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JOHN FORD

series edited and designed by Ian Cameron

PETER BQGDANQVICH

JOHN FORD

UNIVERSITY OF CALIFORNIA PRESS

University of Caltfm-nia Press Berkeley and La: Angeles University of Calijbrnia Landon, England
Press.

For 'luepu- 'l'I|at-ll"a!k:

Ltd.

" lmtii. .Haga:inu Lin|ih:ti I 967 lVcrv rliaplvrs ' Pt-14-r Bngtialunirli

I 978

rasaarrhcd by Pally Platl. France: Dual transcribed the i"IL'T' tiimc. and tln: manuscript was lypad by Mae Wtiud: who has since updated Ihc inmuation an Fard's carver u-itlt new malarial from The American Film Institute Catalog and from jose/all
Th: uaruzr im1i:.\' (Part 5) was

rst

McBride. .4 Meeting at Mnumncut l'allq\"' originally appeared in Pieces of Time (Esquin:-.~lrb0r Hausa. I 973) and is irtrlmlvd far tln: rst tinn: in this exparidcd :.'diIitm. Santa of tln: material used in the Intruductim|though mnsitlarably rau'ritlen1l.-as publi:/lad in Esquire as The xluttmm of julm Ford" (.~l/ml, I964) and was later re/zrinted in Ilia! rm: in Pieces of Time. Part 4 appears! originally as 'I'a/as rr Mr. Fara" in New York Magazine (October. I973). .-Ill this malaria! is um] u-illt Ilia kind pcrmission uf tlu: publixlicrs. My Iltanks ga tn all I/lv. people. rind in jnlm Ford, and his mfa. Mary. and his dauglilar. Barbara.

P.B.

ISBN: 0-520-03498-8 Library of Cungrcss Catalog Card Number:

77-77522

Printed in tltc Criitud Stale: of xlmcrica

Stills by caurtissy Q/' Miltnn Lilbariski (uf tlta Larrjv I:'dmum1: Baokslto/1. Hallyzmud). julm Knbal. K21-irt Brmcnlmv, The Natimial Film
A i.'!ru< Ga!i11q\'r1-lHa_w.'r, xi rcltira, Calumbia, RI\'O Radio. Rcpubliv. 'I'u-uttictlt Cantury-l"a.\". United .-lrlists. Urtizwrsal. Oliz-e Carey. Gum: Ringgald, Wanter Bros.

tltv island qf Kauai for Donovan's Reef.

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CONTENTS
INTRODUCTION: A MEETING AT MONUMENT VALLEY
1

2
6

MY NAMES JOHN FORD. I MAKE WESTERNS.

2 POET AND COMEDIAN

3 A JOB OF WORK

20
36
109

4 TAPS
5

FORDS CAREER

FILMOGRAPHY

113

INTRODUCTION: A MEETING AT MONUMENT VALLEY

I arrived on the (,'I1,.\~mm' location .-lulumn in Monument \'alle_\' (accompanied by Polly llatt). the unit publicity man met us for breakfast to askit seems he hadn't been notiliedwhat was my assignment for Iisqiltre. john Ford." I said. He tumed ashen. Oh. no."

'lhe moming after

"Yes." I said. Uh. no. no." he said again. and looked around nervously as though to make sure we hadn't
been overheard. I asked what was the matter and. shakily. he tried to explain that .\lr Ford never granted interviews. hated reporters.

shunned publicity. loathed talking about his movies and was simply unapprnachable by anyone. I got the rather clear impression that this aging and by now almost haggard fellow would rather be swallowed up by the earth than risk even the thought of mentioning to .\lr Ford that I was anywhere within a thousand-mile radius. I countered by saying that his employer. Warner Bros. had just paid for our trip from New York to Arizona and that they'd been fully informed of my assignment when they issued the tickets. (Actually. it had taken more pressure on Iisquire to agree to the article than Wamers; they weren't terribly interested in the
2

idea. but ]ohn Ford had for years been among my most cherished directors and l was very anxious both to meet him and to watch him at work. so after much badgering from my end. the editor. Ilarold Hayes. capitulated.) Well. said the bedraggled p.r. man. we could watch from the sidelines for awhile but I wasn't to speak to .\lr Ford or even come under his gaze. .-\t the moment. agreeing to that seemed the only way to even set foot on the set. so I did. For two days. \\'ith the unit publicist hovering at my elbow e\'ery moment. I followed the rules he'd set down. .\lr Ford would. on frequent occasions. pull out a handkerchief and chew on it. which the publicist nervously informed me was a sign of his displeasure and irritation. I only discovered sometime later that this was nonsense since .\lr Ford. if he is not smoking or chewing a cigar. is air:-t1_\-.\" chewing on a handkerchiefit is not a signal of anything except probably that he's trying to cut down on smoking. On the rst Sunday aftemoon-the only day they didn't shootI accidentally came upon ]ack Garfein (the director). who was there visiting his then wife. Carroll Baker; they were going riding. Garfein and I had a mutual friend. the late Gene Archer. who was with The i\'eu-

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York Time: then, and I used this as an excuse to introduce myself. When he asked what on earth I was doing there, l told him. Does ]ack Ford know you're here?" he said. No, that's my problem, and I told him the situation. Oh, for God's sake, he said, that's ridiculous. Hcd love to see you. l'll tell him you're

here.

About four hours later, a jeep came roaring down from the hill where Ford and the stars bunked (the rest of the company stayed below in trailets, one of which wed been allotted), and l heard Ray Kellogg, the second-unit direetor, loudly yelling out what I nally gured out was a rough approximation of my name. l ran over.

Ynu MaDanabiih_>" "Yup," The Old Mand like you to join him for

dinnai-_airuui-id six, O_|(,_>

"()_K_!" Everyone was already seated when we arrived but whoever was on Mr Ford's right (l was too usigi-gd to fgmgmbgf) was mgygd so |_ha| I could sit there. He nodded a pleasant hello. pronounced my name correctly and said, $|;ybian?" I said yes as casually as possible but I was inipiassaii Au my lira paapia nan always assumed um nan-ii; was Russian oi Pniisn ni Czech of Hungarian; ggmgljmqg [hgy guossad Yugnsiav, bu; no nna had gvgf pinnqd ii dnwn precisely on the rst try. At this point, the eo_ produce, at inc mm, ana Barnard snnih (of whom there will be more shortly). made some remark to the director having to do with business. Ford scowled at him silently fora moment, then tumed to me: There's a word for what he iust said. l leaned in. "Yes?" Gm~no," Ford said. The word is the Serbian equivalent for "shit."
l

For the next week or so, Mr Ford was more than cooperative with me on the set; he was, in his own gruff way, actively friendly. It was often cold on the location and Polly took to wearing an lndian blanket wrapped around her, prompting Ford to name her TeepeeThat-Walks." l was sporting a British suede hat which he evidently disliked, so one day he yelled Wardrobe and instructed them to give me a cavalry hat. He then ned it on me himself, afilusffng ll]? b"l'""Pl"5lYl "mll ll Pleaxd h"- Thais tfncr hm Gmdam" ihmg Y""' been "3""ENow, this attentiun he was laviahing nn us was not making the producer happy, mainly l guess because there had arrived on the location a writer and a photographer from Life. whom Ford quite blithely either ignored or insulted. He used to refer to the writer as that guy from Lijli, Death and Forltute. Eventually, producer Smith (whom ld also made the tactical error of not interviewing) must have decided somehing had 1 b dime 5 I '35 i"l""d~ wllh much trembling and stammering by the publicist, that we would have to leave-tomorrow; our trailer. went the excuse. had to be used for arriving members of the company Since I'd told Wamers originally l would need at least [W9 Wgcks lo Em he Pic righl ami "WY had agreed, l was not a little upset and annoyed to be thrown out after barely a week. l asked if Mr Ford was aware of this request and got an evasive answer to the effect that Mr Smith had sent down the order. Finally l had a reason to talk to the producer. which I did, with small elleet l-le smoothly explained the supposed problem of space, at the same time getting in \'l3l bW fol hi5 "E"lllh\1liIl" I0 ll1
P\'d"1ll1That evening. as he was heading in for dinner, l told Mr Ford we would have to be leaving tomorrow and thanked him for his patience. Where ya goin?" he asked. l explained the

problems we'd been informed of and didnt want to impose on his hospitality or make any waves. Oh, c'mon in and let's eat. he said and we did that. Shortly after we were seated. the producer arrived. Ford called him over politely. Listen, Bemie." he said very reasonably. you give Bogdanovich here m_y room and I'll double up with someone down below." The producer tumed an odd color. Oh, no. jack. we can't do that. N0. that's all right. said Ford. still very evenly. you just give em my room if there's not enough space and I'll double up." Jack. don! beI mean, thats ridiculous we\\'e canwe can work something else out." Oh. can you, Bernie? You think you can nd some space for them?" Sure. I can. lack. don! worry about it." Oh. thanks. Bemie. The producer started
space that I

away with relief. Ford called after him. But, listen. if theres any trouble, they can just use my room, you know. Smith waved back with a pained grin. Ford's expression tumed nally to a scowl and he leaned over to me. Stay as long as you want." he said. Over the years. since the article was pub< Iished. my relations with Mr Ford weren't always as amitrable or easy; it was impossible to be his friend or his admirer and not get some of that waspish Irish tongue or a touch of what Iames Cagney has referred tu as "malice." But he is one of the great men of the movies and among the few really fascinating people I have met. That article. this book (which cannibalizes some of this same material) and the featurelength documentary I made about his career taken separately or together do not begin to du iustice to who he was or to what he achieved.

Still an page 3: Ford and Bngdanovich while Bagrlanvviclt was sltooling Directed by John
Ford.
5

1 MY

NAMES JOHN FORD. I MAKE WESTERNS.

Take everything _vnu't.'e heard, says ]nm.t Stewart, everything you've ever heard . . . and rnultiply it about a hundred rimesand you still wan! have a picture of john Ford. He'll be comin' over that rise any second now, Danny Borzage said, and he looked up the road again. He was a bearded, youthful old man dressed in the yellow and blue ofa trooper in the U.S. Cavalry, i878, and he was playing Greensleeves on his accordion. It was a little past 8:30 in the moming in Monument Valley, the sun was warm but the wind was chilling. Most of the huge Cheyenne Autumn company were preparing for the rst scenes of the day. but a couple stood around listening to the accordion. I always play for 'im when he' Here he comes, Danny! A white jeep-station wagon had just appeared over the rise. Borzage walked quickly to the side of the road; as the car came nearer, he began to play Bringing in the Sheaves, and he kept playing it as the car came to a slow stop about thirty feet from him and a hush fell over the company. john Ford sat in the front seat, peering out of the window through thick glasses, his left eye covered with a black patch. He wore an old broad-brimmed felt hat pulled low over the left side of his facethere was a tiny orange feather
6

in the leather hatbandand he chewed on a short, unlit cigar. The prop man came over and handed him a cup of coffee, which he sipped, stating silently through the windshield. Borzage played She Wore A Yellow Ribbon. William Clothier (cinematographer) and Frank Beetson (wardrobe) got out of the car and stood next to the director's window; they were joined by Wingate Smith (rst assistant director) and Fords son, Patrick, who was in charge of the cavalry on the picture. A muted conference went on at the window. Borzage was playing The Wild Colon~ ial Boy as the group broke up, one by one, to carry out instructions; Beetson opened the car door. Ford got out and stood looking around for a moment, one hand holding the cup, the other on the backside of his hip. He was thin, almost frail, but as he started toward the camera his movement was iaunty, both arms swinging, his body moving slightly from side to sideand suddenly you knew where John Wayne got his walk. People moved out of the way as he approached. He had a stern Yankee face, almost

Still: Mtmtalban in

Cheyenne Autumn.

mean, with a small growth of white stubble on his hollowed cheeks; his eyes were pale blue. He was wearing a faded tan campaign jacket and a pair of loose>tting khakis; there was an orange scarf tied around his neck, and the laces of his dark blue sneakers were untied. Borzage played We Will Gather at the River. Ford passed a Navajo and moved his right hand in a kind of half salute. Yat'hey, shi'kis,' he said, and the man answered, Yathey.' ll"e were makittg a picture, rays cameraman joseph LaShelIe, and the head af the studio rent his assistattl dorm to the set to tell Ford he was a

daybcltittdscltedttle."Oh,".taidFard,1.'er_vpuIite, u-ell, haw many pages evattld you figure rue shaot a day?" Abaut eight, I guess," the guy mid. ll"'auld you hand me the script, Ford raid, and the guy handed it to him. He couttted aut eight pages that hadn't beet: xlmt yet, ripped them mu,
and handed them Ia the guy. You can tellyour buss u'ere back on schedule note," he said. And he

did shout those eight pages. For the rst shot, Ford placed some of the mounted Indians in shadow and some in light; Sal Mineo (as a young Cheyenne) was to throw down his rie in anger, leap to his horse and ride o'. Ford stood alone, mbbing his hands together; the gold signet ring he wore on his left hand had a deep groove across the initials caused by the thousands of kitchen matches he had struck on it. There was a lot of noise going on. Wingate! Ford called out. What is this? Strike? Mutiny? Smith spoke through a bullhorn. All right. I.ets keep it down now. Please! Ford was looking over the Indians. Manymules is not wearing his blanket in this scene, he said to the script supervisor, he's carrying it in his hand. There was a slight but distinct Maine accent in his speech. All right, has anybody else got a reason why we cant do this? If not, let's go. During a rehearsal of the dialogue, Ford spotted one of the young Navajos in the background grinning into the camera. He called him aside, made him bend down over his knee, and spanked him. The company laughed; the young man backed off, giggling, and Ford made a mock gesture as though to sock him. The camera rolled. Mineo ran to his horseit shied and his jump missed; angrily he grabbed the reins and leap! on the horse, whipped it and rode away, followed by several warriors. That is we/I, said Ford. Print it. Mineo rode back and asked if he could try it again. Ford stared at him for a moment. D'ya wanna do it again with an empty camera, Sol? Mineo grinned. I thought it was sloppy, he said. You were very angry,' Ford explained, and you missed. I liked it. Completely in character. l don't trim! it to look perfect-like a circus. Mineo dismounted, and started away. Ford called after
mruer

Plmmgmph: Dan!|_\' Btirzugc and acmrditm mt The Wings of Eagles, with ll"a_\-rte and Band.
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Still: Sal Mitten

AuIumn

dun! tvottt it to loo/e perfect '.

Shirt in Chcycnnc

him. But you can do it again with an empty

camera, Sol. He knew exactly what he wanted to say, says director Robert Parrish, who began as a child actor for Ford, and later worked as an editor on several of his lms. He very seldom shot more than one take; he used very little lm, and was always under schedule or under budget. So, by and large, the t rt that an editor would get almost had to go into the picture. After the shooting, he

would oftctt go off to his boat and not come back until after the picture was cut; lie did that on Young Mr Lincolnhe had tltis marvellous picture and he was so sure it was right that hajust took o. I think he considered all the cutters and musicians and sound eects cutters as necessary evils. On one picture--it was the last day of shootinghe said ta us, Look, the picture s nished now. I know you're going to try to louse it upyaure going to put in too much music, or over-cut it or under-rut it or sontethingbut try not to spoil this for me because think it's a good picture." And he went of to his boat.

Monument Valley lies within the Navajo Indian Reservation which straddles the Arizona Utah state line. Its red buttes and mesas were caused by erosion and were named by the Indians for their shapesthe Mittens, the Big Hogan, Three Sistersthough the shadows change their appearance hour by hour. Iohn Ford has shot all, or part, of nine movies there: Stagecoach, My Darling Clementine, Fart Apache, She ll/are A Yellow Ribbon, Wagon
Master, Rio Grande, The Searchers, Sergeant Rutledge, Cheyenne Autumn. In Hollywood they call it Ford Country; it has become so identied with him that other directors feel it would be plagiarism to make a picture there. The location today was a stretch of sandy ground enclosed on two sides by sheer walls of red rock, a narrow canyon at one end. Wingate Smith called through his bullhorn: Dick Widmark, Pat Wayne, Dobe Carey, Ben Johnson! Come to the camera! They rode up. Ford pointed. When you get out there, Dick, he said, you yell out, Troop. Haaalt!" Pat, you wait till the echo dies, then you yell, Troop. I-Iaaalt!" ' (The second haaalt' was in a lower key than the rst.) He put his cigar back in his mouth. \X/idmark and Wayne tried it once. O.K. Remember to wait till the echo

dies, Pat. I-Ie turned to Johnson and Harry (Dobe) Carey, Jr. When Dick yells, you two advance to within six feet of him. Get the idea? The two nodded. Huh? Yes, sir! they said together. O.K. Ford rubbed his hands together. Come at a fast trot, Dick. Its fairly early on in the story-the horses are still fresh. After the establishing shot, Ford moved in for a closer angle on the four riders. Johnson held a red and white guidon; his horse shied. Let im be nervous, Ford said and pushed the horses rump. Now, Dick, you look up that canyon (he began to improvise the dialogue) Plumtree! you say. Dont like the looks of it. Take a look up that canyon." Ben, you hold o' a second. The script supervisor was taking it down as fast as he could. Dick says, Jones, you go with him." Ford paused. "Jones!" Another pause. JONES! He pointed to Carey: You say, "Name's Smitli, sir." Back to Widmark: Oh. Well, go with him!" Ford held his cigar from underneath and jerked his hat down further. When he calls out Jones the second time, Dobe, he said, you

Still: Alum: lln: Sanjmzn in Cheyenne Autumn.

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look around behind you. the hell's Jonas? Thcn

yourself. Nam;-s Smilh, sir. Ben, lake a lunk like ya hare like hull to ridc up rhcrcrisc up in your slirrups. Th: camera rolled and Widmark called for Ioncs the third limo. My name's Smirh. sir! said.Can:y. .\a1m"_r Smuh, sir!" ' Ford inlcrruplcd. Donr uy ro pad your pan. Carey nodded nervously. Yrs, sir. The seC0nd lakc: '1\1_\' name's Smith, sir! Your namcs rm! SmiIh!' Ford ycllcd. Slop

You're rl1inkin' who "JONES!" Point ro

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Miku Masurlci in lhc Victor rlh-Laglm ll"I'Jmurk, in Chcycnnc Autumn.

lryin to srcal the scone from old Bun there. Carey nodded again and apologimd. Third rake: Tho name's Smith. Sir-' Then!
fourth take, rho lincs wcnr smuurhly, juhnsun dug rho guidon inm rh-: din and rhc two gallopod otf reward the canyon. That's cl-all! Ford called our. I pla_\'|:d nlusiv in my rmun ct'='ry nigh! up I/rare on Iocatiml, Sal/\1im'usr1_\'.r. Usually mm:
was a pause. Ahcmf said Ford. On lhl.

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jazz or _mtm:thittgprutt_v laud. One night Ford comes in and ask: ttm ruhy I can! play that sttta little quieter. ll"',.-1!, you rec, sir," I mid, this kind nfmttsit" has ta be ftlaycd at that 1-olttme, ntltcrzt.-isc one cart! dvriru mtttp/clt. satisfacttatt /mm it." Thu Old Man jttxt Inukrd at me and mole nut his Imtft:-and he npcttcd it and luid it down on the tabla. Can _\'utt play it a little rafter? he mid. lut-tir-1-can-plu_\--it-z'cr_\-u'r_\'-1-cr_\'-soft!" Tltm he pi:/er up the ktttfc and
I.-inda

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/wad, "That's rt-hat I thought," he _<u_\-r and gum nut." Fnrd and the cast ate dinner in a small adobe

it. Ht:

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part of Guuldings Lodge, which is set on the lowest rim of Rock Door Mesa. There was a little dinner bell attached to the porch and it was never rung until the direttor had taken his place at the head of the third table from the dnnr. He wore a navy blue jacket tonight, khaki pants and his pajama top, the collar half up, with a shapeless sweater uver it. N0 hathis hair was white and whispy. He tuok his bonehandled jack knife nut and banged it down next to him. l'm h:|wngry,' he said. Shortly after everyone had arrived and the

building,

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Smith (the coproducer) mentioned something about the day's shooting. Pat Wayne! Ford called out.
Sit!
Where's the bowl? Wayne rose to get a little wooden bowl (lled with several dollars and quite a bit of loose change) from the piano
top.

food was being served, Bernard

There's
explained,

movies at the table. How much does he owe now? said Ford, That last one makes two dollars, sir. Wayne

fty-cent penalty, Carmll Baker for talking shop or about Mt Ford's

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told him. The co-producer said he would pay it later. The other day, said Miss Baker, Mr Ford was telling me something about The Long Voyage Harm, and he stopped, paid his fty cents and then nished the story. Gilbert Roland gestured for something at the far end nf the table. Wait a minute, Luis, Ford said (Roland's real name IS Luis Antonin Alonso), you know youre not supposed to
St|'lIs.- The lmlianx ambmli Ihe (Ia-t'aIr_v: /1 Ilard-rimeti d|'m;mr ::lm rm-er rvlicarxed action.

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paint. There's only three things you point at Ford paused as Victor jory passed a plate to Roland. Let me get the billing rightyou may point at producers, privies, and French pastry. Ford rvas always a mp hater by religion, by belief, Parrish retnetttbers. He had a big streak of contempt for any kind of attthurity, any kind of paternal inttettct: an ItintalI the producers, all the maneythey tt-are the enemy. On The Informer, mt the rst day of shtmting, he got the entire cast and crew together in the middle of the set, and ht: brought ttttt tht: pradttcer. Nowget a guad look at this gtty," Ford said and he took hold 0/ the man's chin. This is Clt Reid. Hc is the pradttnrr. Lank at hint nose because yntt will not see hint again on this set tttttil the pietttre is nished." And that was trtteute never saw hint agaitthe just disappeared. After dinner, which had been spent playing zo Questions (no one could guess Ford's puzzle, which was Sherlock Holmes's moroc-

Stills:

Homeless Indians itt Cheyenne

can slipper), the director remained for a while, smoking a cigar he had rst cut in half with his knife, and talking with the actors. Second-class citizens, he said, that's what we are. I-lc drummed the palms of his hands on the table. In the old days, actors weren't even allowed to be buricd in Holy Gr0und.lmean, yknow "Take-your-linen-off-the-hedges, the actors are coming to town!" He rose and came up behind his son, who was still seated at the next table, and started to inspect the top of his head. Who is thisl? Then, with mock surprise, Oh! and he started for the door.l'rn going to call Mother, he said. Pat got up and they left together. tell ya, says Harry Goulding, wltn used to Own Ill! L045? I-" M"""""" V4111): "1 I'll

Navajo! MT FUN! '10/J, "!- E"'.\"i"' ""3"" had a rattgh time, buy, this thing carries ottta the

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ing an ld afainted. ll"ell, Mr Ford came here to make Stagecoach, and gave a scar: a jobs to the Nat-ajos and a lrttla lives teas saved. Then, just after hcd ttislml shaotin' She Wore A

They'd been hit pretty bad by the Depression an, by Gad, if an lndiarfd walked into our stare an put a dollar an the counter, why Mrs Gould-

Yellow Ribbon here, tee had a blizzard that left the Valley cmvred rt-ilh bout tr:-elm feet a snozv. Army planes dropped fond in. 'lltan/cs to that, an the trva lmndred rlnnzsand dollars or so hed left behind, tt'hy,atmtl|t'r tragt'd_\' teas pnwertted. An in b3 he heard his friends was gonna have loo little t'eat, an there he rt-as again mal-in Cheyenne Autumn. He: beet: talten inm the l\atajn tribe, _\-on Ienort-. 'l'ln:_\' have a special name for int. the t\'a1't1jtts. t\'atani .\',.-:. That's his name. only his. Natani 1\'e:. It nteans the Tall Soldier. Twenty-ve miles from the Lodge ows the Sm Juan River. Red cliffs rise high above it,
V

and down at the bank are small trees and weeds and piles of silver driftwood. The water is the colour of clay. Playing the Cheyenne, Navajo men and women on horseback and pulling travois were assembled at the river's edge; among them were several stuntmen dressed and made-up as Indians. On the cliff above, and several hundred yards hack from the edge, was the Cavalry. Lee and Frank Bradley, Navajo interpreters who had worked on eleven other Ford lms,
WEN

shouting iIlSt\UCli0l'lS I0 lh lndini through bullhorns. Wingate Smith was yelling

orders.

Ford collared one of the wranglers. Can Carroll go in the river with the wagon? Well, where I went in- Dont give me the story of your life, Ford threw his cigar away, just answer the question. The man said that she could. Ford nodded sharply. Good. He pulled a l5

long \\'hite handkerchief from his back pocket. Beetson was there to hand him a hullhorn; he spoke through it. Okay, Lee. Frank. Start your people across.' He chewed on one corner of the handkerchief, the bulk of which hung down over his chest. Easy! The interpreters relayed the instructions and slowly the Navaios moved into the water. Ford called to Chuck Hayward (stuntman), who was halfway across the river. All right, hold em there, Chuck! That's rt-ell! The Navaios were spread out through the water, holding in place. Fill up those empty spaces and get those travois up there! Then Ford gave some instructions to the Cavalry, at which the camera was pointed. Okay, we're rolling, said Ford. Speed, said the camera operator, Eddie Garvin. All right. Dirk! The Cavalry rode forward at a steady clip. All right. Lee! Frank! Start em moving! The tribe moved slowly through the water below. Widmark raised his arm. Troooop. Haaalt!' Pat Wayne echoed him (in a slightly lower register). The Cavalry stopped and Widmark looked downwards at the Indians. The camera slowly followed his look; it panned from the troops across the barren, rocky slopes, down and around to the Navaios; some had

reached the other side, others were still moving across the gray river, their horses leaping up and down. The only sounds were of horses whinnying and of the movement of bodies through water. That is tuell! Now get those people outa theredry 'em o'get em some co'ee or something I was very careful, says Stezt-art, I really tt-atched my step on The Man Who Shot Liberty Valance. Besides, lte wasgitiin it to Duke Wayne all the time. And tee were in tlte last two weeks of shooting and hardly a murmur. Then one day were shooting the funeral scene . . . coin there, and Woody Strode was in his old-age makeup, Stewart says, re/erring to the Negro artor who has been itt several Ford lms. He had coveralls on and a hat. Ford came truer to me, he nodded at ll"ondy. W/hat d'ya think of l\"tn1dy's costttnte?" paused and than said, ll"aall, so little Uncle Remus, isn't it?" Nose . . . noootvu-hy . . . tvlty I . . . I wished I couldz'e just taken those teords attd just . . . just . . . Stert-art's hand is under his chin attd teith ltis trembling fingers In: gestures putting the rt-ords back until nal!_\' all his ngers are in his mouth. He just looked at me . . . just looked and ktterr rvhat rt-as . . . I knew . . . He says, And rt-hat's st-rong with Uncle Retttus?" Isaid, l\"lt_v, tmtltittg." He says,

tltat costume mgetherthats just what I intended!" Lis!t.'tt, Boss," I said-"ll"ood\', Dill?!-s 81-~Tylwd_\', en|on over here." An et'er_\'body comes or-er. Look at l\'*'oad_\'," he says. "Look at his costume," he says. "Looks like Unrle Remus, doesn't it?" Yes, Boss, yes, Coach, yes, sir, they saidlikt: a lvunch a parrots. One of the players, he goes on. One of the players scents to lta-tv: sottte ol1juet|'mt! Om: of the

I put

players here doesn't setrttt to like Uncle Retttusl As a matter of/act, I'm not at all sure he et-en likes Negroes!" Stewart shakes his head. ll"a_vne said to me later, Ya thought _va 't't':.'t't: gonna make it through all right, didn't _vou?" A group of twenty or thirty Cheyenne war-

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riors were to come over a sandy hill. charging down toward the Cavalry and the Camera. Ford attended to the stuntmens costumes individually and gave instructions to Hayward, who was to lead the ambush. Two men from Life Magazine, a photographer and a writer, were visiting the set. After half an hour of preparation, Ford sat next to the camera, crossed his legs and lifted the bullhorn. The camera was trained on the lop of the hill where nothing was visible yet. Okay. We're rolling, he said. Speed! said Garvin.

Slillr: Cheyenne Autumn; It;/t Cizrru/I Baker

Nanombu

Momrbcam

Marlon.

All right, Chuck! Ford called through the bullhorn, and a score of horsemen came galloping over the hill, whooping and ring their ries; the Cavalry at the bottom red back. The shots reverberated loudly in the valley as the riders swooped down the hill, dust ying, and thundered by the camera so closely that Fords bullhnrn was knocked from his hand. He did not move. An Indian had fallen o' his horse and lay midway down the hill. The camera l7

panned the Indians o'into the distance. "l'hats

well!

Several people ran out to see if the Navajo was hurt, but he was walking gingerly away before they got to him. Another group clustered near Ford, and one man, displaying the crushed bullhom, shook his head. We damn near went home early today, he said. Nearby, another technician \vas pointing out how close the horse's hooves had come to hitting Ford. lt wouldn't dare, said his partner. The director had got up from his chair, and he turned to the company. Tomorrow we'll do it with lm, he announced. That was for Lt]:

said loudly. The girl moved away quickly. Pat! Ford called her. She turned. Could I please have a cup of coffee? Since you're up . . . She laughed and went to get it for him. He

Magazine! I told Mr. Ford I st-attted tu wear my hair down/or Cheyenne Autumn, says Mix: Baker. Like the teonten in Ingmar Bergman: lms. He said, Ingrid Bergman? "No," I said. Ingmar Bergman." ll"lms lie?" I mid, Bergman, you know, the great Su'edi:h director." Ht: let it gn and I sate t to change the ttthjerl. But as I was leatiirtg, he mid, Oh, Ingmar Bergrnanyou mean the fella that called mt: the greater! director in the tunrld." Goddamn that hoss did hit me, Ford said at lunch, and rolled up one trouser leg; there was a bruise. He turned to the Lt/e reporter. In your storyyou say it was broken. The waitress who served the lunches on location asked him if he wanted another cup of coffee. I'm sick and tired of answering questions! he

turned to Miss Baker. Carroll, you wanna look at my leg? Helifted the trouser leg again. They told me l should get somebody to take a look at it. He turned to Dolores Del Rio. Dolores, you wanna look at my leg? Later, Ford was telling the others about the Navajo medicine man. The original one \\'as a fella named Fatthis fella we have now is just one of his disciples. l used to tell Harry Goulding and get anything I ordered. Thunderclouds . . . One night l said to Harry, Tell im we need snow. Need the Valley covered with snow. Next moming, I stepped outa my room. A thin layer of snow covered the Valley. A Navajo with a lined face and hair braided with red cloth came up. This is the nezv medicine man. '\'at'hey, he said to the Navajo. Yat'hey.' Ford raised his arm and waved at the sky. Niione.' He nodded his head and the man smiled. Ahsheheh,' Ford waved again. Nijune.' The Navajo nodded, and moved away. Theres no word for eecy clouds in Navajo, so it's a little diicult. The rst time he did it, he got em just right. He paused. But they were in the wrong place! I was Irc.tidt:nt of the Directors Guild in the 50:,' my: joseph L. Mattkizwicz, during the

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MCar!hy Era, and a faction of lhe Guild, headed by Di:M|1Iu, lricd I0 ma/cc i! manda!or_\' /av c1'er_\' nimilwr m sign 1 Iu_\'aI1_\' aurh. I was in Europa 2."In:u lhe lhing JIGYHJ, but as XHUYI as lhc_\' rwli/ied mu, I mi! ward lhul, ax In-sidiml, I u-ax 1':ryn||u:h ugairm arlyl/ling like Ilml. ll"uIl, pra!!_\' 10011, lhssi: /ll!/i: i!cm.\' abnul rm: xlarlcd up[u.'arin_u in Ihc gussip l-nlmmu. I.m'1 I! a pity ubnul jun Mnr|k|'c:vir:? ll"c didn'! L'mm' he was a pinlm. In Ilmsc days, you Lvlozu, an mxmuallmz L'LL\ almost as gnod as u prnrcn furl. ll"i:ll, ll! ri:uIl_\' go! seria||sl began In n'uli:u my carver ml: ml Ihe block. T/!c_\' culled u Imwing n] lhc cnlrr: Guild, nally, and I /lure burl: fur 1!. Thu cr|!|n~
m:n|bi:rs/ii/r

would be his faIhn'rs farewell In the \ll/cstcrn. Hell! Why, he'll he mal<in' Westerns a couple a years after hcs dead. Pal kicked his hursc and it started forward; he look lhc pipe from his mouth. He loves these cowboys and Indians and this \'allcy.' Hc mdc MT m join the Cavalry.

