2023 Blind Spot Series: The Quiet Man

 

Based on a short story for Saturday Evening Post by Maurice Walsh, The Quiet Man is the story of a boxer who travels from Pittsburgh to his home village in Ireland to purchase his old family farm as he deals with locals while falling for a woman whom he wants to spend the rest of his life with. Directed by John Ford and screenplay by Frank S. Nugent, the film is an exploration of a man wanting to return to his roots and start a new life while dealing with conflict from those who don’t see him as worthy of anything. Starring John Wayne, Maureen O’Hara, Barry Fitzgerald, Victor McLaglen, Mildred Natwick, Francis Ford, and Ward Bond who also does the film’s narration. The Quiet Man is a majestic and rapturous film from John Ford.

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

2020 Blind Spot Series: The Grapes of Wrath

Based on the novel by John Steinbeck, The Grapes of Wrath is the story of a family who deal with the loss of their farm during the Great Depression as they move to California to become migrant workers as they deal with the new reality of their lives. Directed by John Ford and screenplay by Nunnally Johnson, the film is an exploration of a family dealing with a loss that is bigger than themselves as they struggle to adapt to their new reality as they also learn they’re not alone in what had been lost. Starring Henry Fonda, Jane Darwell, John Carradine, Dorris Bowdon, John Qualen, and Eddie Quillan. The Grapes of Wrath is a haunting yet majestic film from John Ford.

The film revolves around a farming family who had lost their land due to the circumstances of the Great Depression as they move from their home in Oklahoma to California to become migrant workers as they deal with not just the harsh reality of their situation but also the fact in how mistreated they are as well as many others who are going through similar situations. It’s a film that follows this family as they deal with not just losing their land that they lived for many years but also trying to start a new life that has little to offer as they’re forced to go on the road. Nunnally Johnson’s screenplay is largely straightforward as it is told largely through the perspective of Tom Joad (Henry Fonda) as a man who had just been paroled from prison after a four-year stint for killing a man in a fight as he returns to his family home to realize it had been abandoned with his parents living at his uncle’s home with the rest of the family. The first act is about the Joad family and Tom’s discovery of what is happening as old family friend Muley Graves (John Qualen) reveals what happened to him as his family had already left for California and why the Joad family has decided to move to California.

The trip from Oklahoma to California would be one of loss, revelation, and adversity as the Joad family would also learn that a lot of people as far as Arkansas have been making the journey to California and have suffered the same trials and tribulations the Joad had endured. Joining the Joad in this road trip is the former preacher Jim Casy (John Carradine) who would have his own revelations of his own in what he sees as it relates to the injustices migrant workers have to face such as wages being decreased and not having a lot of say in what they can do. There are also these moments where there are characters who have to do things they’re not proud of for money as it play into Tom’s own awareness of what is happening as he would go into his own revelations in the film’s third act upon the moment he and his family would go to work camps as it is more about the quality of life and the needs of those who want to work and have a good life.

John Ford’s direction doesn’t aim for anything glossy nor wanting to romanticize the period of the Great Depression as he just goes full-tilt into the harshness of the Dust Bowl and life in the American Midwest and in California during these tough times. Shot on various locations in Oklahoma, New Mexico, Arizona, and California and on the legendary Route 66 which is a major character in the film. Ford uses the wide shots to get a scope of these locations but also in this idea that California is this land of promise though Grandma Joad (Zeffie Tilbury) has a different opinion. Ford also play into this optimism that is carried in the film but it does get replaced with an air of cynicism until he finds a balance between the two as it would play into Tom’s development. Even as he is someone that already has a criminal record and can be short-tempered who is trying to maintain control but starts to seethe in rage over the injustices that is happening around him.

Ford’s usage of the medium shots and close-ups also play into a lot of the drama including a conversation with a former migrant worker who left California as he reveals what the Joads would face as the reality of their surroundings and these camps are in terrible condition. Ford would often have scenes on the road as well as a shot of the Joads driving through these camps as it has this stark tone that feels real as opposed to something extravagant that would expected in a Hollywood film. The direction also has Ford play into this idea of communism but it’s only briefly hinted as it is more about Tom and what he sees as well as the need for not wanting any more trouble. Still, he can’t un-see all of the injustice he suffers as the film does have bleak elements but Ford provides these touching moments that are defiant in the human spirit. Overall, Ford crafts a visceral yet rapturous film about a farming family moving to California to find a new life during the Great Depression.

Cinematographer Greg Toland does incredible work with the film’s black-and-white photography as it play into this stark naturalism of some of the scenes in the camps as well as its usage of available and low-key light as well as shadows for some of the interior/exterior scenes set at night as it is a major highlight of the film. Editor Robert L. Simpson does amazing work with the editing as it is largely straightforward yet it allows shots to play into some of the drama and suspense while maintaining a rhythm to help heighten up some intense moments. Art directors Richard Day and Mark-Lee Kirk, with set decorator Thomas Little, do brilliant work with the look of the camps as well as the homes of the Joad as well as the agriculture camp in the third act

Costume designer Gwen Wakeling does fantastic work with the costumes as it play into the ragged look of the characters as well as a refined look for some of the people in authority. The sound work of Roger Heman Sr., Edmund H. Hansen, and George Leverett do superb work with the sound as it play into the atmosphere of the locations as well as sounds of trains and gunfire as it help play into the suspense. The film’s music by Alfred Newman is terrific for its usage of folk-inspired instruments as much of the score is based on the traditional song Red River Valley with the accordion and harmonium as the basis for the score while its music soundtrack largely consists of folk songs of the time with consultation from the folk music legend Woody Guthrie.

The film’s wonderful ensemble cast as it feature some notable small roles from Ward Bond as a policeman, Selmer Jackson as an inspection officer, Joseph Sawyer as a ranch foreman, John Arledge as a young man who drives a caterpillar tractor to destroy Graves’ home because he needs the money, Daryl Hickman and Shirley Mills in their respective roles as the young Joad children in Winfield and Ruthie, Frank Darien as Uncle John Joad, Frank Sully as John’s son Noah, Zeffie Tilbury and Charley Grapewin in their respective roles as Grandma and Grandpa Joad, Eddie Quillan as Rose’s husband Connie, and O.Z. Whitehead as Tom’s younger brother Al. John Qualen is superb as family neighbor Muley Graves as a man who had lost his home and had been hiding at the old Joad home as he deals with what he lost and why he has no interest in going to California. Russell Simpson is superb as Pa Joad as a man who is filled with hope and optimism about going to California as he is forced to deal with reality while trying to maintain some hope for everyone else in the family.

Dorris Bowdon is fantastic as Rose of Sharon as Tom’s cousin who is hoping to start a new life as she struggles with her pregnancy but also hopelessness. John Carradine is brilliant as Jim Casy as a former preacher who joins the Joads on the road as he does what he can to help them while also coming to terms with the many injustices he sees in his journey. Jane Darwell is phenomenal as Ma Joad as Tom’s mother who tries to comprehend everything that is happening around her while being this glue to the family as well as a moral compass as there’s a radiance to her performance that includes the film’s final monologue as it just this touching yet powerful moment in the film. Finally, there’s Henry Fonda in a tremendous performance as Tom Joad as a man who had just been paroled as he tries to stay away from trouble as well as help his family any way he can while dealing with a lot of the prejudice and injustice that he sees as he feels compelled to wanting to do something not for himself but for those who are suffering as it is an iconic performance from Fonda.

