Set in the span of 12 hours in 1922 during the Irish War of Independence, the film follows a disgraced IRA officer who decides to inform on his best friend to the British in the hopes he can use the reward to take himself and his girlfriend to America only for the IRA to become suspicious over what had happened. It is a film that explores a man’s decision to inform his friend to the British so he can take his girlfriend to America where he would spend the reward money getting drunk and lavish his spendings on the people who are unaware of how he got the money. Dudley Nichols’ screenplay is straightforward in its narrative as it follows Gypo Nolan (Victor McLaglen) who had just been ousted by the IRA for refusing to kill a British soldier as his girlfriend Katie (Margot Grahame) is hoping to go to America but a ticket for both costs 20 pounds.
Seeing a bounty for his friend Frankie McPhillip (Wallace Ford) for 20 pounds, Nolan rats out to the British army where they succeed in finding him as Nolan gets his reward where he would spend the rest of the night spending his money on getting drunk and entertaining the locals while IRA leader Dan Gallagher (Preston Foster) wants to know what happened to McPhillip where he asks Nolan only to later suspect Nolan. Even as the night becomes more chaotic when Gallagher realizes something is up, he is also personally involved since he is in a relationship with McPhillip’s sister (Heather Angel).
John Ford’s direction is atmospheric for the overall setting of the film as it is shot at the RKO Studios lot in Hollywood which plays as this small Irish town at night filled with fog and light. While there are some wide shots to establish the locations, much of Ford’s direction emphasizes on medium shots and close-ups with the latter playing into some of the emotional reactions that Nolan is dealing with. Even as he would get drunk throughout where the medium and wide shots have Ford highlight the space of a room or a pub where Nolan is the center of attention. Ford also maintains this air of intrigue as it relates to what Nolan has done and how it would affect the IRA, with Gallagher being a commandant who runs a local faction of the IRA as he is also a friend of McPhillip. Even as there are scenes of IRA members carrying pistols but also having to hide from the British soldiers who would often march in the streets as it adds to the sense of danger that is happening in Ireland at that time.
Ford also plays into this exploration of guilt in Nolan where he would hide his shame through drink and partying where he would even crash into a high-society party where he buys drinks a British woman for Kate. It is one of the few moments of humor that occurs in the film that involves Nolan and a friend of his in Terry (J.M. Kerrigan) though the film would remain serious and intense during its third act when a kangaroo court occurs where Nolan tries to accuse someone of being the informer. Ford would maintain this sense of dread while its climax is about Gallagher realizing the truth and what is at stake with Nolan’s act of selfishness would also come into play once Katie finds out what he did. Overall, Ford crafts a thrilling and compelling film about a man who informed on his friend during the Irish War of Independence.
Cinematographer Joseph H. August does incredible work with the film’s black-and-white photography with its usage of fog and shadow to help maintain a chilling atmosphere for the exteriors while using low-key lights for some interior scenes at the homes for a few characters. Editor George Hively does excellent work with the editing as it features some rhythmic cuts to play into the drama and suspense while most of it is straightforward. Art director Van Nest Polglase and set decorator Julia Heron do brilliant work with the look of the interior of the pubs as well as the secret places where IRA hold their meetings and the exterior of some of the buildings that Nolan goes into. Costume designer Walter Plunkett does terrific work with the costumes with some of the posh clothing the women wear along with more rugged look of the men including lots of trench coats the IRA wears.
Makeup artist Robert J. Schiffer does nice work with the makeup in the look of the women at the posh party scene. The special effects work of Harry Redmond Sr. and Harry Redmond Jr. is fantastic for some of the scenes involving gunplay as it plays into the chaos and conflict between the IRA and the British. The sound work of Hugh McDowell Jr. and Robert Wise is superb for the sound in the way a fight would sound in and out of a pub as well as the chaos that goes on in the pub and in the streets. The film’s music by Max Steiner is wonderful for its sweeping orchestral score that features elements of Irish woodwinds and melodies that play into the land of Ireland along with layers of drum cadences and soaring strings as well as a soundtrack that is filled with traditional Irish folk songs as the music is a highlight of the film.
