John Ford - The Quiet Man (1952)

Sean Thornton has returned from America to reclaim his homestead and escape his past. Sean's eye is caught by Mary Kate Danaher, a beautiful but poor maiden, and younger sister of ill-tempered "Red" Will Danaher. The riotous relationship that forms between Sean and Mary Kate, punctuated by Will's pugnacious attempts to keep them apart, form the main plot, with Sean's past as the dark undercurrent.








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no pass

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no pass

John Ford - How Green Was My Valley (1941)

Joseph McBride, Searching for John Ford wrote:
Ford was not the first director assigned to the film by Darryl F.Zanuck. William Wyler spent three months preparing the picture. he cast many of the parts, oversaw the construction of the sets designed by Richard Day and nathan Juran, and spent ten weeks working on the script with Phillip Dunne. in Dunne's view Ford made little contribution to the script beyond adding some bits of business and lines of dialogue... But while others were primarily involved for shaping the adaptation of the novel before Ford was assigned to the project, Dunne nevertheless acknowledged to me that Ford "did what any good director does -- he made it his picture while shooting it."

Jealous of the blockbuster success of David O.Selznick's Gone with the wind, Zanuck initially envisioned How Green Was My Valley as his answer to Selznick on a similar grandiose scale. It was to be a four-hur Technicolorerpic shot on location in Wales, starring Tyrone Power as the grown up Huw Morgan, Laurence Olivier as the preacher Mr Gruffydd, Katherine Hepburn as Angharad, and Greer Garson as Bronwen. Zanuck rejected scripts by Liam O'Flaherty and Screen Writer's Guild president Ernest Pascal because he thought they put too much emphasis on the stuggle of unionization of the coal mine in the village.

Even after the political issues of the screenplay were settled, Zanuck and Dunne still had to solve the problem of running time. The Fox front office in New York was becoming uneasy with the costly project, so Zanuck decided that the script should be cut in half to a conventional two hour length and that the film should be made in black and white. because of the outbreak of war in Europe, location shooting was out of the question, so the spectacular set of the winding street of homes leading up to the mine was constructed on the Ford ranch in the Malibu hills.












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pass:mithril

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turkish subs inc
no pass

John Ford - The Sun Shines Bright (1953)

“Director John Ford, notoriously difficult to please, regarded The Sun Shines Bright as his favorite film. Laurence Stalllings' screenplay is based on several short stories by Kentucky humorist Irvin S. Cobb, some of which had previously been cinematized in Ford's 1934 Will Rogers vehicle Judge Priest. Charles Winninger stars as Judge William Pittman Priest, whose homely, common-sense approach to his job has endeared himself to most of the residents of his small Kentucky home town, while alienating many of the "better" people. Up for election, Judge Priest is challenged by a Yankee upstart who has most of the influential citizens in his pocket. Almost deliberately courting defeat, the doggedly honest Priest champions several unpopular causes. In the film's most memorable scene, the Judge arranges a fancy funeral procession for an impoverished town prostitute. The film retains much of the charm of its predecessor Judge Priest; unfortunately (at least by P.C. standards), The Sun Shines Bright also retains the most questionable aspect of the earlier film: the stereotyped routines of African-American comedian Stepin Fetchit. One hardly knows how to react to the sequence in which the supplicative Fetchit tries to hush up a defiant young black man who is in danger of being lynched (Ford plays this scene for laughs!) While Fetchit's participation will hardly endear the film to modern audiences, it is unfair to write off the rest of The Sun Shines Bright, which otherwise fully lives up to director Ford's affectionate assessment. Long available only in its 90 minute release version, the film has in recent years been restored to the 100-minute "director's cut."” – All Movie Guide







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Spanish Subs:
http://www.megaupload.com/?d=52DQK7KU

eng/spanish dual
no pass

Tag Gallagher - John Ford: The Man and his Movies (2007)

This is the revised and enlarged version of Tag Gallagher's great book on John Ford.
659 pages, with lots of new screenshots and frame enlargements.

The book was originally published in 1986

http://rapidshare.com/files/298793658/Tag.Gallagher-John.Ford-SMz.rar

no pass

John Ford - Stagecoach (1939)

A Ford-Powered 'Stagecoach' Opens at Music Hall; Mickey Rooney Plays Huck Finn at the Capitol
In one superbly expansive gesture, which we (and the Music Hall) can call "Stagecoach," John Ford has swept aside ten years of artifice and talkie compromise and has made a motion picture that sings a song of camera. It moves, and how beautifully it moves, across the plains of Arizona, skirting the sky-reaching mesas of Monument Valley, beneath the piled-up cloud banks which every photographer dreams about, and through all the old-fashioned, but never really outdated, periods of prairie travel in the scalp-raising Seventies, when Geronimo's Apaches were on the warpath. Here, in a sentence, is a movie of the grand old school, a genuine rib-thumper and a beautiful sight to see.