The Grapes of Wrath is a magnificent film from John Ford that features great performances from Henry Fonda, Jane Darwell, and John Carradine. Along with its supporting ensemble cast, Greg Toland’s ravishing cinematography, emphasis on realism, and its study of inhumanity during the Great Depression. It is a film that explore a period in time when people are trying to find work and survive only to realize that they’re not alone in this endless cycle of movement and having to find work while realizing that they have the power to make their own decisions during those dark times. In the end, The Grapes of Wrath is an outstanding film by John Ford.

© thevoid99 2020

2019 Blind Spot Series: Gone with the Wind

Based on the novel by Margaret Mitchell, Gone with the Wind is the story of a plantation owner’s daughter and her pursuit towards a man only to be pursued by another gentleman who tries to get her to see things differently. Produced by David O. Selznick, directed by Victor Fleming, with additional directing by George Cukor and Sam Wood, and screenplay by Sidney Howard. The film is an epic romantic drama that play into a woman coping with her romantic feelings while dealing with the chaos of the American Civil War. Starring Clark Gable, Vivien Leigh, Olivia de Haviland, Leslie Howard, and Hattie McDaniel. Gone with the Wind is a sprawling and monumental film from producer David O. Selznick.

Told in the span of 12 years during the American Civil War and its aftermath, the film follows the life of the daughter of a plantation owner whose infatuation for a man leads her to being pursued by another man as she deals with her own desires and passion amidst the chaos and turmoil of the American Civil War. It’s a film that explore the journey of a woman who has known a life of comfort and luxury in the American South just days before the Civil War began as she would later endure all sorts of trials and tribulations yet would also embark on relationships either for social or financial gain as a way to fill the void for her heart’s desire as she would attract the attention of a man who admires her spirit. Even as she would get a lot of things in her life but her love for this other man who would be married to another woman who would also become a dear friend to her would also play into her undoing.

The film’s screenplay by Sidney Howard, with un-credited contributions from Ben Hecht, Jo Swerling, Oliver H.P. Garrett, and John Van Druten, play into the journey that Scarlett O’Hara (Vivien Leigh) would embark on in her pursuit of longtime family friend Ashley Wilkes (Leslie Howard) hoping to be married to him. However, Wilkes is engaged to his cousin Melanie Hamilton (Olivia de Haviland) which upsets O’Hara as she would continuously pine for Wilkes as well as get the attention of a guest in Rhett Butler (Clark Gable) who is intrigued by O’Hara. The first act is about the events before and during the war as O’Hara tries to pursue Wilkes yet would later engage into a couple of marriages that would be doomed with the first marriage to Melanie’s younger brother Charles (Rand Brooks) and then to his sister’s fiancé Frank Kennedy (Carroll Nye) in the film’s second act. It has a unique structure with its first half being about the early years of the war but also Sherman’s march through Georgia that would destroy nearly everything as well as the life that O’Hara and the people that she knew would be gone.

It’s not just in the structure of the script that is crucial to the film with its second half playing into the aftermath of the Civil War and the Reconstruction period but also into some of the development of the characters. While O’Hara would be humbled by the sense of loss she endured including around her family home of Tara, there is still this foolish pursuit of Wilkes who admits to having feelings for her but is still in love with Melanie. Melanie turns out to be a far more interesting character in terms of her gracefulness as well as being a person of reason where she seems to know more of what is going on rather than be oblivious. Then there’s Butler who is a man of charm but also someone who understands what is important as he does whatever he can to help out other people where he would really come into play in the film’s third act as someone who puts duty and family over everything else rather than O’Hara who is concerned with trying to live a lifestyle and pine for Wilkes.

The film’s direction by Victor Fleming is definitely sprawling in terms of its setting and grand visuals. Shot largely on studio and locations in Southern California including the studios in Los Angeles and Ventura County, the film does recreate this world of the American South that is lavish and full of ideals with a thriving economy and such despite the fact that they enjoyed the idea of slavery even though O’Hara and her family actually treat their slaves kinder than others in the maid Mammy (Hattie McDaniel) who would often put O’Hara in her place as well as run the house. With some contributions from George Cukor and Sam Wood during parts of the production, Fleming is able to maintain this atmosphere for much of the film’s early parts of the first act as this serene world yet there is something about that feels false due to the imagery of slavery where it is painted romantically which is far from what really did happen. When the horrors of war would emerge, the fantasy that O’Hara and her fellow Southerners had been living in burned right in front of their faces.

The usage of the wide shots including the grand detail in the crane shots that Fleming uses in a scene where O’Hara tries to find a doctor for Melanie as it’s presented in a small wide shot and then this vast crane to show all of these dead and wounded soldiers. The usage of tracking and dolly shots along with some of the presentation of the action including the scenes of the burning of Atlanta are among some of the finest usage of scenery during the first half of the film. The second act which is about the aftermath and O’Hara’s desire to return to Tara with an ailing Melanie and her baby in tow along with the maid Prissy (Butterfly McQueen). The second half begins with the rebuilding of Tara but also the arrival of the carpetbaggers as it would play into O’Hara trying to create a life similar to what she had despite having to live in Atlanta and at a smaller home. Due to her desire to make more money, she would eventually encounter a shantytown and trouble leading to an incident where it would be Butler that would help her out once again leading to their marriage and the film’s third act.

The third act is definitely the most dramatic as it play into Butler and O’Hara’s marriage and family life as well as what Butler is trying to create in this post-Civil War lifestyle that is sort of similar to the past but with some major differences. The usage of the close-ups and medium shots help play into the drama with some striking compositions as well as moments that are ambiguous. Notably in a scene where Butler would take O’Hara up to their room where even though it’s presented in a romantic tone, it does raises question into the idea of marital rape although Butler is later appalled by his actions. There is that ambiguity as it all play into O’Hara’s foolish pursuit towards Wilkes with Butler feeling spurned by what is happening as he thinks about their daughter as well as Melanie whom he cares for as a friend. Its ending is about not just this air of foolishness for both Butler and O’Hara but also in some serious revelations for both of them. Overall, producer David O. Selznick and director Victor Fleming create a spectacularly rich and majestic film about a Southern gentleman wooing a spoiled plantation daughter during the backdrop of the American Civil War and its aftermath.

Cinematographers Ernest Haller, Lee Garmes, and Ray Rennahan do amazing work with the film’s gorgeous Technicolor cinematography with its usage of colors for some scenes in the sunlight along with its usage of shadows as well as the grand detail into how vibrant the exteriors are in times when it was rich as well as how harrowing it looks following the events of the Civil War. Editors Hal C. Kern and James E. Newcom do excellent work with the editing with its usage of rhythmic cuts to play into the action and drama as well as letting shots play on for some of the film’s big moments. Production designer William Cameron Menzies, with set decorator Howard Bristol and art director Lyle Wheeler, does amazing work with the look of the mansion and land that is Tara along with some of the lavish homes of the Wilkes and many others as well as some of the ruined places and Atlanta post-Civil War. Costume designer Walter Plunkett does fantastic work with the costumes from the lavish design of the dresses and hats the women wear along with the suits and uniforms the men wore.

The visual effects work of Jack Cosgrove, Fred Albin, and Arthur Johns is terrific for some of the backdrops that is created including the scenes during the Fall of Atlanta with its images of fire. Sound recordist Thomas T. Moulton and sound editor Gordon Sawyer do superb work with the sound as it play into the atmosphere of the parties as well as the sounds of war. The film’s music by Max Steiner is incredible for its soaring and majestic orchestral score with its sweeping string arrangements and lush orchestral themes along with its take on traditional music of the times including Dixie.