The film’s remarkable cast feature some notable small roles and appearances from Dennis O’Dea as the street singer, Grizelda Harvey as the English lady living in a posh house who looks like Katie, May Boley as the owner of the posh house in Madame Betty, D’Arcy Corrigan as a blind man who was given a one-pound note from Nolan, Francis Ford as a judge in the kangaroo court, Joseph Sauers and Neil Fitzgerald as a couple of IRA officers respectively in Bartly Mulholland and Tommy Connor with the former being suspicious of Nolan, and Donald Meek as the local tailor Peter Mulligan whom Nolan accuses of being the informer. Una O’Connor is fantastic in her small role as McPhillips’ mother who is shocked over what has happened while J.M. Kerrigan is superb as Terry as a friend of Nolan who helps him spend the money and party where he unfortunately enables his actions. Wallace Ford is excellent as Frankie McPhillip as an IRA officer who was Nolan’s best friend as well as a target for the British for killing a British soldier where he hopes to see his mother and sister while still doing things for the IRA.
Margot Grahame is brilliant as Katie Madden as Nolan’s girlfriend who hopes to go to America as she becomes surprised by the idea becoming a reality until she learns about what Nolan did to get the money. Preston Foster is amazing as Dan Gallagher as an IRA commander who runs his own local faction where he becomes suspicious on what happened to McPhillip as he is also in love with McPhillip’s sister where he becomes suspicious towards Nolan as he knows that Nolan has become a liability to the IRA. Heather Angel is incredible as McPhillip’s sister Mary who is troubled by what had happened as well as becoming tired of the violence as she hopes Gallagher would smooth things out only to realize that Nolan is the one that has been making a mess. Finally, there’s Victor McLaglen in a phenomenal performance as Gypo Nolan as a former IRA officer who had been ousted for letting go a British soldier as he decides to rat out McPhillip to the British for money where he tries to not feel guilty by imagining him and Katie going to America as well as drinking a lot and accusing someone else as it is this chilling performance that requires a lot of physicality as it is one of McLaglen’s finest performances.
The Informer is an incredible film from John Ford that features a tremendous leading performance from Victor McLaglen. Along with its ensemble cast, intoxicating visuals, Max Steiner’s riveting music score, and a compelling story of guilt and greed during the Irish War of Independence. It is a suspense drama that explores a man’s willingness to get something good going in his life only to do something awful as it would cost him everything as well as the plight of the people who know him. In the end, The Informer is a phenomenal film from John Ford.
© thevoid99 2024
The film follows a former boxer who has returned from Pittsburgh to a small Irish village to purchase his old family cottage as he gets the ire of his neighbor who wanted the land as the tension worsens when the boxer falls for his neighbor’s sister. It is a film that plays into this man who has chosen to leave behind the world of boxing but also wanting to return home to his old family cottage in order to restore the family’s legacy while falling for this woman whose brother has immense hatred for. Frank S. Nugent’s screenplay, with un-credited contributions by John Ford, is largely straightforward as it is told mainly from the perspective of Father Lonergan (Ward Bond) who narrates the story as it opens with the arrival of Sean Thornton (John Wayne) who goes to the village of Inisfree with a lot of money in wanting to buy the cottage that his family used to live in when he was a child. Upon his arrival, Thornton gets a glimpse of a fiery redhead in Mary Kate Danaher (Maureen O’Hara) whom he tries to court only to realize her older brother is Squire “Red” Will Danaher (Victor McLaglen) who is upset that Thornton purchased the cottage and land from the rich widow Sarah Tillane (Mildred Natwick) who accepted Thornton’s offer.
Though Red refuses to have his sister wanting to do with Thornton despite the town’s embracement of him due to his family history. Mary Kate does fall for Thornton as many of its locals including Father Lonergan, the matchmaker/bookmaker Michaeleen `Oge Flynn (Barry Fitzgerald), the Protestant Reverend Cyril Playfair (Arthur Shields) and his wife Elizabeth (Eileen Crowe) decide to create a little lie that would get Red to allow his sister to marry Thornton. Yet, things eventually get complicated making things for Thornton and Mary Kate troubling with the former also carrying the guilt into why he ended his boxing career as he is unwilling to get physical with Red. Even as the latter has a dowry that she had worked for and wants as Thornton is unsure in how to get it without getting physical as he is afraid of what he might do.
