The Man Who Shot Liberty Valance

A U.S. Senator (James Stewart) travels to the town of Shinbone for the funeral of a rancher (John Wayne) and relays to reporters the legend of how, decades earlier, he made the same journey in hopes of using the law and democracy to civilize the territory, was menaced by a rabid outlaw (Lee Marvin), and given assistance from the recently deceased cattleman. John Ford’s The Man Who Shot Liberty Valance is a compulsively watchable (even during its filler sequences), beautifully shot black and white Western with one of the most memorable finales in history while bringing together the differing sensibilities of Stewart and Wayne. Marvin ranks up there as one of the nastiest baddies to ever grace the screen.

**** out of ****

The Grapes of Wrath

In Dustbowl Oklahoma, the Joad family is forced off their land by foreclosure and seeks a new start in California with thousands of other migratory laborers only to find misery in the form of scarce, bottom of the barrel labor, crowded and impoverished camp sights, police intimidation, union suppression, disease, and death. John Ford's film version of John Steinbeck's epic populist novel is marked by Greg Toland's exceptional, unsullied cinematography, an iconic Henry Fonda performance, fine supporting work from Jane Darwell and John Carradine, and a tendency to sermonize.

*** 1/2 out of ****

The Searchers

A Confederate soldier (John Wayne) with an intense hatred of Indians and whose whereabouts after the close of the war have remained mysterious, finally returns home to the family ranch after several years. There he helps ward off a Comanche attack which leaves several of his family members dead and his niece (Natalie Wood) kidnapped. Setting off with his nephew (Jeffrey Hunter) on an expansive, years long search, when they finally track down the girl it appears she has adopted the ways of her kidnappers and becomes a target for her maddened uncle. One of the most regarded of Westerns by John Ford, the genre’s most revered architect, The Searchers is bold and uncompromising, both in presentation and in Wayne’s iconic performance. The film boasts magnificent photography, incredible location shooting, a colorful cast of supporters, and that unforgettable final shot.

**** out of ****

The Quiet Man

A disgraced American born boxer (John Wayne) returns to his family's pastoral village in Ireland to reclaim rightful property strong-armed by a prominent proprietor (Victor McLaglen) and complicates matters by attempting to win the heart of his new foe's vivacious, headstrong sister (Maureen O'Hara). John Ford's The Quiet Man was made almost exclusively by an Irish cast and crew and is geared for people of the same ilk, while possibly and quite understandably not holding as much of a vested interest for those of alternate persuasions. Arriving at this esteemed film for the first time, considerably late admittedly (perhaps because I'm not in the club), it lost my attention from time to time and is a tad overlong but is carried by its vibrant performances (Barry Fitzgerald, McLaglen, and Duke, of course, are my favorites), fantastic photography, and the extended brawl which concludes the film.

Young Mr. Lincoln

An aimless Abraham Lincoln leaves his log cabin in Kentucky and moves to Springfield, Illinois where he picks up the practice of law, and wins over the townspeople with his hayseed sensibilities, but still doesn't see his purpose himself. Not until he takes on the case of two men wrongly accused of murder is he able to see he life's ambition. "Young Mr. Lincoln" was the first of many sensational teamings between screen icons John Ford and Henry Fonda. With Lamar Trotti's fanciful, Oscar nominated screenplay, Ford adds depth and grace with his directorial vision, most notably in the rousing trial sequence. Fonda not only bears an unexpectedly uncanny resemblance to the great leader, but also delivers one of his finest, most nuanced performances of his career. "Young Mr. Lincoln" is a humorous, well-realized and favors slice-of-life storytelling over the politicization or revelatory elements you might expect from this kind of picture.

How the West Was Won

Three generations of the Prescott family are seen to conquer the Old West, from their early travails in fording the Erie Canal, to encounters with bandits and Indians in the trek across the Great Plains, to dealings with the railroad and the San Francisco Gold Rush, up until service in the Civil War. "How the West Was Won" is a star-studded, expensive and expansive epic adventure film that is somewhat marred by its overlength, but kept in tack on the whole due to its hokey sense of fun and peril. Directed by three greats, John Ford, Henry Hathaway, and George Marshall and narrated by Spencer Tracy, the film is also buoyed  by the cameo appearances made by such stars as John Wayne, James Stewart, Henry Fonda, and Gregory Peck while other familiar faces such as Richard Widmark, Eli Wallach, Lee J. Cobb, and Walter Brennan. There are also several impeccable action sequences, including a dynamic Indian raid, that help pick up the pace following dull stretches of the film.