The casting by Charles Richards and Fred Schuessler is marvelous for the massive ensemble that is assembled for the film as it feature some notable small roles from Cammie King Conlon as Rhett and Scarlett’s daughter Bonnie, Mickey Kuhn as Ashley and Melanie’s son Beau, Louis Jean Heydt as a Confederate soldier holding the baby Beau, Olin Howland as a carpetbagger businessman, Ward Bond as a Yankee captain trying to find suspects over a shantytown attack, Leona Roberts as Mrs. Meade, Harry Davenport as Dr. Meade, Laura Hopes Crew as Melanie’s Aunt Pittypat Hamilton, Everett Brown as the O’Hara’s field foreman Big Sam who would later save Scarlett at the shantytown, Victor Jory as the field overseer Jonas, Butterfly McQueen as the house servant Prissy who helps Scarlett with Melanie, Paul Hurst as a Yankee deserter trying to rob Tara, Howard Hickman as Ashley’s father John, George Reeves and Fred Crane in their respective roles as Scarlett’s brothers Stuart and Brent, and Ona Munson in a fantastic performance as the brothel madam Belle Watling as a woman who is known for a certain reputation yet is someone far more intriguing as she is a friend of Butler as well as someone Melanie admires.

Rand Brooks and Carroll Nye are terrific in their respective roles as Melanie’s brother Charles and Frank Kennedy as two men who would marry Scarlett in different periods in Scarlett’s life only to be unaware that she doesn’t love either of them. Evelyn Keyes and Ann Rutherford are wonderful in their respective roles as Scarlett’s sisters in Suellen and Carreen with the former as the younger of the two who really hates Scarlett for being bossy. Thomas Mitchell and Barbara O’Neal are superb in their respective roles as Scarlett’s parents in Gerald and Ellen O’Hara with the former being an Irishman trying to hold on to his land and ideals during the dark days of the war. Leslie Howard is excellent as Ashley Wilkes as the object of desire for Scarlett as a gentleman who joins the Confederacy as an officer as he deals with the realities of war while is torn for his love for Melanie but also his own feelings for Scarlett although he’s someone with not much personality.

Hattie McDaniel is brilliant as the housemaid Mammy as a woman who always says what is on her mind and doesn’t take shit from anyone while also running the house as she is sort of the film’s conscience despite being a sort of typical and subservient figure for the O’Hara family. Olivia de Haviland is amazing as Melanie Wilkes as Ashley’s cousin/wife who is a woman of grace and understanding as well as being the smartest person out there as it relates to Scarlett’s feelings for Ashley but also is someone who can bring the best in someone as well as be a sense of warmth for those feeling sad. 

Vivien Leigh is remarkable as Scarlett O’Hara as this spoiled daughter of a plantation owner whose pursuit of Ashley would put her into foolish situations or moments by chance as it is a wild and over-the-top performance of a woman that is so intent on winning Ashley while at times being humbled and forced to swallow her pride. Finally, there’s Clark Gable in a tremendous performance as Rhett Butler as a Southern gentleman from Charleston who charms his way into any situations while being fascinated by Scarlett and her passion as well as being someone that is willing to humble her as well as cope with his own shortcomings including how he’s been unable to try and win over her due to her feelings for Ashley.

Gone with the Wind is an astonishingly rich and sensational film from Victor Fleming and producer David O. Selznick. Featuring a great cast, gorgeous visuals, a soaring music score, top-notch production values, and a story of love and pursuit during the era of the American Civil War and its aftermath. It’s a film that is grand in its visuals and tone despite some of romanticism towards the time of the American South and its ideas of slavery. In the end, Gone with the Wind is a spectacular film from Victor Fleming and producer David O. Selznick.

© thevoid99 2019

Young Mr. Lincoln

Directed by John Ford and written by Lamar Trotti, Young Mr. Lincoln is the story about the early life of Abraham Lincoln where he is a lawyer dealing with a murder case as it would define his character and what he would do later on. The film is a look into the life of the man who would later become one of the American Presidents as he is played by Henry Fonda in the first of many collaborations with Ford. Also starring Alice Brady, Marjorie Weaver, Arleen Whelan, Eddie Collins, Pauline Moore, and Richard Cromwell. Young Mr. Lincoln is a riveting and intoxicating film from John Ford.

Set mainly in 1837 Springfield, Illinois, the film revolves around Abraham Lincoln who has just started a law firm with John Stuart (Edwin Maxwell) where a murder occurred during an Independence Day celebration where a deputy had been killed following a fight with two young men. It’s a film that plays into a man who is destined for great things as he takes his first steps into greatness yet remains humbled in his pursuit of doing what is right. Lamar Trotti’s screenplay begins in 1832 in New Salem, Illinois where Lincoln is trying to decide what he wants to do where he is encouraged by this then-flame Ann Rutledge (Pauline Moore) to embark in studying law just before she would pass. Much of Trotti’s script play into Lincoln’s time in Springfield as he’s trying to settle small matters as well as be someone the town can count on.

Even as these two brothers in Matt and Adam Clay (Richard Cromwell and Eddie Quillan, respectively) had gotten into a fight with deputy Scrub White (Fred Kohler Jr.) who is killed where their mother Abigail (Alice Brady) witnessed what happened but isn’t sure. With the Clay brothers in trouble and to be hanged, it is Lincoln who is willing to defend them for Abigail Clay while wanting to get an understanding of what had happened as he is able to get the brothers a fair trial to defend them. The script also showcase Lincoln having encounters with the woman who would become his wife in Mary Todd (Marjorie Weaver) who is often accompanied by a future political rival of Lincoln in Stephen Douglas (Milburn Stone).

John Ford’s direction is largely simple in its compositions and setting where it is a more intimate film with a few wide shots of some of the locations that was mainly shot in soundstages in Hollywood. Ford would use close-ups and medium shots to maintain an intimacy into the way Lincoln interacts with other characters including what he does in Springfield such as judging pies and taking part in activities relating to the Independence Day celebration. Yet, it would be overshadowed by the fight between White and the Clay brothers as the former had been harassing one of their sisters earlier that day as it’s a scene that Ford would shoot on a wide shot to get perspective of what is happening and what Abigail sees as there is a confusion into what had happened. There are scenes that play into Lincoln’s personal life as well as his encounters with Todd as Ford would maintain this simplicity yet it is the film’s climatic trial scenes that showcase the air of drama and tension that looms. Especially where Lincoln who is handling his first case is aware of what he’s up against yet he uses common sense and reasoning to get what he’s needed where Ford just captures the tension but also this air of determination to do what is right that would define Lincoln as a man. Overall, Ford crafts a rich and engaging film about the early life of Abraham Lincoln.

Cinematographers Bert Glennon and Arthur Miller doe brilliant work with the film’s black-and-white photography with its rich look for some of the interiors in the day as well as the interior scenes at night including the jail cells the Clay brothers were staying at. Editor Walter Thompson does excellent work with the editing as it is largely straightforward in terms of its rhythmic cuts for dramatic effect as well as a few humorous moments in the film. Art director Richard Day and Mark-Lee Kirk, with set decorator Thomas Little, do fantastic work with the look of the courthouse, Lincoln’s law office, and other buildings to create 1830s Springfield. Costume designer Royer does amazing work with the costumes from the suit and big tall top hat that Lincoln wears to some of the lavish dresses that Mary Todd wears.