John Ford’s direction is definitely full of richness in its imagery as many of its exterior locations were shot on location in the Ireland counties of Mayo and Galway with the interior locations shot at the Republic Studios backlot. Ford’s usage of the wide shots definitely add to the beauty of the locations with so much attention to detail of the hills and mountains in the background as well as the fields and grass in the foreground. It plays into the vastness of the village while Ford also employs a lot of close-ups and medium shots for the scenes at the cottage and at the pub where the characters go to. Even as it play into the drama such as the scene where Red meets Thornton for the first time at Tillane’s home where Ford definitely showcases the tension that looms throughout the film while also infusing bits of comedy when Flynn is asked to watch over Thornton and Mary Kate as their courtship begins.
Ford’s direction also plays into the difference between American and Irish customs as it is something Thornton has trouble with when it concerns the latter as well as his own confusion about Mary Kate’s dowry. It is a moment where Ford definitely shifts from the male perspective of things to Mary Kate’s own perspective of pride as she is someone who has to tend to her brother and his mates yet has worked hard to make something for herself. While Thornton has everything he can get her, the dowry isn’t something that Mary Kate needs as Thornton would eventually understand as Ford does create some unique shots as it plays into Thornton’s own fear about his past and what he’s afraid he might do. Yet, it all comes down to this climatic moment that is all about Thornton needing to prove how much he loves Mary Kate and what he must do for her. Overall, Ford crafts a riveting and evocative film about an Irish-born American ex-boxer trying to get the approval of his neighbor so he can marry that man’s sister.
Cinematographer Winton C. Hoch does brilliant work with the film’s Technicolor cinematography as it captures the lushness of the locations along with some low-key lighting for some of the interior/exterior scenes at night as it is a highlight of the film. Editor Jack Murray does excellent work with the editing as it has some unique rhythmic cuts to play into the drama and action along with a few transitional dissolves. Art director Frank Hotaling, with set decorators John McCarthy Jr. and Charles S. Thompson, does amazing work with the look of the interiors of the cottage that Thornton used to live in as a child as well as the home of Danaher. Costume designer Adele Palmer does fantastic work with the costumes from the look of the dresses that Mary Kate wears as well as some of the fine suits and casual clothing that Thornton wears.
The special effects by Howard and Theodore Lydecker are terrific for its usage of a few of the film’s minimal effects such as some of the medium shots of the characters on a carriage with rear projection footage in the background. The sound work of Daniel J. Bloomberg, T.A. Carman, David H. Moriarty, W.O. Watson, and Howard Wilson is superb for capturing the sounds of the crowd during some big events including the film’s climax along with the sound of music that is played on location. The film’s music by Victor Young is incredible for its luscious score that mixes orchestral string arrangements with traditional Irish folk as it is a major highlight of the film that include traditional songs that play into the atmosphere of the film.
The film’s wonderful ensemble cast as it feature some notable small roles from Jack MacGowran as Red’s assistant Ignatius Feeney, May Craig as a woman with a fish basket at the train station, Paddy O’Donnell as a railway porter, Eric Gorman as a train engine driver, Kevin Lawless as a train engineer fireman, Joseph O’Dea as a train guard, Sean McClory and Charles FitzSimons in their respective roles as the locals Owen Glynn and Hugh Forbes who are skeptical towards Thornton at first only to accept him due to his family heritage, and James Fitzsimons as a young pastor in Father Paul who would inform Father Lonergan about the events in the film’s climax. Arthur Shields and Eileen Crowe are superb in their respective roles as the Reverend Cyril and Elizabeth Playfair as a couple who help in creating a courtship for Thornton and Mary Kate with the former knowing Thornton under another name as a boxer. Francis Ford is terrific as an elderly villager in Dan Tobin who knows about the Thornton family as well as being supportive of him.
Mildred Natwick is fantastic as the widow Sarah Tillane as a rich woman who owned the land and cottage that used to be Thornton’s home as she accept Thornton’s offer against Red’s offer believing he will do more for the community. Ward Bond is excellent as Father Peter Lonergan as the film’s narrator who is among those who immediately accepts Thornton while also giving Mary Kate some guidance as he brings some humor including his quest to catch a large salmon. Barry Fitzgerald is brilliant as Michaeleen `Oge Flynn as a matchmaker/bookmaker who is the first to befriend Thornton as he is aware of Thornton’s family as he does what he can to guide Thornton about the Irish customs as well as courting Thornton to Mary Kate. Victor McLaglen is amazing as Squire “Red” Will Danaher as Mary Kate’s older brother who is upset at Thornton in buying the land and cottage that he hoped to get while also doing what he can to not approve the courtship between Thornton and his sister in an act of pride and arrogance.