.<lm:u'd

up.

I!

was

harnm'ing

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DeMilh"x grnufr made spvccI|axfm1r lmurs 11 rum nu. .~lm1 all during (his, I zczzx ::'<md.:ring. and I '\!|r.".L quili: a /crv nlhcrx mar: :mndrrin;,', what juhn Fwd Ilmuglu. H: :1-as /mid of rhv Grand Old lllim nf Illa Guild and /mvpli: muld I: inlimced by him. Bu! In juxl ml I/run: mi lhu aislz m:ar|'r1_i_' h|.\' ba.n:lal/ cup and mun/w:rx, didl|'I my u z;-nrd. 'l'In:n uflcr Dcillillc had mudu hx~ big spcccll, Illun Ira: sf/01:: fur a rm1!!Ir.!|! and Fnrd miml hi; hand. ll"c had a mm! numgvnplzcr I/n:rc In lake I! ull dmzn and u:'i:r_\'bmI_\. had I0 idunlify I/h.'!I!S:.'['Z cs fur the record. Sn Ford nond up. .\l_\' nmm".v ]v/In I~'nr.i." he said. II|i1kall'lsn'rn.v." Hu /vmiscd l)c.\I1l1i:s pictures dun! Ihink 11121:: and Dnllills AIS 11 d|'n.\-mr. an_\'0m' in I/ii: mum," he mid, "iv/In krmrvx nmrc nboul ::'Im! rho <|lIl:,'T|LdIl /mlvlic u-arm I/mu Ceril B. DuA|iIl':zmd In n'r!uiuI_\' Immvs Imzv I0 |'i' i! In llmn. Than he /uukvd rig/1! at Deilillllv, u-/in ram across lliv hall /mm /rim. "Bu! /don! like you, C. B.," hi: mid. And I dun! like fl/I41! _\'nu':v: been silying /run mnighl. X02." I nnrre 141 gin 70:. a Told nf rm|_/idcm;i:und Ic!'x nllgn lmmc and gal mmc sin/L .~lnd !ha!'.i i'LIIzI!

"I

1,1" Pa! Ford can}: by nn huncback, a p|p in his mouth. his ha: pullcd down from and hack. Thor: had hccn a rumour that Chuymm: Autumn
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in (:l"lL')'l.I"|C Aulumnlhu and Ricardo Mnnlulban and

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AND COMEDIAN
At one point in our interview, Mr Ford was talking about a cut sequence from Young Mr Lincoln, and he described Lincoln as a shabby gure, riding into town on a mule, stopping to gaze at a theatre poster. This poor ape, he said, wishing he had enough money to see Hamlet". Reading over the edited version of the interview, it was one of the few things Ford asked me to change; he said he didn't much like the idea of calling Mr Lincoln a poor ape. Seeing it in print, one might understand his reservationbut when he said it, there was such an extraordinary sense of intimacy in his tone (and as much affection as there was in a reference to john Wayne as this big oaf'), that somehow it was no longer a director speaking of a great President, but a man talking about a friend. Spig' Wead and Johnny Buckley were close friends in Ford's life, yet his lms about them The llings o/Eagle: and Tliev Wu: Exoendable) are no more personal than his picture of Lincoln. In fact, this is the very thing that makes Young Mr Lincoln such a great movie: Ford's rapport with Lincoln brings him to life, makes us understand and admire the man-not some
remote gure (0 |-vr_
20

2 POET

part of Ford's genius that he can also convey the man's larger signicance. At the end ul the lilni. Liiiculn walks up 3! hill ailune in the midst of a thunderstorma simple poetic vision ofthe young man's destiny. What makes it so moving (apart from its beauty) is that we kllllf. what the image means, hut this person we have come to care about does not. Lincoln appears briey in The Priwner of Shark Island (made before the other lm), and again Ford is able to present the man on two levels. The Civil War has just ended and a band has come to play for the President; what song would he like to hear? He asks them to play Dixie'. (As an example of the inter-relation5l1iPS in Ford's work, we have the scene in Young Mr Lincoln, wherein he unknowingly plays Dixie, calling it a catchy tune.) Shortly afterwards, he is assassinated,and Ford creates a memorable image: the haunting shot of Lincoln's head slumped to the side seems to become a still frame, and a thin curtain, like the veil of history, is drawn over it. As Andrew Sarris has said, Ford's work is a double vision of an event in all its vital immediacy and also
is

lt

in

hi.~ztorv

'

whom we are supposed

8"-'CPY"AF-m'l Sh"'z(Edw"d
G. Robinson) and his oldfriend'.

-+

in its ultimate memory-image on the horizon of history. (Film Culture, No. 28, Spring 1963.) Asked which American directors most appeal to him, Orson Welles answered, . . . the old masters. By which I mean John Ford, John Ford and John Ford . . . With Ford at his best, you feel that the movie has lived and breathed in a real world . . . (Playboy, March I967). It would be instructive (in fact schools might do well making it a regular course) to run F0rds lms about the United States in historical chronologybecause he has told the American saga in human terms and made it come alive.
22

Slill: Heriry

Fnmiu us Young

Mr Lincoln.

Sarris again: No American director has ranged so far across the landscape of the American past, the worlds of Lincoln, Lee, Twain, O'Neill, the three great wars, the Western and trans-Atlantic migrations, the horseless Indians of the Mohawk Valley and the Sioux and Comanche cavalries of the West, the Irish and Spanish incursions, and the delicately balanced politics of polyglot cities and border states. (Film Culture, No. 25, Summer t96z). What Ford can do better than any lm-maker in the

world is create an epic canvas and still people it with characters of equal size and importance no matter how lowly they may be. It is not the concentration on Americana, however, that gives his work its unity, but the singular poetic vision with which he sees all life. His most frequently recurring theme is defeat, failure: the tragedy of it, but also the peculiar glory inherent in it. It is signicant that the rst lm he made after his experience of World V/ar II (Th:.'_v ll/ere Expendable) should centre around one of America's worst defeatsthe Philippines. Since his last lm

before the war (How Green ll/ax

told of the disintegration of a family and an entire way of life (\vhich, in essence, is also the theme of Mather Alachree, Fnur Sam, The Grape: of Wrath, even Tobacco Rand as he told it), one cannot say that his post-war work was a reaction to what he had seen abroadthough it is true that through the late forties, the fties and sixties his lms became increasingly melancholy. (And better. Too many critics neatly

My Valley)

Still: llw/umilv nf How Green

Was My Valley: Crisp (left), Mt-Dm'aIl, Anna Lac.

..-4

categorize his thirties pictures, T/It. III/0TIIter and Stagecoach, as his best, while any one of a score of later lms is superior, not only in execution but in depth of expression.) Fart Apache, then, is the story of a last stand, just as She Ware A Yellow Ribbon tells of an aging soldier's nal mission before an enforced retirement. The heroes of The Lang Gray Line and The Wings Df Eagle: never succeeded in the ways they had wanted to, The aid Mayor; campaign for re-election in The Lag] Hurmh ends in defeat and death. Even My Darling Cletnentine, in which Wyatt Earp has been triumphant, ends with the reminder that a man has lost two ofhis three brothers. The Matt ll"ltn Shut Liberty Valance is as much the story of One person's sacrice for another as . l\"mm-n is, and both are tinged with an aching bittemess. (Sacrice as a variation of Ford's central theme can be found in many of his lms, among them, The Outcast: of Poker Flat, Marked Men and its remake, Three Gad/athers, The W/allop, Desperate Trails, Hearts of Oak, _t Bad A-lcn, Men Without Women.) At the end of Hangman: House (1918), Citizen Hogan (Victor McLaglen), an exiled Irish patriot who has risked his life by return ing to Ireland and helping a young couple, must nevertheless leave his country again; he is still an outlaw there. The boy he has helped thanks him and the girl gives him a kiss; they walk o into the night mist, but the camera lingers on Hogan. He is looking after them, and for the rst time in the lm we realize that he loves the girl; he loves Ireland too, and must leave them both nowprobably forever. The lm ends on that shot of McLaglen gazing wistfully into the dark, anticipating the nal moment of The Searcher.tmade almost thirty years laterin which Ethan (john Wayne), who has spent ten years of his life searching for a little girl kidnapped by Indians, walks slowly away from her family's homewhete he is
24

always welcome but where he will always b= in \"$ld"35 the dY lWlY l55 n himI was fortunate to see a dozen of Ford's early F0! lms 092-193$) ndi Kh\-Z11 "105! f them were assignments, there was in even the
an evocative, eeting image of a city street reecled in 3 $hP Wlndw (in R1./8) I/ll COP) 1 SCVCI3l Sl\OlS in LighInitl' that have about ll"lCll1 the same sense of futility that was to distinguish the look of Tubacca Road; from the horse race in Hangman: House which forecasts (and bettcrs) the one in The Quiet Matt (there is also an underground meeting place in the lm idcnllul [0 "19 in The 1'!/"""), 1 3 '\l'l'l=1'" in Pilgrimage as beautiful as any he has done: a mother, having heard of her son: death in the war, sits at her desk, expressionless, piecing together a photograph of the boy she had once tom in anger. There is the boastful, blustcring
was later to personify in a half-dozen lmsInd, 11'1"!-|8ll llwm ll, Ih Ph0l0Bl'PllY135!

f 111"!

$m!hlnB hl'"Bhl)'

11557

'm

Irishman in Seas Betteathwhom McLaglen

In ]ust Pal: (1920), though Gr-ifths inu-

ence is apparent, Ford has already developed

his own signature (without the sometimes owery Grifth ourishes). The plot may be lled with devices and melodrama, but here is the same naturalness in the playing, the same understanding of simple people and attention to detail that was to distinguish his later work; here is Fords Montana town, with its picket fences and distant camp res, the back-lit clouds of dust, the unerring eye for composition, and the same dynamic sense of the movies narrative power. This last was most apparent in the magni cent landrush sequence in _t Bat! Mm 11926), unjustly overshadowed by The Iron a lm Horse, which he had made two years earlier

ftlwld-' Y"/"1 "".\"l 4"

Still: The Wines of Eask-sIIw wry of vim

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and which was more successful critically. The latet picture, however, is better in many ways and more personal to Ford. Here (in embryo form) are several of his trademarks: the fancydressed sheri, the drunken newspaper editor, the good bad men (who sacrice themselves in the end), and, as always, the Fordian images of riders on the horizon, striking long shots of wagons and men, vivid contrasts of darkness and light. The great problem in studying Ford is that over half his work cannot be seen. By the time he made The Irzm Ham: (the earliest of his
26

I)lIngr|.l]7/1.

Fun!

<kr:t-e/|'m; by t'arm:n1) mi
.r|1ct1'xx.

The

lrun HorseI|I's_lirr! irmrrialimiul

lms at least partially available), he had already directed over thirty-ve features (plus almost a dozen two-reelers). More than most directors can do in a lifetime (especially today), he had accomplished in less than eight years. Many of these pictures may have been primitive in story and characters, but all reports of the time (see lmography) indicate they were visually distinctive from the beginning. (His rst feature, Slraighl Shooting, made in I917, turned up at

Montreal Festival two years ago, and impressed those who saw it with its unmistakably Fotdian look.) Although plot synopses are always deceptive (in favour of a picture sometimes, but more often against it), a look at the early stories leads one to believe that several lms would be of considerably more than iust historical interest. Hell Bent, Rider: of Vengeance, The Outcatts 0/ Poker Flat, Marked Men, Desperate Trai'!tthese and at least a dozenothers must be seen before any real evrluation can be made of Ford , s early work. However, it is possible to surmise (still oz sed
the

Still: Earle
one

of Fm-d: many Fox asrignmems.

Fn.\'t' (centre) in Upstream

(I927),

on the stories) that his Universal period (i9t7t92t) was more interesting and personal than his work at Fox during the remainder of the silent era. During those rst ve years with Harry Carey, he was able to write his own scripts, and, although almost all the pictures were westerns, he had considerable freedom within the form. At Fox, however, he was handed a great many assignments for which he admits having had little or no affection (though,
27

enjoy: making pictures, often despite the scenarios). Rarely did he have the opportunity to do projects of his own choosing. and it is interesting that when he did they were not onlyhis bestlms (which one would expect), but also his most successful: The Ivan Horse, Bad .\I,.'u, Four Sam. Certainly the Fox period had more value to his career than his days at Universal. Quite apart from what it may have done for his work broadening his scale, perhaps, and his scope it increased his power in the industry, which is not unimportant in an art ruled by box Oice.
as he also says, he
'

(And one should remember that Ford remains not only the most honoured American lmmakerwith six Academy Awards and four New York Film Critics A\\'ardsbut also a director whose work has consistently made money for the studios which nanced it.) He knows, however. that in Hollywood you don't win prestige or prizes making westerns. As he once tuldarcporter: Every rime I start to make a western, they say, There goes senile old John Ford out West again".' (Cosnmpolimn, March 1964). Clearly, it has plagued him all his life, and

Still: I~]vrJ'.\' rtzlt-nlttml l1'Il_.\Il>\. Lt-j1 The lnl\\rl'mr.'l[m:t'~ The l~'ugiti\'e.

signicant that not one ofhis Oscarsa|-id only one Critics A\\'ardwas for a western. They have kept the industry going, Ford has said, but he knnws that the industry also looks down on them. Nonetheless, one feels that the least of his Harry Carey westerns would have more interest today than such higher budgeted Fox specials as I\'erirttcI.-y Pride (banal, though not unappealing), Honduran Blind. Thank Ynu. U[)_YlItdI!I. or 'I'/in l~\1c.' nu I/It Iitn'r.mni I/inn".
it
is

away from Fox since 1921), Fnrds career alternated between projects he wanted to do (Salute, Mm llT'i|/min ll"nmuz, Up the Ri-t-er. Arrorusniirlt) and assignments (Born Reckless, The Brat, The ll"nrld Mares On). But the key to his work in the thirties lies in a personal struggle (no doubt unconscious) between two very different kinds of lm, huth of which interested him deeply: the dramas, like T/11 Last Palm! or Tim lnfnnrwr, and the lighter pictures of American life, such as the Will R()gr5 trilogy ([933-35), Criticg, gf c(1u|'g"
29

With the coming tit sound (and his rst lms

~,.4~

were far more impressed with the calculated artistry of The Informer than with the artlessncss of judge Priex! or Stcambuar Round the Bend, but as Ford's career has evolved into the l'Kl5 and '$lXil=5~ ll hi b\Cm l""L5i"El}' clear that the latter lms are closer to his real character, and, essentially, deeper works of art. This intriguing duality continued into the forties, during which Ford would make a very consciously artistic The Lang Voyage Home one year, andafar less studied (and more emotional) Haw Green It/as My Valley the next. The stirring imagery of his cavalry trilogy (1948-50)
30

ll"i'Il Rngcrx (ubm-u, al lqf!) as Judge lriest;C/mrlvs l\"ir|ui'ngur in 1/1,: xami: mic :ri!I| Rtiwll Sin:/u-on, in The Sun Shim-5 Bright.
S!|'lI_v.-

uf his heart in it titan the exqusite pictoriulism of 'I'h I-'1|g[1|';-p (1947). In fact, the hold, \'lg0tuu$ strokes of The St-unlit-rs, or the seeming simplicity of Wagon Alum-r require mute artistry than the direction of The lnfamiera lm that For-d feels today lacks humgurwhich is my forte. And Welles has said, John Ford is a poet.
seems to have more

,_,.

rim

1.

\_I

Acomedian.iCaliivrxdutiniumut65.)In Ford's best lms. these two sides of his personality are mixed: it is, after all, the mingling ofcomedy Ind pathos in The Sun Shines Bright (an in> formal remake of the Will Rogers picture, judgz Priest) that gives the lm its remarkable sense of humanity, just as the abrupt switches from comedy to tragedy in The Wings 0/ Eagles give it such an extraordinary feeling of truth. Every Ford movie is lled with r|:verberations from anotherwhich makes his use of lhe same players from year to year, decade to decade, so much more than iusr building a

stock company'and one lm of his cannot really be looked at as separate from the rest. What Ma Joad says of her life (in The Grape: of Wrath) is true also of Ford's work: . . . its all one ow, likeastream, little eddies, little waterfalls, but the river it goes right on. Ranse and Hallie Stoddard (James Stewart and Vera Miles) retum to Shinbone for the funeral of Tom Doniphon (John Wayne) at the start of The Man ll/ho She! Liberty Valance, and Hallie visits the ruins of Doniphons ranchhouse, where she picks a cactus rose, a wild ower symbolizing Doniphons Old West,
31

which is

as dead as he is.

A haunting musical

theme is heard during this scene, and when one realizes it is the same music Ford used after the death of Ann Rutledge in Young Mr Lincoln, its meaning in Liberty Valance is heightened. For Ann Rutledge was the lost love of

Lincoln's youth, just as Tom Doniphon is Hallies. Ask Ford about this, and hell tell you he just used the tune because its among his favourites, that's all. But one can't help wondering, if he likes it so much, why he Waited
twenty-three years to use it again, unless
"1
._,~,:

whether consciously or nothe felt at last that it ned. And herein lies a personal duality in Ford, the artist. He seems to Operate on instinct. (Certainly the making of a lm is secondnature to himhe never plans a sequence out on paper, knowing exactly how each shot will cut with the next, and, at a glance, where his camera should be.) This is an image of himself he likes to encourage. Though he genuinely does not like to be interviewed and becomes
Photograph: Furd diruclirzg Stagecoach, his m mmid rt'c.v!cr!|' really B011Iade_m|:/".'

'
1. $._t?s'

--

-.-t "g-.
1

_~'~-~-ivy
.
.

~_

,,'*,

,V~_,',-,_._.,w._'._~

<.~;->
.

I I"~ 3.

M.

"J

~Q

'

,7

r_
A

.I
U

J '

./1

v-x~_'\.

Still: Hmry Fonda ax Young Mr Lincoln, rrilh Paulilu: Moon: ax Ann Rullcdgc
bored discussing his

lms, he will go out of his

way to discourage the conception that he is a man who consciously tries to create something

of value or that his work has any continuity whatever. If Ford can convince you that he's I hard-nosed director who just takes a script and does it, he is content.

But the truth, I think, lics elsewhere. Welles description is profound: A poet. A comedian. Both facets of the Ford personality are instinctual, but comedian implies a certain conscious showmanship and this is very clear in his work. He is neither unaware of his eects nor are any of them unintentional. Butlikc poets and comedians-he neither likes to explain a joke nor theorize about a ballad. He simply creates them.
33

i5 lld F0id$ Wfils iii< hi5 Pfsllliilyi with ambiguities. When the legend becomes fact, says a newspaper editor near the end of Liberty Valance, print the legend. And this in a lm that has just exposed a legend: Stoddard, famous as the man who shot Liberty Valance, has nally told the truth: it was Doniphon who actually killed the notorious outlaw. Print the legend. Ford prints the fact. In Fart Apache, Col Thursday (Henry Fonda) underestimates his Indian opponent and arrogantly leads his men into a massacre. But, at the end, the newspaperswith the help of those Army men who Wilneiscd I116 5P!hiP1 Wliiih lh birth of a legend, creating a noble leader who died with his men. Yet Ford has just shown us the facts: Thursday was wrong; his men died in vain. On the other handand here is a further level of meaning-Ford is saying that the Cavalry, in fact the country, lives on despite the errors of any one leader; and if printing a falsehood will help the morale of the Cavalry or the nationthen print the legend. But Ford, never dogmatic, has also shown us the truthiust as his Catholicism does not stop him from making 7 Women, in which the heroine is an agnostic who gives up her life for a group of Christian missionaries, the leader of whom is a far from appealing religious fanali- 3" {hen Fld' Symlialhihi have always been with the outsider, the dispossessed. The homeless Indians of Cheyenne Autumn are not far removed from the wandering Oakics of

77" Gm?" 9/ Wm'hIll his desire H0! 1 hc !YPd 'W5il'h dil=<?* tor (it is revealing that he waited ten years 5148'?" hfl' making his fil Sud Wsls Khl'\18h his =0Bl1)= F0"-i hi5 huh Vfsiiie career, and many of his nest pictures are far removed from that genre: They Were Expendable, The Quiet Man, The Lang Gray Line, The Wing: of Eagles, The Last Hurrah. Yet he has made more of them than anything else, and his
34

personality is most clearly reected in his westerns: to follow their mood since 1950, for example, is to see a key progression. Having reached the height of optimism in Wagon Matter, that most inspiring story of pioneer spirit, Ford completed his cavalry trilogy (in the 53mg ygaf) with Rig Gmnde, 3 lm that mingled feelings of loss (the Civil War-the burning of the Shenandoah Valley) with the gloried charges of the Apache wars. His next westem, made six years later, showed the beginning of a change: an epic story, lled with comedy and drama, The Searcher: nonetheless ends on a tragic note as the man of the West goes o' alone. The Horse Soldiers, Sergeant Rutledge and Two Rode Together are increasingly bitter in spirit, until with The Man W"Ito Shot Liberty Valance (his most important lm of the sixties), he seems to be making his nal statement on the western. (The subsequent Wild West interlude in Cheyenne Autumn is treated as farcethe Wyatt Earp he gloried in My Darling Clementine has become a wily joker.) Doniphon, the epitome of the Old West, dies without his boots on, without his gun, and receives a pauper's funeral, but the man of the New West, the man of books, has ridden to success on the achievements of the rst, who was discarded, forgotten. It is perhaps the most mournful, tragic lm Ford has made. There is nothing wrong with the New Westit was ingvitablg; ygt 35 they ride hack East, Stoddard and Hallie look out of their train window at the Passing western landscape and Hallie comments on how untamed it used to be, and how it has changed, almost into a garden. But one feels that Ford's love, like Hallie's, remains with the wildness of the cactus rose.

Still: The Man Who Shot Liberty Valance Tutti Doniplton gin: Hallie a cactus roseStewart, Srmde, Vern Miler, Wayne, Qualen, ]eane|te Nolan.

_
K
lylgwl _ _

3 A JOB OF

WORK
met there. Of course
a

[The following is an edited version of an interview with Mr Ford tape recorded at his home in Bel Air, California, over a period of seven days in the Summer and Fall of 1966.]

Did your parent: nieer in Ireland? No, they lived in the same village and never
village encompasses quite a bit of groundthe post (!mC is rhe village and there might be a few houses and a pubbut the hills would be part of the village too, and my father lived at one end of this area and my mother at the other. They might have seen one another in church, but they met in America. My father came over rstto get into the Civil War. He was only fteen but he was a huge man, and he already had four brothers in the warone on the Confederate side who was killed, two on the Union side, and one who was on both sideshe got m-0 pensions. But by the time my father arrived, the war was over. l asked him, Which side was you going to ght for, Daddo? He said, Oh, it didn't make no differenceeilher side. l\"'h_\' did you and _\-nur brnllrer Fram:i.< lake the
name Ford?

panies, my brother went to New York and became stage manager for some company that was going to do a Broadway show; having a very retentive memory, he also understudied four or ve parts. The night of the opening, the fellow who was playing one ofthe important rolesa comedy partgot drunk or broke his leg or somethingl think the former. So my brother Frank stepped into the part and made a hit ofit. But the name on the bill was Ford' so from then on that was his namehe could '35 "WC? 8 rid 01' ii; l'"~i!hl' Could always called Ford. A few years later, a fellow came t1P m m'~' and Said rd likk I0 haw 3 iob I'm a pretty good actor. I said, You're a 200d IYPE-\\h3!' Y"l' "3m? H9 535d, 'Fl3l'\|< Feeney.' I said, That's very funnythats my brother's real name. He Said, I kl'\0WI'm the original Francis Fordthe one that got drul mean, broke his leg the night your brother took the part! l thought it was such a funny gag, I gave him a good part. He changed his name to something else and worked for years. l think he's passed away now. Isittrue1ha|_\nupIq\'cd1h:leading mle in 5|."Lurul

I-1

After having worked around in stock com>

36

In-0-reelers? I played the lead in a picturel? Good God! Well, I know I did

With my looks? a lot of stunts-

7
lused to do most of my brother's stuntswe looked alike and were built alike. Got about
S15 a

catching the speeding train on horseback, yumplng a horse off the cliff, that sort of thing.

week.

How did _\'0u_/in! gt! a cliancc in d|'n:c1? Well, I was quite young at the time. I had worked as a labourer, prop man, assistant director. Then, when Carl Laemmle visited the

Universal Studios from New

Phomgnzp/1;

York for the rst

Fun!

(_.veah:J,

b!lSt.1]1lt.!|Cv.'/L77

Lightnin (I935).
,1

njglu) Slmnling the

time, they gave him a hig partv on the only closed stage on the lot. I was a prop boy then and doubled as a bartender. The party lasted most of the night, and I slept under the bar so I could be on time for work in the morning. But when I reported, neither the director nor any of the actors were theretheyd been up all night. Some of the cowboy extras were there and nobody else. Isadore Bernstein, who was the General Manager then and a very wonderful person, got very upset when he saw the situation. The Boss is coming, he said- We've got to do something. I said, \\'/hat? Any-

:1

~.

"Z2

'-

j} I

53

ii
W,
,

thing, he said. So when Mr Laemmle and his party came, I told the cowboys to go down to the end of the street and ride back toward the camera fast, yelling like hell. Laemmle seemed to like that, so Mr Bernstein said, Try and do something else. Well,' I said, all I can do is have em ride back. He says, Well, do that. So I told the cowboys, When I re a shot, I want several of you guys to fall o' your horses. Now there were a lot of pretty girls in Mr Laemmles party, so when I red a shot, every damn cowboy fell off his horsesho\ving off, you see. Can! you do something else? said
38

Slill: Hunjv (itmjt-.

.m.l .llr.\'.
(I91-v).
'I}m'u_\"uml

rt-ilh .\'etu (z't'rh"r (i-mire)

in Three Mounted Men

pogrom than a Western. Months later, Mr Laemmle said, Give Jack Ford the iobhe yells good. Wcll, they needed somebody to direct a cheap picture oi no consequence with Harry Carey, whose contract was running out. I knew Harry very well and admired him; I told him this idea I had and he said, That's good, let's

Bernstein. So we burned the street down. They came riding back and forthit was more like a

do it. I said, Well, we haven't a typewriter, Ind he said, Oh, hell, we don't need that, we can make it up as we go along. So we went out and made it, and it turned out to be their best

picture that year. We kept on making pictures even after Harry's contract ran out, until nally he and

wife, Ollie, went hack to New York for a visit. It seems everyone in the company oice was very friendly and pretty soon Ollie found out that Harry was the leading star of Universal! And his contract had run out. Well, he'd been getting S75 a weeknow he signed up again at $1,250. Id been getting S50 a week as an assistant director, but when I started directing it went down to $35dont ask me why; when Harry signed his new contract, I started getting S75 a weekwhich was big dough in those days. What! were the early 'zi.'es!enis teilli Can'_\' like? They werent shoot-em-ups, they were character stories. Carey was a great actor, and we didnt dress him up like the cowboys you see on 'I'Vall dulled up. There were numerous Western stars around that timeMix and Hart and Buck ]onesand they had several actors It Universal whom they were grooming to be Western leading men; now we knew we were going to be through anyway in a couple of weeks, and so we decided to kid them a little bh_no, kid he WeS,em__bu, the leading men _md make Carey son of a bum a Saddle
his

"

Still: Harry Carey

gumbler ' john Oakliiirsi in The Outcasts of Poker Flat (I919).

as Imriest

ofa great bold gun-ghting hero. Allthis was fty percent Carey and fty percent me. He always wore a dirty blue shirt and an
tramp, instead
old vest, patched overalls, very seldom carried 1 gunand he didn't own a hat. On each

picture, the cowboys would line up and he'd go down the line and nally pick one of their hats and wear that; it would please the owner because it meant he worked all through that picture. I used to say to Harry, Why don't you go downtown, spend some dough and buy a

hat? Hed say, Oh, hell, there are millions of em around herel can always borrow one. He became one of the big stars. we had a gunght, we'd talk it over with someone who'd been an old lawmanlike Pardner ]onesand he'd tell us how it would have happened. In those days we didn't have any tricksif you had to have a glass shutout of somebodys hand, Pardner would actually shoot itoutwitharie.(lts hanging up down-

lf

39

stairshe left it to me.) Pardner was the one who rode the wild horse in front of Queen Victoria when the Buffalo Bill Show went to London; this wasahorse that couldn't be ridden and Pardner rode it. He was also the lawman who killed the Apache Kid. He used to tell us that none of those fellowsWild Bill Hickok, Wyatt Earphad been great shots with a pistol. I'm not a great shot with a pistol, Pardner said, I never knew one. The idea was to overawe the man, get as close as you could. If you had a real ght on your hands, you used a rie. Pardner used to say, If a man reached to draw a gun from his holster, he'd be dead beffe he got it out. Just for an experiment, we put up a target at twenty<ve paces, and we all gm-[ed shooting at it with Colt 45s. None of us hit it. (We all used to pull the trigger umil Qne qf the lawmen walked through and told us to squeeze it.) Pardner couldn't hit the ceiling with a pistol, but then hed take a rie and put a dime up there twentyve yards away and hit it. So we tried to do it the real way it had been in the West: none of this so-called quick-draw stuff, nobody wore ashy clothes and we didrrr have dame hall scenes with the girls in short dresses. As Pardner said, ln Tombstone, we never saw anything like that. Did you also deglanmrize Tom Mix and Hoot Gibsatt rt-Itsrt you rt-or/eed zttith them later? Well, Tom had an imagche was the well dressed co\\'boyand that's all he could do. I toncd him down a little bit. But we did the same thing with Hoot as we did with Harry. Only Hoot had a hat. Hutu did you make the lms in those early days? Well, with Carey, he and I usually wrote our own scripts, We nally got a writer who'd rake it down in shorthand and tap it out for the cre\vs0 they would have some idea of what we were doingbeeause we certainly didn't know. The two-reelers were made in about ve days, six at the most. We all used to ride our horses
40

t0 the lntratin; We'd Show ll" ii 8! difk and then we'd camp out in sleeping bass We W5 5l3Yd me" ml mid nished 31 Plclufe and then we rode back. We used to run our 11151138 in ll? nB3tiV in lhie d3Y5 5 Y0" Couldn't tell a damn thing about them. Who were your early inuences? Well, my brother Frank. He was a great tnlm3th\'5 t10Khin8 !hY'\ d0it'l8 ld3Y3" "55 M1185 mi" 3" 5"PP5d 1 be 50 nWth8I hc l'ldn'l dnne; h W35 Willy 3 8004 iftiili 3 WndtT\1| mlliii-In, ht!" Of 8 80! 3Kli 3 200d di\"(l]hnY f all tradesand master of all; he iust couldnt coneentrate on one thing too long. But he was the only inuence ever had, working in pictures. I =l'!alnlY had "9 desk" *0 8 mm Pl"'5 ' have anything to do with them. Still havent. H0!" did if /"PP?" F/I9"?
011!