Makeup artist Clay Campbell does nice work with the look of Lincoln from his chin and moles as well some of beards and sideburns men had at the time. The sound work of Eugene Grossman and Roger Henan is terrific for its approach to sound in how gunfire would sound from afar as well as some of the quieter moments in the trial. The film’s music by Alfred Newman is wonderful for its somber yet elegant orchestral score that is largely driven by string arrangements while musical director Louis Silvers provides a soundtrack that mainly features a lot of the traditional music of the times.

The film’s superb cast feature some notable small roles from Spencer Charters as the trial judge Herbert A. Bell, Fred Kohler Jr. as Deputy Scrub White who would harass one of the Clay sisters that would eventually lead to a fight with the Clay brothers and his death, Donald Meek as Prosecutor John Felder trying to prove that the Clay brothers murdered White with intent, Richard Cromwell and Eddie Quinlan in their respective roles as Matt and Adam Clay, Arleen Whelan as their sister Alice, Eddie Collins as a local in Efe Turner, and Milburn Stone as Lincoln’s future political rival Stephen A. Douglas who is also a rival vying for the affections of Mary Todd. Ward Bond is terrific in a small role as Deputy White’s friend John Palmer Cass as a man who claims to saw what happened while raising questions about what he really saw.

Pauline Moore and Marjorie Weaver are fantastic in their respective as Ann Rutledge and Mary Todd with the former being a guide to Lincoln in his career and the latter being someone interested in the man as someone who is driven and determined. Alice Brady is excellent as Abigail Clay as the mother of the Clay brothers who saw what happened but is in conflict to reveal the truth as she doesn’t want to put one or both of her sons in jail. Finally, there’s Henry Fonda in a phenomenal performance as Abraham Lincoln as a man who would become a lawyer as he tries to make sense over a murder case as well as meet the people he’s defending where Fonda displays this air of sensitivity and humbleness as a man that just wants to do what is right and be helpful to everyone.

Young Mr. Lincoln is a spectacular from John Ford that features a great performance from Henry Fonda. Along with its ensemble cast, gorgeous photography, and its story of a young Lincoln trying to be a man that people can count on. It’s a film that showcases a man who would be great as he would take his first steps but also keep his feet on the ground to know that he’s just trying to be a good man. In the end, Young Mr. Lincoln is a sensational film from John Ford.

© thevoid99 2019

2017 Blind Spot Series: Rio Bravo

Based on the short story by B.H. McCampbell, Rio Bravo is the story of a town sheriff who finds himself facing off against a local rancher as he seeks the help of a cripple, a drunk, and a young gunfighter to deal with the rancher and his men. Directed by Howard Hawks and screenplay by Jules Furthman and Leigh Brackett, the film is about a sheriff protecting his town as he angers a local rancher for arresting the man’s brother. Starring John Wayne, Dean Martin, Ricky Nelson, Angie Dickinson, Walter Brennan, John Russell, and Ward Bond. Rio Bravo is a compelling yet enthralling film from Howard Hawks.

Set in a small town of Texas known as Rio Bravo, the film revolves a sheriff who has arrested the brother of a local rancher for murder as the brother wants him back leading to a battle of wits and wills between the sheriff and rancher. It’s a film that is about a man trying to uphold the law and do good for this little town as he has two deputies to help him despite the fact that they’re both flawed as one of them is a drunk struggling with being sober while the other is an old man with a bum leg. They’re later joined by a young gunfighter who observes from afar after his boss had been killed by one of the men working for the rancher as it’s revealed he’s paying men to do his dirty work. The film’s screenplay by Jules Furthman and Leigh Brackett doesn’t just explore the game of wits between this sheriff and rancher but also the life of a town that is just trying to live their lives in peace but the power of the rancher just causes problems after a man is killed at a bar by the rancher’s brother who had already killed numerous people in the past.

The town sheriff John T. Chance (John Wayne) is a no-nonsense man that is willing to listen but he has his job to do as he wants no one causing trouble. Yet, Joe Burdette (Claude Akins) would be the one to cause trouble and humiliate Chance’s deputy Dude (Dean Martin) who hasn’t had a drink of liquor in two years as he’s struggling to maintain his sobriety as he accidentally knocks out Chance. After Joe is arrested for killing a man at the saloon and be arrested at the saloon where Burdette’s men are, the trouble begins where Chance tries to smooth things down and not cause trouble despite the target on his head from the men who work for Nathan Burdette (John Russell). Chance, with Dude and the old man with a bum leg in Stumpy (Walter Brennan) who watches over the jailed Joe, as they all figure out what to do. Adding to the complication that Chance is dealing with is the arrival of a mysterious woman in Feathers (Angie Dickinson) who is suspected of being a cheating gambler while a young gunslinger named Colorado (Ricky Nelson) arrives wanting to help after a friend of Chance in Pat Wheeler (Ward Bond) is shot by one of Burdette’s hired guns.

The script also showcase Dude’s struggles as he was once a skilled gunslinger but years of alcoholism has made him feel diminished yet Chance keeps him on knowing he still has something left when he’s motivated. The script also play into Chance’s relationship with Feathers who is quite like him in the fact that she doesn’t take shit from him or anyone as she is asked to leave but she prefers to stay as it causes this unlikely attraction between the two. When Colorado joins Chance in stopping Burdette’s men, he is someone that is quite smart for someone that is young as well as very skilled as he’s also know where his place is as he immediately gains Chance’s respect. Especially in the film’s climatic showdown that involves a game of chance and wit with guns and dynamite.

Howard Hawks’ direction is definitely entrancing due to the visuals he creates while also emphasizing in simple compositions and moments to create a mood for the film. Notably the opening sequence as it doesn’t feature any dialogue for nearly several minutes as it involves Joe Burdette humiliating Dude and creating trouble where he is captured by Chance. Shot on location near Tucson, Arizona, the film does play into a time in the West where it was starting to get less rowdy and more civilized but there’s still some trouble as it involves Burdette who is still trying to rule the town as he owns the local ranch and a saloon where his men are free to do with whatever they want. While Hawks would use some wide shots to capture the locations as well as viewpoints of the men looking at Burdette’s saloon from the jailhouse. Much of Hawks’ direction would emphasize more on a sense of intimacy in the usage of close-ups and medium shots.

The direction would have moments that are intense but also very restrained as Hawks is more interesting in building up the suspense such as a scene where Chance and Dude try to find Ward’s assassin as it’s all about the little details. There are also these moments such as a confrontation between Chance and some of Burdette’s men who try to stop Chance as they’re forced to deal with Colorado who would find a way to outwit Burdette’s men with Feathers’ help. While Hawks would take a simple approach to the drama and suspense, he would also infuse bits of humor in the film courtesy of Stumpy as well as a moment for a sing-a-long involving Dude, Colorado, and Stumpy as it help defuse some of the tension and suspense as it show these three men as just human beings trying to have some fun and show what the world could be away from the greed and violence. Even if it means having to do something drastic to stop Burdette from ruining all of that all because he wants to free his brother who is likely to kill again without remorse. Overall, Hawks creates a thrilling and gripping film about a sheriff and his deputies going up against a greedy yet intelligent cattle rancher.