Finally, there’s the duo of John Wayne and Maureen O’Hara in tremendous leading performance in their respective roles as Sean Thornton and Mary Kate Danaher. O’Hara’s performance is full of radiance and energy as a woman who is independent and prefers to do things her way despite having to care for her brother while also trying to save up money for her own dowry. Wayne’s performance is surprisingly tender as well as witty as a man who just wants to return to his roots as well as wanting something simple as a way to hide from the guilt he is carrying from his time in Pittsburgh. Wayne and O’Hara together just have immense chemistry in the way they deal with each other but also try to be respectful towards another as they are a major highlight of the film.
The Quiet Man is a sensational film from John Ford that features great leading performances from John Wayne and Maureen O’Hara. Along with its incredible ensemble supporting cast, gorgeous cinematography, beautiful locations, its exploration of pride and guilt, and Victor Young’s enchanting music score. It is a film that isn’t just this exhilarating and intoxicating romantic film but also an exploration of two people wanting to create a life for themselves despite the ire of a man who is full of pride because he couldn’t get what he wants. In the end, The Quiet Man is a phenomenal film from John Ford.
© thevoid99 2023
Based on the short story Mission with No Record for the Saturday Evening Post magazine by James Warner Bellah, Rio Grande is the story of a cavalry unit who are trying to control an Indian uprising near the Mexican border. Directed by John Ford and screenplay by James Kevin McGuinness, the film is the third and final film of a trilogy of films devoted to the cavalry as it would revolve around a cavalry officer torn between his duty and the family he‘s become estranged with. Starring John Wayne, Maureen O’Hara, Claude Jarman Jr., Ben Johnson, Harry Carey Jr., Chill Wills, Victor McLaglen, and Grant Withers. Rio Grande is a compelling yet exciting film from John Ford.
Set in 1879, the film revolves an officer who is trying to run a fort and protect his settlers from the Apache who are trying to create chaos near the Mexican border in Texas. Even as he finds himself dealing with the arrival of his estranged wife and their son who had just enlisted in the cavalry after failing at West Point where he struggles to be a soldier as well as a good man. It’s a film that plays into a man trying to keep everything together as he is aware that the Apache are nearby the border where he hopes to stop them yet is uneasy by issues he has in his past relating to his family. James Kevin McGuinness’ script is structured to play into Lt. Colonel Kirby Yorke (John Wayne) as he tries to balance between family and duty as the first act is him dealing with his son Jeff (Claude Jarman Jr.) being enlisted as he doesn’t give him any special treatment as well as the arrival of his estranged wife Kathleen (Maureen O’Hara) whom he’s still in love with.
The second act revolves around Lt. Colonel Yorke’s attempt to balance duty and family while going on a small mission to the Rio Grande to meet with Mexican officers as Kathleen gets some unneeded reminders of her old home in the form of Major Sgt. Quincannon (Victor McLaglen) who is a friend of Lt. Col. Yorke. There’s a subplot involving a recruit named Tyree (Ben Johnson) who is rumored to be a fugitive as he tries to hide from a marshal as he would help Jeff go through training. The film’s third act revolves around a mission about getting the settlers to a fort where a lot happens but it also shows what kind of man Lt. Col. Yorke does as well as how his son is willing to prove himself to his father.
John Ford’s direction is definitely evocative for its usage of the wide and medium shots to capture much of the film’s location set in Monument Valley in Utah for many of the scenes set in the deserts along with some locations set in the town of Moab, Utah and areas near the Colorado River. Many of it play into the expansion of the West but also the unrest that is looming where Lt. Col. Yorke has to try and keep things civilized. The direction also has Ford creating a lot of these gorgeous images with the mountains and such as beautiful backdrops while he would create some intimate moments in the scenes at the fort involving Lt. Col. Yorke and his wife with some medium shots but also some close-ups. There are also moments where there are musical performances including a scene where musicians play for Kathleen as well as a general visiting the fort as well as a few comedic moments provided by Major Sgt. Quincannon. The climatic raid in the third act is definitely thrilling not just for Ford’s usage of dolly and tracking shots to capture the chase but also in creating a sense of urgency into the action. There is some suspense as it relates to what is needed to do but also a sense of what is happening where Ford knows how to shoot the action and make it mean something. Overall, Ford creates a fascinating and gripping film about a cavalry officer’s attempt to find balance in his role as a soldier and as a man.