Hungry-

D0 you feel you were inuenced by Grtith in the early lm:- Oh, D- W, Gtiith inuenced all of us. If it weren't for Grifth, we'd probably still be in the infantile phase of motion pictures. He started it allhe invented the Cl0SC-Up and a lot of things "bdY had 31-Eh! f dl"8 bfl'- Grimm was the one who made it an artif you can call it an at!but at least he made it something
W0llhWl1i|!Didyvu know Itim it-ell?

I knew l1lm"l lmlm3!lY- I W35 3 Emil admirer of his and just a kid at the time, but he W35 l/"Y friendly Wlih "1"; Y0" know, l1B'd P3! n-ie on the shoulder, and once when I got red fl'm Unlvsal as 3 5"d 3555""! Pl'P "13", I rode with the Klansm-:n in The Birth of A Nation. l was the one with the glasses. I was riding with one hand holding the hood up so l Could see because the damn thing kept slipping

Still: Ford: original Three

Carey,

Godl'athersHarr_y llirttfred Westauer in Marked Men.

ovcrmyglasses. But we were quite friendly,and as he got older, we became more friendly. Du yau rmimiber any 0/ your early lms tuilh particular/midrms? Well, it's a long time ago and to me, you make a picture and thats it-go on to something else, forgetabout it. But I can remember some funny things that happened. Fur example, there was a fellow named Mario (iaraiceitvlin culled himself Marin (Iarillo-he eztme over here with

Valentino; hed been a captain in the Italian Army, but he wanted to be an actor. Valentino became famous and got rid of him right away, so Mario used to work with me a lot, playing bits. I'd have him do gamhlershe was so handsome, you know, all dressed up, dealing the cards. On one picture, he was the leader of a posse chasing Carey. We were out on location and it was a very tough ride, so we got the stuntmen ready to do the shot. Mario came over

41

to me and he said, I am l0usy.' I said, No. Whats the matter? He says, l stink. N0, Mario-why? What's the matter? He points at the stuntman who \\-as dressed up like him. Then who is that man playing my part? I said,

Plmtograph: The recurring gure 0/ Lim:0In Fnrd direct: judge Bull in The Iron Horse.

Oh, that's your double. Double? he says. Yes, he's going to ride for you. He's gonna ride for me? I said, Yes.' Why?' Well.' I said, he's a cowboy, he's used tn this. Ohhh,' he says, he rides for me-that's rm.-. l said. Yes. Well, anyway, we gut the shot ready and when I said Action. my God, out dashed mu gamhlers! Well, one ofthem \\'as superbhe hit that
42

hill and slid his horse down, rode up the next hill and slid the horse d0wnit was Mario. He left the others far behind. Turned out he was the leader of a famous ltalian riding team. Of course, we couldn't use the shot, but we did it again and let him do his own riding. No\\'.years later, my family and I were taking a trip to Italy, and as we were coming into Gibraltar an announcement was madg that lunch would be three quarters of an hour late,

7
His Excellency, the Italian Ambassador to Spain, the Duke of so-and-so, the Count of so-and-so, Marquis of so-and-so, the Grand Baili of the Holy Orders and all that sort of thing, was coming on board to travel with us as far as Naples. I'd read late and slept till noon, when my daughter, Barbara, came knocking at the door. Hurry up, she said, there's a duke mming on board. I said, Well, let him. No, tn, the says, it's a real duke. I said, Well, Ihat do you want me to dostop him? Look, e lays, I haven't been to Europe before and I'm trying to see it through their eyes, so either you get out of bed, or I'll tell Mom about you ping down to second class and sneaking those thinks. I said, Ill be right out. So we went up tn deck, and all the officers were in white unifor-ms with medals, the band was there, and the velvet ropes, you know, so that he could make his entrance. Pretty soon, a British Admiral's barge sailed upall polished and everything, ying the British and Italian agsand out stepped the handsomest man I've ever seen. Boy, he was good lookingjet black hair with these white wings on the sides, and beautifully dressed in a very elegant dark gray suit, with a sort of peculiar looking briefcase attached to his wrist by a silver chain. He came aboard and took the salutewe were in the front rowand as he was walking by, he stopped suddenly, and looked at me. Jack! he yelled. How's that soonafabeech Harry Carey? And I said, Fine, Mario, I guessbut he's dead. What? Harry Carey dead? Yeah. Oh, that's too bad. Nobody told me. And how about that old sonnafabeech Adolphe Meniou? Adolphe's all right. Well, that's good, he says, let's have a drink. So instead of going through all the protocol, he ducked under the rope, took my arrnmy wife couldn't say a word about my taking a drink and we went down and knocked over three or four whiskies. That was Mario Carillo. He IILIL! all these titles, you see, but he'd wanted to be
because

an actor. Barbara was quite put out about the whole damn thing. Oh my gosh, she said, a duke! He's one of Daddy's extra men. From then on, the nobility ceased to impress her. How did you move from shorts to features? Well,we madeave-reel picture[Stra|1ght Shanting] and they were very upset about itwanted

to cut it down to twoand Mr Laemmle happened to l'\ll'l it. When it was over and they told him it was going to be cut down to two reels, he said, Why? Well, they said, it was only supposed to be a two-reeler. And Laemmle said, If I order a suit of clothes and the fellow gives me an extra pair of pants free, what am I going to dothrow them back in his face?

BUCKING BROADWAY (t9t7)

It was quite novel at the timeinstead of riding

to the rescue through Western scenerythey rode down Broadway at full tilt, weaving in and out. We went to downtown Los Angeles and rode the cowboys down the streets with a camera car ahead of them. And not a horse slipped.

THE FIGHTING BROTHERS (t9t9) Harry went back East on one of those iunkets, so I picked up Hoot Gibson and some of the
cowboys and we did a two-reeler. We only had two days to do it in, so they never dismountedthe whole thing is on horseback, fast as hell. The head of the studio loved it.

MARKED MEN (1919) Wasn't it called Three Godfather: then? They changed it to Marked Men for release.
Of the early lms? I think so. I liked the storythat's why I asked to remake it years later [in 1948]. When they originally bought it, the head of the studio
hired
a

They would, the bastards. I remember that picture very well. That's sort of my favourite.

guy to write the scriptvery pompous

43

fellow,beautifully dressed, white vest, had a lot of ideasand he started work on a Friday. The man who ran the studior|ot the executive but
the guy who had charge of making the pictures said to us, You're going to start shooting Monday. I said, We haven't got the script the writer just started. He said, The hell with the scriptyou're all sitting around on your asses drawing a salaryMonday, you start. So we packed up and went out to the desert. We had one copy of the storyhandled it like radiumand made up the picture as we went along. I think we worked three and a half weeks, and faur weeks after we got bark this writer they had hired came in with the script. The most beautiful thing you've ever seenbound in morocco leather and on the top of it in small letters it said Three Godfather: and, in big letters, the writer's name. Inside. it was beautifully typed: on the right was the scenario dialogue. scenes cut upand on the left were the directions. Now, Mr Director, I don't want this, I don't want that. Beautiful. But it wasn't Three Godfathers. Had nothing to do with it. The executive producer passed it around the studio, saying, This is the way scripts should be, and meanwhile the damn picture was already shipped. They signed the guy up at $1,000 a week and he never wrote anything again. We found out later he was an insurance agent, had never written a wordiust put something over on them.

volved in the chase, so Tom put on his clothes. We shot at such a distance, you couldn't tell. It was very funnyl chased Tom, Tom chased me, I chased myself.

THE IRON HORSE (1924)

In general, how closely on the silentlms?
did you work with writers
We never worked very closely with them. For example, Iohn Russell wrote the original Iran Horse and it was really just a simple little story. We went up to Nevada to do it, and when we got up there, it was twenty below zero. All the actors and extras arrived wearing summer clothes; it was great funall these boys got up in white knickerswe had a hell of a time. I wish I had time some day to write the story of the making of The Iran Horse, because more strange things happened. We put the women in circus cars, and the men had to make their own little homes out of the set. (Later, I remember, we were out in the middle of a desert in Mexico and this little guy named Solly came up to George Schneiderman, the photographer, a wonderful guy to work with, and he says, Wheres the hotel? And George says, Hotel? You're standing on it.') But the point is we had to spend more and more money and eventually this simple little story came out as a so-called epic, the biggest picture Fox had ever made. Of course, if they had known what was going to happen, they never wouldve let us make it. Was there quite a lot added to the picture after you nished it? Not quite a lot. But they had this girl whom they were paying a lot of money, and Sol Wurtzel [a Fox executive] said there weren't enough closeups of her. So they got some other director who put her up against a wall, and she simpered. It had nothing to do with the pictui-ethe lighting didnt match, not even the costume matched.

NORTH OF HUDSON BAY (t9z4) We had a sequence of shooting the rapids up in Y5=l'!lil=- Cmin8 fmm Mains I KMW B ""14! bvul C3l'\0- and fl"? ml! mh" El-Y WI!" Could \I5 OM W35 T0!" Milt, W110 W85 bl"8hl "P near a river in Pennsylvania and could handle a
canoe well; but we were the only two $0 I had C03! and 1131W PIQY 111 h3VYP\" " hi5 and go down the river with Tom chasing me. Thcrc was Supposed w be somebody l= in-

fl"

Siill:

George

0Bri'eii (left) in The Iron Horse.

44

,0
.

._E

.;

E?-L

|_t

: 'W'u.:
.~.,

,1

-_

-e

They stuck in about twelve of these close-ups, but of course it mined the picture for me. Was it therst time that sort of thing happened to
you?

Mmhmm. Wasn't the last though. How did you work with carneramenS:hneider-

man, for instance? Well, I like to have the shadows black and the sunlight white. And I like to put some shadows into the light. We would talk it over, and I'd say Right here, George, and he'd say Finelll move a little to the right. I'd say, Go ahead. We worked togetherI never had an argument

the exterior as he goes out. You've got to expose just enough so the audience doesn't notice it. Did you rehearse the actor: in the silent days? You didn't have time for thatall you could tell an actor was where to move, and you could talk to him during the scenewhich was a great help. I wish we could now. Sometimes a woman would like a little musicthought it would help herso I had Danny Borzage play his accordion softly. Everyone did that in those days. It sounds fatuous now, but it really helped.

with

photographer.

Even in the early lms, you often liked to shoot from a dark interior to a bright exterior in the same shot. Yesits quite diicult for a cameramanhe has to split his exposure. Usually what you do if a person, for example, walks out of a dark tent into sunlight, you very gently expose for
46

There was one little llyiust a beautiful thing and she had a terric crush on me. She'd leave the herd and run over and play with metake my cap, run away with it and look at methen she'd corne back and drop it, and when I'd

KENTUCKY PRIDE (1925) We went to Kentucky to do a little story about horse racing, and we put a lot of comedy into it.

Bad Men. Above, smndingFranIe Campeau, Tom Sarusclii, O'Brien, ]lJcDonaId.

Stills:

somethingand they put her to stud. Im not a horse racing fan, but I know her get has been famous. I always remember hershe just loved mevery unusual for a horse; ld be directing the actors or something and she'd come and stand by my chair. Or we'd be leavingthe rest ofthe herd would be halfa mile awayand she'd walk along the fence, following the cars, as far as she could go. How was Henry B. ll/allhall m work with? Oh, great. He was one of the greatest actors of all timea personality that just leaped out from

about you. So I named her Mary Ford, and she went out and won her rst three races easy, then broke downbroke a tendon in her leg or

reach down to get the cap, she'd pick it up again and run away. The fellow who owned her said, Why dont you name hershes crazy

the screen. He had nothing to do in that picture but he had such a presencelike Barrymore had, but Walthall was a much better actor.
3 BAD MEN (r926) That was the rst picture I ever made in ]acks0n Hole. Jack Stone and I wrote the script together, and a lot of it was based on things that had really happened. The villain, played by Lou Tellegen, was taken from an actual character a man who had been a real dude. There was a land rush in the picture, and several of the people in the company had been in the actual rushDuke Lee, quite a few of the boys they'd been kids and rode with their parents~so I talked to them about it. For example, the incident of snatching the baby from under the wheels of a wagon actually happened. And the newspapennan who rode along with his press printing the news all through the eventthat really happened. We did a hell of a land rush;

47

it was on level ground and they whipped the horses uphundreds of wagonsy0u could pick them up cheap thengoing at full tilt; it was really fast. We did the whole sequence in two days. They cut bits of it into several other
picturesI
see

it on TV all the time.

MOTHER MACHREE (t927) I had a lot of fun with that, but you didn't
chuos:

these thingsthey were thrown at you and you did the best you could with them. In those days, you'd go to bed at night, and next morning you'd have an early call and you'd nd

yourself doing another picture. Whats the name of it? yuud say. We don't know, theyd say, but be down there at seven oclock. You didnt know what the hell you were doing, you never got a week's rest to prepare anything, and you never knew who the hell was in it-they had the cast all laid out for youthen occasionally you'd slip your own people inlike J. Farrell McDonaldand theyd steal the picture. One morning, I walked on the set at seven oclock

Still: Preparing for

1..

the land rurh-3 Bad Men.

48

script around herelemme see the' After that I usually tried to read the scripts.
the

lot of actors there I didnt knowand this fellow had a scene in which he was supposed to kiss the girl. So we started to do it and I said to the guy, Ifyuure supposed to kiss her, I mean. kiss her. Kiss her on the lips. Hold her. And the actor said, But Mr Fordthis is supposed tn be my daughter! 0h! I said. Has anybody got
a

Slill: Eurlv

Fu.\-u

/rlays Humlcl in Upstream.

FOUR SQNS (X925) Did you chaos: any rvf the

nlents?

.i|lbjLClS

far

the Fox

enough, it became one of the biggest money makers ever made. It still holds the attendance record at the Roxy, which was one of the biggest theatres in the world. Of course, other pictures have outgrussed it because the admission prices were much lower in those daysa quar~ ter instead of two dollars. I like that picture VCYY muchjohn Wayne was the second or third assistant
49

Well, Four Sons. I read the story by Wylie in some magazine, and had them buy it. Strangely

prop man on that lm, and I remember we had one very dramatic scene in which the mother had just received notice that one of her sons had died, and she had to break down and cry. It was autumn, the leaves were falling, the woman sitting on a bench in the foregrounda very beautiful scene. We did it two or three times and nally we were getting the perfect take when suddenly in the background comes Wayne, sweeping the leaves up. After a m0ment, he stopped and looked up with horror. I-Ic saw the camera going, dropped the broom and started running for the gate. We were laughing so damn hardI said, Go get him, bring him back. Fortunately, they nally caught up with him and he came back so sheepfaced. I said, All right, it was just an accident. We were all laughing so much we couldnt work the rest of the day. It was so funnybeautiful scene and this big uaf comes in sweeping the leaves up. He still remembers it.

posedly we didn't know anything about sound and they got a lot of stage directors in from New York. It was a comedy situation: they threw these guys on to the set to make sound pictureswe had schedules of three or four weeks in those daysand after eight weeks, these fellows had about a half reel of picture, and the slu' was terrible. They had to hire us all back, only now we wouldn't return unless we got more money. So they increased our salary, and we all came back and said to the actors, What are you supposed to say? Well, just my it. And it was perfectly all right, there was nothing to learnin silent pictures we always had the actors speak the lines they were supposed to say anyway because there were too many lip readers in the audience.

THE BLACK WATCH (1929)

The back-lighting of the battle scenes in The Black Watch was very eectitve. Well, we never had very many people so I tried that way to make it look as though I had more. That was another picture they Changed after I'd gone. Wineld Sheehan was in charge of production then, and he said there weren't enough love scenes in it. He thought Lumsden Hare was a great British actorhe wasn't, but he impressed Sheehanso he got Hare to direct some love scenes between McLaglen and Myrna Loy. And they were really horriblelong, talky things, had nothing to do with the storyand completely screwed it up. I wanted to vomit when I saw them.

NAPOLEONS BARBER U928)

Hon: did you happen to make your first talkie, Napo|eons Barber? Because they told me to. It was just a threereelera story about Napoleon stopping on his way to Waterloo to get a shave. Of course, he wouldnt have gone into a barber shop for it but anyway, he did in this thing. It was the rst time anyone ever went outside with a sound system. They said it couldn't be done, and I said, Why the hell can! it be done? They said, Well, you can't because' and they gave me a lot of Masters Degree talk, so I said, Well, let's try it. We had ]osephines coach coming across a bridge and the sound men said, Thatll never doit's too loud. But it was perfectthe sound of the horses and the wheelsperfect. How did you feel about snmtd at the time? I didn't feel anything about itit was just a job of work. Actually, when sound came in we were all red. They bought up our contractssup
50

SALUTE (i929) The superintendent of Annapolis was from the same island lm from in MaineIeaks Island he and my father were great pals; so we went
back there to shoot and they let us do whatever we wanted, turned everything over to us. We put up lights and shot the actual Commencement Ball; after the Ball, we did our close-ups.

Admirals daughters were all in the picturey0u know, ten bucks a dayand we had a lot of fun. We brought the entire USC football team back there with us; Ward Bond and Wayne were on itthey were both perfectly natural, so when l needed a couple of fellows to speak some lines, I picked them out and they ended up with parts. Wayne used to work for me during the summertimelab0urer, third or fourth prop
The

Still:

The I?r|'!|'sI1pr|'.tm|ars in

The Black \\-'a|ch.

man\\'c all liked himand then he'd go back to college. Probably that's why l chose him to play this partl knew him so well. And I was still laughing about him walking into that scene raking up the leaves.

MEN WITHOUT WOMEN ([930)

That was the rst submarine picture ever made
5l

-"b"""""-

5'5-' Mm Wilhm-ll W/m" ""PPld 5" 4

actually using a real sub. It was a very eective picturefor those days; these guys are trapped in a submarine and eventually rescued, but one .
.

highand I said, Let's go ahead and do it what the hellit's not going to hurt the submarine. I asked the stuntman to dive overboard and he refused: The water's too rough. So john \\'a_\ne. who \\'-as playing a hit. says. I'll duuhlc thcm all. And he put on dilliercnl clothes and dove overboard. ]. Farrell McDonald had been on the wagon for years hut he'd slipped over to Tijuana and uh. came hack drunltct than a iidtilcfs hitch. and nobody would speak tu him; so I. Farrell came staggering uut on the top deck and looked down, \\'hat'rc you doing? he .~a_\.~. I said. I'm suppttsttl to he shoutingf He .~a_\'.~. The camera going?" I said. Yc\.' llc said. I don't want unyunv: doubling me! and he did a beautiful divef0rry i'eethit the water, swam out there he must have been sixty years old at the time. He came bug sober

BORN RECKLESS (I
. .

has O snylbehm?_nhf [tog mngx The submarine eaves rom ang an, an we had a lot of Chinese atmospherethe longest bar in the world and so on. I think it was the rst picture Dudley Nichgls andhl did IOQCKQCI. From then on, we worke toge er as muc as possible and I wmkcd dosely with him . ,

mm

It wasn't a good storyiomething about gangHF-Md m the mmldl: of the pmurc hey 3 9 (O W; S; we mi in c:e.dy Zaseblau same F mysfnszn thtilrlizlgaze gm!) 3:: 5: )2:
.

930

'

could do was to try and get some comedy into ll.

.

He had never written a script before, but he was very good, and he had the same idea I had about paucity of dialogue. The picture was full of humour despite the tragedy of it. There was one Blue Jacket we had who'd bought a big Chinese vaseand all through the picture he keeps talking about how he's going to bring it back to his Mom. We had a scene in which the rickshaw went over backwards on himhe did a back tumble-and still had a hold of the vase. Even when he goes through the escape hatch, he's still carrying this thing, meaning to bring it back to his mother. It's been copied a lot since. While we were shooting the rescue scene, a terric storm came upthe waves were very
52

UP Tl-IE RIVER (I930)

Sheehan wanted to do a great picture about a prison break, so he had some woman write the story and it was just a bunch of iunk. Then he went away for a while, and day by day Bill Collier, who was a great character comedian, and I rewrote the script. There was so much opportunity for humour in it that eventually it tumed out to be a comedyall about what went on inside a prison; we had them playing baseball against Sing-Sing, and these two fellows broke back in so they'd be in time for the big game. We did it in two weeks; it was Tracy's and Bogarts rst picture-they were greatiust went right in, natural. Sheehan refused to go to

i
bring him to. A very funny picturefor those days. I kept ducking the woman who wrote the original script, but she went to another studio on the success of Up the River and got three times her salary per script. They tried to remake it some years laterwell . . . oz Phat raph: Seated ml the mast, ]ae August
they had to
the preview, but just at that time all the exhibitors were out here for one of their meetings, and they all went to see it, and they fell out of their chairs. One guy actually did fall out of his chair

0.8

(I!/I) Ford Beneat h.

Gmrge

-H

seas

mm

"H g

the German submarine slips up alongside another submarine to refuel, and this girl comes out on to the bridge chewing gum! Right in the camera. So we had to go to all the trouble of doing it over again. She just couldnt act. But we did the actual refueling at sea. That stu'

SEAS BENEATH (t93t) That was a war story about a Q shipsome good stu in itbut at the last moment, the head of the studio put a girl whod never acted before in as the lead because he thought she spoke a few words of Gern-tanwhich she didn't. We had a scene, I remember, in which

Mg-

._
*

__..~_,

.-a

_
_

>
...--

'\

"

was good and so was the battle stu", but the story was bad; it was just a lut of hard work, and

you couldn't do anything \vith that girl. Then later they cut the hell uut of it. Seas Beneath marIt.t the n! appearance II! u mlltie nflhu! bt1a.\'!/|1/ Irixh character uf_\'tmrx :4-Im
rear later [h.I,\m1|:/l|.J by
rmnemre_\'m4'1-e l\'!|t1:t'n?

Stills: Abm-vI\nnuItl (Inlmun, _7nhn Qua/en, Adele l\"a!.nm in Arrowsmith L/)3/); n'gl|1 the Gold Star Mn!/:er.\" ' begin their Pilgrimage
about the great things hed done as a young man, such as the time he lifted a heavy hnuldet up out of the water, or how he swam Galway Bay. Of course, he was a damn liar, but he would entertain us kids. He was always stupping runaway horsesin fact it was his great

l\IcI.ugler|; is

he based my

lsuppose the character IS a enmpusite of several peuple. My father, for instance. H-: would tell
54

all horses and buggies in those days bullghter, he stopped a horse and grabbed ithe was a big, powerful manand yanked this horse to its knees.
yen; in was and, like a

it. l \vas going to stop it, and then l said, The hell with it, let em go, nobody's gonna get hurt. Pulling hair and slugging one anotherthere was no faking about it. Very funny.

THE BRAT (1931) That was just one of those damn !hIngS they handed you, but we had a ght between these two \vomenand it turned into a real one they hated each othcrs guts and really went at

DR BULL (1933) Did you intprovisz a Ia! rvith Will Rogers

mt

Dr

Bull? Well, no writer could write for Will Rogers, so ld say to him, This is the script but this is nor
55

b-A"

_.,.

'3'"
I
..-

:21.

10,;

l_

;:!vn[h;l1!;,;':;o:'|:i[:L": gglffuglljsd 1:2: just get in front of the camera and get the sense of the scene in his own inimitable way. Dr Bull was a downbeat story, hut Bill managed to get a lot of humour into itand it became a hell ofa good picture. It was one of Bill's favourites. We did three pictures together and it was always a

youthe words will be false coming from you. just learn the sense of it, and say it in your own words. Some of the lines hed speak from the scl? lam mos cf Eh" lime h'_=ld make Pp his own he d slop mild M pmk,p'ck llp the" Fun

ll"ill Rogers SriIl:I\ar/off, /\IcLag/:.'rl. ll". Fordan Dr Bull. irt,Thc Lost Patrol.
lot of fun working for Bill. jmigr Priest turned out very well too, it was very funny; Sn.-amboat Round the Blend should have been a great picture but at that "mg my ha-d 3 Change of Studio

Pliumgrizpli: Ford,

2:2, Tjnilrl
cm.,m,dy mm

C1:-wpl:;till-:0;;llinl:>ku:i1lh$:

and

THE LOST PATROL (t93.4)

It

was

character studyyou gut ln know tne

57

life story of each ofthe men. We shot it at Yuma in two weeks. When you're shooting in the
desert,

ifyou track up the sand, you can't retake

you'vc got to move to another location. I had a shot of the British cavalry coming in to rescue the lone surviyorwe had a lovely location, it was about 5:30 in the afternoon and there were these long shadows oi the horses lined upit was very beautiful. Suddenly a plane swooped
do\vn over them and the horses scattered, made a mess ofthe sand. I was furious. There was no point in trying to get another location and get the men back in their places, because the light would be goneit \vas too late. When we got to the aireld, which was close by, it turned out to have been the producer's plane. This was his rst picture; he'd been an exhibitor, and the head of the studio was a friend of his so he asked me, Do you mind taking him as a producer? and 1 said, No, he's all right, I like him, hes kind of a nice guy. Now he steps out of the

iii

plane with a big cigar in his mouth and he says, Did you see us come in? l said, You son-of-abitch, youve cost us halfa day's work. He says, Why? I thought I'd give you a kick. I said, You sure as hell did!" When you're Shooting on the desert, you start work at 6:30, work until tt:o0 and then go to the camp. which is nearby. and have lunchif anybody wants lunch; then you'd get in the shade and start work again at 2:30, because until then it would be so hot| to, sometimes tzo degreesa man couldn't stand it. Well, the producer got me aside and he said, Look, lve been guring it out. I know you stop work from t 1:00 to 2:30. Eleven, twelve, one, two, he says, multiply that by seyenhow many hours have you got? I said, I'm no good at arithmetic. He says, Seven times three and one-half-well. around 2t hours. That's three or four days work. I said, But you can't work in the heat. ]ack, he said, its great. I've never felt so good in my life. He just dropped out of the sky, you know, and he's still smoking a cigar. For once, he says, work till twelve and take half an hour for lunch. Look at all the time you'll saveyou'll be out of here quicker. I said, We're doing all right the way we are. Im not going to have a lot of sick people on my handssunstroke and everything else. But this air is great, he says, and he goes out there bare-headedwalking around and shaking handsreally the big shot. I feel great, he says, getting away, you know. About an hour later, I wanted to talk to him: Where's Mr. So-and-so? They looked at me. I said, Yes, where is he? They said, Sorry, but they just took him to the hospital with sunstroke. l went down to the hospital in Yuma to see him; God. he was the sickest man I've ever

Town's Talking (I935): Edward G. Rnbinsmi as killer (lefl, reitli ]ean Arthur) and as clerk (right, teith the press).

Stills: The

\X-hole

58

7
in my lifelying therepale, with his back in his head, wanted more doctors, more nurses. He had to stay there about four
seen

eyes

days.

THE WORLD MOVES ON (1934) I'd like to forget that. I fought like hell against doing it. What does this mean? I'd say. Does it amount to anything? I pleaded and quit and everything else, but I was under contract and nally I had to do it, and I did the best I could, but I hated the damn thing. It was really a lousy pietureit didn't have anything to sayand there was no chance for any comedy. But what the hell, that was called being under contract. You were getting paid big money and there was very little income tax, so you swallowed your pride and went out there and did it. There were 1 few awfully good things in it-the battle scenesbut I argued and fought, and that was how I got the reputation of being a tough guy

which I'm not. I can be tough with an executive producer and rude to the head ofa studio, and ght with them, but never with my people; I think they all love me. I can ght like hell, but I always lost.

I would say not. I think it lacks humourwhich is my forte. But itwas made under such peculiar circumstances. Joe Kennedy was the head of RKO and he wanted me to come over. Can you get something for jack to do, he says. They had a bunch of Westerns and I said, I'm tired of them, but I've got a story here written by my cousin, Liam OFlahetty, called The Iriformer, and I think it would make a great picture. And this fellowI won! mention any names, but they're famous onescomes in ranting to ]oe, Ford's got this bit of iunk heresomething about an Irish war that nobody ever heard of.

THE INFORMER (1935) Ir The Informer one afyour /awurile piclures?

59

He won't do a Western' And Joe says, An Irish story? That ought to he good, why don't you let him doit? Will it cost much? I said, No, it's u cheap little story. So he said to the other fellows, Well, let him do that and in the meantime you can nd a Western fur him. Justaroundthattime,pruducers were coming in, and they handed the story to another famous name, who didn't want to have anything to do with it; they went through four producers, and nally we picked the same guy we had on Tin: L011 Ptztml. I said, Youre the producer of this thing. He said, Gee, what is it about? I said,

Well, read it. He says, Oh, I never read books --I just don! have time to. I said, What do you mean don't have time to?" What do you do in the afternoon? Now you just go to a bar, sit in the corner, npen the hook and read it. But
he never did.