Cinematographer Russell Harlan does brilliant work with the film’s gorgeous Technicolor film stock to showcase some of the beauty of the clothes and locations as well as for the scenes set at night. Editor Folmar Blangsted does excellent work with the editing as it is very straightforward as well as using some methodical cutting to play into the suspense. Art director Leo K. Kuter and set decorator Ralph S. Hurst do amazing work with the look of the saloons, jailhouse, and the local hotel that Chance stays frequently as well as the exterior of Burdette’s ranch.

Costume designer Marjorie Best does fantastic work with the look of the clothes from the chaps, hats, and shirts to play into the personality of the characters as well as the stylish clothes of Feathers. The sound work of Robert B. Lee is terrific for capturing some of the natural elements as well as creating heightened sound effects for some of the gunfire. The film’s music by Dimitri Tiomkin is superb with its usage of lush orchestral flourishes and bombast as well as creating a few songs with lyricist Paul Francis Webster plus a traditional Mexican instrumental and a song by Ricky Nelson.

The film’s marvelous cast include some notable small roles from Joseph Shimada as the local undertaker Burt, Pedro Gonzalez-Gonzalez as the hotel manager Carlos, Estelita Rodriguez as Carlos’ wife Consuelo, Claude Akins as Nathan’s murderous brother Joe, and Ward Bond in a terrific small role as Chance’s old friend Pat Wheeler who arrives in town for business only to get himself into trouble with Burdette’s gang. John Russell is superb as Nathan Burdette as rancher who wants his brother free no matter what as he’s willing to do whatever it takes as well as hire killers and maintain his own sense of riches and sense of power. Angie Dickinson is amazing as Feathers as a woman who has been accused of being a cheat in gambling as she just stopped in the town for a few days only to stay as she becomes intrigued by Chance as it’s just a lively performance from Dickinson.

Walter Brennan is excellent as Stumpy as an old man with a bum-leg who is the film’s comic relief as he feels underappreciated while doing much of the work in watching Joe Burdette as he’s just an absolute joy to watch. Ricky Nelson is brilliant as Colorado as a young gunslinger who was working for Wheeler as he would later help Chance in dealing with Burdette and his gang as he is quite restrained but also very mature for his age as it's one of Nelson’s finest performances. Dean Martin is remarkable as Dude as a skilled gunslinger struggling to maintain his sobriety as well as the effects of alcohol as a man who feels like his time his done while trying to restore whatever dignity he has left. Finally, there’s John Wayne in a phenomenal performance as John T. Chance as the local sheriff who is trying to maintain law and order in this small town as he’s a man that just wants to do his job but also knows he has to be smarter than most men as there’s a gravitas to Wayne’s performance as well as someone that can take a few hits and still get back up as it is one of Wayne’s finest performances in his illustrious career.

Rio Bravo is an outstanding film from Howard Hawks featuring a tremendous performance from John Wayne. Along with its great ensemble cast, gorgeous visuals, gripping story, and a fantastic music soundtrack. The film isn’t just one of the finest films of the western genre but it’s also a film that is very witty but also engrossing for the way it explores a man trying to do what is right and needing to be smarter than those around him. In the end, Rio Bravo is a magnificent film from Howard Hawks.

Howard Hawks Films: (The Road to Glory) - (Fig Leaves) - (Cradle Snatchers) - (Paid to Love) - (A Girl in Every Port (1928 film)) - (Fazil) - (The Air Circus) - (Trent’s Last Case (1929 film)) - (The Dawn Patrol (1930)) - (The Criminal Code) – Scarface - (The Crowd Roars (1932 film)) - (Tiger Shark) - (Today We Live) - (The Prizefighter and the Lady) - (Viva Villa!) - (Twentieth Century) - (Barbary Coast) - (Ceiling Zero) - (The Road to Glory) - (Come and Get It) - Bringing Up Baby - (Only Angels Have Wings) - (His Girl Friday) - (Sergeant York) - (Ball of Fire) - (Air Force) - (To Have and Have Not) - (The Big Sleep (1946 film)) - (The Outlaw) – Red River - (A Song is Born) - (I Was a Male War Bride) - (The Big Sky) - (Monkey Business) - (O Henry’s Full House) - Gentlemen Prefer Blondes - (Land of the Pharaohs) - (Hatari!) - (Man’s Favorite Sport?) - (Red Line 7000) - (El Dorado) - (Rio Lobo)

© thevoid99 2017

3 Godfathers

Based on the short novelette by Peter B. Kyne, 3 Godfathers is the story of three outlaws who find themselves taking care of a baby as they try to bring it to civilization in an act of goodwill. Directed by John Ford and screenplay by Frank S. Nugent and Laurence Stallings, the film is a dramatic tale in which three men find themselves in a situation as well as trying to do some good in a world that is often chaotic. Starring John Wayne, Pedro Armendariz, Harry Carey Jr., Ward Bond, Mae Marsh, and Ben Johnson. 3 Godfathers is a riveting and compelling film from John Ford.

Following a robbery that left one of three criminals wounded and forced to hide in the desert with very little water, three criminals find a covered wagon in the middle of the desert where a dying woman is giving birth as they made a promise to take care of her baby. It’s a film with a simple story yet it bears a lot of spiritual elements while balancing with it elements of the western genre as it manages to be a lot more. The film’s screenplay by Frank S. Nugent and Laurence Stallings start off with these three men wanting to rob a bank as it would be successful except one of the men gets wounded and they also lose their water supply. It becomes cat-and-mouse game between these criminals and a sheriff who is accompanied by a posse of deputies where it is a game of wits. Once the three men find this woman and help her give birth, they realize that they need to get this baby to shelter as it’s no longer about them anymore. Even as they also struggle to do the right thing amidst their lack of water and trekking through the treacherous desert.

John Ford’s direction is definitely rapturous in terms of its visuals as a lot of the film would be shot in and around Death Valley, California as Arizona and parts of Utah. The locations would give Ford a canvas to work with as his usage of the wide shots would play into the beauty of the American West and the Rocky Mountains where he would create images that are just gorgeous to watch. Especially in the attention to detail in how he would frame his actors for a shot while he would also use medium shots to create some intimacy but also moments where it plays into some suspense and drama. The film is set during the Christmas holidays which does add to the air of spirituality in the journey the three criminals would take as it has biblical references while giving the men something more noble than what they were doing. All of which play into doing what is right for a child and bring him into a world where no matter how bad things can be. There is a sense of good that can come in and with people who will do the right thing. Overall, Ford creates a fascinating yet powerful film about three criminals trying to make a vow for a dying woman to take care of her baby.

Cinematographer Winton C. Hoch does amazing work with the film‘s gorgeous and colorful cinematography with the usage of the Technicolor film stock as it captures a lot of the beauty of the Death Valley desert as well as the Rocky Mountains along with some unique yet naturalistic lighting for the scenes set at night. Editor Jack Murray does excellent work with the editing as it is straightforward with some rhythmic cuts for some of the action and a few dissolves for transitions. Art director Jack Basevi and set decorator Joseph Kish do amazing work with the look of the town that the criminals encounter early in the film as well as the water tank stops on the railroad. The sound work of Joseph I. Kane and Frank Moran is terrific as it plays into the sound of train whistles and gunfire as well as other naturalistic elements in the sound. The film’s music by Richard Hageman is fantastic for its orchestral-based music with its string arrangements that range from bombastic to somber as it plays into the many moods in the film as it would also include traditional songs of the times.