Mr. Ford is not one of your subtle directors, suspending sequences on the wink of an eye or the precisely calculated gleam of a candle in a mirror. He prefers the broadest canvas, the brightest colors, the widest brush and the boldest possible strokes. He hews to the straight narrative line with the well-reasoned confidence of a man who has seen that narrative succeed before. He takes no shadings from his characters: either they play it straight or they don't play at all. He likes his language simple and he doesn't want too much of it. When his Redskins bite the dust, he expects to hear the thud and see the dirt spurt up. Above all, he likes to have things happen out in the open, where his camera can keep them in view.

He has had his way in "Stagecoach" with Walter Wanger's benison, the writing assistance of Dudley Nichols and the complete cooperation of a cast which had the sense to appreciate the protection of being stereotyped. You should know, almost without being told, the station in life (and in frontier melodrama) of the eight passengers on the Overland stage from Tonto to Lordsburg.

To save time, though, here they are: "Doc" Boone, a tipsy man of medicine; Major Hatfield, professional gambler, once a Southern gentleman and a gentleman still; Dallas, a lady of such transparently dubious virtue that she was leaving Tonto by popular request; Mrs. Mallory, who, considering her condition, had every reason to be hastening to her army husband's side; Mr. Gatewood, an absconding banker and windbag; Mr. Peacock, a small and timid whisky salesman destined by Bacchus to be Doc Boone's traveling companion; Sheriff Wilcox and his prisoner, the Ringo Kid. The driver, according to the rules, had to be Slim Summerville or Andy Devine; Mr. Devine got the call.

So onward rolls the stage, nobly sped by its six stout-hearted bays, and out there, somewhere behind the buttes and crags, Geronimo is lurking with his savage band, the United States Cavalry is biding its time to charge to the rescue and the Ringo Kid is impatiently awaiting his cue to stalk down the frontier-town street and blast it out with the three Plummer boys. But moreknowledge doesn't cheat Mr. Ford of his thrills. His attitude, if it spoke its mind, would be: "All right, you know what's coming, but have you ever seen it done like this?" And once you've swallowed your heart again, you'll have to say: "No, sir! Not like this!"

His players have taken easily to their chores, all the way down the list from Claire Trevor's Dallas to Tom Tyler's Hank Plummer. But the cutest coach-rider in the wagon, to our mind, was little Donald Meek as Mr. Peacock, the whisky-drummer. That, of course, is not meant as a slight to Thomas Mitchell as the toping Dr. Boone, to Louise Platt as the wan Mrs. Mallory, George Bancroft as the sheriff or John Wayne as the Ringo Kid. They've all done nobly by a noble horse opera, but none so nobly as its director. This is one stagecoach that's powered by a Ford.
Frank S. Nugent, NY Times, March 3, 1939















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no pass

John Ford - Pilgrimage (1933)

Joseph McBride, Searching for John Ford wrote:

Pilgrimage deals with a possessive mother, Arkansas farmer Hannah Jessop sends her son to his death in World War I rather than lose him to the girl he loves. Although stark and corrosive in its lack of sentimentality, Pilgrimage has tremendous emotional power that it became a commercial success and even recieved some good reviews when released in the summer of 1933. But as a "woman's picture" and four-handkerchief weepie, this is the kind of movie that is never taken seriously by intellectuals who automatically sneer at those genres, and it had all but vanished from the landscape of film history, remaining unseen for decades.

...Pilgrimage belongs without question on a shortlist of the director's greatest films. What's so fascinating from a biographical point of view is the way it departs from Ford's usual tendency to idealize motherhood. From the first film he directed, The Tornado, in which he played a cowboy who brings his mother over from ireland, Ford habitually treated his mothers with iconic reverence. ... When an interviewer once asked Ford why "the theme of the family" is so important in his work, he replied simply, "You have a mother, don't you?"

But while Ford celebrates the bedrock values of traditional family life, his films also mourn the inevitable dwindling and loss of such values. The theme of the destruction of family was present even in his first feature, Straight Shooting, but it became an increasing preoccupation after Ford reached middle age and had to face up to the many imperfections of his own family life. The departure for Ford in Pilgrimage is that it locates the source of destruction within the family itself, in a mother whose excessive devotion and pathological jealousy literally cause her son's death... Pilgrimage is unique among surviving Ford films for making a deeply flawed mother its central focus.

Ford's blend of filmmaking styles in Pilgrimage is masterful and daring. Jim's suffocation in the Argonne Forest is metaphorically foreshadowed by the early sequences at the family farm in Three Cedars, Arkansas. Strongly echoing Murnau, as they did in the World Wara I movie Four Sons, Ford and his longtime cinematographer George Schneiderman use a painted sky and studio sets of misty, soft-focus fields and marshes to give Jim's life with his mother a feeling of stifling confinement. Then, when Hannah is coaxed into joining a boatload of other Gold Star Mothers to make a pilgrimage to France, the film opens up like a flower. The visual expansiveness of the film's second half contrasts sharply with the claustrophobic nature of the scenes in Arkansas.











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spanish sub:
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no pass

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no pass