Now the studio was pretty sore about the whole thing and after we'd been working a week

The Informerll</_l5)l'it'mr 4\lt'Lt1gIt.n tbulnts) :1-ilh pm.<!i!tm:.\' in a tielemi seqtterice and (right) ::t'tl| ll"u!lavt- Ford.
Sn'Il.<.-

V
.4. I

Kennedy sold the company and they Slt)pped the picture. Then they considered: Well, we've got so-and-so much muney in it and it's not costing much (it cost :1 little uver $200,000 we made it in under three weeks) we've gut these people under contract; su nally they decided, Oh, go ahead. But they wouldn't let me work on the lutthey sent me antross the street to a dusty uld stage, which was great because l was alone and they didn't bother me. They wouldnt build us any real sets tht:ugh the city of Dublin was just painted canvas. We went ahead and did the picture, and
Joe

when they showed it in New Yurk, it gut rave reviews. New suddenly all these pruducers came back and tried tu get their names put un it: Produced by But by then the prints had been made, and so it went out without their names on it and they were furious. l was pretty sure about the whole thing myself. But I enjoyed making it. \X'/e were luuking at the rushes and l asked the pruducer, Did you see when Wally Ford was shnt and went out the windutv? He said, Oh, yes. l said, Could you hear the scratching uf his nails on the windowsill as he went down? He says, Oh, yeshut 6|

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rub thal out of the sound mack. I said. Gud\Vc can rub that out uf the sound track!" 'hy nuw he '35 gutting all the lcrms; very dramatic ul-cl uf this guy having hccn shot, scralching along lhc winduwsil] \\'lIll his ngcrnails\\'u actually did iland he says we can ruh il uff the sound lraCk.' Il"r|.< Ilia Irial scuric ml/I i\lcI.agluu unpmi-isvd. Yes, thc whole thing wa> uxlumpurancuus,
we can

Oh,

S!ill.\: ll/3546. Lq: Siuumhuai Round the rl[ni1. The Prisoner of Shark Island. Rig/l!.'I\'u!I|urinc Hcpburrl ax Mary of Scotland.
Bond.

made right on the set. I said. Victor, interrupt say, Youre a liar, you're a liar"you know, interrupt whenever you want to. There are no lines in the script I can give you, but just realize hey'vc gm you, and try lo he your way om of it. Preston Foster's a pretty good actor and I told him, Help Victor all you can, ad lib a little

bit, throw him a few lines, intcrnipt him. went pretty well.

lt

THE

Stills: Mary of Scotland.

EM! Iv her rnartyrdnm.
._,_.
.i1_

Lef!1Hary Stuart

:1-OUAGH AND THE STARS (1937) After I_d finished the picture, another studio had smdr Why mi! P'c''_whf= 3 ma Pd wm_ 3" minlcd? The mam hm! 3b pictures is love or sex. Here you've got a nun and womm maffigd 31 (he Sm-1_wh0's gm". Ccd in that? So after I left, he sent In assistant

I War

dircctor out and they did

hunch of scenes

whm they =v~~'I m=rri~'d- Cvmpkrely wimd "W dim" lhi"B_dL5"'Yd um \/h1\ 5ll'Y
which is about a man and his wife. Of course, when it got to Ireland they refused to show it unless they showed the original, and the same thing hapyened in Englandthey showed my version over there.

S!iI!.\'.' /1l\m't': [1_~ Pluugh and 11 S[;][5_ I\'|j;-/u.- \vt-t- Willie \\"inkie rm/1 ShirI.~_\- '11!!!/7[L'\ l'icInr .\lt'I.a_~_'Ivu. uml (Itjf!) I:nrJlI1'm.'!|'r|_t' Ilmtl.

make him

WEE WILLIE WINKIE (1937) There was nothing for McLaglen to do in that script, but the studio said, Can you use him
Ob

a sergeant or something? I said, Great? He loved Shirley [Temple] and Shirley loved him, and pretty soon this grew into a big part. But according to the little bit that was in the story, he had to be killed. It's bad drama. killing o'a loveable character in the middle ofa picture, but thats what the story called for-there was no way to carry him on. One day it

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was

pretty cloudyit had been rainingbut the

THE HURRICANE
cane?

clouds were so nice, and they had that occasional strcak of light. Ordinarily, we would have knocked o' for the day, but I had a great cameraman, Artie Miller, and I said, We've got to do something with the weather, with these clouds. I said, Weve got everybody here let's bury Victor! And Artie said, That's a swell idea. I'll open up the exposure a bit we'll get a good e'ect.' So we put in the funeral. Stillx: The Hurricane rvillt C. /l|tbn:_\' Smith, Mary Astor, Ru_\-nmnd .-\la.r.n:_v and (right)
1),n,,],_\v La,,,,,,,,-_

Did Goldwyn inter/are with you on The HurriIts

a

(1937)

funny thing, Sam Goldwyn never interfered with anybody. As a matter of fact, he very seldom visited the set. But when they ran The Hurricane for him, he said, It isn't personalized enoughan expression I didn't quite understand but when I gured it out, I agreed with him. Our time and budget had run out, you see, and I hid ill do!" W113! W35 in lh 5Cl'iPI- 5 afl h Said U13!) I We"! bdi and W0l'kd vc or six days and put in some closer shots.

68

?
FOUR MEN AND A PRAYER (1938) Yvusumedlu hauzatnngue-in-the-cheek attitude about all that Britislt sn-upper-lip busineu in Four Mcn and a Prayer. Oh, I don't know-I just didn't like the story, or anything else about it, so it was a job of work. Iltidded them slightly.

helped me on it. I had a lot of fun with that picture and, of course, all the comedy in it wasnt in the script; we put it in as we went along.

SUBMARINE PATROL (I938)

Having been a Blue ]acketthough I wasnt in the submarine eetI had a lot of sympathy for
them, I knew what they went through. The head of the eet was an old pal of mine and he

STAGECOACH (t939) I still like that picture. It was really Battle-dr stnf, and I imagine the writer, Ernie I-Iaycox, got his idea from there and turned it into a Western story which he called Stage to Lordsburg.' How did you nd Mnnunum! Valley? I knew about it. I had travelled up there once, driving through Arizona on my way to Santa

.
-4
69

Fe, New Mexico. Someone said you mad: a star of juhn Wayne by nut letting him talk much. Do you agree? No, that isnt true at allhe had a lot to say, plenty of lines. But what he said meant somcthing. He didn't do any soliloquies or make any speeches.

You mean going right to left instead of left to right? I did that because it was getting late and if I had stayed on the correct side, the horses would have been back-lit, and I couldn't show their speed in back light. So I went around to the other side where the light was shining on the horses. It didn't matter a damn in this case.

In the "'1! hm! You bmfu. a T"' by Shanmlg the horse: from the wrong Sldt in several sha!s why?

"To show a gure going from left to right on the sum, he Cam": mus remain on ha! guws
tight-hand side; by moving the camera to the lefthand sidealthough in [net the gure may still be going in [he um: dmmon as bf,_h Wm appear on the screen to have changed direction and be going from right to left.

firs! in Monmnenl VaI!eyStagecoach, tcizh (right) ]ulm Wayne and Claire

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I usually break the conventional rulessometimes deliberately. Frank Nugent was once talking to me about that lm and he said, Only one thing I can! understand about it, ]ackin the chase, why didn't the Indians iust shoot the horses pulling the stagecoach? And 1 said, In actual fact that's probably what did happen, Frank, but if they had, it would have been the end of the picture, wouldn't it?

YOUNG MR LINCOLN (X939) Everybody knows Lincoln was a great man, but

the idea of the picture was to give the feeling that even as a young man you could sense there was going to be something great about this man. I had read a good deal about Lincoln, and we tried to get some comedy into it too, but everything in the picture was true. Lamar Trotti was a good writer and we wrote it together. They cut some nice things out of it. For example, I had a lovely scene in which Lincoln rode into town on a mule, passed by a theatre and stopped to see what was playing, and it was the Booth Family doing Hamlet; we had a typical old-fashioned poster up. Here was this

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poor shabby country lawyer wishing he had enough money to go sec Hamlet when a very handsome young boy with dark hairyou knew he was a member of the Booth Familyfresh, snobbish kid, all beautifully dressedjust walked out to the edge of the plank walk and looked at Lincoln. He looked at this funny, incongruous man in a tall hat riding a mule, and you knew lherc was some connection there.

They cut

ll oul1oo

bad.

S!iIl.t: I;':'cr{\'lI:|'r|g in I/n. picllm. :1-as lrm: Hunry Fonda in Young Mr Lincoln.

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The thunderstorm at the and very much gave one a sense of Lincoln: future. That was another one of those things we had to make up on the spot. There was a real thunderstorm, so I said, Let's have him walk away, and

then well dissolve into the statue at the Lincoln

Memorial.

DRUMS ALONG THE MOHAWK (I939) What was it like working with colour for the rst
(ne?

There was no change really. It's much easier than black and white for the cameraman; its a

cinch to work in, if you've any eye at all for colour or composition. But black and while is pretty toughyou've got to know your iob and be very careful to lay your shadows properly and get the perspective right. In colourthere it is; but it can go awfully wrong and throw a picture off. There are certain pictures, like The Quiet Man, that call for colournot a blatant kindbut a soft, misty colour. For a good d"lTl3ii 5193' lhl-18h I much Pia" "J Wfk in black and white; you'll probably say lm old> fshidi bl" black and whim is "31 Ph">B"PhY-

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arc Nu bu! U1/mmnun mu 1 L ..'nrI\Ld uh Comparisons arc odious. nf course. hum Gregg Toland and jnc August were rcally great cameraman, and so was Arne Millur. I lhlnk they stand our as lhrcc ut the hcsl I c\'cr \\'urkcd

THE GRAPES OF WRATH u9.;o) l!"I|aI allruclcdynu In The Grapes of Wrath.

S1|'II.\': The jirs! in mIn|1rI"nm/:1 ubmw) in Drums Alnng tho Mohawk.

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\/cf! um]

Fomla am! ]nIm Qua/cu in The Grapes

of \\"r;1!h.

Rig!!!-

was

l just liked it. that's all. I'd rcud the btmkit a good stnr_\.1nd Darryl Zanuck had u

good script on it. The whole thing appcalcd to mebcing about simple pcoplcund thc story was similar to the famine in Ireland, when thuy thrcw the puoplc off thc land and lcft them wandering un the roads to sturvu. That may have had 5\\'lLlllll'1g to do with itpurt of my Irish traditionhut I liked thc idca of this family going out and trying to nd their way in
76

SlilI.\: 'I'/n']m1J.\'Ilt lR|1.\'.\'cl/ Siut[1_\"m|). Urtulc ]n/In tFrun/.' Durit-n), 1\lu (Yum: Dam://). Rtlld/IJYII t[)t=rri.< Burt-tlnu) mill. nhmr, :-|'tl| Tum lFnntldl. thc world. It was a timely story. lts still a good picturt-l saw part of it nn TV rt-ccntly. Grcgg Tuland did a greatj\h0l'pl10tngraph)' thcrcabsulutuly nothing but nothing tn photograph. nut um: beautiful thing in thcrc just shccr good photography. 1 said to him,

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Part of it will be in blackness, but lets photo graph it. Let's take a chance and do something different. lt worked out all right. Hadyott planned to end with Fonda going up over the hill? That was the logical end, but we wanted to see what the hell was happening to the mother and father and the girl; and the mother had a little soliloquy which was all right.

We purposely kept it in conned spacesthal was what the story called for. Life on a ship is claustrophobic, but you get accustomed to it. You make friends and you make enemies, you kick about the food, you kick about everything. I found that sailors who don! kick about the food are lousy sailors. We were working on this carrier, making ll"ings of Eagles, and the head of the Union came up and said, According to

THE LONG VOYAGE HOME (1940)

The Long Voyage Home is tv.r_v claustrnpltobiu fur a story about the sea':L'a: that your irtterrtiult?

Still: ()Nct'II'.t fat-0ttriIeThe Long

Voyage

Home (I941!) it-|'tI| ]uIut Qualert, ll"ard Band, ]ac/c Penn|'cL', ]n/m ll"a_\'m:, Tlmntas lltc/tall.

our contract, we travel rst class, regardless of where we go. I said, I know that. He said, You're going out on this battlcship' I said, No, no, we're going out on a carrier. He said, Whatever it is, you're going on a Navy ship, and my men have got to eat with the oicers.' Well, thatll be new, I said. The oicers will be delighted. In the Navy, the officers always have to pay for their own food, you see, so if the Union men ate with them, it would lessen the ofcers bill. Except, of course, that officers are probably the poorest fed people in the world,

General Messwhere they had steak, frenchfried potatoes and everything else. The next night we went up to the Chief's Mess and that was even better. Gradually the crew got wise to to it and pretty soon they were all eating in the General Mess, where the Government provides them with steaks, roasts, chops, bacon and eggs in the morning. The poor oicersof course every one of them liver for his night to go down and inspect the General Mess and get a good meal.

$2520 Tsgyvgagopayo flt::e:I1eui:e:v

payment on the house, the new car. But I said, Well, there'll be no trouble about that. He said, Well, I'm glad of that, because we want to travel rst class. Well, we'd worked all morning, out at sea, and I had a grip-huge guy, a great eatetand he said, I didn't see you at lunchwhere were you? I said, I was seasick so l went to my cabin, thought I'd lie down a little bit-I didn't want anything to eat. I feel all right now. He said, Oh, that's too bad. I said, How was the lunch? He says, Lunch? Terrible! What do they feed these guys? After dinner that night, around nine o'clock, he came by my cabin. Where were you at dinner? he says. Well, I'm still feeling a little seasick and I didn't want to go to dinner, I said. What did you have? He says, We had some minced ham! With some kind of lousy sauce over it, about a mouthful of lettuce and a cup of coffee. I said, Did you like it? He said, I'm wilting1 can't live on stu' like that. I said, Well, that's too badIm

Slill: Along Tobacco

Road

(I 9-ll).

surrybut you're travelling rst classthat's your Union. The next night at dinner time, I started to sneak out of my cabin and he was waiting outside. I-Ii, he says, where are you going? I said, Aren't you going to dinner? I-Ie said, Yes, I'm going to follow you. All right, I said, Come along. So I went on down to the

TOBACCO ROAD (194!)

ll"'att!d you have changed Tobacco Road even tj the play Itadrft Itad censorship prablenis? Did the play have censorship problems? Oh, the girl. Well, we suggested that, but I think WE did

jokes and playing practical jokes, and then hed gr; and gel righi into his part again.

it nicely. I don't think it oifended anybody. I enjoyed making the picrur I =\\' ii " Wk vl5in mccmll and "iYd ll Balm Pm Charlk G'3P"l" '35 3 m 37'= and wonderful guy to work with, always cracking
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SEX HYGIENE U941) Darryl Zanuck was a reserve oicer and he said ,0 mg, ~-I-his would ins, be for he A,.my_bu, these kids have got to be taught about these things. It's horrible-do you mind doing it? So l said, Sure, what the hell, I'll do it. And it was easy [O makC_wc did 5, in V0 or hm: days. It really tear horrible; not being for general release, we could do anythingwe had guys out there with VD and everything else. l think it made its point and helped a lot of young kids. I looked at it and threw up.

you brtmght the cltarncters back at the mdthe way you did later in The Long Gray Line and

HOW GREEN WAS MY VALLEY (i941) as How Green Was My Valley the rst lime

The Quiet Man? I believe so. I wanted to reprise the mother's song so 1 got the idea of bringing the cast back.

In the theatre I always like to see the cast come outregardless of whether the guy's playing the messenger boy or the butlerI like to sec him come out and take his bow. That's probably where
Was the

family life personal to you? Well, Irn the youngest cl" thirteen, so l suppose

got the idea.

the same things happened to me-1 was a fresh young kid at the table. ll/as much of that film made up an the set? Phil Dunne wrote the script and we stuck pretty close to it. There may have been a few things added, but thats what a director is for. You can't just have people stand up and say their linesthere has to be a little movement, a little action, little bits of business and things.
Pttblicit_\- pltutngraphs: Gen: 'l'icrm.'_v, with l\"ard

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Bond, in Tobacco Road.

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THE BATTLE OF MIDWAY (I942) How much of The Battle of Midway did you
phntagraph yourself?

this shot, the narrat0rs voice says: This really happcned.I.B.]

I did all of itwc only had one camera. The greatest shat in that lm is of the ag being raised in the midst of the battle. I photographed that from the tower. It actually happenedeight oclock,time forthe colours to go up, and despite the bombs and everything, these kids ran up and raised the ag. [During

THEY WERE EXPENDABLE (I945) What was in my mind was doing it exactly as it

Still:

the l\lorganxDur|ald Crisp, Sam Allgood and tin.-ir Sum in How Green Was My Valley.

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had happened. It was strange to do this picture about Iohnny Buckley-I knew him so well. He was the most decorated man of the wara wonderful person. He was the fellow in Guantanamo who, when Castro cu! the lincs Off, quickly installed the water system. We were vcry close friends and during the war, in the ETO, the Eastern Theatre, I worked with him a lot.

82

My district was around Bayeux, practically on the Coast, and it was pretty well populated with the SS and Gestapo. So instead of dropping an agent in, we took a PT boat, which Johnny always skippered himselfhe refused to let me go in unless he skippered the ship. We used to go back and forth-we could always slip in there, if the signals were rightbecause the Resistance had told us the Germans never thought of guarding this one creek. We'd go in there on one engine, drop an agent o' or pick up information, and disappear. They Were Expendable is about a brave last

stand, and thir concept of the glory in defeat or noble failure runs through many of your other

lms.

We1l,Ithink that's coincidenc:althoughitsa wonderful thing to think about. But I never realized thatI mean, it isn't something I've
done consciouslyit may have been subconscious. But, then, I didn't write the stories. But you chose to do them. Hmmm. Any war was inwe always wan. But I like thatI despise these happy endingswith

Still: They Were Expendable.

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the nishl've never done that. Of course, rhey were glorious in defeat in the Ihilippincslhey kepr on ghting.
a kiss at

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MY DARLING CLEMENTINE (I946) I knew Wyatt Earp. In the very early sileni days, a couple of limes a year, he would come
up to visit pals, cowboys he knew in Tombstone; a lo! of them were in my company. I

Plmmgrap/I (IJI): Fnrd, z:-1'!/I Hcilila Hnppcr, xlmming They Were Expendable. Still: ll'I\-all Earp and I/Ii (Ilanmns in My Darling Clementine.

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told me about the ght at the O. K. Corral. in My Darling Clementine, we did it exactly the way it had been. They didn't iust walk up the street and start banging away at each other; it was a clever military manoeuvre.
he So

was an assistant prop boy then and I used to give him a chair and a cup of coffee, and

think

times in other pictures and on televisionso at least it had that effect. It had a lot ofdamn good
shadows. We had a good cameraman, Gabriel

THE FUGITIVE (1947) It came out the way I wanted it tothata why it: one of my favourite picturesto me, it was perfect. It wasn't popular. The critics got at it, and evidently it had no appeal to the public, but l was very proud of my work. There are some things in it that I've seen repeated a million

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photographywith those black and white

Figueroa, and we'd wait for the lightinstead of the way it is nowadays where regardless of the light, you shoot. Did you alter the Graham Greene novel quite a
bit?

Not quite a bit, but you couldn't do the original

Stills: below, Tombstone in My Darling Clerrientine; right ,'I'he Fugitive, Dolores Del Rio.
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on lm beause the priest was living with a woman. Even today, you can say s and on the screen, but you can't have a priest living with a woman.

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FORT APACHE (t948)

There is usually a dance in your lm. They're all folk dances and they're part of the story. I like folk dances; they're very amusing and the cowboys do them very well. Down in Arizona, the Mormons are beautiful square dancers, so we only had to put on a dance and they'd pitch right in and do it wonderfully

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pertains. In Vieutam today, probably a lot of guys don't agree with their leader, but they still go ahead and do the job. The end of Fort Apache anticipates the newxpaper editor: line in Liberty Valance, When the legend become: a fact, print the legend. Do you agree with that? Yesbecause I think it's good for the country. We've had a lot of people who were supposed to be great heroes, and you know damn well they weren't. But it's good for the country to have heroes to look up to. Like Custera great hero. Well, he wasn't. Not that he was a stupid manbut he did a stupid job that day. Or Pat Garrett, who's a great Western hero. He wasn't anything of the sortsupposed to have shot Billy the l<idbut actually one of his posse did. On the other hand, of course, the legend has always had some foundation.

obeying Fonda even though it was obvious he was wrong and they were killed because of his error? Yeshe was the Colonel, and what he saysgoes; whether they agree with it or n0tit still

well. On the other hand, The Grand March in Fort Apache is typical of the periodits a ritual, part of their tradition. I try to make it true to life. In Fort Apache, do you feel the men were right in

I: the line in Fort Apache,

mareall
symbolic? More as a

run

see is

the ags,

I can! sci: lliem anymean! m be

slight touch of premonition about hcr husband's death. It was very funnyshe said the line, and another actress said, You misread thatyou should say, All I can see arc the
ags." '

SI-IE WORE A YELLOW RIBBON (I949) lvhicli of your ca'valr_\' picture: are you mas! pleased zvilli? I like She Won: A Yellow Ribbon. I tried to copy the Remington style thereyou can! copy him one hundred percenthut at least I tried to get in his colour and movement, and I think I succeeded partly.

Stills: Prim Illt lvgend'Fort Apache (left) trill! Fumla, ll"av\'m:, ()'Brim and (abmw) ll"anl Band. Bu/n:aCnrinm' Culver! and Dan Dailzy in When Willie Comes Marching Hume.

WHEN WILLIE COMES HOME (I950)

MARCHING

I read the story and liked it. It was amusing. Bu! you didn! Ir_v m make Ilia war xequences

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Wcll, that was my racket for a while, and thcrc \\'asnt anything funny about it. I wonder what s.0.b. will be the rst to make a comedy about
Vietnam?

-.__

WAGON MASTER (x950)

I wrote the original story. Along with '1'/n: Fugt'!it':: and Thu Sun S/t|'m:s Bright, I think ll"ngon Mastsr camc closest to being what I had wanted to achicvc.

THIS IS KOREA (I951)

Your doctmmtmry of lln Korean l\"ar was very grim, especially camparud In Midway nr They Were Expendable.

Stills: Thrcc Gudfathcrs rvirh (lop Icfr) l\"ard Bond, jam: Darzt-ull; (I011 centre) Mildml Nam-ick, ll"a_\'m:, Harry Carey, ]r., Puiro Armcmiarls. Bnltnm lcftShc Wore A Yellow Ribbon Right, top and bn!mmWag0n Master.
88

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Well, thats the way it was. It's just too bad we couldnt photograph the charges of the Chinese at night. But there was nothing glorious about it. It was not the last of the chivalrous wars.

THE QUIET MAN (1952) We had a lot of preparation on the script, laid
out the story pretty carefully, but in such a way that if any chance for comedy came up, we
Dan I)ailey (I011), in and lhullvcv) Barry Firs\\'/hat Price Glory? ggyald, O'Hara, ll"u_vnc in The Quiet Man.

Stills:

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bringing crib into their bedroom on the morning after the wedding night, and seeing the broken bed. That was just taking advantage of the situation. Nobody has ever heard what he says when he comes in there, you knowbecause the laugh is too loud. Hundreds of people have asked mewhat did he say? I never can gure it out. [Impetuousl-Iomeric . . .'] But that condition still exists in Connemarawhere my people came fromthe wife is supposed to come to her husband with a dot or dowrya few pounds or s0methingit's a good thing. Then you agree with her feelings in the lm? I iusl thought it was good drama. The only mistake we made was having him throw the money on the rehe should have tossed it to one of the fellows and said, Give it to charity
in--like Barry Fitzgerald
the

could put

it

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or sumething I thought it was a great gesture. Yes, well, who would he give it to anyway? Not Parish Pl'i5I_h has "10" m"Y "13" he

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Lord Mayor of Dublin.

m be alm you didfor yourself. Thats true. I knew they weren't going to be smash hitsl did them for my own amusement. And it didn't hurt anybodythey didnt make any money, but they always got their initial cost back. The Sun Shines Bright is my favourite pictureI love it. And it's tme to life, it happened. Irvin Cobb got everything he wrote from real life, and thats the best of his Judge Priest stories. Has it became irtcreast'ngl_v dtirult tn do a picture for yourself like lltat? Oh, you can't anymore-its impossible. You've got to go through a series of commands now and you never know who the hell reads the scripts any more. You can't get an O.I(. here in Holly wood for a scriptits got to go back to New
seems

THE SUN SHINES BRIGHT (I953) The Sun Shines Bright, like Wagon Master,

York, and through a president and a board of directors and bankers and everybody else. What I used to do was try and make a big picture, a smash, and then I could palm o'a little one on them. You can't do it any more.

THE LONG GRAY LINE (1955)

story of a /ailitnt it-ltn succeeded in
see?

l\auIdyoit agree that The Long Gray Line

rt-n_\'s he

is the

couldn't

a real charactergrew up at West Point and knew Eisenhower and Wiedemeier, and all those peoplew0nderful old guy. Again i!':_\'our theme of the gInr_\- m left:u!.' Well, I'd hardly use such an academic or poetic titlealthough it is a good expression. As a matter of fact, you may attribute it to me if you wish-because I may use it anyway. How did you like CirtemaScapc? 91

That's true, yes. He was

/Z1

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Pclur GTdin'S, 'Iymm' In::-ur Laban) in The Long Grey Linc; Aw (junimv (Hf!) in Mogamho.
Sn'[I.\".'

I hated it. You've ncvcr sccn a palnlcf us: lhal kind of cnmpnsilionc\'cn m the great murals. it still \~.'asn'l this huge tennis cnurl. Your cycs pop back and forth, and it's very diicult to gut
a

close-up.

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MISTER ROBlR'lS ug55> A lo! of my stu' was cu! out hy the producur. Leland Hayward, hccausc it wasn't in rhc original play. Then ]0sh Logan, who wrou: the
play, lonkcd
an

rhc stulhar had been cu! and he

said, This is funny stuff. for PL-!cs 5ak4:,' and insisted on pulling a lo: of it hack in.

THE SEARCHERS (19561 h's rhe tragedy of a loner. Hc's rh: man who
came back from the

Clvll War, probably wen:

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Still:
{anti/_\'

He could m.':'cr nxally

ll"a_\'m.' as

bu

par! nf I/n:

Mmhmm,
Wax the scene, mu-ard the b;g|P!1llPIg, during ruin;-/1 lY'aynz's s|'s!:r-in-larv gut: his coalfor him, mean! to cmwe_\' silentlv a past 101': bz!1L'a'!1 tln.-m? Well, I thought it was pretty obviuusthat his brother's wifc was in lovc with Wayne; you c0uldnt hit it on thc nnsc, but l think it's very plain to anyone with any intclligcncc. You could tell from the way shc picked up his cape and I think you could tcll from Ward Bond:
93

'

Ethan in Thu: Searchers.

over into Mexico, hccamc a bandit, probably fought for Juarez or Maximilianprobably Maximilian, because ofthc medal. He was just a plain l0m:rc0uld never really be a part ufthc

family. Was that the nteanlng nj Ilu: duar opming an him at the start and closing at lhc end?

-LL

expression and from his cxitas though he hadn't noticed anything. The Indians are alrvayx given great digrtily in your lms. lts probably an unconscious impulsebut they are a very dignied pe0pleeven when they were being defeated. Of course, its not very popular in the United States. The audience likes to see Indians gel killed. They don! consider them as human beingswith a great
._

Srillxjeffrey Hunter,

Vera Miles (la/I) in The Searchers; ll"qvn2 (righ! and belnw) in The Wings of Eagles.

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culture of {heir ownqui|e different from ours. If you analyzed the thing carefully, however, you'd nd ihaz their religion is very mnilar [0
ours.

THE WINGS OF EAGLES (1957) The Wings of Eagles is once again the !mgcd_\- uf u man whu rm-er really gn! wlll he wanred. Life disappointed him. Bu! he did devise the baby carrier: they were not ghting ships, but Stills: Spig ' l\"cad and a lm he r:'r0!: F0nls Air Mail (I932) will: Ralph Bvllamy,
Slim Sunnm'r1-il/u.

supply ships that wticd Pl="5 w rvplm thc big C3"iT SPIE n$ 151 in ham? 0" over. programme Wead put that I didn't want to do the picture because Spig was a great pal of mine. But I didn't want anyone else to make it. l knew him rst when he ld '35 deck :'C'* black h= Wm Mississippibefore he went in for ying. I was out of the Navy then and I used to go out and 5 him and 5m onhe lhe' ic'5~ Splg was always interested in writing and I helped him a bit. encouraged him. We did a couple of picwas $h'~ He died in "W a"I tried to tell the story as truthfully as possible, and everything in the picture was true. The ght in the clubthrowing the cakeaCtually happened; I can verify that as an eye witnessl ducked it. 1 thought it was very funny when they all fell into the pool;that actually happened they ran like hell through the kitchen and all landed in the pool. And the plane landing in the

ll"

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Rising t-r the .\lut\n (I.-/'1); l.<l llurruit (tzhn-t); Hone Suldiers (right); Sgt. Rutledge (bpllmn rig/:1). swimming nm|_ng}n in Inc n.ndd|c of he Admirays ma_n3| many nannenmi The nut was |nnsy__| scream at lh3|_ I just wanted to call it The Spig ll"'ead Story, but inc), said ~Snigv is 3 funny name, and pwnh an going O wonder wnnts Spin Wcad_ ll/am! Ward Band playing you in the picture? I didn-l inland n that way, bu he did_ | woke up one morning and my good hm was gong, my pipe and everything else; they'd taken all the Acukmy Awards and nu hem in he om
.'nII.\-:

THE ll-\$T HURRAH (W55) The Last Hurrah again deal: with a defeat. What do you call itthe glory in defeat? Right. O.K. I liked that picture very much. It was a good character study. And Tracy was a wonderful guy to work with.

96

i.

THE HORSE SOLDIERS \I959) l dont thinl-t l ever saw it. But a lot of the things in it actually happenedsuch as the children from the Military Academy marching out against the Union soldiersthat happened
1

several times.

SERGEANT RUTLEDGE U960) ll/as the point of Sergeant Rutledge that the
Negro: harm: runs the Arnty? Yes, that's the point. The Negro suldier, the regular, is very proud. They had always been a cavalry outt, but in this last war, they were mechanizcdthey took their horses away, and

they were broken-hearted. They were very proud of their outt; they had great esprit de corps. I liked that picture. It was the rst time we had ever shown the Negro as a hero.

TWO RODE TOGETHER (1961) Ididnt like the story, but 1 did it as a favour to

eq-

Harry Cohn, who was stuck with the project and said, Willyou do this for me? I said, Good God, this is a lousy script. He said, I know it, but we're pledged for itwerc all setwevc got Widmark and Stewart signed up. I said, O.K., I'll do the damn thing. And I didnt enjoy it. I just tried to make Stewarts character as humorous as possible.

When possible do you like ta play :1 scene through in one angle, withuuz cutting it up, ax you did in the scene by the river between Stewart and Widmark? Well, it's better if you can do that, if you get close enough so the audience can see the faces clearly. Certain directors go by xed rulesthey

Hi: morality

was a little ambigunus. Isnt all our morality a little ambiguous?

Still: Riclmrd ll"idmurIt and janws Stewart in

the scam: by the ri-tier from

Two Rode Together.