The film’s superb cast include some notable small roles from Charles Halton as the bank manager, Dorothy Ford as the bank manager’s niece, Guy Kibbee as the local judge, Jane Darwell as a train stop manager in Miss Florie, Ben Johnson as a member of the deputy posse, Hank Worden as a sheriff’s deputy in Curley, Mae Marsh as the sheriff’s wife, and Mildred Natwick as the dying mother the criminals find in the desert as they help deliver her baby. Ward Bond is fantastic as Sheriff Buck Sweet as a man who is going after the three criminals while admiring their strategy in how to evade capture. In the titular roles as the three criminals are its leads in Harry Carey Jr., Pedro Armendariz, and John Wayne in great performances. In the role of the youngest in William Kearney aka the Abilene Kid, Carey provides that sense of youth but also a spirituality as someone that is well-versed in the Bible while dealing with a gunshot wound on his shoulder.

Pedro Armendariz’s performance as Pete “Pedro” Fuerte is just fun to watch as someone that randomly speaks Spanish as he’s a Mexican bandit yet knows a lot about raising children while also being a man that knows a lot about the story of the three wise men where he sees it as a call to God. John Wayne’s performance as Robert Marmaduke Hightower is really Wayne in one of his best roles as this aging bandit that has seen a lot and knows what to do. Yet, he becomes this unlikely father for this baby while he is determined to do the right thing.

3 Godfathers is a phenomenal film from John Ford that features incredible performances from John Wayne, Pedro Armendariz, Harry Carey Jr., and Ward Bond. It’s a film that isn’t just a western that breaks away from some of its conventions but also give it a sense of spirituality in what three men try to do for a baby. In the end, 3 Godfathers is a spectacular film from John Ford.

© thevoid99 2016

2016 Blind Spot Series: Fort Apache

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

The Searchers

Originally Written and Posted at Epinions.com on 7/5/10 w/ Additional Edits & Revisions.

Based on the Alan Le May novel, The Searchers tells the story of a Civil War veteran returning home only to encounter tragedy concerning his family. With his nephew, the two go on a journey that spans a few years to find his niece who had been abducted by the Comanche Indian tribe. Directed by John Ford and screenplay by Frank S. Nugent. The film explores a man’s search for his niece where it gives its star John Wayne a role that is complex and dark. Also starring Jeffrey Hunter, Vera Miles, Lana Wood, Ward Bond, and Natalie Wood. The Searchers is an evocative and thrilling film from John Ford and his star John Wayne.

Returning home to Texas a few years after the Civil War, Ethan Edwards (John Wayne) arrives to meet his brother Aaron (Walter Coy), Aaron’s wife Martha (Dorothy Jordon), and their children Lucy (Pippa Scott), Ben (Robert Lyden), and the youngest named Debbie (Lana Woods). Arriving to the family dinner is Aaron’s adopted son Martin Pawley (Jeffrey Hunter) whom Ethan is uncomfortable with since Martin is half-Cherokee while the Reverend Captain Samuel Johnson Clayton (Ward Bond) arrives the next day to meet the family where he asks Martin and Ethan to join the Texas Rangers. Ethan and Martin aids Clayton to find out who has been stealing cattle from the nearby Jorgensen family where Ethan makes a chilling discovery as he realizes it’s a trap. Ethan and Martin return home to find their home burned with the family dead prompting Ethan, Martin, and Lucy’s fiancee Brad Jorgensen (Harry Carey Jr.) to go search for the Comanche tribe that had probably captured Lucy and Debbie.

The search proves to be troubling after Ethan, Martin, Brad, and the rangers were almost trapped by the encounter with the Comanche forcing Clayton to call off the search. Ethan, Martin, and Brad decide to continue the search where Martin goes on the search for a trail where Ethan makes another discovery that leaves Brad devastated. With the trail lost and winter approaching, Ethan and Martin seek shelter at the Jorgensen family as Martin is greeted by old childhood friend Laurie (Vera Miles). Lars Jorgensen (John Qualen) and his wife (Olive Carey) give Martin a letter about someone who knows Debbie’s whereabouts while Ethan meets a trader named John Futterman (Peter Mamakos) who also reveals clues about a dress Debbie wore a few years ago. Ethan and Martin continue their search where Martin writes his recollections to Laurie where the search goes on for a year. After meeting with some cavalry men at a fort, Ethan and Martin learn about the women who had been captured by the Comanche.

After meeting a Mexican man named Emilio Figueroa (Antonio Moreno) who reveals the whereabouts of the tribe and their leader named Scar (Henry Brandon). Ethan and Martin arrive to the tribe camp where they find another shocking discovery about Debbie (now played by Natalie Wood) as it troubles Ethan prompting he and Martin to return to the Jorgensen home where some incidents occur when Clayton makes a plan. Even as Martin is worried about what Ethan might do to Debbie as he has a plan of his own.

The film’s story about a man and his adopted nephew taking a five-year search to find a young girl who had been captured by Indians is a simple story. Yet, it’s the journey and the study of its characters that makes the film far more compelling in its presentation. It’s really about a man trying to find his lost niece while his adopted nephew is learning about his uncle’s dark side. Despite Ethan Edwards’ sense of hatred towards the Comanche, he is a man devoted to his family and his hate over their slaughter is the drive for the search of Debbie. For Martin, he too is devoted to family and wants vengeance. His character serves as a conscience of sorts though he is immature and inexperienced into how to find the Comanche while he would later have an encounter with an Indian tribe where he would end up marrying one for a brief period.

Screenwriter Frank S. Nugent succeeds in creating a story that is truly complex in its tone. At times, there’s some humor to balance out the drama and suspense of the film while there’s also characters that do more than what is expected in the archetype of the western genre. Particularly Laurie Jorgensen who is a frustrated yet loyal woman who loves Martin but has a hard time waiting for him to come home. Another female character that is a main drive to the plot, though is only seen briefly is Martha, Ethan’s sister-in-law. It is suggested that Ethan is in love with her but there’s no dialogue nor any story that alludes to that relationship but rather in subtle body language. The film’s antagonist in Scar is also complex since he’s a man who has the same kind of hate that Ethan has but towards white men over tragedies made by white men. Nugent’s study of character, surroundings, and the exploration of racism is truly mesmerizing as well as provocative in its approach. The result is a story that is engaging and thrilling in its journey.

Capturing all of this on screen is the legendary John Ford whose direction is truly hypnotic and at times, breathtaking. Shooting on location in parts of Monument Valley along with other locations in Utah, Los Angeles, & Canada. Ford creates a world where there are rules but they can limit to what is possible. Those rules was something for Ethan and Martin as they care about searching for Debbie. Ford’s direction is stunning from the way he framed the opening and closing shots to how captures close-ups with zoom lenses. Even for wide shots to capture the world of Monument Valley with an amazing depth of field is truly jaw-dropping. Even as he captures the action with tracking camera shots to get the momentum and drama of what is happening.

Some of the dramatic moments in the film has Ford doing some great things about what not to show in order to intensify the dramatic elements of the film. Even as Ford manages to play around with the rules that were restricted at the time as he, like other filmmakers at the time, were starting to push boundaries. While it may not have the grit of the westerns to come from Sergio Leone and Sam Peckinpah. Ford does add a classical element that is truly sweeping as he creates what is definitely an archetype of what the western should be.