Cinematographer Bert Glennon does brilliant work with the film‘s black-and-white photography from its usage of low-key lights and shadows for some of the film‘s nighttime interior/exterior scenes to the gorgeous look of the daytime exteriors to capture some of the film‘s locations. Editor Jack Murray does excellent work with the editing as a lot of it is straightforward with some rhythmic cuts to play into some of the action. Art director Frank Hotaling, with set decorators John McCarthy Jr. and Charles S. Thompson, does fantastic work with the look of the fort as well as the tents and wagons used in the film.
Costume designer Adele Palmer does nice work with the look of some of the uniforms as well as the dresses that Kathleen wears. The sound work of Earl Crain Sr. and Howard Wilson is superb for its naturalistic approach to the sound in the locations as well as in the music as well as some sound effects for the gunfire and arrows. The film’s music by Victor Young is wonderful for its orchestral score that can be serene for the dramatic moments to bombastic with its action scenes as the music also includes traditional songs performed by Sons of the Pioneers who appear in the film as regimental singers.
The film’s marvelous cast include some notable small roles from Karolyn Grimes as a young girl Major Sgt. Quincannon is fond of, Peter Ortiz and Steve Pendleton as a couple of captains aiding Lt. Col. Yorke, and Grant Withers as a marshal trying to find Tyree. J. Carrol Naish is terrific as General Philip Sheridan who makes a visit in the film’s second half as he would give Lt. Col. Yorke a major assignment while Chill Wills is fantastic as Dr. Wilkins who is the regiment’s surgeon that often provides some wise ideas. Victor McLaglen is excellent as Major Sgt. Quincannon as the film’s comic relief of sorts who likes to drink but also try to deal with what he did years ago that has gained him the ire of Kathleen Yorke.
Claude Jarman Jr. is superb as Lt. Col. Yorke’s son Jeff as a young recruit who tries to find his role in the military as well as trying to be himself without the need to impress his father whom he never saw for 15 years. Harry Carey Jr. is brilliant as Daniel “Sandy” Boone as a trooper who helps Jeff in learning the ropes while being a bit comical himself while Ben Johnson is amazing as the trooper Tyree as someone that is good with horses yet is hiding a secret as he is pursued by a marshal. Maureen O’Hara is great as Kathleen Yorke as Lt. Col. Yorke’s estranged wife who arrives to the fort to pull Jeff out only to find herself falling for her husband all over again but struggle with his duty as a soldier as it’s one of O’Hara’s finest performances. Finally, there’s John Wayne in a phenomenal performance as Lt. Colonel Kirby Yorke as this cavalry officer trying to do his job while becoming uneasy about having his son enlist as a cavalry trooper and becoming more uneasy with the presence of his wife where finds himself trying to balance being a soldier and be a good man as it’s Wayne in one of his defining roles.
Rio Grande is a remarkable film from John Ford that features amazing performances from John Wayne and Maureen O’Hara. The film isn’t just a unique look into the world of the cavalry but also a look into a man trying to find balance in his role as a soldier and as a man. In the end, Rio Grande is a sublimely rich film from John Ford.
© thevoid99 2016
Based on the stories The Big Hunt and War Party for the Saturday Evening Post magazines by James Warner Bellah, She Wore a Yellow Ribbon is the story of a cavalry officer trying to prevent a war with the Indians just days away from his impending retirement. Directed by John Ford and screenplay by Frank S. Nugent and Laurence Stallings, the film is the second part of Ford’s trilogy of films devoted to the cavalry where a man tries to deal with another war with the Indians as well as aging. Starring John Wayne, Joanne Dru, John Agar, Ben Johnson, Harry Carey Jr. and narration by Irving Pichel. She Wore a Yellow Ribbon is a dazzling and exhilarating film from John Ford.
Set in 1876 in the desert just days after the Battle of Little Big Horn where General George A. Custer and more than 200 men were killed by Sioux and Cheyenne Indian tribes. The film revolves around a cavalry officer who is a week away from retirement as he has a final mission to do while getting his officers ready to lead. It’s a film that plays into a man dealing with these last days in service as he also has to watch out for a young woman joining the mission to go into this fort to aid another regiment in breaking up a squadron of Cheyenne and Arapaho tribes and send them back to their reservations. The film’s screenplay doesn’t just play with Captain Nathan Brittles (John Wayne) dealing with retirement but also wanting to have a final moment of glory in his final days of service. It is also about the mission in hand as Cpt. Brittle is reluctant to accompany his superior’s wife Abby Alshard (Mildred Natwick) and their niece Olivia Dandridge (Joanne Dru).