The Lost Patrol

During the Mesopotamian campaign during World War I, a desert regiment's commanding officer has been shot. Having not relayed or recorded his recent orders, the troop knows not where they are to rendezvous. So now led by a brave sergeant, the troop decides to rest at an abandon fort where they await reinforcements and battle the menacing and relentless Arabs who strike in the blinding desert night. "The Lost Patrol" is a high concept and highly entertaining suspense film from legendary director John Ford. Based on Philip MacDonald's book Patrol, Ford's film employs an "And Then There Were None" which is carried out with much suspense to great effect. Ford stalwart Victor McLaglen provides a commanding performance as does much of the supporting cast, most notably being Boris Karloff as a religious zealot who quickly loses his mind. "The Lost Patrol" is an early success for John Ford who would continually revisit similar themes of courage and cowardice in his many subsequent masterpieces.

Rio Grande

Lieutenant Colonel York commands a post in the southwest following the Civil War and learns that his son whom he has not seen in 15 years has been expelled from West Point for not making grades. Later that day he finds him to be a new enlistment in his unit, with his mother in tow trying to buy him out of enlistment. Refusing to sign the release papers, York begins to mend old wounds, treating his son as any other soldier and romancing his estranged wife. Soon though, the Apache tribe becomes a threat and the young man is called to the task to prove himself to his mother, his father, and his army. Following "Fort Apache" and "She Wore a Yellow Ribbon". "Rio Grande" is the final film in John Ford and John Wayne's Cavalry Trilogy. It is a beautiful film, reverting to black and white after the technicolor "Ribbon", and wonderfully captures Ford's beloved Monument Valley as well as the delicate human features not often seen in Westerns. Wayne is great and reprises his role from Apache, playing the gentler and more reserved character than we're used to. Maureen O'Hara is equally fine as his wife and Ford regular Victor McLaglen is back again amusingly playing his drunken Irish hulk. The movie also has some memorable music played by the group Sons of the Pioneers. The ending of the film, where the division must rescue a group of children kidnapped by Indians, is cliched and unsatisfying. Still, "Rio Grande" is an atypical Western and fine conclusion to a stellar trilogy by two of the cinema's greats.

Stagecoach

In a small Arizona town, the sheriff, a sickly pregnant woman, a nervous preacher, an embezzling banker, a drunken doctor, a beautiful whore, a notorious gambler, and the gregarious driver board a stagecoach to catch a ride to a nearby settlement, despite warnings that Geronimo has been encouraging Apache attacks. On their way they pick up a strapping young outlaw named The Ringo Kid and ward off Indian attacks while they get to know each other. Blending humor, drama, romance, and adventure, director John Ford took the Grand Hotel formula, applied it to the Western, and set the bar for what would be one of the most sturdy genres for the next thirty years. Stagecoach is also the film that made John Wayne a star, and his entrance as The Ringo Kid with the quick cut and then closeup is one of the most famous entrances in motion picture history. From top to bottom, Stagecoach is a downright entertaining film replete with laughs and exciting action sequences. The extended Apache attack sequence is a wonder for its time (any time for that matter), and as The Duke climbs on the roof of the coach to pick off charging Indians, shoots one of them off the carriage's horses, then jumps onto them to take the reins, we sit back and regard in amazement. Stagecoach launched the career of John Wayne as well as the Western, the two of which may be one in the same. On top of being important and influential, it is simply a rousing all encompassing entertainment.

John Ford/John Wayne: The Filmmaker and the Legend

Director John Ford and actor John Wayne were two titans of the film industry and their complicated partnership led to a rich body of work that encompassed much of who we are as Americans. Ford was an up and coming director in the 1920s when he discovered a striking B-movie actor named Marion Morrison, whom he asked to be in his pictures. Morrison changed his name to John Wayne and that was the start of their working relationship which over the years would see differences regarding work, politics, and stances on World War II. They would also craft some of the finest American films including Stagecoach, Fort Apache, The Searchers, and The Man Who Shot Liberty Valance. John Ford/John Wayne: The Filmmaker and the Legend is a wonderful documentary which includes interviews family, friends, and collaborators of both men, as well as experts including Martin Scorsese, Peter Bogdanovich, and Richard Schickel. From an honest and personal portrait, we learn about the lives of both men and their wonderful contributions to the world of cinema.

