marriages, and more than 15 grandchildren.

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