The script also have a few subplots as it relates to a couple of lieutenants vying for Olivia’s affections while it adds some punch to the story where Cpt. Brittle is trying to smooth things but also watch Olivia closely as if she was his daughter. While Cpt. Brittle is a man of duty, he also knows what to do and how to keep everyone from harm. The script also play into this world that is changing as tribes the cavalry are dealing with are young men that really have a disdain for the rule of the cavalry and the white man. It’s something Cpt. Brittle and a few of his officers understand yet they know they have to deal with it anyway they can as there is a key moment in the film’s second half that play into that world that Cpt. Brittle is facing. Even as it shows that he has to accept the way things are and that he might not be part of this new world.
John Ford’s direction is definitely intoxicating not just for the usage of wide shots to play into many of the film’s locations at Monument Valley in Utah but also in creating something that play into the grandness of the American West. The usage of the wide and medium shots for its depth of field as well as play into some of the scenery and the largeness of the cavalry regiment says a lot of what Ford wanted to do visually. There is also an intimacy in the direction with its medium shots as it plays into some of the relationships that are happening with Cpt. Brittle trying to make sense of everything as well as do whatever he can to do his duty and get everyone in check. There aren’t a lot of close-ups but Ford does know how to create something simple while also adding some humor as it relates to Cpt. Brittle’s friendship with Sgt. Quincannon (Victor McLaglen). The action sequences are thrilling in the way Ford would know how to film the action as well as create a lot of shots to get the scope of what is happening. Even as it play into the climax where Cpt. Brittle and his men would do something drastic to chase away the Indians. Overall, Ford creates a riveting yet witty film about a cavalry officer embarking on one last mission before his retirement.
Cinematographer Winton Hoch does brilliant work with the film‘s gorgeous cinematography with its usage of the Technicolor film stock to capture the beauty of the locations for many of the scenes set in the day to some usage of low-key lighting for scenes set at night as well as some of its interior scenes. Editor Jack Murray does excellent work with the editing as a lot of it is straightforward with some stylish usage of dissolves and rhythmic cuts for the action scenes. Art director James Basevi and set decorator Joseph Kish do fantastic work with the look of the fort that many of the character live in as well as a reservation that Cpt. Brittle goes to late in the film. The sound work of Clem Portman and Frank Webster is terrific for some of the naturalistic sounds that happen in the location as well as some sound effects for some of the action. The film’s music by Richard Hageman is superb for its bombastic score with its Indian-inspired percussions as well as the usage of bugles and broad string arrangements along with a traditional song that is the inspiration for the film’s title.
The film’s incredible cast feature some notable small roles from Noble Johnson as a famous warrior known as Red Shirt, Chief John Big Tree as an old Indian friend of Cpt. Brittle in Pony-That-Walks, Francis Ford as a barman, Chief White Eagle as a tribe leader in Chief Sky Eagle, Michael Dugan as Sgt. Hochenbauer, and Arthur Shields as the regiment’s surgeon Dr. O’Laughlin. George O’Brien is terrific in his role as Cpt. Brittle’s superior/friend Major Allshard as a man who tries to give Cpt. Brittle a fitting and final assignment while Mildred Natwick is wonderful as Allshard’s wife Abbey who goes to the mission to see some friends as she would eventually help out as a nurse tending to the wounded. Victor McLaglen is fantastic as Sgt. Quincannon as a longtime friend of Cpt. Brittle who had fought with him for years as he is also due to retire where he provides some comedic dialogue as well as be given a very funny sequence.
Harry Carey Jr. is excellent as 2nd Lt. Ross Pennell as Olivia’s boyfriend who finds himself sparing against his superior Lt. Cohill for her affections. Ben Johnson is brilliant as Sgt. Tyree who is Cpt. Brittle’s right-hand man who helps look into the areas that is happening as well as help lead the cavalry into battle. John Agar is terrific as Lt. Flint Cohill as a young lieutenant that is groomed to be Cpt. Brittle’s replacement as he tries to deal with his ahead as well as his affections for Olivia. Joanne Dru is amazing as Olivia Dandridge as Major Allshard’s niece who joins the mission to go to another fort as she deals with the chaos of what Cpt. Brittle has to do but also the affections of two lieutenants. Finally, there’s John Wayne in a remarkable performance as Captain Nathan Brittle as this cavalry officer dealing with his retirement as he tries to embark on a final mission where it is Wayne not only displaying a larger-than-life presence but also a humility and sentimentality to a man dealing with not being what he’s meant to do as it is one of Wayne’s great performances.