She Wore a Yellow Ribbon

A lifelong army man in the southwest is a week away from his retirement when General Custer is killed in battle and the nation is in fear of an Indian uprising. Determined to retire peacefully, he is forced to escort a mother and daughter to a nearby settlement to catch a stagecoach back east on his last patrol, all the while warding off Indian attacks. She Wore a Yellow Ribbon is the second film in John Ford and John Wayne's Cavalry Trilogy, following Fort Apache which starred Henry Fonda playing a Custer like military man and ended with him leading his troops into a precarious battle. Although the bulk of this second film takes place during the unit's patrol where not much is going on, it contains one of the finest performances The Duke ever committed to film, commanding the screen as he always did while showing his jovial side as well playing a character years beyond his age. John Ford and his Oscar winning cinematographer Winton C. Hoch wonderfully capture Ford's beloved Monument Valley in all its beauty and color. There are also two wonderful scenes toward the end, one involving Victor McLaglen's drunken Irish behemoth giving his farewell and Wayne's response to receiving a retirement gift from his men. Although there are some lulls in She Wore a Yellow Ribbon, there are many great elements that subside the negative ones and help make this a fine picture.

Fort Apache

Lieutenant Colonel Owen Thursday is grumbling in his stagecoach en route to his new detail in a remote fort in the American southwest. He has a stellar war record and once held the rank of General. Now the stubborn and regimented cavalry man has been placed in charge of a rinky dink operation and when he arrives with his wide eyed daughter in tow it is everything he expected: a nothing happening locale occupied by disheveled and unorganized officers. Immediately he begins to whip his detail into shape, ignoring his underling's opinions who may have a better knowledge of the land and the local Indian population. However, when tensions begin to flare between his men and the Apache tribe, it goes beyond rubbing his men the wrong way and he may in fact be putting his company in jeopardy. Directed by  legendary director John Ford in his beloved Monument Valley, Utah, it was the first film of his cavalry trilogy (followed by She Wore a Yellow Ribbon and Rio Grande). Loosely based on General Custer's Last Stand, it is a surprisingly sympathetic towards Native Americans, especially for a 1948 Western. Additionally it is a thoroughly entertaining film, laced with humor in addition to its battle scenes. Aside from a portrait of a martinet and the implications of his decisions, at its core this is a portrait of life on a military post. All facets of this all encompassing film are handled wonderfully. It is also delightful to watch Henry Fonda (as Colonel Thursday) and John Wayne (his second in command), arguably to of the greatest stars of the 20th century play, play against type and do it so well. Fort Apache isn't a typical Western and through its comedic sensibilities, action sequences, and sensitivity it should hold an appeal to all.

My Darling Clementine

After Wyatt Earp settled his affairs in Tombstone, Arizona he set out for Hollywood where he would spend the rest of his life. In some regards, he has never left as numerous films have been made about his and Doc Holliday's encounter with the Clantons at the O.K. Corral. Yet before Lancaster & Douglas, Garner & Robards, Russell & Kilmer, and Costner & Quaid stepped into their boots, they were most memorably inhabited by Henry Ford and Victor Mature in John Ford's masterpiece My Darling Clementine. While herding cattle west to California, the Earp brothers stop outside of Tombstone for the night. While Wyatt, Virgil, and Morgan go into town for a night of gambling and carousing, they leave their kid brother James to guard the herd, only to find him shot in the back and and left face down in a rain puddle when they return, murdered by the evil Clanton family led by their nasty father (the wonderful character actor Walter Brennan). To exact revenge, Wyatt takes a job as town Marshall, appointing his remaining brothers as deputies. But this isn't a cold blooded revenge tale. It is actually a warm film bristling with humor and romance, and of course hard drinkin' tough talkin' men, and this is what makes the film so appealing. While awaiting the day for vengeance, Earp fines the time to romance the sweet school teacher Clementine Carter, the old flame of the surgeon/gambler/bank robber/tuberculoses infected Doc Holliday who has a penchant for Shakespeare, whom Earp makes an ally. Victor Mature brings a sadness to Holliday in a great performance as the reckless and brilliant gunslinger. Henry Ford, maybe the most affable of all leading men, creates a human Earp, tough as nails but with a tender side. Here, John Ford, who made so many great westerns in so many different ways, finds the right notes to tell his story, ones that aren't seen often in the genre. The result is a telling of the Wyatt Earp story that none have been able to match, and a western that few have been able to approach.

The Iron Horse

The Iron Horse is a silent western from 1924, and as difficult as those films can be to sit through, it is significant in that it is legendary director John Ford's first big cast, big budget film, and it is interesting in that you can see the foundations of his themes and methods alive on the screen in this early film. The film details the building of the American railroads, as one man sees his dream of cross country travel come to life. Leonard Maltin said that this is the movie that invented many of film's early cliches, and so it is awash in many hackneys to be. However, the black and white film is illuminous for its time and there is plenty to behold to make this a worthwhile cinematic endeavor, as well as an insight into a great director's early work.
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