PW. --.4

v
must haveaclose-up of everything. But we've got this big screen: instead of putting a lot of poclt-marked faces on itbig horrible head, eyeI iust don't like itif I can play a scene in a two-shot, where you can see both faces very well, I prefer it that way. You see people instead of just faces. Of course, nowadays in pictures, you never even get a chance to look at anyone's face. I watched something the other night with Sophia Loren in it; well, she's a nice woman to look atbut she was always hidden by somebody or her face would just peek out. Here she was playing the lead, and the camera panned away from her all the time and you never did get a good look at Sophia. That's new direction. It's a funny thing, these kids get out here from New York, stage directors, and the rst thing they do when they get here, they forget the story, forget the people, forget the characters, forget the dialogue and they concentrate on this new, wonderful toy,
say you

it was the same; we bought it from Al Newman. I love itone of my favourite tunes one I can hum. Generally, I hate music in pictui-esa little bit now and then, at the end or the startbut something like the Ann Rutledge theme belongs. I don't like to see a man alone in the desert, dying of thirst, with the Philadelphia Orchestra behind him.
Yes,

the camera. You never cover n scene from many angler.

Nobecause the actors get tired, they get jaded

and lose the spontaneityso that they're just mouthing words. But if you get the rst or second take, there's a sparkle, an uncertainty about it; they're not sure of their lines, and it gives you a sense of nervousness and suspense. D0 you also avoid shooting a lot of coverage so that producers won! have the material to re-edit? No, I've always done thatbecause lm is very expensive and I hate to waste itI was brought up that way. It's not so they can't change it, because they eanand dotake it back to New York and cut up the most dramatic scenes.

S"-IL.

Maybe Fm gemng Old" ,__sIewan, Vzm M,-In in The Mm who Sh Liberty

I

valance_

THE MAN WHO SHOT LIBERTY VALANCE (I951) Toward the Hm of Liberty Valance, when Vera Miles came: to Wayne: burned-out house, im't 1'" "ml" 1'" Am R'"ldEP "1""? f""| Y0-"18 Mr I-invvln?

Well, Wayne actually played the lead; Jimmy Stewart had most of the scenes, but Wayne was the central character, the motivation for the whole thing. Idon't knowI liked them both1 think [my were both good characters and 1 rather liked the story, that's all. I'm a hardnosed director; 1 get a scriptif I like it, rn do
99

OM/"1-I ""1! N01" 1J'"'P4'h.V I-" I-ib"Y Vl" '3 Wilh 1/"I Wily"! ""4 I/I Old Wm-

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Shot

P"'"T I/'1' L1-.-ZWHI 'Thk' Man Wlw Lihcriy Valancell"u\-nu and Stewart

will: (alvm-c) lI"nnd_\- Srrndu, Vera Miles and (righr) :1-irh Ednmnd ()'Brim. ii. Or if I say, Oh, this is all righi'lll do ii. If I don! like ll, Ill turn ll down. By Ihe and ofllu: picrzlrr, Ilmugh, 1'! scurried u'r_\' clear rim! Vera Miles was slill in Im.-e with Wqvrie. Well, we meant it that way. Your picmrz nf the lI":1 has become increasingly
md over rhe _\'2arxIike lhe difference in mood, /or e.\ampIc,bem-zen Wagon Masler and Libcrly Valance.
100

Possiblyl don! know-Imnola psychologist. Maybe I'm getting older.

DQNOVANS REEF (1953)

Is Ihe life pictured in Donovan's Reef a kind you might have likedfor _\-aursul/P No, not at all, I wouldn't like lo live on an island. I like to go to Honolulu for a couple of weeks on leave, but after that, lhC island closes in on me. Of course, I know guys whove done exactly that, and are slill in the South Seasown old sea saloons, and doing very well thirty or forty Navy children, ve or six Navy

at-__:-/[4

wives. But it's not the life for mc.

Was Ihal mnmtlll rl-Iran Mac Marsh blows the man's cigar ash n rim table snnlellling you added an the sat? Yes, well, the writer knew nothing abou! Boston, and I certainly do know Bosmn and lhO5n , people. Half ofthcm are half-mined and half of Khcm are bright, but !h|:re's always a couple of

h, .
,

vi

,?~

kooks among them.

E2 ' .,

HOW THE WEST WAS WON (I962) Harv did ynu like Cincrama an How the West
Was W0n> Irs WOYSL than Cincm:|Scop:, hccausu lhc ends curl on moving shots and the audience moves

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instead of the picture. You have to hold onto your chair. l didn't care for it.

CHEYENNE AUTUMN (1964) l had wanted to make it for a long time. I've
killed more lndians than Custer, Beecher and Chivington put together, and people in Europe always want to know about the Indians. There are two sides to every story, but I wanted to show their point ofview for a Change. Let's face it, we've treated them very hadlyit's a blot on our shield; \\'eve cheated and robbed, killed, murdered, massacred and everything else, but they kill one white man and, God, outcome the
troops. D0 you ntaku it a practice ntrver to rehearse an actmn seqtwttcc? You can'tit looks phone). You can never tell what will happenone man's liable to fall, the horse is liable to fall. No, lm an old hard-nosed director who never rehearsed action.
I04

gran after the Battle of Shiloh in How the West \as Won; rt'gItII)t1d;{t City ittterltuie in Cheyenne AutumnWas Cheyenne Autumn changed considerably from the way you had planned it?

Stills:

abmuz:

lling

a mass

Yes. Could you my some of the things that were

changed?

No, I don't remember. But there were things even before we started shooting. Carroll Baker ts a wonderful girl and a wonderful actresslm very fond of herbut I wanted to do it right: the woman who did go with the Indians
was a middle-aged spinster who nally dropped out because she couldn't take it any more. But you couldnt do thatyou had to have a young,

beautiful girl.
ll/as the score the one you wanted?

No, I thought it was a bad score and there was too much of itdidn't need it. just like in The

.,

v
7

105

Searclierx: with that music they should have been Cossacks instead of Indians. D|'d_\'nu inlcnd the Dodge City seqtwnce as a kind nf in!:rmi.ts|'mi, as u-ell as a .valin't- mlnmenl on the Battle of l)udge C|'t_\"? Yes. It actually happened that way. They were a load of easternersnut many cowboys thereand they went out thinking they were going tu pick up u scalp ur something, Someone red 3 shot, and they all ran like hell. [In initial en gagemenrs, the studio ruined the effect of this 'intermissi0na comedy sequence in the midst of an otherwise tragic sturyby arbitrarily

placing an actual intermission in the middle of it. In subsequent engagements of the lm, the point of the sequence was obliterated when the entire second half showing the Battle of Dodge City (which had followed the studios intermission) \\-as deleted.l.B.]

YOUNG CASSIDY (1955)

Hutu /l0d_\'0l4 plarttmd lo end Young Cassidy? W0, fl lhs P18) W35 UV", and if"?! Maggi! Smith had left\\'hile he was standing there in the rain outside the theatrel wanted Julic Christie, by now a streetwalker, to come uver to

l06

Y
WOMEN (1966) Did you have a I0! of interference
7

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Yes. Was

on 7 Women?

=_~_~;

"-*'4I'

good story. And it was a good switch for me, to turn around and make a picture all about women. It didn't do well here, but it was sensation in Europe. I thought it was a hell of a good picture. Why does Bancroft sacrifice herself for the others? I think that's a rather naive question, Peter. She was a doctorher object in life was to save people. She was a woman who had no religion, but she got in with this bunch of ktoks and started acting like a human being. Hos it been more dticult recently ta get n good
a

it re-cut after you nished with it? I presume so, I dont know-I never saw it. When I left, it was cut beautifully. I think it was

script?

Well, there's no such thing as a good script really. Scripts are dialogue, and I dont like all that talk. Ive always tried to get things across visually. I don't like to do books or plays. I prefer to take a short story and expand it, rather than take a novel and try to condense. But it has become more difcult to get a good story.
How have you usually worked a writer? I spend the afternoon with him and work out a sequence; we talk and argue back and forthhe suggests something, I suggest something. That night or the next morning, he knocks it out on his typewriter, blocks it out, and we sec whether we were right or wrong. I usually like to have awriteron the setI always did with Nicholsbut you can! any morethe companies won't pay the expense. Do you have them put in the shots, or just the
basic sequence?

Stills: Young Cassidy I only did .Yt't.'!lt'S bmumi ]ul|',.- and Rod Taylor.

mrm:

him and say, Oh, Scan, l loved itit was wonderfulyou ought to be proud uf yourself. God bless you. It took this poor little tart to appreciate what hed done. And shi: walks away, disappears in the rain, leaving him there. The producers told me why it shouldnt be done that way, but I argued with them, and they promised to do it after I got sick and left. But they didn't. It would have kicked the damn story up.

Oh, just the sequenccl ask them to dump the cutting upand just put down what happens and dialogue, They don: say, scene so-and-so, camera moves in, zooms in, pans None of that stuff, because its none of their business.
I07

How long after yau started making picture: did you come to feel that rvha! you were doing was surnclhing iniparlant? Well, that's a presumption I cant accept. 1 never felt that way about it. I've always enjoyed making picturesits been my whole life. I like the people I'm aroundl dont mean the higher eChel0n5I mean the actors, the actresses, the grips, the electricians. l like those people. I like to be on the set and, regardless of what the story is, I like to work in picturcsits fun. Harry Carey tutored me in the early years, sort of brought me along, and the only thing I

of workwhich I cnioycd inunenselyand

thats it.

always had was an eye for compositionI don't know where I got itand that's all I did have. As a kid, I thought I was going to be an artist; I used to sketch and paint a great deal and l think, for a kid, I did pretty good worl<at least I received a lot of compliments about it. But l have never thought about what I was doing in terms ofart,or this is grcat,or world-shaking, or anything like that. To me, it was always a job

Still: 7 Wumc-n A

hell

ofa guad piislurv.

l08

4 TAPS

l knew he was dying and that if l didnt drive down to see him before leaving for Rome to make the new picture there was a good chance he would be gone before we retumed. lt was the middle of June, l973. About six months earlier the Fords had sold their house in Bel Air and moved to one in Palm Desen. l don't believe it was really something they were anxious to do, but economic considerations prevailed. After all ]acl< hadn't made a picture since l965 though for at least six of those years he had been most capable of oneand conditions weren't getting any better. I had phoned him a few times since the move and spoke with him briey the night the American Film Institute gave the director their rst Life Achievement Award and President Nixon presented him with the Medal of Freedom. which is the highest civilian honor our country can bestow. Highlights of that evening were subsequently seen on a television special which managed only to emphasize the least attractive and most commercial aspects of the affair. But that's another storythe vulgarity of the acn.ia| evening itself was far outweighed, if you were there, by the sheer fascination of it. There was hardly a face in the crowd you couldn't recognizemore stars and directors and producers came out than

have ever seen at the Oscarsthough a few of the more politically minded protested the Nixon presence by not coming. ]ane Fonda, I believe, even picketed. But then. that was her main occupation those days, as well as her privilege. though one might wish she would stop mixing

politics with art quite so ferociously. Nixon was honoring a great artist that nightthe rst time a lilm personality had been so recognized and he was present not as one particular president one did not admire or respect. but rather as the highest elected representative of the nation acknowledging the achievement of a lifetimean opus that includes not only Miss Fonda's fathers best lms, but some of the
pictures anyones ever been in. So she shouldn't have picketed. In fact. it would have been elegant to comea signicant sign, indeed. that despite the presence of a politician she detested, the attention being paid to a major artist in her own chosen eld was more important. But no doubt there were reservations too about john Ford's own politics. As if it mattered really what a humanist poet of Fords dimension and depth thought about the issues of our day. His best moviesand there are many of themare for all our days. They are the size of legends and possess the soul of myth. Orson Welles said
nest
109

ll Ohm "]"hl'l F\'d k"W5 /hill the

"rib

l5

made of-" l wanted the whole town there that night because l knew it would be the last time they could see him and the last time he could see them. So, what the hell, pull out all the stops! The Marine Band and the television schmaltz and all the junk. it was jack Ford's last hurrah. The funny thing is-and this is only a feeling of minel do not believe nally that In: cared

most of the times I had seen him during the ten years t knew him, he had been in bedit was his own particular oicebut it was a shock to see him this time. Then: was physically so little of him left. Like some horrible parasite. the cancer seemed to have shmnk him by half. He looked not 78 but ll0. Hawks, by comparisonand he is only a year youngerlooked a youthful 50.
A11 ga-ca;

C"3l"l)' he madc dam" 5"" 1 E" the evening all righta great effort, through fl' he '35 almad) "9'! in by hell; he mildc 31 3PPl'P"l3' 5PCh and [hf Pl'P" 5ig5 Ur hl!il\- He 5h0l< hi5 head ill dihllT Bl lh hlll bflllg Paid lo him and CW" bl'll5hd away a tear. But l could Swear the tear was not Ill"? and '1" W5 Of ll il-l5l 3 83113"! P'3l'flll18h- He W85 I00 much of 3 Shwmall I0 ll his audience downand he had staged scenes cm)-Eh "155 in hi5 |lTl5 1 know r M5 h" [he lead 5h"ld Prf""- 0"? "ld =lW3Y imagine Ford showing Tyrone Power how to P13) '-he I35 q"'="C Pf T/"~' L"" Gm) Lille for 85 Wll =5 giving John Wayne Some ldei the end Of 5/It- "1111- J 33"/014' Rihhtl-hul "10" 5halP|Y hall i" {he W3) lack hh3\'d that night under the lights. Still, he had staged lh lhlllB5 $0 mllCh bl1l' hlmflf"ldE lhfm so moving on the sereenhow could anyone 3ll" hf lhll C"1P Wllh [he m"5""' '" "! of the last stand? He glory in defeat, the pathos kmw he W35 dYl" and lhal "" 9f hi5 T93"? mattered; he had created what he could, and all he can hear me now, per the rest was showhaps he is cursing my words, but there must be a private laugh behind the profanity, because Ml Ffd hid the devil in him, lhak God for lh8lOn the way to the new Ford home in Palm Desert, I picked up Howard Hawks in Palm Springs; he wanted to come along, though he had already been several times. Jack was in bed
"TY
l""<?h~

"u"

"""

diracmrs a,-a g,-ea! am"; hr And no one more than Ford. l came into the room a flash too early and caught him hurriedly getting his cigar lighted so as to strike a pose of casual easeas though nothing in the world was wrong. just an aftemoon visit with a couple of friends. And that's how he behaved; whenever you asked haw ha (eh, Lhc answer W35 ah,-aya_ "1>,-my well," with no melodrama, no false bravery. There was never any talk of fatal illness or pain _ahd his daughter Barbara told me hc did not even ask for the pain-killing pills until less than two weeks before he succumbed. The chat was shun and rypia| of many (ham wa had had_ except that it was so awful to see him as he looked then, trying so valiantly not to let us notice. He kidded me. as he always did, for making every sentence of mine a question. Hawks, who is
\_|u3l]y n1()[ fcgefvgd and ram-aiad_ Cami; an

lf

college boy before his favorite professor was touching, his grace and charm. (I remember l asked him once if he'd been inuenced by Ford in making his rst Westem. Red Rm-r. and he said he didn't know how anyone could maha a western whhaai haihg ihhuehacd by john Ford. The funny [hing is that many people to this day think that Ford directed Red Rim. since it is a famous Westem and john Wayne is in it. And whenever someone mistakenly complimented Ford on Red River, he would say, quite casually, Thank you very much. Hawks himself delighted in telling that story. Your ve minutes are up," Ford said, and that meant it was time to go. We left. From

like

-it

no

Still." John Fort! in Mmtturtenl Valley for lhe Iast tinm, during pmdttction of Directed hy John Ford.

with him. and when l heard his voice l knew he didnt have long-he sounded sn frail. If you had seen or heard him on the set. in cuntrol of
600 actors and technicians. it would have hruken your heart. Pretty well." he said again. hut with considerable effort. Hawks saw him on 'l'u|:sda_v. On \Y'edncsda_\* Ford said he \\'anted tn see "Duke." and Thursday \Y'a_\'ne ew down and spent a while with him.

Rome. I called him several times. The conn:rsations were short and friendly. but he sounded weaker each time. He died on a Friday. The Monday of that week was the last time I spoke

Ill

Come for the deathwatch, Duke?" Ford said. Hell, no, ]ack, Wayne said. You're the anchoryoull bury us all." Oh, well," said Ford, maybe I'll stick around a while longer then." Like the old man in The Quiet Man who leaped from his deathbed at the prospect of a good ght, Ford seemed revived by Waynes presence. They shared a drink or two and some memories. On Friday he didn't speak for a long while. Suddenly he said, Would someone please get me a cigar, and they did. He didn't say anything more. Six hours later he was dead.

TV featured
was

several clips.

In Yugoslavia, there
t

a two-hour television tribute. The funeral Hollywood Was well attended but, one heard, in could well have used john Ford's touch. He knew how to bury the dead. There wasn't even a band to play Shall We Gather at the River." When Hawks went to see him that last Tuesday they talked for a couple of hoursmainly about a picture Hawks was planning. When he went out to speak to Mary, Ford's wife of 52 years, and Barbara, he told them, Don't ever treat that man like a mental invalid-he just

gave me some great ideas." Before leaving, Hawks went back to the bedroom.

The New York Times ohituarylike most obituaries anywayemphasized all the wrong things, called him important for all the wrong reasons. Typically again, the man who had most vividly and memorably chronicled the American saga on the screen was more ttingly remembered in Europe. The major Italian
papers gave his death more space than had either The Tintes of Los Angeles or New York. One headline called him The creator of the Westem," which, as such things go, was more atcurate and appropriate than singling out The Infnnner as his masterpiece, as New York's paper of record had done. Italian and British

That you, Howard? I thought you left,"

said Ford, pulling on a cigar. Just came hack to say goodbye, Jack."

Goodbye. Howard." Hawks started out of the room. "Howard," Ford called after him. Yes, Jack?" l mean really goodbye, Howard." he said. Really goodbye, Jack?" Really goodbye. They shook hands, and Hawks left. As long
as there are movies,

how do you say goodbye to John Fordrest, though l pray he does, in

peace.

ll2

5 FORDS

CAREER

FILMOGRAPHY
/-II) /I/I!|t1g'!J[l/|\' not him;-ilrtl /mm )<l"t!J/ /-1.1-molt /-iihlirli.-.1 llVlr\ .a|ig'vttr1|mI M .1 mu: Jml ./ um tI|/iIr1t|.aI|rtn |;.tt!|t'ml /I-wt /mrJi.m.I S|'II7tt'J Jllt/I .n rli. itlt4'IllVVl .-/ tlir .|ii|Jt'!I|\ i-/ -\|lHt1!l I'ItI|m't .|m uml .\.i.~u..-s. .m.I, ]Ml'lItIlIJV/\. the
HIVIIYJI /if--1 .v/

l'mrt-nal .\'mJ|.u ;

john Ford was born Sean Aloysius O'Fceney (the "lB|iiZ=d 599115118 OT 0'F=l1\I) H Fbl""Y L 1395 in CW"? Elillbh Maine; he was the thirteenth (and list) child of Sean O'Feeney and the former Barbara Curran, who had come to America from Galway, lreland. He died l Palm lle~en. tlilitl-rnia tin August H. 1071. While
sllii a bah)". the lamtly nnwetl tn Purtlzmd. .\Lune. where hi~ lather uwncd J \-li\I\lT\. ~umntt'r\ were ~pent tin
he was

Director: Francis Ford. Writer: The Master Pen (pseudonym for F. Ford and Grace Cunard). Serial composed of I5 Chapters (2 reels each), one released every Tuesday beginning April I4. With Grace Cunard (Lucille Level, Francis Ford (Hugo Loubeque), Harry Ratrenbury, Ernest Shields, E. M. Keller, Harry Sghumm, Eddie Bo1_qr|d_ Universal's rst serial, an intemational spy-chasetriangle melodrama, which Ford remernbers having wurlted on as prop man. Probably he also played bits in the various chapters, did stunts (he of.en doubled his brother) and functioned as an all-around assistant.

lkrtkk bland (when he grit older. he plavetl .1 lot .| '~urnn\er ha~ehall'). lhs lather ti--k him to Ireland \c\'er.|l llfI\t\, 1| mler came with us one-:.' he uni 'lt w.|~ a very easy trip from Pi-nland. \\'e ctught the hint nght there and ll lantletl in (ialwa\'. and then ll was only .1 few mile t\\'er the hill tt\ where m_\' people lived. "The Irish" was ~ptken around the huu~e. and th.tt'\ where he picked ll up Forgotten ll all hv r\nw' After graduating from Portland High School in l9lJ, he came directly to Hollywood to get a job with his older (by thirteen years) brother, Francis, who had taken the name Ford and was a contract directorwriter-actor at Universal Studios. Jack Ford (as he called himself) is listed in a l9l6 issue of the Marian Pirmre Nm-r Studio Directory as an assistant director, but he says his screen career began as a laborer and then as a third assistant prop man.

l9l-1 Lucille Lot'eThe Girl of Mystery (UniversalGold Seal).

attendant at an annual convention, and causes chaos by mixing up the babies;shooting April 3-I0); 4) Her Near Pmparal (in which Lucile and her friends ransaclt the city dump in search ofa letter from an old millionaire, thought to contain a marriage proposal; shooting April 20-Z8). This series was found among the records at Universal, without cast lists or any information other than that printed above (and a complete synopsis of each story). Noindication could be found thereor elsewhere that any of these four shorts have ever been released.

l9l4 Lucile, the Wairrrir (Universal). Director: lack Ford. Author: Bide Dudley (from the New Yorlt Evening World.) A series of four tworeelers: I) She Win: n Pri.-.e and Ha: Hn Trouble: (in which Lucile is given a winning rale ticket, the prize for Which[u|1|5 out to bean aperhatgetsloose;shootir|g March 7-17); 2) Exuggemtion Gctr Her in All Kind: of Tumble (in whicha false rumor is spread that Lucile has inherited $500,000, and half the town chases after her; shooting March l9April 3); J) She Gels Mixed Up in A Regular Kid KaIami!_v' (in which she is baby-

ll}
I

Ford himself says he has no memory of them, and it it extremely early for him to have been directing (in fact, if it weren't for the start and completion dates, one would be sure they were unlmed projects). However, there was a re at Universal in l9l4, and quite a few negatives were lostperhaps this series was among them. (A couple of two-reelers based on the sung characters were made at the studio in I916.) Thoug they remain a mystery, we include them nevertheless, if for no other reason than as an example of the unbelievably poor state of lm history and records (after all it I was only fty years ago.) The pictures that follow are probably only a sampling of the number Ford must have worked on between l9l4 and I917, when he started directing. Not only are the records incomplete but he was often not billed as an actor, and it was nix the custom to credit any behindscene work other than directors producers (in thoie days usually another word for dii-ectors), writers, and, rarely, photographers. However, it is a representative group and should give a fair idea of the kind oftrainiog he received. The vigor he was to bring to his pictures is reected in the incredible energy required to work almost 52 weeks a year actually making movies.

City (Universal-l0l Bison). Francis Ford. Writer: Grace Cunard. Shooting: January 23-February 8. 2 reels. Released: March 27. With Francis Ford (Lt. Johns), lack Ford (his brother), Grace Cunard (Princess of the Hidden City), Eddie Polo (Poleau, her Minister). A deierl melodrama about a mythical underground city in n a.
The Hidden

Director:

l9l5

l9l5

The

Doorway

of Destrurtian

(Universal-l0l

l9l4 The Mystrrmui Rose (Universal-Gold Seal). Director: Francis Ford. Writer: Grace Cunard. Shooting: August 7l5. 2 reels. Released: November 24. With Francis Ford (Detective Phil Kelley). Grace Clwlf (1-Id) RIm=$)- llik Fld ('3"' FY1 h" mpc)' Hnry schumm (die D'A"5 gm) Wilbur High ,(-Hi? Wu! B) Edd" Bmd (yccn Kc
modern detective plays (each featuring the wily Lady Rales and Detective Kelley), which 1-. l-ord and Cunard turned out intei-inittently through l9l6.
1915 The Birth of ll Nation (Th: Clansnian) (Epoch Producing Corporation). Directohscenarist: D. W. Griith. l2 reels. Released: February I. Among the cast ofthousands,asa member Bf lh Kl! KIHX Klhi lack Ford.

March 4. ree s. e ease : pri . it rand: Ford (Col. Patrick Feeney), Iack For<!izd(his dbrolaier, war ), ina Frank) Howard Daniels (his brother Cunard (Ceeiligi reLean, this sweetheart), Harry Schumm (Gen. e ean her ather). When the Sepoy Retiellion breaks out, the British send the lrish Regiment on a suicide mission to break through the gates of a besieged city. Col. Feeney leads his men to victory (on the fourth assault) by waving the ag of Ireland. Placing the colors above the gat_es, he cries out to the British, March in ye dirty devils, the lrish RCi'l;ll lzsaid a car-pet for you! (Working tin.) title: The Flag a O
-

Director: Francis Ford. Writer: _Grace Cunard. Assistant dig-ectolr: _la;klFor%. ASilOl0:l;l I;bi;ti%ry 26-

Bison).

<

Ken a'm.) One in a series of

5.

Grace Cunard. from story by Emerson Hough. Assistant director: lack Ford. Exteriors lmed in Bisbee, California. Serial composed of 22 Chapters (2 reels each), released weekly, beginning Iune 21. With Grace Cunard

ai='hd.ngeCI:l:I)f'iSlI

,K;yA2n-wk i:n:,] F(:dFS:u';af"d;4r::)' Elia oo in u r ac ry rry SchummI Em! Shidds, can Lummle (ning himself in the lst and last episodes). A search for the two halves ofa eoin which has on it
the map to a priceless treasure.

Budillen and A Girl (Universal-l0l Bison). Francis Ford. Writer: Grace Cunard. Shwtins December Z3-29, l9l4. 2 reels. Released: February 20. With Francis Ford (Joe), Grace Cunard (the girl), Ildt F0! (Jim). Mlir IIl=<>lIs\-\ (5ht!Y)i Lewis Short (The Sheri), F. J. Denccke (his assistant). Three good men are mistaken for three bad men and iailed; freed eventually (without their guns), they capture lhe real outlaws bare-handed.
Three

Director:

l9l$

Francis Ford. Writer: Grace Cunard. Shooting November 26-29, I915. 933 feet. Released: February I5. With Francis Ford (Detective Phil Kelley), Elise Maison (Cecil McLean), Iack Ford (her bmriui, I-lad of the Lumber Yard Gang), William wmtt (Chief of Detectives), Danny Bowen (Chief of Pgligg), A detective story, lled with hot encounters between
ggnggtgyg

Director:

l9l6

The Lumber Yard Gang (Universal-Rea).

ind

PQ"cQ_

ll4

Director-writer: Francis Ford.

|9|6 Chit-km-H;yrd]i'm (Universal-Reit).

Shooting November

Bill.)

l0l7, l9l5. 936 feet. Released: April 27. With Francis Ford (Jim Hardison), Mary Ford, Jo Ford (his sisters), lobn A. Ford (his father), Abbie Ford (his mother), Cecil McLean (Jib), Phil Kelley (her father), Pat Ford (The Mate), Jaclt Ford, Eddie Ford (the roughneclt crew). Jim is thought to be a coward, but during a mutiny, he proves his bravery. (Working title: Chicken-Hearted

remembers what wan probably his /st

of stunts.

lm

as

just a buneh

l9l6 Peg O The Ring (Universal). Directors: Francis Ford, Jacques Iaccard. Writer: Grace Cunard. Photographers: Harry Gant, Abel Vallet. Serial composed of l5 Chapters (2 reels each, except no. l which was 3), one released weekly beginning May I. With Grace Cunard (Peg; Peg'S mother), Francis Ford (Dr Lund, Jr.), Mark Fenton (Dr Lund, Sr.). lack Ford (his accomplice), Pete Gerald (Flip), Jean Hathaway (Mrs Lund), lrving Lippner (Marcus, the Hindoo), Eddie Boland (his pal), Ruth Stonehouse, Charles Munn, G. Raymond Nye, Eddie Polo. Melodrama set against a circus background, about a girl who is subject to strange spells because her mother had been clawed by a lion.
Writer: Grace Cunard. I reel, Released; Nnygmbgg 5, with Fungi; Ford
Director: Francis Ford.

I917 The Trail of Hate (Universal-l0l Bison). Director-writer: Francis Ford. 2 reels. Released: April 2B. With Jaclt Ford (the lieutenant), Louise Granville (the girl), Dulre Wome (the captain), Jaclt Lawton. This lm is sometimes attributed to Jaclt, but according to Motion Picture News (4.28. I7), it was directed by Francis; the plot has similarities to the latter's Lucille Love serial: A young Army lieutenant rescues a girl from outlaws and marries her; later, in the Philippines, she runs off with a captain who has always hated
the lieutenant. When the two are captured by Moros, the lieutenant saves them both, but refuses to forgive the girl.

l9I7 THE SCRAPPER (Universal-l0l Bison). Director-writer: Jack Ford. Photographer: Ben Reynolds. 2 reels. Released: June 9. With Jack Ford (Buck, the serapper), Louise Granville (Helen Dawson), Duke Worne (Jerry Martin, a parasite), Martha Hayes,
Jean Hathaway.

l9l6

The Band|'t's Wager (Universal-Big U).

(The Bandit), Grace Cunard (Nan Jefferson), Jaclt Ford. A westemer teaches his Eastern sister caution by pretending to be a notorious masked bandit.

Bored with the ranch, Buck: girl goes oil to the eity 811$ iHV|V4 (i"I10="llY) in I bI0lhl- When Buck brings a herd of cattle to town, a streetwallter lures him to the house just in time for him to save his girl from Martin.

ind

lt is possible that Jack Ford worked on some of the l6 chapters of Francis l9l6l7 serial The Purple Mark, though no evidence could be found to prove it.
I917 THE TORNADO (Universal-l0l Bison). Director-writer: Jack Ford. 2 reels. Released: March J. With Jack Ford (Jack Dayton, No-gun man), Jean Hathaway (his lrish mother), John Duy (Slick, his panner), Pete Gerald (Pendleton, banker of Rock River), Elsie Thomton (his daughter Bess), Duke Worne (Lesparre, chief of the Cayote Gang). Lesparre and his gang raid Rock River, rob the saloon and the bank, and kidnap Bess. Pendleton offers a $5,000 reward for her sale return, and Jack goes off unarmed to the rescue. (Moving Picture World (3,! I7): In his hand-to-hand struggle in the cabin and the jump from the cabin roof to the back of his horse, Jack Ford qualies as a rough-riding expert . . . As a climax the hero leaps from his running

grapher: Ben Reynolds. 3 reels. Released: August 7. With Harry Carey (Cheyenne Harry), Jean Hersholt (the Minister), Elizabeth James (his daughter), Molly Malone, Fritzi Ridgeway, Duke Lee, Vester Pegg, Bill Gettinger, Hoot Gibson. Harry is thrown out of town and on his way across the desert meets 2 minister and his family; when the man is killed in an lndian raid, Harry takes care ol his little daughter, later puts on the minister's frock, and reforms a town. The rst nj Ford's 26 pierurrr with Harry Carry, and the one he himull like: ta eonridn his rrt at a dtrrcmr. lt tvnr alm Hnnt G|'b.tartr rst appearance in n Ford lm. ll"ar/ting title: The Slty Pilot; reirrued at a trun-ruler in I922.