She Wore a Yellow Ribbon is a phenomenal film from John Ford that features an incredible performance from John Wayne. Featuring a fascinating script, beautiful locations, and a strong supporting cast, the film is definitely one of the finest collaborations between Ford and Wayne in its exploration of the American West and the world of the cavalry. In the end, She Wore a Yellow Ribbon is a sensational film from John Ford.
© thevoid99 2016
Based on the short story Massacre by James Warner Bellah, Fort Apache is the story of a cavalry officer who is asked to help his commander from preventing a war between the cavalry and the Native Americans during the Indian Wars. Directed by John Ford and screenplay by Frank S. Nugent, the film is the first of a trilogy of films devoted to the cavalry in the American West during the late 1800s where it explores two men with different views and tactics trying to work together to avoid conflict with the Native Americans. Starring John Wayne, Henry Fonda, Shirley Temple, Victor McLagen, Ward Bond, Pedro Armendariz, and John Agar. Fort Apache is a riveting and thrilling film from John Ford.
Set in the late 1800s after the American Civil War and during the Indian Wars between various Native American tribes and the American Cavalry. The film revolves around a lieutenant-colonel who arrives to Fort Apache to command a cavalry as he deals with his role as well as trying not to mess with a treaty involving the Apaches. Still, he finds himself having to deal with the way the fort is run as well as those trying to adhere to his rules where a captain finds himself at odds with his commanding officer but doesn’t want to stir trouble. It’s a film that isn’t just about two men who have different ideas of how to run things but also what to do from preventing a war. Especially as it relates to dealing with the Apache where Lt. Colonel Owen Thursday (Henry Fonda) knows very little about while Captain Kirby York (John Wayne) is someone that sees the Apache as just people wanting to live in peace.
Frank S. Nugent’s screenplay doesn’t play into the conflict of ideologies in Lt. Col. Thursday and Cpt. York but also how would affect the way the fort is run as the latter is trying to play nice and not question the former. Among those living in the fort is Lt. Col. Thursday’s daughter Philadelphia (Shirley Temple) who takes a liking to the young Lieutenant Mickey O’Rourke (John Agar) whose father Sgt. Major Michael O’Rourke (Ward Bond) is a leader of the regiment that also includes men he fought with in the Civil War as part of the Irish Brigade. Lt. O’Rourke’s attraction towards Philadelphia makes her father uneasy not because he’s protective but also due to class prejudice that would eventually upset Sgt. Major O’Rourke at one point as he had tried to do what his superior officer had said much to the chagrin of some of his men. There is also some unique complexities to the characters where Lt. Col. Thursday is seen as egocentric and arrogant but is also a man that is aware of what he has to do despite his reluctance to lead this regiment.
The script also shows complexities in Captain York where despite being an officer that is often friendly with his fellow soldiers while sometimes having dinner with the O’Rourke family. He is still a man of duty and does what is asked without question where he does have to take the criticism of the men who revere him. When it comes to dealing with the Apache following an incident that left two soldiers killed as it relates to the actions of a corrupt agent in Meacham (Grant Withers). The ideologies of Captain York and Lt. Col. Thursday start to go at odds where the latter sees the Apache as savages while the former sees them as real people who don’t want conflict. The film’s third act is about this conflict between the cavalry and Apache where there is an air of respect when they meet before battle but it also show the flaws of Lt. Col. Thursday in dealing with someone like Cochise (Miguel Inclan) as Cpt. York made a deal with him as it also leads to the concept of honor which is something that starts to be questioned during the film’s climatic battle.
John Ford’s direction is truly mesmerizing for the way he captures the American West where he shoots the film largely at Monument Valley in Utah with some of the locations set in California. The locations definitely have a grand look to it as Ford takes advantage of the locations to play into its beauty as there’s a lot of depth of field in the wide and medium shots as well as creating compositions that are just gorgeous. The attention to detail in the wide shots from the way the clouds look above the desert to a wide shot of the entire regiment ready for battle with the wives looking on the balcony in the background. It’s all part of the world that Ford creates as it says a lot to what was happening in those times where it was this uneasy conflict where the American government tried to instill their own rules towards the natives as Lt. Col. Thursday is a representation of that ideology. There are these moments that are intimate as the first scene involving Cpt. York has him in a dance with the officers and soldiers along with their wives as it shows him as someone who is very open and friendly to the soldiers.