Cinematographer Winton C. Hoch does a spectacular job with the film’s photography from the wide, epic canvas look of the exteriors in the day time with some more intimate, darker shots for the nighttime scenes. The interior shots are done with little lighting while some scenes that have a mixture of interior/exterior is filled with shades or evening shots on the outside to exemplify the beauty of the West. Even if it has a sense of darkness that is happening as Hoch’s work is superb. Editor Jack Murray does excellent work with the film’s editing where it moves fast during the film’s climatic battle scene while creating wonderful transitions from scene to scene. Notably the sequence where Laurie narrates Martin’s letter about his journey as it moves back and forth quite seamlessly as Murray’s editing is a highlight.

The art direction of James Basevi and Frank Hotaling, along with set decoration by Victor A. Gangelin, is brilliant for the set designs on the cabin homes of the Edwards’ home along with the ranch of the Jorgensen family. Even as it maintains a sense of authenticity of what it looked like in post-Civil War era of the American West. Costume designer Charles Arrico is very good for its look and how it reflects on that world of the old west while the dresses that Vera Miles and the other actresses wear are beautiful. The sound work of Hugh McDowell Jr. & Howard Wilson is superb for its layering in capturing the action that goes on from the shootouts and locations that the characters are surrounded by.

The music score by Max Steiner is wonderful for its excitement for many of the film’s action and suspense scenes to more somber pieces in the dramatic moments. Mostly an orchestral score, the music also has more humorous scenes involving Martin and his Indian bride. The title song that’s played in the opening and closing credits is a slow yet old-school western ballad by Stan Jones that is sung by Sons of the Pioneers.

The casting for the film is phenomenal as it includes some noteworthy appearances from John Wayne’s young son Patrick as a young cavalry lieutenant, Antonio Moreno as a Mexican man who leads Ethan & Martin to the Comanche, Robert Lyden as Ethan’s young nephew Ben, Pippa Scott as Lucy, Harry Carey Jr. as Brad Jorgensen, Beulah Archuletta as Martin’s Indian Bride, and Hank Worden in a hilarious role as Mose Harper. Other noteworthy small but memorable roles come from John Qualen and Olive Carey as Laurie Jorgensen’s parents, Ken Curtis as the simple-minded Charlie McCorry whom Martin doesn’t like, Lana Wood as the young Debbie, Walter Coy as Ethan’s brother Aaron, and Dorothy Jordan as Martha Edwards, whom Ethan adores.

Henry Brandon is excellent in a small but eerie performance as Chief Cicatrice aka Scar who has a deep hatred for the white man while explaining his own actions as Brandon brings a complexity to his role as the villain. In one of her early film roles, Natalie Wood is very good as the 15-year old Debbie. A young woman changed by the Comanche while pleading to be left alone only to become a target of her uncle. Ward Bond is great as Rev. Col. Samuel Johnston Clayton, an authority figure who means well but doesn’t understand Ethan while getting into things he isn’t fully prepared for. Vera Miles is amazing as Laurie Jorgensen, a hard-headed woman who loves Martin but is put-off by his immaturity and unwillingness to get married while being the one person to ground him. Jeffrey Hunter is superb as Martin Pawley, Ethan’s adopted nephew who goes along the journey to find Debbie only to discover more about his uncle. Hunter’s performance is remarkable in a man who starts off immature only to grow up to realize what is needed to be done.

Finally, there’s John Wayne in what is definitely one of his most iconic roles of his career. In the role of Ethan Edwards, Wayne displays a sense of wisdom but also a character who seems troubled. When he loses his family, Edwards intent for revenge and to find Debbie shows a man knowing what it takes to survive and to bide his time. Yet when he finds Debbie and what she’s become, the dark side of Edwards is revealed as Wayne’s complex, layered, and brooding performance shows all of that but in subtle tones. Even in the more humanistic, compassionate side of Edwards is rarely seen but it is done with light moments of body language. It is definitely a brilliant performance from John Wayne who doesn’t get a lot of credit for his acting.

The Searchers is a thrilling western by the late John Ford and that features a mesmerizing performance from the late John Wayne. Anyone who is new to the western genre must see the film for its visual language, themes, and character study as it lives up to all of benchmarks expected in the genre. Anyone new to the work of John Ford will see this as truly, worthy introduction to one of the greatest directors in cinema. Filled with amazing action, chilling suspense, some fine humor, and subtle drama, The Searchers is truly one of the most defining films of the western genre that can only come from the vision of John Ford.

© thevoid99 2012

Johnny Guitar

Originally Written and Posted at Epinions.com on 4/12/09 w/ Additional Edits.

Though beloved by Europeans and other film directors in the U.S., Nicholas Ray is considered by some an outsider of Hollywood. Even after his peak in the 1950s, he tried to get projects going but without Hollywood's support. It would be those in the French and German New Wave that would help bring attention to Ray's work throughout the years to a new generation of film buffs. Though Ray's death in 1979 was a huge loss, his legacy was still insatiable to film buffs and aspiring film directors. In 1954, Ray made a western that some considered to be one of his greatest films before the popularity of his 1955 film A Rebel Without A Cause.

Directed by Nicholas Ray based on Roy Chanslor's novel, Johnny Guitar tells the story of changing times in the Arizona cattle community in the Old West. With a screenplay by Phillip Yordan (and an un-credited Ben Maddow due to the blacklist of the 1950s), the film features a female protagonist, an oddity in the Western genre, as she fights authority against those threatening her saloon and town with help from an old lover. Starring Joan Crawford, Sterling Hayden, Ernest Borgnine, Royal Dano, Scott Brady, Ben Cooper, Ward Bond, and Mercedes McCambridge. Johnny Guitar is a thrilling, melodramatic masterpiece from Nicholas Ray.

It's a windy day in an Arizona desert as a man named Johnny Guitar (Sterling Hayden) arrives to a saloon outside of a cattle town. Inside the saloon, Johnny asks for whiskey and the saloon's boss who turns out to be a woman name Vienna (Joan Crawford). Vienna is currently in a meeting with Mr. Andrews (Rhys Williams) about the railroad building nearby her saloon. She is aware that with the railroad, her saloon will be booming with business along with a town set to be built that she'll share with the people working at her saloon. Then comes the arrival of Marshall Williams (Frank Ferguson) and cattle baron John McIvers (Ward Bond) as they bring the body of a dead man. The body is the brother of a woman named Emma (Mercedes McCambridge) who has deep hatred for Vienna.

Claiming that an associate of Vienna in the Dancin' Kid (Scott Brady) and his gang of hooligans were responsible for the death of Emma's brother. The Dancin' Kid and his gang arrive denying the whole affair as they ask Johnny Guitar who reveals that it couldn't be true. McIvers decided to ban gambling outside of the town as he gives Vienna a day to leave town. Vienna refuses as Johnny helps smooth things though he gets into a fight with one of the Dancin' Kid's men in Bart (Ernest Borgnine). When Johnny is revealed to be a master gunslinger after a duel of sorts with another of the Kid's men in Turkey (Ben Cooper). It's clear that Johnny has a past with Vienna as they were once lovers as he is hired to add protection from the angry cattlemen wanting to get rid of her. With the Dancin' Kid and his gang blamed for the death of Emma's brother, they decide to leave town but rob the bank first in order to get attention.

At the day of the robbery, Vienna is there getting her money out as they arrive minutes after her arrival. Yet, Vienna tries to get the Kid to not rob the bank but he and the gang leave to try to go to California. Instead, things go wrong due to explosions at the mountains that leaves Turkey wounded as the Kid is forced to leave Turkey behind. After paying off several of her employees to leave, Johnny reluctantly leaves as Emma, McIver, and the Marshall with their posse arrive to find the wounded Turkey under a table. After Vienna's employee Tom (John Carradine) tried to save her, Vienna and Turkey are taken where they're to be hanged. Johnny saves Vienna as the two hide out at the Kid's hiding place where the Kid, Bart, and Corey (Royal Dano) are hiding as well. With Johnny's real identity is revealed, things go wrong when Emma finds the hideout as she challenges Vienna to a duel.