I917 THE SOUL HERDER (Universal-l0l Bison). Director: Jaclt Ford. Writer: George Hively. Photo-

horse onto a moving train!') He uses the reward money to bring his mother over from Ireland. Ford

l9l7 CHEYENNE'S PAL (Universal-Star Featutette). Director: Jack Ford. Scenarist: Charles J. Wilson, Jr., from story by Ford. Photographer: Friend F. Baker. Shooting May 20-23. 2 reels. Released: August IJ. With Harry Carey (Cheyenne Harry), Jim Corey (Noisy Jim), Gertrude Aster (dancehall girl), Vester

ll5

Steve Pimento, Bill Gettinger, Hoot Gibson, Ed Jones (cowboys), Pete Carey (Cactus, the horse). Very reluctantly, and only because he's broke, Harry sells his horse, Cactus, to an English quartermaster. When he overhears that the shipment of horses is being sent to Franeeprobably to their death-he gets a job on the boat and that night iumps ship with Cactus. He is caught, but the captain lets Harry keep his horse and work o the money he owes. (Working titles: Cactus My Pal, A Dumb Friend.)

Pill,

(Kent), Mrs Townsend (Harry's mother), Bill Gettinger (sheriif), Hoot Gibson. Kent lures Harry back to crime and together they pull a stage hold-up, during which Kent kills the driver. A posse catches them and as they're about to be hanged, a telegram arrives saying Harry's mother is coming for a visit; the sheriff allows him to pretend he's an honest citizen until she leaves. Back in iail again, Harry is reprieved when one of the stage passengers testies it was Kent who red the fatal shot. Rmiade as Under Sentence (I920) by Ford's brother, Edward.
I917 BUCKING BROADWAY (Buttery-Universal). Director: Jack Ford. Producer: Harry Carey. Writer: George Hively. Photographer: John W. Brown. Released: December 24. With Harry Carey 5 reels. (Cheyenne Harry). Molly Malone (Helen Clayton), L. M. Wells (Ben Clayton, her father), Vester Pegg (Thomton, a cattle buyer). Similar in plot to Thr Scrapper: Helen runs o with Thornton on the day her engagement to Harry was to have been announced. Following them to the city, and with the aid of a lady crook, Harry nds Helen, already disillusioned; his friends ride in to help him,
and after

grapher: George Scott. 5 reels. Released: August 27. With Harry Carey (Cheyenne Harry), Molly Malone (Joan Sims), Duke Lee (Thunder Flint), Vester Pegg (Placer' Fremont), Hoot Gibson (Danny Morl)George Berrell (Sweetwater Sims), Ted Brooks (Ted Sims), Milt Brown (Black-Eyed Pete). Ford's rst feature. Harry is hired by cattlemen to help them ght their war against the homesteaders, but he ioins forces with the settlers when he nds out the cattlemen are terroriling women and children. (Working titles: The Cattle War,]aan 0/ the Cattle Country; re issued as a two-reeler, Straight Shaotin, in January, I925.)

Director: Jack Ford.

l9l7 STRAIGHT SHOOTING (Buttery-Universal).

Writer: George Hively. Photo-

(Beauford), Elizabeth Jones (his child), Vester Pegg (Sheriff), Elizabeth Sterling (his sister, Molly), Bill Gettinger (foreman), Steve Clemente (Pedro, stage driver). Hwt Gibwm The rst part of the plot anticipates Marlred Men (Three Gad/ath:1:): Fleeing the law, Harry nds his friend Beaufords little girlwho has survived a stagecoach accident but is dying of thirstand takes her back to town though he knows he'll be caught as a result; there are other complications involving Beauford and Molly, who are secretly married, and Harry helps to clear them up. Moving Picture World (l0.~'l3.'l7): . . . a gmevau: lat 0/ picturesque scenes, ooded with California surt-thine . . .' (Working titles: The Round
Up, Up A1013!!!

THE stactuar MAN (Buttery-Universal). Director: Jack Ford. Writer: George Hively. Photographer: Ben Reynolds. 5 reels. Released: October I. With Harry Carey (Cheyenne Harry), Morris Foster

mt

brawl along the rooftops, they win out over Thomton and his gang. Jack Ferd again demnnrtratet hir happy faculty fur getting all outdaan into the tunes. (Mvvinx Picmn World. I2 21.17)a

Directorzjaek Ford. Producer:Harry Carey. Scenarist: George Hively, from story by Henry MeRae. Photographer: John W. Brown. Shooting September 8e27, I917. 5 reels. Released: January 28. With Harry Carey (Cheyenne Harry), Molly Malone (Molly) Buck Conncrs (her father), Veslcr Pegg (Leader of the Phantom Riders), Bill Gettinger (Dave Bland), Jim
Corey (foreman). Bland has fenced off the Government grazing land called Paradise Creek, and with his unknown' masked riders he terrorizes any homesteader who questions his rights. Together with the Forest Rangers, Harry defeats Bland and wins Molly, whose father Bland murdered. (Working title: The Rnrge War.)

l9l8 THE PHANTOM RIDERS (UniversalSpecial).

ll-l

I917 A MARKED MAN (Buttery-Universal). F'd- 5"""i5!7 c'=l'B Hively, from story by Ford. Photographer: John W. Brown. S reels. Released: October 29. With Harry Carey (Ch=v=nn= H-rrv). Molly Malone (Melly Young), Harry Rattenbury (her father, a rancher), Vester Pegg

Dirllri

iii!

Directonjack Ford. Producer:Harry Carey. Writer: George Hively. Photographer: John W. Brown. 5 reels. Released: February Z5. With Harry Carey (Cheyenne Harry), Molly Malone (The Princess), Manha Maddox (The Queen), Vester Pegg, Ed Jones, 12. Van Beaver, W. Taylor. After winning the rodeo, Harry and his pals get drunk

l9l8 WILD WOMEN (Universal-Special).

ll6

T
Honolulu cocktails and pass out. They are shanghaied. but when re breaks out on the ship, they end up stranded on a South Seas lsland, ruled over by a very possessive Queen. She takes a strong liking to I-larry (anticipating perhaps the fat lndian girl's attachinent to Jelf Hunter in The Searelierr), but he much prefers the Princess, and just as he has won her love he wakes up with a terrible hangover.
on

I918 THlEVES' GOLD (Universal-Special Feature). Director: Jack Ford. Scenarist: George Hively, from story, Back to the Right Trail, by Frederick R. Bechdolt. Photographer: john W. Brown. 5 reels. Released: March I8. With Harry Carey (Cheyenne Ha'Y)- Molly Malone (Alice Norris), L. M. Wells (Savage), Vestet Pegg (Simmons, an outlaw), john Cook (Larkin, stage driver), Harry Tenbroolt, M. K. Wilson, Martha Maddox. Restless. Harry leaves the Savage Ranch and falls in with Simmons. During their getaway after a gold robbery, Harry stops a runaway stagecoach, saves the passenger, Alice Norris, but is caught by the law. After Savage gets him released. Harry and Alice fall in love, but she nds out about his past and leaves him. ln a showdown in the desert, Harry kills Simmons after being wounded. and it's Alice who nds him unconscious. saves his life and forgives him.

With Harry Carey (Cheyenne Harry), Neva Gerber (Bess Thurston. his girl), Duke Lee (Cimarron Bill, his pal), Vester Pegg (lack Thurston), joseph Harris (Beau,an outlaw),M.K.Wilson, Steve Clemente. Harry passes up a chance to capture Beau's outlaw gang because Bess's brother is one of them, but she mistakes his act for cowardice. Beau kidnaps Bess, and Harry tracks them to the desert where he and Beau shoot it out; both are wounded and all but one of their horses are killed. Harry sends Bess o' for help and the two men set out on foot together. Beau dies during a sand storm, but Harry is rescued. . . . jew directors . . . put such rmtinrml punch in their pictures or dues this Mr Ford. (Motion Picture News, 6,29, I8).
June 29.

l9|ll THE SCARLET DROP (Universal-Special). Director: jack Ford. Scenarist: George Hively, from ttory by Ford. Photographer: Ben Reynolds. 5 reels. Released: April 22. With Harry Carey (I(aintuck Harry Ridge), Molly Malone (Molly Calvert), Vestet Pegg (Capt. Marley Calvert), M. K. Wilson (Graham Lyons), Betty Sehade, Martha Maddox,
Steve Clemente.

I918 A WOMAN'S FOOL (Universal-Special Attraction). Director: Jack Ford. Scenarist: George Hively, from novel, Lin McLean, by Owen Wister. Photographer: Ben Reynolds. 60 minutes. Released: August I2. With Harry Carey (Lin McLean), Betty Schade (Katie), Roy Clark (Billy), Molly Malone (Jessie). Katie, Lins girl, runs or! with a travelling salesman who turns out to he her husband. Lin nds her son, Billy, whom she deserted. adopts him, and eventually marries Jessie, the new station agent. After coming back and trying to wreck their marriage, Katie kills herself, and Billy brings Lin and ]essie back together.

When Ft. Sumpter is red upon, Kaintuck tries to join the Union Army, but Calvert rejects him as white trash. Swearing vengeance, he joins Quantrill's Raiders, and when he comes upon Calvert's sister, Molly, he kidnaps her. But the two fall in love, and Kl51""k l'l\" 71" l l"\P, where he is wounded defending her against Lyons (a blackmailer who found out her mother was Negro), whom he kills in the ght. Hwins thr story. Calvert hides him in the mic. where his presence is betrayed to the nicers hunting him by a drop of blood that leaks through the ceiling. Evenrually he escapes back to Molly. (Working title: Hill BUB-)
l

of Buck's plan to rob I stage, alerts the law, and Masters is caught. But when he discovers that his girl friend

I915 THREE MOUNTED MEN (Universal-Special Attraction). Director: jack Ford. Writer: Eugene B. Lewis. Photographer: John W. Brown. 6 reels. Released: October 7. With Harry Carey (Cheyenne Harry), Ioe Harris (Buck Masters), Neva Gerber (Lola Masters), Harry Qrtcr (the warden's son). Mrs. Anna Townsend. The warden: son is being black-mailed by Buck Masters and promises Harry a pardon if he can get Masters arrested again. On the outside, Harry hears

Lola is Buck's sister, Harry and his brothers ride after the posse and help Masters to escape.
Some lmographies erroneously list Jack Ford in the can or F|'3nci Ford; 1913-19 m-5|], The silmi Myttery, and also as co-director of The Craving (l9l9; working title, Delirium). That was made by my brother Francis, Ford says about the latter, and Universal's records bear him out.
1919 R()PE[)(Univg|g;|.5p;;igl), Director: Jack Ford. Writer: Eugene B. Lewis.

Photographer: Ben Reynolds.

l9I8 HELL BENT (Universal-Special Attraction). Director: Jack Ford. Writers: Ford, Harry Carey.
5,700 feet.
Released:

ll7

Photographer: John W. Brown. 6 reels. Released: January I3. With Harry Carey (Cheyenne Harry), Neva Gerber (Aileen Judson Brown), Molly McConnell (Mrs Judson Brown), J. Farrell McDonald (butler), Arthur Shirley (Ferdie Van Duzen). As a ioke, Harry's cowhands place an advertisement in an Eastem paper asking for a wife for their boss. Mrs Brown. a bankrupt society woman, forces her daughter Aileen to answer it, but when Harry Comes Eastthe two fall in love and marry. Harry isn't very successful in society, and besides Mrs Brown would much prefer to be getting alimony cheques, so after Aileen has a child, Mrs Brown manages to break up the marriage. Back zit the ranch again. Harry gets a wire from the butler telling him to come back and take a look around, which he docsalong with his cowboys and they straighten things out. The /im appearance 0/]. Farrell .\1cDonaId in u Find lm; he was la act in aver twenty nrht.-rx.
Scenarist: George Hively, from story by George C. Hull. Photographer: John WBrown. Shooting February 845. 2 reels. Released: With Pete Morrison (Sheriff Pete Larkin), March l. H00! Gibih (1-r\I\i= l-IIkin)t Y\'t! Mill\|l (C0I\Cl\ilI)t lids WQOJS (Bin CYI\\l)'), Dlllw 1-" (slim) When Sheri Larkins brother is falsely accused ofa l'l'lutd=t. l-lflin Hill <l0'= his i0\>-""l5 ll"! 5}! and ihi him ! lIi11~ Bu! his duly 50!, takes oil his badge and helps his brother to escape. (Working title: Hit Buddy.)

from story, The Trail of the Billy-D00, by William Wallace Cook. Shooting began February I8. 2 reels. Released: April I2. With Pete Morrison (Jode McWilliams), Duke Lee (Pa Owens), Magda Lane (Peg Owens), Ed Jones (Stumpy, the cook), lack Woods (Dutch), Harley Chan1bers(Fritz), Hoot Gibson (Chub), Jack Walters (Andy), Otto Myers (Swede), Jim Moore (Two-Homs, an lndian). Jode loves Peg so he gets Stumpy to write a love letter for him, which Stumpy does~copying it from Lotharios Compendium. While Jude is asleep, the other cowboys find the letter and tack it lo the bunk~ house door where Two-Horns nds it. Admiring the paper-talk, he takes it down to show everyone he meets. Jode rides o to stop him, but before he can. the letter gets to Pegand has the intended eect. (Working title: The Love Lmer.)

Director: Jack Ford.

m9 THE FIGHTING BROTHERS(Universal).

ilk

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(Un'W r 5* l). I H9 THE RUSTLERS Director: Jack Ford. Writer: George Hively. Photog,,p,,c,, ],,,,,, w_ g,,,,.~,,_ shryuling February 28Much g_ 2 m.|_ Rulcascdz Apr KL Wm, II:c Morrison (Ben Clayburn), Helen Gibson (Postmisttess Ne" Wyndham) Jack Woods (shiff Buck pnlcy) Hm, Gibson (his dcpmy) Disguised as a peaceful sheepman, Claybum is actually a Government Ranger sent to Point Rock to nd KM hide,-5 of 3 band of ,,,,;|,-_ WM hq is himself accused of being one of them, Nell saves him from a lynch mob and together they round up the real outlaws. (Working title: Et-en Money.)
WI) BARE FISTS (Universal-Special). Director: Jack Ford. Scenarist: Eugene B. Lewis, Bernard McConville. Photographer: b from sto

A9J3Ic':nfIGHT
.

FOR
'

LOVE
.

(unlvcrubspccml
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|P,:''- bk?" $, %"f' %5".' B;lmL;'."

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MeDonaldv(The_

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A; "),;A 5" 'h"( DF' :1 C miga H fawn) J Fair: gui Priest), Princess Neola Mae (Little

John wiyattiwh. Shooting began July 20, ma. 5.500 feet. Released: May 5. With Harry Carey (Cheyenne Harry), Molly McConnell (his mother) Joseph Girard (his father), Howard tztttttttit (his hthtittt, Bud), Betty Schade (Conchita), vetttt Pegg (Boone Travis), Anna Mae Walthall (Lopez) Joe Harris hlngm)

The NnhW. M" "C kn "pry rm M ml"d'.r or P lmhm boy. and he only mess O me cum. '5 pnih cm "C" wh" h: W ixclu he ""- w." M"""" '"."'"'.B" Michael kidnaps Kate, Harry follows them to a river hide-out, the itt the ensuing struggle, Michael out over a clitf. Dying, he confesses once more-but this time to the law. (Working title: Hell: Neclt.)

F'')' Cm B"

1" 5?"" D")'

"" "

(Ruby ;dancc Harry's father is killed itt = gunght, the his l'l\Dll'ltl makes him swear he'll never again use his gun, and But when his little brother rely only on his bare sts. is branded on the chest by cattle rustlers, Harry breaks his promise. (Working title: Tm Man we/tit w't.iatt't
Sh

l9l9 BY lNDl-AN POST (UnlV'=l5il)~ Director: Jack Ford. Scenarist: H. Tipton Steek H8

H. Tipton Steek. Photographer: John W. Brown. Shooting March ll Zl. 2 reels. Released: May l0. With Pete Morrison (Dick Allen), Hoot Gibson (Bart Stevens, alias Smoke

Director: Jack Ford.

""") l9l9 GUN LAW (Universal).

Writer;

T
Glll1lLn\, Helen Gibson (Letty), jack Woods (Cayuse Yates), Ono Myers, Ed Ioncs, H. Chambers (Yates

(Bud Coburnir Richard Cumming (h=ti' :;ol\:'nln2z:hL:c::lf gitatn lflldalevn COb\It)r lid
Jones
3

Allen takes a iob at Bart Stevens mine in order to nd evidence proving that Stevens is I mug] fobbgy Called smoke (Jul-ilen. He docsbut by then he is in love with the man's sisterand to make things harder, Stevens saves his life. The recovery of the untouched mail bags eases his decision. (Working title: The Poile'r Prey.)
gaggici-et Serviceman

running around with a bootlegger who plans to take her avi'=l'lWl not as his wife The Old outlaw has m kidnap his daughter and get wounded before he can save her from hersel (keissued in December, I913; remade as a feature in I936.)
(Universal-Special). 1)i|-e-qr"; jnekw Ford,

Ail" Iv" Y=l'5 in iiilr Bud 0"'I5 bid h0"'l 1 nd ti tow" 8"? 'l\'i|il*1 ""4 |f)r' ind his dlulil

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Director: jack Ford. Scenarist: Karl R. Coolidge, ltvm SW?! 5! Fwd 3'! HWY) c'|\')'- Pl\lB"Ph\'\'i john W. Brown. Shooting began March '15- Z l'lReleased: May 2-I. With Ed Jones (Sandy Mcl.oughlinl. Pete Morrison (Pearl Handle Wiley), Magda LIM (Rose Mel.0ushlin)r ll< Wwdi (Pvwi 5mith)r Hoot Gibson (outlaw leader), lick W='|l\t (Brown), Dllll 13" (Buck Landersl, Howard Enstertill (Bobby l\l1-iiuehlini With the help of a reformed gunman (and a gang of outlaws recruited as a nal recourse), the sheepmen win their water rights from the cattle barons of Rirnrock Valley. (Working title: Oiil ll'[t-omlllg ll"a_v; reissued in
A ugust , |)14_)

I'll) THE GUN PACKER (Universal).

l9l) THE

OUTCASTS

OF

POKER

FLAT

WI) RIDERS OF VENGIZANCE(Universal-Special). Director: jack Ford. Producer: P. A. Powers. Wriiers: Ford, Hart) Carey. Photographg: gal}? W. Brown. 6 reels. Released: June J. it arry Carey (Cheyenne Hnrryl. Seena Owen (the Girl). Joe Hartlif (Shelli? Jhurstnn): Fagfiilla <5:;\{r'{1m;_; m"f>sch';\i; 't_*m_r pug M K gglsgn 3 ' '

. harming her, but cant, l'u. falls in love with her. Later, Harry and Thurston arc trapiped by Apaches and he discovers the man is innocent, he . . tries desperately to save him for the girl they both love, but Thurston dies.
.

2"" -rhlirswnrs 51' (Harry belie": Trlihrston wastthe leader of in: ang that killed his B , wife), and considers
_

Harry's family has a lot of enemies in Mesquite, and day,dim as he and his new wife are coming n his I wedding h h_b dam Harrdisa gm" f Bf h mu an he gimefgmuf ' "Q" Z "2" :1 _; hf rm_nPc Mm mung ht

.b g;~in_riImCi'rL 19.17 Hg; in 515,2. 1:i'n'H4 5""I"I_\' . rrJI'lL!|l'l_\', y mll'_v u min: an alep . etemml. IIIIK] THE ACE 0|: THE 5ADD|__E (U,-m.,5a|_ Special). Director: jack Ford. Producer: P. A. Powers. Scenarist: George Hively. from story by B. J. Jackson. Photographer: john W. Brown. Exteriors lmed in

Tommy Oakhurst), Gloria Hope (Ruth Watson; Sophy), McDonald, Charles H. Malles, VICKOI Potel, joe Harris, Duke R. Lee, Vester Pegg. The story is framed with a prologue and epilogue in which Carey reads the Harte book to his son: John Oalthurst, the honest g}ambler,' is lonely, sonheadlopts an infant boy who w cn he grows up, a s in ovc with the 5;lt1lc,gil'l dakhurst loves. The gambler gives her up for his adopted son. Photrigvlayz '. . . mart-clout n't'cr laeiillimr aurl ribraIurrl_t- iiimlllpamble phalaJ. Farrell

Producer: A. Powers. sChBflS(IH. Tiptori Sleek, from stories, The Outcast! oi Poker Flat and The Luck of Roaring Camp, by Bret Harte. Photographer: John W. Brown. 6 reels. Released: July 6. With Harry Carey (Square Shootin' Lanyon; John Oalthurst), Cullen Landis (Billy Lanyon;

if" a:;_
.

grapher: John W.
2 reels.

191 THE L551 QUTLAW <'J""'="=l>; Director: Jack Ford. Scenarist: H. Tipton Steek, from story by Es-elync Murray Campbell. Photo-

guns. So at the end, after he and his pals rope his cabin and drag it over the county line, Harry lends o' the night riders by throwing lighted sticks or dynamite n lhcm_ (Wmkingmk:AM,/l,_)

]ones(Hon'|e Sweet Holmes), William carmrigh! <,Hmpy, Andaman) Harry lo Pinkcnon munky (lo hclp again Y . k d . J d h -. f ll ' l wnzcazigzzce #1) h3n"';0Zn?;dloagiitltp

(""*.'").2" R>'* so King Fisher

Yucca coonry). Duke R. Lee (Sheri)? Faulkner or Plnlrenon County), Peggy Pearce (Madeline Faulkner, his daughter), jack Walters (Inky Q'DIy)r Vcster Peg;

Q?3'12::;g:;f>'"(C:cf:'l:c R::;{":"'3 C "5 n ' Joe Harris (Sheri ,.Two-Gun Hildebrand of

.

""" E'"

(M "d'"li

Brown.

Released: June I4.

Shooting April 8-I2. With Ed King Fisher

Special). Director: jack Ford. Producer: P. A. Powers

l9l9 THE RIDER OF THE LAW (Universal-

ll9

Scenarist: H. Tipton Steclt, from story, Jim of the Rangers, by G. P. Lancaster. Photographer: John W. Brown. 5 reels. Released: November 3. With Harry Carey (Jim Kyneton), Gloria Hope (Betty, lus girl), Vester Pegg (Nick Kyneton), Theodore Brooks (The Kid), Joe Harris (Buck Soutar), Jack Woods (Jack West), Duke R. Lee (Capt. Graham Salute), Claire Anderson (Roseen), Jennie Lee (mother). Texas Ranger Jim Kyneton has to arrest hisfoster brother, Nick, and his friends, but they escape with the help of Roseen, a girl Jim once rciected. The Ranger T "1"" "MP1 N*- "h kl"! w=h== rather than face the shame. Exhibitors Trade Review: - - dill-Y!-It )'i"E Wlletr, fallirg men, both good and bad, bath torts nfu-omen anda lat 0/scenery . . .'

freedom in order to save the child, but only one of them survives the |oumey._ Ford tfauavnte onwrq his early The rst vnrtdll 0/ thu rrary was made in l9_I6 lmx. at a feature called The Three Godfathers, alto ttarrirq Harry Carey, and diverted by Edward ]. LetTt||t. Subsequently, If was made in I929 (Hell s Heroes, dtreeted by William Wyler), I936 (Three Godfathers, dntered by Richard Bnlulau.-ski), and I948 (Ferd: own remake). Working title: The Trail of Shadows. I920 THE PRINCE OF AVENUE A (univunb

I"

"'"

Spam)

<

Director: Jack Ford. Scenatist:Charles]. Wilson, 11., from Sm, by Chm and Funk Due) |>h,o_ 3,-;pher:John W.Brown. Steels. Released:February
Z3

with Jim"

]_

tcemkmln Jim. Cube" (Bury

(Patrick

Ford. Producer: P. A. Powers. Scenarist: Hal Hoadley, from story by Ford and Harry

Director:

A GUN 5P=ll|)-

ma

FlGHTlN' GENTLEMAN (Universal-

Tom kins Har Warren Ma 0'Conner Ma N,,,,,,,up)(EdB,f",,,,,,,), cm, D1,, (mfy oanncfy),

Jack

C"Y- Ph3"Ph ]h w' B"m

Released: November J0. With Harry Carey (Cheyenne Harry). 1- Barney 5l1="'Y (.ll"\ M'""l)O'Conner (Helen Merritt), Lydia Yeamans Titus (her aunt), Harry von Meter (Earl oflollywell), Duke R. Lee (Buck Regan). 10 Harri! (3=yl0\ll')i .lh"")' cl (M

"'1" K"hl"
5

ld 5h"lmI Tm B"k uh .Y"3.)" H''Y 5 Chl='3 mp "" P'ck"'l' "5 John Merritt from stealing his property, but Merritt's

vmom (wmhm -I-ompkim), Mnk Fmmn (puh (Reuie vlmkip), O.-rook), Game vmdgip Johnny Cooke (butler), Lydia Yeamans Titus (housekeep"). Gem. Fi,h"_ Ford's rst non-westem: Boss Patrick O'Conner Wm" wmilm 1-ompkim I, undid." for mlynn bu, when olen,-, 5, Bury. 5, ,h,.,,,,,n 0, of [ht Tompkins house for boorish behaviour towards their daughter, Mary, OConner gets furious. Tompkins becomes worried about his political future, so he and

Richard

Cummings

O'Conner),

Frederik

family laughs at his crude manners, and refuses to listen to his case. He steals the Merritt pay-roll and then returns it, but that doesn't get him anywhereso he steals Mertitts daughter, and they fall in love. Exhibitors Trade Review: '. . . the kind af picture that Harry Carey and ]acIt Find can do better ragether than any other actor and director in the world.
I919 MARKED MEN (Universal-Special). Director: Jack Ford. Producer: P. A. Powers. Scenarist: H. Tipton Steclt, from story, The Three Godfathers, by Peter B. Kyne. Photographer: John W. Brown. Editors: Frank Lawrence, Frank Atkinson. $ reels. Released: December 2|. With Harry Carey (Cheyenne Harry), J. Farrell McDonald (Tom Placer

Muy lo ,0 0-Conn"-, hm," m lpololiu mg he mmm" m be Bury. plnnu u the Gnnd B-"_ The, 5,33" Inn, 0-(;,,,,,.', "ch Pomicll ,,,,||_
inmh, bu, bu, B-y "kn an Ion" and hi, C,-,,wg_ Polhhu hem on-I "V" he dly Ind win, he :m_
I920 THE GIRL IN No. 29 (Universal-Special). Director: Jack Ford. Scenarist: Philip J. Hum, from story, The Girl in the Mirror, by Elizabeth Jordan.

McGraw), Joe Harris (Tom Gibbons), Winifred Westover (Ruby Merrill), Ted Brooks (Tony Garcia), Charles Lemoyne (Sheriff Pete Cushing), David Kirby (Warden Bruiser Kelly). Harry and his two friends break iail, separate and meet again in a mining ea|np;his friends talk him into another bank robbery and this time they are chased out into the Moiave Desert, where they come upon a dying mother and her baby. The three decide to give up their I20

Photographer: John W. Brown. 5 reels. Released: April 1. With Frank Mayo (Laurie Devon), Harry Hilliard (Rodney Bangs), Claire Anderson (Doris Williams), Elinor Fair (Barbara Devon), Bull Montana (Abdullah the Strangler), Ray Ripley (Ransome Shaw), Robert Bolder (Jacob Epstein). Devon has written one hit play but can't seem to get back to work. Through his window one day, he sees a girl in the apartment across the street putting a revolver to her headhe reaches her iust in time. When she is kidnapped to a Long lsland mansion, Devon gives chase and rescues her, killing one of the criminals. While he is recounting the adventure to his friends, the man he shot walks into the room: Devon's sister and friends staged the whole thing. Finally he has something to write about, and the new play becomes a hit. This

plat bears it xrraug rrrrrnblanu In Allan Du-an: Manhattan Madness (l9|6), tehirh, in timi, was mi doubt inrpirrd by the Jlllfl/ll play and not-cl, Seven Keys to Baldpate (lm twrsiarit in I917, I925, I930, I935, I947).
1930 H]-rC|N' [>051-5 (U,,;,,,_.,5a|_5p,_.d||)_ Director: Jack Ford. Scenarist: George C. Hull, lrorri storybyHarold M.Schumate. Photographerzlieniatnin Kyine 5 rc e |s_ Rd e M. Au g us! ;9_ Wm, punk Mayo (Jefferson Todd), Beatrice Burnham (Ophelia

race horsesthe

' Bereton),IoeHarris(R:ioulCastiga),].FarrellMcDonald ' Alabattt)i (I0: Mark Fenton (Col. Carl Bereton)Di K nu 7 Godowsk (ocwmon), Duke R_ LC: (COIL Y laincy). C. E. Anderson (steamboat captain), M. Biddulph (Mai. Gray). The Civil War turns a Southern gentleman named Todd into a Mississippi riverboat gambler. When he wins Col. Beretons last possessionhis four prized

'"l""" hl"d']

Ck= ("'ld')Th 5l'Y _r hf !'n l0ll1t (lust ti-arching people work makes Bim tired) and how his friendship with a 13-yar~old boy(who|umped olfthetrain goingthrough h''1 . F'd'r rt! lm ") '5 h ateqv from , U"'-"mI" Bmk M" "'>"5" " l "' ' '3. s_uJJt'riI_\'Jiscrrt't'rr-JBurk

With Buck Jones (Him), Helen Ferguson (Mary Bruce, the school teacher), George E. Stone (Bill), Duke R. Lee (sherilf), William Buckley (Han-cy (hhill), Edwin Booth Tilton (Dr Stone), Eunice Murdock Moor: (Mrs Stone), Burt Apling (brakeman), Slim Padgett, Pedro Leone (outlaws), lda Tenbrook (maid). John J.

'5

]'rim-in.it'!irr.'((ienrgc _' .\chnetdt:r1nan\

in I923.

b_\-CecilB.DeAli'lIe),andtt'lii':Ii Fordltiniiel/tea: ta

penniless daughter. Feeling responsible for her father's death, Todd takes her into his care and, later, against thc background of a land rush, he saves her from a badman. Vt-r_\~ similar in plat ia Ihe Booth 1.../ii".igrwi-rim, Leon |l"i'lmn PIil_\', Cameo Kirby, which had alrmdyltcerirriudrintnujilntin l9l4 (tiiprrt-ixrd
renialzr

colonel commits suicide, leaving

Tourneur production, T/ie Great Redeetrier, made the same year; both lms are tentatively listed in at least one Ford linography, but no other evidence can be found to support these credits.
I920 Under Sentence (Universal). Director: Edward l-eeney. Scenarist: George Hively, from story by Jack Ford. Shooting started April I2. Z reels. Rvlelstdr ltmv ll. With Bob Andstsvn, Elh=| Riltihiii .l"5 L'="- .l- Fafmll MD"ildi C3? A"t|t'!0n. lack Woods. A remake of Ford: 1917 feature. A Alarked Alan, directed by jack: brother, who later was to spell his name 0'Fearna and work as an assistant ditcclot on many of Ford's pictures.
On July 1. I920, Ford married Mary McBtyd= Smith.