It’s a very interesting way in how Ford introduces a major character as opposed to Lt. Col. Thursday and his daughter as they’re introduced when they’re riding on a stagecoach on their way to Fort Apache. It’s among some of the intriguing moments in the film while Ford isn’t afraid to put some humor as it relates to some of the soldiers and how they found some whiskey that they’re supposed to get rid of. The film’s climatic moments involving the cavalry and the Apache are quite intense with its sprawling usage of the dolly tracking shots to capture the chases as well as the wide shots to play into the scope of these battle scenes. The way Ford was able to present the climax is nothing short of astonishing as it has a lot of what is happening but also destroy some of the mythical aspects that is the American West. Overall, Ford crafts an exhilarating and compelling film about two cavalry officers dealing with their different ideas of conflict while dealing with the Apache.
Cinematographer Archie Stout, with un-credited work from William H. Clothier, does brilliant work with the film‘s black-and-white photography from the beauty of the daytime exterior scenes as well as some unique lighting for some of the interiors set at night. Editor Jack Murray does excellent work with the editing with its usage of dissolves and fade-outs for structural reasons along with some rhythmic cutting for the action. Art director James Basevi does amazing work with the design of the fort as well as some of the houses and such in the desert to play into the look of the West. The sound work of Joseph I. Kane and Frank Webster is superb for some of the natural elements in the locations along with the way the bugles sound and some of the more broad elements in the action involving gunfire. The film’s music by Richard Hageman is fantastic for its bombastic orchestral score with its usage of string arrangements and brass section to play into some of the moments of action along with the usage of traditional music for some of the more intimate moments.
The film’s incredible cast include some notable small roles from Irene Rich as Major Sgt. O’Rourke’s wife, Anna Lee as Captain Collinwood’s wife who knew Lt. Col. Thursday’s wife, Movita as Lt. Col. Thursday’s cook Guadalupe, Guy Kibbee as the surgeon Captain Wilkens, and Miguel Incan as the famed Apache warrior Cochise. Victor McLagen is terrific as Lt. O’Rourke’s godfather Sgt. Mulcahy who likes to drink and have fun as he doesn’t like Lt. Col. Thursday while Pedro Armendariz is superb as Sgt. Beaufort as a former Confederate who aids Captain York in talking with the Apache. Grant Withers is wonderful as the scheming agent Silas Meacham who had caused trouble with the Apache as he’s disliked by many though is protected by the government much to Cpt. York’s dismay.
George O’Brien is fantastic as Cpt. Sam Collinwood as an old friend of Lt. Col. Thursday who tries to deal with what his superior wants as well as making the move to transfer to another company. John Agar is pretty good as Lt. Mickey O’Rourke as a young lieutenant, who like Lt. Col. Thursday is a West Point graduate, who is trying to find his footing while falling for Philadelphia much to her father’s dismay. Ward Bond is excellent as Major Sgt. O’Rourke as Lt. O’Rourke’s father who was part of the revered Irish brigade during the Civil War as a man who is proud of his duty as a soldier only to find himself at odds with Lt. Col. Thursday over class. Shirley Temple is brilliant as Philadelphia Thursday as Lt. Col. Thursday’s daughter who falls for Lt. O’Rourke while trying to understand the ideas of duty as she is just fun to watch.
Henry Fonda is great as Lt. Col. Owen Thursday as this officer who is trying to do his duty and do everything he is asked where he is also arrogant in his ways as it’s a very chilling role from Fonda who intentionally plays a man that looks stiff in the way he looks and does things but it is one of his finest performances. Finally, there’s John Wayne in a phenomenal performance as Captain Kirby York as this man that has encountered and knows a lot about the Apache as he tries to help Lt. Col. Thursday every way he can while swallowing some of his pride to do his duty unless he knows something isn’t right as it’s Wayne at his best.
Fort Apache is a sensational film from John Ford that features top-notch performances from John Wayne and Henry Fonda. With a great script, a superb supporting cast, and gorgeous visuals, the film isn’t just one of Ford’s great westerns but also a study of ideologies and myths surrounding the American West. In the end, Fort Apache is a tremendous film from John Ford.
© thevoid99 2016
