Tag Archives: John Ford

John Ford – The Man Who Shot Liberty Valance (1962)

Quote:
There are arguably no bigger cinematic icons of America than John Wayne – the right wing side of America steeped in violence and guns, and James Stewart – the left wing side of America rooted in humanity, understanding and intelligence. And there is arguably no finer chronicler of America’s mythology and past than John Ford. Put them together and you get one of the finest westerns ever made. Read More »

John Ford – Gideon’s Day AKA Gideon of Scotland Yard (1958)

Synopsis:
Bribery, robbery and an escaped homicidal patient. Just one day in the life of Chief Inspector Gideon of Scotland Yard. Read More »

John Ford – The Long Gray Line (1955)

Plot Summary
Martin “Marty” Maher, an immigrant from Ireland, arrives at West Point where he is assigned to work in the kitchen. He soon proves to be ill-suited to such work and quits only to enlist in the army. The head of the West Point athletics department, Captain Koehler (known as the Master of the Sword), takes Marty on as an assistant. Marty proves to be no great specimen of a sports expert, but he has a winning way about him in dealing with the cadets, whether it’s boxing, swimming or football. Read More »

John Ford – The Grapes of Wrath (1940)

Synopsis:
The Joad clan, introduced to the world in John Steinbeck’s iconic novel, is looking for a better life in California. After their drought-ridden farm is seized by the bank, the family — led by just-paroled son Tom — loads up a truck and heads West. On the road, beset by hardships, the Joads meet dozens of other families making the same trek and holding onto the same dream. Once in California, however, the Joads soon realize that the promised land isn’t quite what they hoped. Read More »

John Ford – Two Rode Together (1961)

Recycling elements of My Darling Clementine and The Searchers in a bitter, latter-day light, this late Western by John Ford initiates the last, dark phase of the master’s vision of the corrupting influences of the progress of civilization in the wilderness. James Stewart is introduced to the Ford stock company as a thoroughly venal town marshal, Guthrie McCabe, who’s pressed into service by the cavalry to oversee the ransoming of several whites long held captive by the Indians. McCabe is concerned with nothing but making a buck on the enterprise and coming back with his scalp intact, yet against his better judgment he becomes an arbiter of social and personal justice, and a de facto one-man protest against bigotry and hypocrisy. The cinematography is bleaker than anything seen in Ford’s more heroic Westerns, and the stylistic high point is a hilarious one-take conversation between Stewart and cavalryman Richard Widmark at the river’s edge. –Richard T. Jameson Read More »

John Ford – The Long Voyage Home (1940)

Shannon Kelley writes:
The powers and fascinations of director John Ford and playwright Eugene O’Neill are happily met in this 1940 feature dramatizing the lives of men who serve as crew members aboard commercial freighters. Like O’Neill, Ford nursed a lifelong obsession with sailing and the sea, and had spent his early years in Portland, Maine, amid the maritime culture that this picture describes. Adapted and updated by screenwriter Dudley Nichols (Ford’s frequent collaborator) from four of O’Neill’s early plays set aboard the fictional “SS Glencairn,” the film recounts the experiences of the ship’s crew while transporting ammunition from the West Indies to England during World War II. Read More »

John Ford – The Fugitive (1947)

Museum of Modern Art writes:
In 1946, John Ford effectively took over the crew of his friend and fellow spirit Fernández—including stars Dolores del Río, Pedro Armendáriz, and Miguel Inclán, and cinematographer Gabriel Figueroa—and, with Fernández acting as his “first lieutenant,” filmed this abstract, ambitious work on locations in Mexico and at the Churubusco Studios. Ostensibly an adaptation of Graham Greene’s unfilmably scandalous The Power and the Glory, it derives many of its plot points from Ford’s 1935 The Informer, though the film’s ultimate subject is the Mexican landscape, as explored in all of its compositional possibilities by the incomparable duo of Ford and Figueroa. Read More »