Maiirice

not of having shot footage

Ford has no memory of having worked in any capacity on his brother Francis I920 serial, The i6I_\-.tter_\-

l'h0lttgrapht'r: Jack B. Good. 5 rt't:l.\. Rele:1\t:tl: laltuary )0. With Buck Jones (Buck). Barbara Redford (Hope Standish). George Siegmann (Flash .\te(imw). Jack Curtis (Jed. Buck's brother). Jennie Lee (Btick'\ mother). Iack .\lcDttnald. .~\l Frrrnoni (]ed'~ friend). Edgar Jones (sl-ienll). lrene Hunt (dance hall gain. Eleanor (Filmore ($Ill\';\llt\l1 .-\rmy girl). Sent to prison on a bum rap, Buck is involved in a daring jail break. Free again, he rescues a Salvation Army girl from a lecherous saloon owner, becomes a minister in her Army and reforms the scorng town.
I921

I921 THE BIG PUNCH (Fox-20th Century Brand). Director: lack Ford. Scenarists: Ford. lules Furthman. from story Fighting Rack by Furthman.

(l

Itriate I

a/ I3, didn't) for the

(Mrs McGuire). WhenTheStranger ndsthetou-n'sonlygambling hall to be crooked.he decidestu open his own. Zoe talks to him about reforming the vice-ridden community, and, though he pretends to ignore her, his gambling hall opens as a school for the children.
I911 THE WALLOP(Universal-Special). Director: Jack Ford. Scenarist: George C. Hull, from story, The Girl He Left Behind Him, by Eugene Manlove Rhodes. Photographer: Harry (I. Fowler. 5 reels. Released: May 7. With Harry Carey (John Wesley Pringle), ]0e Harris (Barela), Charles Lemoync

grapher: Harry C. Fowler. 4,-300 feet. Released: April 9. With Harry Carey (Ohio, The Stranger), Helen Ferguson (Zoe Whipplcl, Joe Harris (Headlight Whipple), Charles Lemoyne (Denver Red), J. Farrell McDonald (Bobtail McGuire). Lydia \'t.-atrians Titus

Directorzlaclt Ford.

THE FREEZE OUT (Universal-Special). Writer: George C. Hull. Photo-

I910 JUST PALS (Fox~10th Century Bt=ttdJJack Ft>rd- Swwrist: Paul Schueld, from story by John McDermott. Photographer: George Schneidertnan. S reels. Released: November I4.

Ditwvtl

1. Farrell McDonald (NLlL! .\ Rl\'L'r].ilgl'\UI1l'lE Golden (Stella \'0tltis). am Gettingcr (Christopher Fo_\). Noble Iohnson (Espinol), C. l-I. .-\nt|crwn (Applegate). Mark Fenion (Major Vorhis).

(Matt Lisnet).

l2l

still loves her, but the girl loves someone elsea young

While watching a Handsome Harry movie, Pringlc recognizes an old girlfriend sitting next to him. (The picture is so bad they walk out.) He realizes that he
man who gets in trouble with a crooked sheriff and hides in the mountains. Pringle rides out and captures the youth for the reward, but then hel s him esca e from so that the boy can retun the sheriff J T toI the glirl they Mm hm: (wkin ll .1. -' " "'""' F ~

surprise, they discover there it gold on the land, Molly retums, and she and Sandy fall in love. Francis Working Ford:/irttuppearunee irtalrntt/h|'.tbYt1!h:r't. title: Let'.~ (in.

"

Pu )' G.-mBc.(" Hun [mm s" ! um' Jack Fwd Dunno? story, Bransford of Rainbow Ridge, by Eugene
-"
,
4

'9"

SURE FIRE (Univctbs

l9Zl DESPERATE TRAILS (UniversalSpecial). Director: Jack Ford. Scenarist: Elliott I. Clawson,

from story, Christmas Eve at Pilot Butte, by Courtney Riley Cooper. Photographers: Harry C. Fowler, Robert DeGrasse. Shooting Match l4Apl'il Released: July 9. With Harry Carey (Bart 5 reels. Carson), Irene Rich (Mrs Walker), George E. Stone (Danny Boy). Helen Field (Carrie), Barbara La Mart (Lady Lou), George Siegmann (Sheriff Price), Charles lnsley (Dr Higgins), Ed Coxen (Walter A. Walker). When Carson's girlfriend leaves him, he turns to the Widow Walker, realizing that he had always loved her; he even goes ID iail for something he didn't do just to protect her brother. But in prison, he nds out the truth: Walter was imt her brother, he was her husband. On Christmas Eve he escapes from jail to track the man down. Motion Picture News remte: . . . the closing reel: show the slate change of teamtii in the iraeltlets foretli another nice piece rt] camera work and direction. Ford rununbzrr the lm with affection (under it: tt-orkirg title, Christmas Eve at Pilot Butte), became his son, Patrick Rnpn, was lmrti durirg the shouting (ort April 3). It war alto the rrt time he had worked to turh an extent with

ll.

Photographer: Virgil 0. Millet. 5 reels. Released: November S. With Hoot Gibson (]e' Bransford), Molly Malone (Marian Homan), Reeves 'Breezy' Eason, ]r. (SonnY)i Harry Carter (Rufus Coulter), Murdock MacQuarrie (Maior Parker), Fritzi Brunette (Elinor Parker), George Fisher (Burt Rawlings), Charles Newton (Leo Ballinger)i lick Woods (Brazos Bart), lack Walters (Overland Kid). Ioe Harris (Romero), Steve Clemente (Gomez). Mary Philbin. A wife's lover steals the husband's money. By accident, ]e' is coining out of the house iust as the husband retums to discover the theft. and thinking him the robber, he starts after Jeff. ln the meantime, bandits kill the lover and they steal the money. Finally, Je. who can't pay his ttwttzttss besttttsv hs I00 bttsy running from the husband, catches the bandits, returns the money, pays his mortgage, and gets the girl. The husband never does nd out about the lover.

Manlove Rhodes.

Fm lhc
FOX-

nu "'1 Ya": Fwd W" 1 Wl'k XC|u5i\'=lY (0!

night time photography, and, he Ieels, it turned mt! well. On several ot'mt|'uiis he hat spoken of wanting to remake thl picture.

l92l JACKIE (Fox). Director: Iack Ford. Scenarist: Dorothy Yost, from story by Countess Helena Barcynska (pseudonym for Mar8Ukc Hl"\= l=\\t EVtt)- PlttFlaunt 5 lEl5- Rsliidl B\IPl\l'I CtYB 57h=id""lll(jackie), William Mason With Shirley Z7. November Scott (Mervyn Caner), Harry Caner (Bill Bowman),

mi
<

Scma,{m' Harvey Guts [mm 1' Allin Dunn Phmg' Sm] h) lb: nu: The Mach:u[ tee s. Released: Se temhet I2. . Brown. ra her: ]u vt"iih Hnut (iilmin (Sandy Brooke). i~'iant~i. Fufd r$tida Water

.P'"cmr' ck
Manning).
J.

ACTION (Universal-Special). ,
.
-

Em fj;5w'i~c (5;i';:u()BY)t .
o

B"*"" <M">-

Fun?

M -M L?."' "h" ""5 A""" mp h"

Jacki ct a Russian 8 irl in a chca P roadshow wants to manager, be a great dancer and, to escape a lustful theilrc, -

f)*>'li
uinnm (I'll
F. h
-

Farrell .'\\cDtin:lld (-\\tirInt\n Pin.-iii. Buck tan.-i-i. Byrtirt Mumtin (Henry Mcckin). Clara

'"" h" """'"

l9_22

'

'*

her ranch, and some local outlaws gure there must be sold on the land. They try to steal it thwttah x\tlrdinnshin of the sirl. who's ttttdet-ass. so the bums send her o to In Eastern boarding school. Much to their l22

When Molly's tthst is killedi three desert httttts buy

A 'l'l;l-D? *"\-Q "' ,1 ' ""*l- "~"'" l~ """\~'* ""l~'"tt~li

"]"'="2,"-

<1-|(_1tt"*t>'1)~:L{tl:t_|t~

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tttit

t\l~"~lt"ttt

LITTLE Miss SMILES (FOX). Director: jack Ford. Scenari: Dunithy \'0.\I. lrwrt Lllllt .'"It'VlJ by i\\_\!1 Kelly. adapted by Ytisl and jack lrumwI.\v:r. Pllttlograpller: David Abel. s reels. Relelvcd: januarv is. with Shirley hhwrl (Esther Aimnson). Gaston Gla\\(Dr. jack vttahinni. George wiiiinnn (Papa t\arL\n\4in). Martha Franklin (Mama Aaronvtn). Arthur Rankin (Davie .-\ar0n\t\n). Bahy Blumhelil (Baby Aarnnsnni. Richard Lapnn (Lam

Aaronson).

Alfm! Test: (l.uui~

a

.-\nrun~un). Sidney D.-\lhri>uk

(The Spider).

The story of

about the mother's failing eyesight (which is restored), ihs diishiefs luvs fur the diwwr (which is returned). and her brother's involvement in a murder (of which hr is dw=d)-

lewish family in New York's ghetto:

mg) THE FACE QN THE BARRQOM FLOOR (Fox), Director: lack Ford. Scenarists: Eugene B. Lewis, G. Marion Burton. from poem by Hugh Antoine DArcy. Photographer: George Schneidetman. s,7a1 leer. Released: january l. \li'iui Henry B. Walihall (Ruhert Stevens. II1 Iil). Ruth cmtuni (Marion \'t\n \'1ee-ii). Walter Emerson (Richard Von Vlcck). Alma Bennett (Liinie). Nurval
i\1c(rcgor (Cro\'i:mur). Michael Dark (Henry Drew). Gus

192: Silver ll"i'nE.t(Fux). Dmnms: Edwin Ci"_wL_

(Th: ma
-

ad Fm

:\"""*"")~ n il'llSl)lii

Sloanyei JPhotogr:phZi:T Rubi-rt Kurrle. 8 271 feet. With (in The Prolngue)Mary Carr (Qnna Webb). Lynn Hammond (John ' Webb), Knox lunuid iinhn. their child). ]o\eph Mnnlhan (Harrv

Prologue).

Joseph Ruttenberg. Released.. August -, .7.

Writer: Paul H.

his story to some workers in_a bar.

Ebomdlhic gm gt in I-hmugh a mlsuri-d:"n:dm8' -cg"reprieve "9" an me an In pmon on 2 is. C UR nnal through act of bravery. The Face . the Barroon-i Floor! Ford wire mid Mv Gad did 9. Ch h dd mi I'M! I

zis is on
dn

another sun). Maybeili Carr (Ruth. their darghier). Claude

[fm;';
H

Sim, (;"'h;:;""lk",:'R"g 1""l-_lF"' Ha:sy.hm 0); Qfil

. .
~

,.

':\{lf,
'

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( a

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omasC(| us LB

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-

:;':h=:(8u::!il'n;hhbI'1Si:iess and her eldest runs

smirz:1.;"";';*:.'""::::;:i'.:.1I*:.::: '

''" *l'"' U.">'l~

' " l "*'=

((''B)~

'\"~"*'*l~

was THREE IUMPS AHEAD (Fox). Director-writer: Jaclt Ford. Photographer: Daniel B. Clark. 4.554 feet. Released: Mirth zs. With Tom Mix (Steve Clancy), Alma Bennett (Annie Darrell), Virginia True Boardman (Mrs Darrell), Edward Piel (Taggitt), Joe E. came (Annie's lather) Francis Ford
A band of outlaws captures Clancy and his uncle and holds them in a cave,wherc another prisoner is lorced to og them. When this old man escapes. Clancy is told I0 get him back or they'll um his uncle. Through u trick, Clancy nally manages to recapture the manonly to nd he has to rescue him againbecause he has

gunman p;_"y Elm inf, lhc mnly .Pmlguc.pJu" MN wnyh Z C/y If, '|'c'""d' . Fwd
u
r

Mu;
1922

it iriw

gyi-=*'>-GM-,,~-~;,,1=""W"M<~@~ uster at ner rutus).

' '"'"- "'~"'""-\"'/'-

THE VILLAGE BLAcK5M|-I-H (Fx)_

George, sC|'\l'lti;Cl'ol':\I1L 8 reels. Released: 2 with Wmmm wining Um", Hlmmmnt hhdh wnilh). Virginia Tnie Boardnian (i\l> wife). Virginia Valli (Alice Hammond). David Butler (Bill Hammond). Gordon Grilfith (Bill. a\ child). lda Nan McKenzie (Alice. as child). George Hackthurm: (Johnnie). Pat Muivre (Johnnie. as child). Tullr Manhall (5quire IE/rat llngh.im). 1;-r.-irrrr Rankin (Mn
sroacpher:

Director: luck Ford. Scenarist: Paul H. Sloane, from m by H n y Wad w th Longfellow. Photo-

Mk" "\ l" mh lh ld 5"! 5 d5h"~

Nuvgmha

ll"' G'" (c"" K"bYl- G"'"dF '"'d <j\'

K""Y '"! 5" '"' 15" '" . "" " 9" ml who. hem! mecca; he mm everylhulg. phmpng to return it_, b utt h_eo ld man d oesn 'tkn_o whis in tentions
R?"*|=")~ 1"" "1= (C"1"=l *""'-'")- \"'"'="" 5- 11}*_""~= ((:u|nnel Randall]. Iean r\rthur(:\nn i"l1\)'\iell). Richard lucker "*'>'" -\='")e "'""'P* 5'"=",P' U"*B= "'Y**"'l- 1 McDonald (larltin Bnice). Eugenie I-'ord_(Mme. Daue/ac).

1923 CAMEO KlRBY(Fl)-, Director: John Ford. Scenarist: Robert N. Lee, from Pl" by "WY l~'=" w"" "f* B" T"'"8"~ |"'B"Ph"= G='8 5""='d"'"- 7 ""5R='=="? ('"h "M" ?=1"="=")= '"'=" 1'~ Wm

Bngham Ralph Ymdskv

WM

R,iBh,,,,)_

Hm;

dc

|,

f;n;|yyis dism:Kd__fm_ Mud on cs

his
'

Crane, school teacher), Cordelia Callahan (Aunt Hattie), Edd G mm H )_ L I H -flhcncinl mrci-ca

(Au Marlin). Bessie Low (Ragnar), Miran, "ck" FM! (Rom"yI as child), Mark Fenton (Dr Brewster), Lon Pun (Gideon
Gi.l'ql1t.[.'\nS0l'I. as Child].-|"f'-l|1LI\ Ford

'

T:
-

I mc_by

I stud mas
a

On December I6, I922, the Fords had Bub": Nuscnn

daughter,

and commits suicide. His daughter is the girl Kirby loves and by the end, she comes to realize Cameo: true character. Moving Picture World (l0lZ7 23): Dirzeiar john Ford [this was the rxt lm on which he war billed ]ahn iriitead ii/]arIr| has been especially sltil/ul . . , in /ranting each seen: to artistic advantage. . . .
. .

I23

(Rmade in 1929 by Irving Cummingr.)

I923 NORTH OF HUDSON BAY (Fox). John Ford. Writer: Jules Furthman. Photographer: Daniel B. Clark. 4.973 feet. Released (with tinted sequences): November I9. With Tom Mix (Michael Dane, a rancher), Kathleen Key (Estelle .\\ai.'l3\\n.\lJ). Icnnic LN mint-'~ mnlhcf). Frank Ctlmpczlu (lmctnln .\la<l\\naltl). l~\11:ene l'i1|t-ire (la-rt: lhnc), will \t';|1,ng (_\,,gu~ ,\\ueRen/re). l~'nink Leigh (]cllr\' tilt-ugh), Fred Kuhlcr (:\rmand l.e.\\nir). On a steamboat heading North, where his brother has struck gold, Mikl: Dane falls in low: with Estelle MacDBnald.l When hcharriges at thhe Canadian trading post, ane earns I at is rot er as ecn mur ere and his partner sentenced to death as the killer. But EsteIle's uncle turns out to be the real murderer and duringachaw heisauicnientallykilled.(\Ki\rlungutlc: /.mmt;\-

Director:

Brandon, Sr.), Winston Miller (Davy, as child), Peggy Cartwright (Miriam, as child), Thomas Durant (lack Ganzhorn), Stanhope Wheatcruft (john Hay), Frances Teazuc (Plkl Dot). Dan Bor12B~ Ford: rst amt success, about the me bewvvvn lh= Union Pacic and the Central Pacic to lay tracks for the first transcontinental railroad, and centering on Davy Br=nd<>n.whv,whil= mwhinx fvrhisf=rhrsmur=!=rr, wmlncesrhildhwd sweclhearliher father is om: of the leaders of the railway enterprise) and becomes a rail
builder himself. [\'iurk|n); no.1. T/Ir Imn I'1.uI.)

llllt\I

'I'/in

'Ir.uu'(.'.:n||m-/mil

R.1|I

1924 HEARTS OF OAK (Fol). Pg,-roll; 610:3 F011, "suns,-i;r; ch")? Knyon, Q, n |-; ggfgg gmg, mm ay y gmgg 5, Shngpidr|f|;|'|_ 5,335 [;_ R,-neg, pqobgp with Hobart Bosworth (Terry Dunnivan, a sea captain), Pguline sum (Chrystal), Theodore van Eltz (Ned
_

-zflnuili.)
N23 HOODMAN BI-ND (Fox) Directorzlohn Ford. Scenai-ist:Charles Kenyon,from
I"=>' Y

_"""\' _~*""" l""~ W \F"~"" '< "'E"{'*'"f' fvhvi ""!=F ~~""*"*'"-,~" ; "*'_" rill? D-1\'\\5v Bali! (l~'1;\ fulclttil. highs Hulettcvlpilw
Iii:
(]nhn Lmden).
Ca|ri1.]::*:\iv(r\\:l;lI("lirel.Z'irtt'l|;.
|"n1t~\

Fairweather), James Gordon (John Owen), Francis ma ie Gran a Du ' Powe (Gnnd Jenn Dunnizlaid), Friscis Foiiiiivan), An 0|; 5" pain 53|;[i5 his happiness (and nally his life) for the sake of his two adopted children. Moving Picturc World: -. . . packed it-rm mini-"r rccvlet a] rlnrlnt at mi, reonder/ul r~im~r of the Arctic land, ne

W "I U" Nu b"""d ""' '""'"

D""'= Ih" F""ipm
"Z25 UG"TN1N' (F*)-

' '

"

<;r-mm (Battling rm-Wm. ]-lcli \nn.-r~ (Bull it-imim A Amman who dam ",0 milks, mums rm twenty ye (I wnlmy mm now) w "Y and make up for his Pm

cmk

(Mrs. ]uhn |.I\l&'I\),

Eddie

nu

M1110"-from $=='_1=l1 hy wmeu,~|1 Smllh and hank am-,1. lhntugrupher: ]u\e|\h_ u. August. :\>\|.\lanl .1-r,\_-mt: Edward 0'|=.~imi 8.050 am. Released: August 11. \\'l||= hr Hunt (i.\ghlmn Bill ]\ll'lC.\), Madge Bellamy (Millie). lidvthc Chapman (Mulher Jones). Walllm i\lcl)nnaltl (john .\lar\'|n). ]. liarrcll .\\\:Don-alt!
$l1."*F

Fnw

lD9ii:ct-:iI]oi\!:i(i=rort1liogggiaggcharles Kenyon, from story by Kenyon and John Russell. Photographers: GeorgeSchncidertnan,BurnettGuheY- Titles:Charles 1>=mum. .\lu.\|c \C\ll'LI i.mt- RAPE. .~\,\\|\|an| .1.m.-1-. llslwlfd n"1~'wm. H.335 feet. Releawd (with tinted ~ct|u|:nces]: August an With (icorge O'Brien 111;-v Brandon). .\\=u,=t- Bellamv
~

. 'xars(bnsnng Iud%:hles.rid"d (Mmam M353) ) re omas ing ( i iam Lincoln) femn), (Peter Chadwick Cyril Knhler (Deroux),
~

G"Y
-

Franc Plogfm (S"gum!'leil:rnll, I. farggi-1 0:43, jack %i;?:?Tonys>fyii'iir:\:sR;eis (Dinnyx Gem, wanna (CDL .Bu-do Bm.

"' (R"y) ]" M" U"g H"')

.

3
7

T;r'"v!: ":" l/rm? J ";Tl 1",? "am f" (" '1 N l mm" ) U mu mix) c
l?l':':l

(_:" l'"{%": D\"l"l{'h:"l

[(,_

_X{c'::h'':::li:":',"'hd]:?';:n:$ and "O drif

Bi (W
r

he used to tell stories about all the things .

PP

In

mm

nmznamcd)

ks

be.

l;:Q:f"':}"f ":f:w(":hf";::::".!

A pair .

but the Y P ialnnin B I0 mire throu B iicand You Want itfoiled through the e'orts of the ]ones's daughter and her

0.5m

""4"" '" "" 79"?" "4" ' /""' II.~nr_\~ "Y""' lung.) [I/lillilffrlfllltf. (Rrwuilv m lvm
!~_\-

Cody),]0hn l'adian(Wil\l BillHickok),CharlcsO'Malley

(Maior North). Charla Newton (Colin l. Huntington). Delbert Mann (Charles Cracker), Chief Big Tree (Cheyenne Chief), Chief White Spear (Sioux Chief), Edward Pie] (old Chinamln), James Gordon (David
124

I925 KENTUCKY PRIDE (Fox). Dinxlor: john Ford. Writer: Dorothy You. Phttttigraphcr: George $Ci\l\CiLltI'II\2|l.:\!~.\l\llI1l\||t\L1hr1 liriwartl (1l~'earna. 6.597 feet. Re-lcami: Sq\lL'ml'\et 6. With Henry B. Walthall (Mr Bm|mvnI)- Jr Fmll ~\\D='M|d l-'\\il<= Donovan).

Gtrlruiiv Ar (Mn Beaumont). Malctilrrt Waite ((ite\v (arwri-B1lrSwdd=rd(1\\ntx-nin-anl.\t('iniinnM-tlertanni Donovan). Pmhw lrkwn l\'Irt!Im=i ileiumiintl. and the lttiri\_ .\\:in 0' W-it. l-air ll.i\. Negiilul. lhe l-inn. .\\ur\'ieh. (linli-der:iq' am! \'irgini='\ Future. A horse tells the story: Ruined (because of gambling debts) when his horse breaks her leg, Beaumont eventually enters her colt, Confederacy, in the big race and she wins; her mother has become a drayhcrse, but Beaumont buys her back.
. . THE FIGHTING HI:ART (Pox). Director: ]ohn Ford. $Cenari5l: Lillie Hayward, rrnni

Schneiiler-rnan. Awstant dirt-ant: Edward 0l~'earna.

5.61-15

I925

by Larry Evan. Phtitiigraphcr: jvveph H. Releawd (with tinted wquentea): Uqnher l. with (imrge 01-train (Denny Bolton]. Billie l)t\\'C (tx-re. .\ndersun). J. Farrell i\lcDt\na|tl (Jerry). tiinna .\hu.-r (Helen \'an Allen]. Viuor Mclzglen (Stiapy \ill|am.\). Bert Wutidmil (Grandfather Bl\|lOn]. jamn Marius (judge -\\:i)nard). Lynn
:\u|z\.L-l. 6.978

()mi'

li1Ift\1jir\|rIl|

M3 "" f ;l|:\l0:\cr._t0'll\h'r_
to

(mt. Relt:1Lv:i.l (with linlcd .<~..,iii-ni~r~i= .\\:t)' 1. with Janet tiaynrn (Sheila Gnitney). l/.-slie Fcnlnn (Neil Ru). ] Farrell .\\i:l)iinald (Dennis O'Sl\ea). Louis |'a_\'ne (Sir .\lile~ (iallney). Claire i\leDivwell (Mnlly U'$hea). Willard l.nui~. (Martin Flndl], Andy Clark (lihesty Miirgan). Georgie Hlffh (Benny (iimherg). Ely Reyniilih (Pun). l'hiitna.~ Delmar (Michael)Brandon llurst (the pruuirer). An nld lrish nobleman is sir considerate of his tenants regarding rent that his nancial pimtinn nally forces him to sell part of his stable to an American. whit takes the lrishman's young iirckey ltd back with him tn the S wh h b
_?'

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hi

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|915

BAD MEN (Fmt),

Cmvan (Chub Morehouse), Harvey Clark (Dennison), Hank Mann (his assistant), Francis Ford (the town fool), Francis Powers (John Anderson). Hazel Howell (Oltlahoma Kate), Edward Piel (Flash Fogarty). Phoraplqit said, A prizeghter is swept to Broadway by ambition; love brings him back IO Main Street. Thfgg of the |'|'|p[ thrilling ght; cvet 5|;|'||d,' Oh, that rt-as il prize-ghlirg p|'c!un'.' mid Fnni. In those dayr, we made one n month. Victor McLagIen'x rrr appearance inn Fnrdlm.

Director: John Ford. Scenarists: Ford, john Stone, from the novel, (Iver the Binder, by Herman Whitaker. Photographer: George Schncidcnnan. Filmed at
Iadtson Hiile. W_\'oming. and in the .\iti|a\c Dewrt. ?4.7lll feet. Released (with tinted !I~'\]l|Ll'\CL\)I August JH. With (ii-urge 0'Bl'lCli "~'>'l. Olive B-irdw lLLL <1-ntrnni. ]. Farrell McDonald (Mike (Imtigain). Tum Sanlschi (Bull Stanley). Frank (Iampeau (Spade .-\l|e!1).l.iiu Tellegen (Sherill Dim H\1l\ll')- (i"I'SK' H111 Um ~\ii"il ll) "ll"! (Old prmpeetnr). Priscilla Bonner (.\liIlie Stanley). Om llarlan (Zack lnlic). Walter Perry (lat Mttnalutn). (inicc Litinliin (Millie-'.s friend). .-\lcc B. lranct.~ (Rev. Calvin Betmvn]. licurge ir\'ing(Gcnet1l Neville). Phyllis Ha\'er(lr-llrte Bcaul)').\'t.\lt:l "*"1=1=~5"'~*"""]"One of Ford s most important sile_nts: ln the Dakota

0"

,',",;jqI*jMY',io};mdm,,

Wm

Goldm

Scenarist: Frances Marion, from play by Winchell 5mm, and Tom Cu5|,ing_ phumgnphr; Gems: Schneiilerrnan. 75 minutes. Released (with tinted gqumu); Nowmhu. |_ rim Gm, O-gm" (Kmnh jamieson), Jacqueline Logan (Diana Lee, the innihar), AICC Francis (David Lee), J. Farrell hteonnata (Andy), Cyril Chadwick (Mr joncs), Edith Bostwick (Mrs

Tcmwry of 187$ I=_thww1d= =mv= Ti" "R Dlkma

land rush, three bad men rst serve as match-makers for = yvunz wunlv ind lir=r_sw= "P_ lbw I-W5 w =1" hm from I vvtriivl ih=r-E Ind hi= sins-~.=~

i3".'nX.3Bl.ri3Z.f'}i2;.3;T?i..{."i (Willie Jones). Robert Milasch (Sweet, Sr.), George Fawcett (lamieson, Sr.), Marion Harlan (Millie Ionts), Ma Moo, Frankie Bacy (gossips, Two vcsirymgn "yin; lo op 3 dcrgymln from
getting
a pay

D'"'_= J"" "?'- "_"" L; "- R>" ' 'Y' Th" 1?'4* R"'""_- bi "*"='_' B*'%'""'~
hhntngnphen
(ii-urge vsliilllifltlttfflllll. _.~\\i>tant
director:
i".t!Wll'dl)lIlfIla1:vl!rZ\\olLk'l-Rtfil1\L'\1(\}'l[hlll'\|lSf|>'L|llk!ICL'$)I

THE

Bwr

WM

<1-M.

Momm pmvahuinnonncm

his niece.

raise. provoke a scandal that implicates But the banker's son, whom the clergyman

("T"""

Sfplmh

me THE SHAMROCK HANDICAP <F==>Director: John Ford. Scenarist: John Stone, from ""Y bl p" 5' KY"' Ph'3Phi Gem?

;(tc(jnh.)v ' Rivals as civilians, and both in love with the same girl, I25

{K"< Cooper). William ltuwell (Big. 11111 Ryan). Robert l'.aleon_(l'alh|:t Joe). tiai-ni__Bni|r (hit-tr oati-ani). Phillip hm! (Ltrnpy D Any], Ralph hlpperly (5lats Mulligan). arct Livin stnn Marv Rnhan. crrv Madden Baht Harry gfcnbrtiolt (Bas(:nm).) Shun (ti,....;.