While having a female lead instead of a male for the western genre in the 1950s seems radical. Yet, screenwriters Phillip Yordan and Ben Maddow, and director Nicholas Ray creates a western that is unique while playing around with its structure. Notably the ideas of conflict, bank robberies, and of course, a climatic duel at the end. What Yordan, Maddow, and Ray went for to make this film seem unconventional is the sense of melodrama as well as some political commentary that was going on in the McCarthy era. The story is simple. A woman runs a saloon by herself hoping to make some big money once the railroad comes in near her saloon. Yet, the nearby town where she has her money in a bank account seems threatened by it since they won't get a share of the money.

While the script delves into its political commentary through stylish dialogue and conflict between Vienna and the cattlemen. It's the direction of Nicholas Ray that is unique as it's told through melodrama. In the westerns, men are often the dominant figures in that genre. What Ray does is have the women take charge and they're not likeable women. Vienna is first scene where pants and shirt with a gun belt around her waist where she's often shown with a scowl on her face. She rarely displays any kind of emotions except when she's dealing with her past with Johnny. Then there's Emma, a woman who is mean as a bull as her hatred of Emma is more personal than anything. For all the men around her, they are shocked by her anger and can't really comprehend anything.

The film's unconventional approach towards its idea of protagonist and antagonist with its title character really being a supporting role is quite startling. At the same time, it's not a western but rather a melodrama that revolves around Johnny's return to Vienna's life as well as the Kid's feelings for Vienna. It's later revealed that Emma has a thing for the Kid but doesn't want to admit it. In many ways, what Nicholas Ray does is a real deconstruction of what is known traditionally as the western. It's lack of realism in place of melodrama is what makes the film so entrancing to watch as if they're all doing theater while the men have more talents than just being gunslingers. Overall, it's fantastic work from Nicholas Ray.

Cinematographer Harry Stradling does fantastic work with the film's colorful, Trucolor photography style. Awash with amazing colors in its exterior settings of the day and night to the interior shots of the saloon where it's wonderfully lit. Even in a shot where Joan Crawford is where white against a yellowish backdrop to represent the good girl with Mercedes McCambridge in black. Another great shot revolves a scene in the cave that awash with red that matches the shirt that Crawford was wearing. Stradling's photography, notably a shot of the Arizona skyline is truly rich in its elegance and ode to melodrama. Editor Richard L. Van Enger does excellent work with the smooth transitions, dissolves, and fade-outs to help play with the structure and movement of the film. Even for the film's suspenseful and climatic duel between Vienna and Emma as it plays to a rhythm. The editing is really masterfully crafted.

The art direction by James W. Sullivan with set decoration by Edward G. Boyle and John McCarthy Jr. is great in the look of the saloon as there's a sophistication and ruggedness to its look. Even as it features a mountain/cave-like wall where it adds an authenticity to its look and feel. Costume designer Sheila O'Brien does great work in the look of the clothes, notably the women where the character of Emma wears dark dresses throughout the entirety of the film while Vienna wears jeans and pants half the time for her mean persona. Then when she has to play lady, she wears this wonderful, flowing white dress to represent her good girl persona, though she is a bitch at times. The sound work by T.A. Carman and Howard Wilson is excellent for its sound locations, gunshots, horse calls, and runs to play up to the energy of the western. The music by Victor Young is brilliant for its sweeping arrangements of its energetic, suspenseful music while going somber into its more melodramatic scenes. The title song at the end by Young and Peggy Lee is great in playing up to the romanticism of the film.

The cast is excellent as it includes a then-unknown Dennis Hopper making his film debut (though un-credited). In the roles of Vienna's men which include Paul Fix as roulette spinner Eddie, John Carradine as saloon manager Tom, and Rhys Williams as businessman Mr. Andrews are all excellent in their small roles. Royal Dano is excellent as the sickly Corey while Ben Cooper is really good as the young, naive Turkey. Ward Bond is great as Mr. McIvers, the cattle baron who wants to get rid of Vienna from his town while Frank Ferguson is good as the more sympathetic Marshall who is trying to keep the peace. Ernest Borgnine is superb as the greedy, rugged Bart, a man who is more concerned with money and survival than teamwork. Scott Brady is very good as the Dancin' Kid, a man who loves Vienna while deciding to lead a robbery to get attention only to land himself in trouble and face betrayal.

Mercedes McCambridge is brilliant as the tough, angry Emma, a woman who has deep hatred for Vienna as she takes charge in leading a revolt towards the saloon owner. McCambridge's performance truly embodies the role of a villain as she can be brutal and so evil that only she can match Joan Crawford in a bitch fight. Though the truth is that both McCambridge and Crawford really hated each other on and off the set. Sterling Hayden is great as the title character Johnny Guitar, a man who is hired to protect Vienna though is dealing with his own past and love for Vienna. Hayden is very restrained yet compassionate in his role as he has great scenes with Crawford though off the set, he wasn't saying kind things towards Crawford. Finally, there's the brilliant though infamous Joan Crawford. Playing a character that is sexually ambiguous where she acts like a lady and at times, dresses like a man. She is a woman who is tough both in business and as a person. Yet, she displays a vulnerability in dealing with her feelings for Johnny while dealing with the Dancin' Kid's feeling for her. It's a brilliant role for the actress who is known more for her personal life than her acting though it's clear that this is one of her great film roles.

When it was released in 1954, the film received mixed reviews from critics in the U.S. A release later on in Europe, notably France, drew rave reviews with critics and aspiring filmmakers. The film proved to be influential to the French New Wave as well as other directors including Italy's Sergio Leone. In 1988, famed Spanish director Pedro Almodovar made references to the film for his international breakthrough hit Mujeres al Borde de un Ataque de Nervios (Women on the Verge of a Nervous Breakdown) both as a plot device and as a conflict between its protagonist and antagonist. The film would later be considered a classic of American cinema as in 2008, the film was selected for preservation in the U.S. National Film Registry.

Johnny Guitar is an exciting, stylish, and melodramatic masterpiece from Nicholas Ray. Featuring superb performances from Joan Crawford, Sterling Hayden, Mercedes McCambridge, and Ernest Borgnine. It's a film that definitely lives up to its reputation of heightened drama as well as its deconstruction of the western genre itself. While Rebel Without a Cause might be Ray's most well-known film, it's Johnny Guitar that is the film that gives Ray the cinematic reputation he received among film buffs. In the end, for a western that is unconventional and with a dramatic flair that is unique. Johnny Guitar is the film to see from the late, great Nicholas Ray.

Nicholas Ray Films: (They Live By Night) - (Knock on Any Door) - (A Woman's Secret) - In a Lonely Place - (Born to Be Bad) - (Flying Leathernecks) - (On Dangerous Ground) - (The Lusty Men) - (Run for Cover) - Rebel Without a Cause - (Hot Blood) - (Bigger Than Life) - (The True Story of Jesse James) - (Bitter Victory) - (Wind Across the Everglades) - (Party Girl) - (The Savage Innocents) - (King of Kings) - (55 Days at Peking) - (We Can't Go Home Again) - (Lightning Over Water)

© thevoid99 2011