12-

"0' ""Ff_ Q 3" l("~'g"',n"__3'l' 1"

in

mg ind"; |_)-A,-cy and Ryan Qonlinug M3; fwd in the

Navy, where check. The parish priest) the ring, but

only military discipline keeps them in battleship Chlpllin (who wus I130 their shiny decides to let them ght it out ih the match is interrupted by a lubmlt-inc attack. After the war, when the same gang of dope smugglers kills D'Arcy's brother Ind shoots one hr Ryan: pals, the two all a truce to rout the criminals, and then go right back to ghting each other.

story, (imnilniu Bt'"lL' Lrimu (It-1 Li-um. by l. A. R. Wylie. |l\lf1B"PhI G='8 5h"='d"""- C'_'l 6- C|_"|Music =rt=nt=I"~ 5- L Rotlwlsl Thm=~ L-"It Mw==r._ by I-Lmo RaP<i L<w Pollrdt Ed-we Mirslrvl V~ Cllwy-_ Tithwriters: Katherine Hilliker,_l>l. H. Caldwell. Assistant director. WWW 10 "\"""=- R=|1 (W"J_\ "\"I Illd syndimn-rd wind =fTm~)1 F=l=~=r.v 11 With Myxml (I"Pl'I B\1=)i (-lW|= hm Minn (Fm! Bllli

Morton (lhl

R-ndlll H- Fm, from story The Snake's Wife. by Wallace Smith. lhntugraphen Charles G. Clarke: Assistant director Edward O'Feai-na. 5,510 feet. Relased: Jiiiiiiry 10. With Nuity Nash (Gertie
Ki1's)'F1'1= F*=(B'=**"B'""'%

I921 UPSTREAM (For) Director: John F<>rd- 5=nrri===

Francis X. Bushman. Ir. (Franz Bernie), ]une Collyer Forte (Major (Annabelle Bernie). Albert oi-iii [p0lman), Frlllk Rcicher (hendmaster). jack Pehhicii VOII Sluml), (]q5gPh'5 A,-M,-gm, f,,|,,), A,-d,d,,k tmpuid of Ausui;

Bfmkli GY! MR?" ('\"4l"-5 5"|=l-

"Ill

am

(German

Fmum

aw-Q) Hugh: Mxk

um

Hm,.y)_

Ann," -|-0",, (M,y,,)

(innkegpeny wgnddl

in 5' B'd)' Lyd Y"' Tm (Miss Brecltenbridge). Emile Chautard (Campbell Manclare)R'Y""d d"5d
T=

Gm" \/"*'=,"ll==* '~"=!l=l~

M<""'\='* 5="""Y *>*'=" II "1"" '="")- F'="* F""' 1" "/"" lI"B&l=\'l-1"! Km! Lilli" "/""1 ("M (""h"')' Hm? Bin" (Gm H")' Ely Rtynnlds

mi

Ruth Mix (]ohann's girl), Robert Parrish (child), Michael Marlt (Von Stomm's orderly), L. J. O'Conner mubugmc) Ferdinand 5chunwm_H:ink cap, IBM poncm Carl B0h!II\C. COIISIBIII Fr-ihte. Hills Fllfhtfg, Tlbcr \'l1Il
iaiihy. Stanley Blystonc, Litlll. George Blagni (oicels). The story of a Bavarian mother's four sonsthe one who goes to America and the three who remain in Euro = and are time iii the i-am whim War At the end lzhe mother ioins her only remaining son and his

(nf')'

A "*Y""" "" 5'P "f '" l L"d" b"din5 Mus: Bnsinsmm is mos m Pl .H'mk| in a West End revival, and its success goes to his head; he eondescends to irt with his former sweetheart and

'

'

her husband throws him out on his ear. |91g MOTHER MAC]-[REE (j=;)_ Director: John Ford. Scenarist: Gertnide Orr, from story by Rid: IDYIIISDI1 Yhiihg. Pllolograyheri Chester LylIn. miihis the lillt-writers: Katherine Hillikzr, H. H. Caldwell. 555,5,-,, dg,-mo,-_ Edwud Q'pnm,_ 75 m,,,,,,_ |t,|nq-,1 (with Iinled 5q\.ItlICtS) January 22; (with MUSIC Illd )'Ileiii-hhiwi Slllld i-rims); Ottlobel 2i. With Belle Bllltll (Elltll Metiiigh). Neil Hlmilln (Brian Mcniighi. Philippe De Lacy (Bfiln, as child), Pat SOIIIEISCI (Robert De Puyster), Victor Mchaglen (Terrence O'Dowd), Ted McNamara (Harpist of Wexford), john MacSweeney (Irish priest), El-lllli jensen (Rlchel Vin Studdifurd), co|,,,m |~|,,,"d (Edm, (j,,,,i,,5)' |;,|,| Clgytgn (Mrs Cutting), William Plait (Pips), Jacques Rolleris (Signor Bellini), Rodney Hildebrand (Brian Mel-lugh, 5,-_), Joyce wind (Ednh Culling, ,5 child), Rob," Parrish (child). A Madam, X 5,0,-y; |,, ms}, molt, in Amgfigg (n the turn of the century) gives up her son in the interests of his future, becomes a housekeeper and raises her m-,p|Qy;,s- |,,,l|,,,-_ ye"; hm-, wh:n'[hj M and muy he, um H in |,,, the boy -mg hi, mom"

he Unkcd Sm Fwd. bl-um mum mm The {mu Hone HOUSE (FM). I9 HANGM'AN,s

(uh in

Director. john Ford. Soearistsz Marion Ortli, Willard lY""_1 l\"=| by Oiwlld D!f-BY"*- Id-ll-{Rd bl 1'7"?

5""

l<l=m- I'hnwi=w_Ph<I'
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director: l"hil_l=ord. 7 reels. Released: May

Clrmyr Till:-wntw Mrlwlm Snort

Gwrte

5<=hn=1d=""-1I\~

Edlw

M=I_s=\'=l

Buy!-=4_

ll.

Widi Victor

Mrlsw-I

Ml1sl=!\(CI15n HF")- "OM" Bvrwvh (l=m=_ O'Brien. lnrd Chief J\t=n)- lune Golly (1-mush! 0Bn=n).urry Kent tbmmgn M_Drrm>n)- E=r1= Fm Uohn I>-rev). hnr
Mayne (I-eiwm-rr <l~>n=1l- Jwvh Bum (N=ddy Joe). R11! Sloilild (MM MD<""""| 10'1" Way"! (P'-"11""

lrrlrnd; l~hn_s-nt Jirdsq _0 Brim is dyins; hrcwse it will give her position, he forces his daughter, Connauxhli l_ "\l"'Y Pi"=Y- B"! 5|" |"=5 D""exiled Irish patriot named H08" 501" ll=}Y dilemma: risking his life, he returns to lrelnnd to ltill
he thinks
a

II MIR HR).

n,m'_

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l9Z8 FOUR SONS (Fox). Director: john Ford. Scenarist: Philip Klein, from l26

man _w_ho married then deserted his sister and caused her suieidethat man is Darcy. There it II him: rate I" 1'" "_*"')' 9"" '"{""P'"'"l /<!_ lieitniih: one in Tl" Q11! Mini ""15 .7415" Wayne (lfl 5"} m 0/ limo! twenty Find lms) at on aim-eriihuriasiie_tpeeiamr it-Im smasher ii pirltrt /enee in Iiir exeirenmit._ The only that vanentbn,' inid Fwd, ix 0/ tlie Gaelic emu, with the people piuring in /mnt of i'i.' I928 NAPOLEON'S BARBER (Fox-Movietone). Scenarist: Arthur Caesar, Director: john Ford.

Photographer: George SchneiderMalcolm Stuart Boylan. 32 minutes. Released: November 24. With Otto Matiescn (Napoleon), Frank Reicher (The Barber), Natalie Golitzin (Josephine), Helen Ware (Barber's wife), Philippe De Lacy (Barber's son), Russell Powell (blacksmith), D'Arcy Corrigan (tailor), Michael Mark (peasant), Buddy Roosevelt.Ervin Rcnarcl,Joe Waddell. Youcca-Troubetzkoy (French ofcers), Henry Herbert (soldier). Ford's rst talkie, about a barber who brags to a
man.

from his own play.

Title-writer:

president), J. Farrell McDonald (Angus McGregot), Dolores Johnson (usherette), Douglas Scott (Wobby), Robert Ryan (porter). Strong Boy would like to please his girl and make something more of himself than a baggage porter. but all his c'ons fail and he winds up I locomotive engineer iust like her father. When a gang of train robbers tries to steal the jewels of visiting royalty, however, Strong Boy outwits them and nally becomes a hero.

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|9z9 1-HE BLACK WA-I-H (|:x)_ Directors: John Ford. (staged by) Lumsden Hare. Scenarists: James Kevin McGuiness, John Stone. from novel. King 11/ lite Klivbrr RI/kt. by Talbot Mundy. Photographer: Joseph H. August. Song. Flowers of Delight" by wiiiiarri Ku-ncll. Editor Alex Trocy. A>5istarit director:
McLaglen [Capt ,

Stanley. Photographer: Charles G. Clarke. Editor: Aleii Troey. Assistant director: ml il Ford. 67 minutes. R eleased (widt music and syndtroniud sound eliects): November zs. With J. Farrell McDonald (Aloysius Riley). Louise Fazenda

Bdwud 0Fmm"
Ray D

93

" U Sm" -) Hm Sdm """'y')' my Bevan (Pans tzhdriver), Torn WilsonHm (Serg=ir\l_)~ " "~ .F"" (Milnldl uh driver). Mildred Boyd (Caroline), Ferdinand
$Cilul'niIhI|HCllIk (Julius).
,

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.
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My .@-~=-~>.

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"5)' " "* :..;""".......'*""....:;,":"."...:."*:.;2*re.?.m;- 5';-:::*:.::z wick (Major Tvlynuj, David Torrenue (Maredial), Francis

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ax? "i

Donald King)
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m'm' Rdnscd:
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Giiungaal pill Sgmnmhiliglinlitdm

Mny B Wm vmm Loy (Yasmani). ' Mvma ' . ,

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Henderson (Judge Coronelh).

Ford [Ma'or Ma/LG FM

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KnNew York}! lPl0hlhll:l|.h Riley, unlike dhu

lovers

-ndh'"."::" fond?

8 .w G"m.'ny "Y folhws Munich to bring him baclton

5"" lay 2"" 132" y$:gn"h'a

8" ld'a"" "res" 'y,'l

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:::m:::_;; LL":5 """ ;""?- DY ls n H "ms om to c nusmcyu ":f'F" T.'L"'d " ,'|"'- """ ""4 """' ""PP'' " ""'- ' ""' ' " """"/""~""'~
.

-. . Y and Rlky. '5 sen m an embezzling charge. But theres beer over there! And a fr-aulcin named Lena. It's everything Davy an do to get Riley on the .
.

A British army ofcer, Capt. King of The amt Watch. is thought to be a coward when he goes to lndia immediately after the outbreak of World War l_ Actually he is on a secret mission to locate and free some captured fellow soldiers. Ferd: [int /erimre-length talkie ii almnrt destroyed by the |"r.~im.wi dialogue teenes that Hare directed. (Reniaile hv Henry Kirq as King of ht Khyber Ries. |954_) '

in lndia) .ds M "8or) ', (laude ' 6) JKin Ehttmimi D. h M ' " Travers ' d5 " H; " Y "")' (a iuiai-ii). Joyu

"

I929 SALUTE
~

(Fox).

C
-

(Mary McGregor),ClydeCook(Pete), Slim Summerville (Slim), Kent Sanderson (Wilbur Watkins), Tom Wilson (baggage master), Jack Pennick (baggageman). Eulalie Jensen (The Queen), David Torrance (railroad

story by Frederick Hazlett Brennan. Photographer: Joseph H. August Title-writer: Malcolm Stuart Boylan. 63 minutes. Released (with music and synchronized sound effects): Match J. With Victor Mclzglen (William Strong Boy Bloss), Lentrice Joy

I929 STRONG BUY (Fox). Director: John Ford. Scenarists: James Kevin McGuiness, Andrew Bennison, John Mcl.ain, from

Director: John Ford. Scenarist: James K. Meuinnss, rim-ii stu rv b y Trislram Tu PP" , John Stone. Photo ii ra P hen J we h H August Editor Alex Trolley. Title-writer: Wilbur Morse. Jr. Assistant Edward O'Fearna. R. i.. Hollgh. Filmed at Annapolis. Maryland, 86 minutes. Releavetl: September I. With George O'Brien (Cadet John Randall), Helm Chandler (Nancy Wayne). $tepin' Fetchit (Smoke Screen), William llnvy (Mid-*l\iP"\III i=\|1 Randi"). Fririlr /\lh=rl'~r\ (Midshipman Albert Edward lriv=)- Ivy C4""P|" (M=riI1 Wi|0I\)- (Ililt Dentywy (Mal. Gen. 50rI\=I') |-isdm HI" (Rear Admiral Randall). David Butler Wavy Celeb). Rex Bell (Cadet). John Broaden (Midshipman). Ward Bond, John Wayne (football players]. Army-Navy rivalry as personied by a We-st Point cadet with a kiil brother at Annapolis: John (Army) makes a pass at (Navy) Paul; girl iusl to get Paul to appreciate her, But Paul dot-snt know that, and tries

aim;

I27

to gel even wirh Iuhn in ihe climactic fuorball game, which ends, lpproprialely, in a lie. Ward Bond": /in! appearance in a Ford lm. |930 MEN w|THQUT WOMEN (FM), Direclivr: Inhn Fun]. (xlzigcd M") Andrew Bennimn. Smnnriu: l)ui.llc\' Nu:hnl\. from smry, 'Sul'\mnrme.' lw Ford. Izimcs K. .\\diuinnv.\~. Phnllvgmpheri loscph H .\u,;u,|. .\n dll'L'\1\\f2 \K'illi:\m s. mmng. .\lu.~ic: mm Hrunelli. Glen Knighl. lidimn mi Wnlhelfax. :\.~\i.\lil1l aim--r. Edvard uwmn.
"11~;|ma(=|

=.i\'iw; Schuyler

E. Grey. 17

minim.

Relemed:

|),ghy_ R_N_)_ wan 5\;ng1 (QM-l), gm," |-3,-W," (lcnklns. radio r\pcr:Il(\r). Warren Hymer (Kaufman). ]. Farrell McDonald (u|11.;. Roy swan ((l\pI. (Larmn). Warner
(|_|_

3|. With :\ll\r\\on (~i'm').

Ianuary

ml

Kenneth

.\\acKenna (Rurke'). Frank Page (lland.\umc). Pal l\\'1\u'l'\Ll

mchmnnd (LL (hmmmd |"d,_--|1)_ Hm-y 'fm(,m(,k (\'inkler). Ben Hendr|ck~. 11. (r\lurph_v). George Le Gun-rc (|>.,||\~k). Charla Gerard (fnmnundcr \l'e\'mnulh. R.N.). ' Mu, \x,m_ Rm" p,,,,,,,_

Fourteen men are rrapped in a submarine; nally, one mm mus S"), behind so (he mm can

apt

Ford: rst lm wirh Dudlqv Nlthnll, mo BORN RECKLESS (Fol). Directors: john Ford, (sraged by) Andrew Bennison. Scenarist: Dudley Nichols, from novel, Loni: Bereni, by Donald Henderson Clarke. Phorographerz George Schneiilcrmnn. An aimnir. lack _$el\ul1/e. .-\~-am producer:

Maurine \K'Ilkin> (and lll'lC\'CL|llfdI Ford. William Collier. Sr.). lhningmpher: jmcph H. .~\ugu.\|. Sci Jmgner: Dunun Crzmer. .\lu>|c and lyrm: Joseph .\\e(Iar\hy. ]ame\ F. Hanley. WardYllbff S4\|'\h|e Waehner. l-ldimr: Frank li. llull. :\\\|\l-\l'\l JifL\lu|'\ l-I\.lvmr\l U'l~'rirn.|. \\'ing.ue Smiih P1 nunuu-~ Relcuwilz Uchvher ll. Wilh Spenmr Tral-:\' (SI. Livunl. \ll'arr-zn llymer (nanrwmm Dan Humrhrey Bug (Hwvvl; Claire Luce (Judy). J--an lav-'=~ Uwil Shawn I-vim (lid-ih l-1 \'mg=l Gwrsr MCFWIIFK: ll=~\ur1- G=>'h_rd Pr-mllewn (-\h~m.~l. Morgan w=1|-Q (l'nv.\h\). \m|1,=m (.(1||r. Sr. (Pop). Ruben li. O'(Iunnnr (guard). l.u|\c. Maelnnuh (.\\r~ .\\l\\\C)'). lillw llliprnwi _(Mr.~ ]um=m. Inhnny \_alker (HIrv>'l~ Noel Franus (Snphic). Mildred \ineeni(r\nnic). \ll'i|hur Mack (WhIlR'lI)'l- (i"\\|*> -""|l!*"\\'f' lK"l -\l|l=\ |'f|\'"l.\' (lhiw Elmurrr Adele W-ml~"r (C>"mhi=l- 1'-mil r-<* (Minnie). Rlkfhifd Keene (Dick). lilimhelh and Helen Keaung (May and lime R-vhm Hurm(S1im1- Jr-hn Kw-w (<I1ml Par (wurhamwl. I-- Brwn(l>r=\1I>"\*'u-1=n)-inn-er (Mm). aim and Ell": (slim and Klem). Murgan \K'i11=e= ll"~l_)) R|"" |=1'"*l\' Aervrrxxly ahuui rwn mnvier.~ whuduni reilly mind pri~onmpeually mice (hey-Hun bftilk nu! any umc (hey like. (Rl7!|lJL'

gm

1)-"[0,; John p0,.d_ 5,_-mags; Dudley Nichoh, {mm on. by James p,,k,_ I,-_ ph(m,g,.,phr; Iowph

"' "" 'Y" -"l/"'* "'*"-l |93| SEAS BENEATH (Fox),

0 rmnulcsl Releucd: Ma)" ||. lzdmund i.(~:_ (|(\Il|l\v Berclli). (.;|lhI:lI7\I: mm Owen (loan sn1.:l.n).LL\~ lniq'(BillO'Brien).Alarguerilehurchill (l_{'u~a Berem). \Y;\!fer\vl|\mcr~(l]ig Shun). Pal Sum;-rv.1 (Duke).
l'I."L1(\fI4!.\!\A'Ifd

].|me\ K. .\\\'(;l||n|'1:._\\ lzdimr:

mm

mm. in

mun

la.

Hull. :\~\|~luI1l

.1

H A,,g,,,,_ Edkor: F,,,,k 5 Hum 99 ,,,;,,.,,,_ |11cmd; ],m,,,,y 3o_ Wm, Gm, 0-3,5, (COW mm," Hob Kingsley, USN)_ Mmon Lming (Ann, M_ Von 5m,(,,m), Wm, Hymn. (-Lug~ K,,,;m,,)_

(trunk Sheldnnl. l'er|ke lnnv~(.\la Herein). 1. i~-m||_.\\e1>_m1u (l)l\l|lCl :\llumey): Paul Puran (la Bcrcml. EJJIL (;nm~.-n (ii-1,), .\m<(- Dnnlm (hngy |\hw:n\-uz). Ben mm <1; BergPaul lagc(Ri|zy Reilly). live Bruwn(Needle Bcer(irngan). ludr lenn(ck.>\'l'ard 'Bl\ll\.l.(\(\]E|lCf\). Rny Stewart (Dl.\U'lCl
|'naIn)~
. 1 ~"""',F'* l="~""'>' "F"lY"."!" * A ""*Y"%"="" " sen! in ghl in rhe war as a vole-gelling gesture by polilical-minded judge. The gangsrcr returns anti picks up where he lei: o'. Afnly llhvmuanl rm: n /rmnl of

,'""""_ """l='!

("Ml ''*

"I*_Y1~

lj""" -'\"""

"

'''

" I

C(.,mc,_ 5,_ (-Mug 0-F|,h,,(y)_ John Lode, (Franz Schimng), wan" c_ -Iudgy Kc). (chicf Min Costello), Walter McGrail (I0: Cubb). Henry Vicror (Em van smhm Commmhm, U_b(,,( m)_ Mon, Km (LL Micongom G,y1,,,d Mm, (Lolim |,md|m,n (Ensign Dick Cabom N pmmmn (.Bu(ch. Wain"), Harry -I-cnbmok (winner), 1-any Ray (Remy), Hans Fmbcm (Fm: Kampf, second Omar u-nz), Ferdinand Schumann-l-kink (Adolph Bruckcr, Engineer, u-112), Francis Fm (Trawler Captain), Kn" Furbug (Hon-mm) BU. Ha (Hamgm) Ha"),

wimm

um

we (kvinsky), Maurict Murphy (Mkcu A my bum ht opcnlion of om of ht

"'= ""Y=*"Y *'**P*'
Direclur:
<

' bas_

L'.".L'; Ii/7.;215"}T117.33$;Z11'f.fZ"?'."lf".f..ffZf _ , 1'1" 2 mu |7!| um m s:m0-and 1- Kn]! xmrlr smrmg drunk. Sn I rm! him home. Next Jar he uus all right. On: rmpzclr Fwd ix ac!||ull\' brulg kind; rh: diulugue runes are sn ml] Ihar |'r'r difcull ia bcllrre Ford mull! haw dirund zhmi and in the mm: lime mad: a sequent: like the fruwluelirg war interlude. I930 UP THE RIVER (Fox). Director: john Fnrd. (alaged by) William Collier. jr. Wrircr:
4

"*4 Y ~"*= "" " """Y y " *" h Fm w"d w"'

-

Scenarisrs: Sonya Lcvicn, Fulwn. from play by Fulron. l'huu\grnpher: Inseph H. August. Ediior: Alex TrulTc)2 Ill minutes. Released: August Z1. With Sally O'Neil (The Brat). Alan Dinehar! (MacMillan Fureuerl. Frank Albcnson (Stephen Forester), Virginia

NJ] THE BRAT (Fox).

john Ford.

S. N. Behrman. Maude

l28

Clierrill (Ange-la, lune Collver t]anc\, ]. Farrell McDonald (Timson, the llutlerl. William Collier Sr. (Judge. Margaret Mann ihiiusekeeper. Albert Gran (Bishnp. Mary Forbes (Mrs l:\\fL'SlLfl, Louise Maclntush iLena. An atfected society novelist picks up a waif in night court and takes her home as researe-h for his next book; his family is scandalized, especially when romantic eompl|L'Ili\\nS set in.

Walter Dwtlil (Ci!!! Cl-fkl. David Landau. Jim" Marcus, Alec B. Francis. Sidney McGrey, Florence Britton. Bobby Watson. An idealistic young doctor ghts against the h)p0< crisies of his colleagues. and nally goes to the tropics "I "'4" *0 ""'_1"" P" '}'*"Fh "3 ""- D"""B a terrible epidemic. his wife dies. l~nn1rntIm an--zy

Scenarist: Sidney Howard. from novel by Sinclair Lewis. l'hutogra|'\lii.rZ Ray lune. Art director: Richard Daiw Mu-i~*r -alfred \'~'wm=n- Editor: Hllilh Bennett. IUK minutes. Released: December l. With Ronald Colman (Dr .\lartin Arrowsmithl. Helen "U95 (l-<\'fl- 1\- E. Anson (Prof. Gottliebl. Richard Bennett (Sondeliusl. Claude Kin! (DY TllbbS\. Beulah Bondi (Mrs 'l'\\lR'l'\- Myrna I-"F (l<.\\ 1-="1)'on\. Russell Hnnwn (Terry Wiiskettl, De Witt Jennings (Mr Tozeri. John Qualvn (Hi-ry Novak). Adele Watson (MYS N0\'i\k). Lumsden Hare (Sir R07-""1 Fairland). Bert Roach (Bert Tozerl. Charlotte Henry ta wins en-Ii, Clarence Brooks (Oliwr Marrhmdi.

l9.l| i-\RROWS.\llTH (Giild\\')'n-United Artisisl. Dlfctlurt john Furd. Pmdueer: Samuel Goldwyn.

Jim Thorpe rlndian\. Enrico Caruso, ]r., Billy Thorpe. Alene Carroll, ];ick Pennick. A story of the early days of air mail flying. and the cimllicts between an inciirrigibly reckless piliit and his more suher superior, '.\Iini Suniliierr-iIlt' FUIIUII at-er: in the rm/ii, Fiml mil. in in /nu Iiim H! iI(tr.'/llllg the jlunr. grit AI lt'.':' lime/ii our 0/ Imu. Tliere rim mute great _/It-mg bi" IimI .\lim!:i! ::.ii Ins /int job. It Flt]! aim I"imi'r ,/mt [~11-ii/re :.iiIi !:rll,\' (.\'pri_"i ll".-otl, :4"/ion! he mix m nummr.1l::e li:'I|!_\'-}|i't' year: later Ill The Wings of
l-Iagles.

de la Montte, Lt. Pat Davis (passenger plane pilots).

W12 FLESH (Aletto-Goldwyn-Mayerl. Director: lohn Ford. Siienaristsi Leonard Praskins,

Edgar Allen Woolf and (urmetliiul) William Faulkner, from story by Edmund (iiiulding. Dialogue: .\liv.ss Hart. Pliutug

Pendleion. A German wrestler comes In America where he is exploited by unscrupulous raeketeers as well as by the

Morley (Lorai. Ricardo (Inrtez (Nicltyu lean Hersholt {Mr Herman. john Milyzin (live Willard). Vince Barnett l\\'aiter\. Herman Bing ivepn. Greta Aleyer (Mrs Hermani. Ed Bruphy (Dolanl. Ward Bond, Nat

npher. Arthur lidtaon. Editor: William S. (Bray. 95 minutes. Rcleawd: Dencmber J. With \K'allan: Beer) (|'ii|akai). Karen

girl

hglQvg5_

/'0'"

4" "'-'

F "-"
*1"

"'1' *1 "'1' ""1"" I"""-'

"''4~

W2:

m' I" "' "'=" "KW" ""'' b""{ ""4 ' ""'"" "'1

s""' Gnu"-""

I932 AIR MAIL (Universal). Di"-'cwr= John F<=rd~ Producer: Carl humrnlc. lr. Scenarists: Dali: Van Every. Lt. Commander Frank W- Wdi T10"! SIBYY bl w"id~ Ph'RYlpher: Karl Frcund. Special eects: john I. Fulton. Aerial stunts: Paul Mantz. 83 minutes. Released: Novcmber J. With Pat O'Brien (Duke Talbot), Ralph Bellamy (Mike Milleri. Gloria Stuart (Ruth Barnes), Lillian Bond (Irene Wilkinsi, Russell Hiipton (Dizzy' Wilkins), Slim Summerville i'Slim' McCune\, Frank Albertson (Tommy lliiganl, Leslie Fenton (Tony Dressell. David Landau Llupi, Tum Corrigan (Sleepy' Collins. William Daly ("l'ex' Lanel. Hans Furberg (Heinie' Kramer). Lew Kelly (drunlurd), Frank Beal, Francis Ford, James Dunlzin. Louise Maelntnsh, Katherine Perry (passengersl. Beth Milton (plane attendant), Edmund Burns (radio announcer). Charles

Sccnarislsi Philip Klein Bury Connors. from storv Gold Star Mother. be i. A. R. W\.|k,_ Dmguc, Dudm, Nichols phdwgmphuz George Schneiderman. Art director: William Darling. Alusic: R. H. Bassett. Editor: Louis R. Lueniei. Assistant director: Edward ()'l~earna. Dialogue director: William Collier. Sr. I0 minutes. Released: ]uly I2. With Henrietta Grosman (Hannah jessop), Heather :\ngel(Su1.anne, Norman Foster (Iim Jessop), Marian Nixon (Mary Saundersl. Maurice Murphy (Gary Worth, Lucille Laverne (Mrs Hateld), Charley Grapewin (Dad Saundersl. Hedda Hopper (Mrs Worth. Robert Warn-iek (Mai. Albertson). Betty Blythe (Janet Prescott, Francis Ford (Mayorl. Louise Carter (Mrs Rogersl, lay Ward (Jim Saunders), Francis Rich (nursel. Adele Watson (Mrs. $i|1'ltllsl. A possessive mother forbids her son's marriage to the girl he loves and has made pregnant. driving the boy into the Army and the First World War, during which he is killed. Years later, still unrelenting toward the girl and her illegitimate grandchild, she makes a pilgrimage alone with a group ofoiher Gold Star Mothers to her son's grave in France. An encounter there with a young man whose experiences with his mother mirror I29

Dinner:

mm PILGRIMAGE (Fun
Juhn Ford

the woman's own story, maltes her realize her tragic mistakes.
I933 DR BULL (Fox). Director: john Ford. Scenarist: Paul Green, from novel. The Lax! /Mum, by James Gould Cozzens. George jane Storm. Photographer: Dialogue: Schneiderman. Music: Samuel Kaylin. 76 minutes. Released: Septemberll. WithWillRogers(Dr Bull), Marian Nixon (May Tripping). Berton Churchill (Herbert Banning). Louise Dresser (Mrs HanninB)i Howard Lally (loe Tripping), Rochelle Hudson (Virginia Banning), Vera Allen (Janet Carmaker), Tempe Pigolle (Grandma). Elizabeth Patterson (Aunt Patricia). Ralph Morgan (Dr Verney), Andy Devine (Larry Ward. Nora Cecil (Aunt Emily). Patsy OByrne (Susan). Eie Ellsler (Aunt Myra). Veda Buckland (Maryl. Helen Freeman (Helen Upjohn), Robert

minutes.

De Francesco, Ave Maria. by Charles Gounod. 90 Released: _|une27. With Madeleine Oirroll

(Mrs

Warbunon. I824; Mary Warburton, I914), Franchot Tone (Richard Girard, I924 and l9l4), Lumsden Hare (Gabriel Warburton. I824; Sir john Warburton, I914). Raul Roulien (Carlos Girard. I824; Henri Girard, I9]-5). Reginald Denny (Erik Von Gerhardt), Siegfried Rumann (Baron Von Gerhardt), l.ouise Dresser {Baroness Von Gerhardt), Stepin' Fetchit (Dixie). Dudley Diggs (Mr ManninB)i Franlt Melton (john Girard. I81-I). Brenda Fowler (Mrs Girard, I824), Russell Simpson (notary public, I824),

WalterMcGrail(Frenchduelist.lll24),MarcelleCorday (Miss Giratd, I824). Charles Bastin (Jacques Girard, I914), Barry Norton (jacques Girard, I929), George Irving (Charles Girard. |\)l-I), Ferdinand SchumannHeink (Fritz Von Gerhardt). Georgette Rhodes (jeanne Girard, l'Jl-1). Claude King(BraithWaite), Ivan Simpson

Parrish. Ford's rst of three mainr lms with Will Rogers, about a doctor in a small (Iunneeticut town. his patients petty illnesses. and the terrible epidemic that strikesthe community. (Working title: Ll].-r lI"arrIl Living.)

I934 THE LOST PATROL (RKO Radio). Director: Iohn Ford. Executive producer: Merian Cli' Reid. Associate producer: C. Cooper. Scenarists: Dudley Nichols. Garrett Fort. from story,

(Clumber). Frank Moi-an (Colbert). jack Penniclt. Francis Ford (legionnaires). Turbin Mayer (German Chamberlain. I914). The I00-year history (I82-Jellll-J) of a powerful Louisiana dynastybeginning with the patriarch's will which sends sons oi? to manage French, German and English branches of the businessand ending after the descendants have recovered from their collapse caused by World War l.

Va" N! pnlghscl s'd"y W5"m' A" l'Cm: Ullman. Music: Max Steiner. Editor: I'aulWeatherRe W: Filmcd 5" ht Y"" d"- 74 ""i"'"- (The
leased: February I6. With Victor McLaglen (Sanders), Wallace Ford Sergeant). Boris Kar|o'

Patrol, byPhlllp l_\.laeDonald.

Photographer: I-l_arold

19 JUDGE PRIEST (|_~,)v Dirccwr. John Font p'oduCcr:

So]

wunld

<M"'">~ R"ll*"='d D""Y (G=Y!= 9''">- 1~ M<""b=" "=l=>K'="i8=" (Q"i"=""")- iY Alan Hale (Cook), BI!IlIdDl\ Hurst (Bell). Douglai

5""

Walton (Pearson), Sammy Stein (Abelson). Howard

W"=" <"Y")- N"i"= Cllfk (LL "='ki">- l="' 9 M=k=Y)~ F""=i F'-

British platoon gets lost in the Mwtwt=mi=n Desert Uniwl Arabs nick thvm MT one by one, until only the Sergeant is alive when help comes. (Max Steiner wan the Omar /or Best Sean.)
a

"IN" During World War I

I934 THE WORLD MOVES ON (Fox). Director: John Ford. Producer: Wineld Sheehan. Writer: Reginald C. Berkeley. Photographer: George Schneiderman. Art director: William Darling. Set decorator: Thomas Little. Costumes: Rita Kaufman Music: Max Steiner, Louis De Francesco, R. H. Bassett, David Buttolph. Hugo Friedhofer, George Gershwin. Songs: Should She Desire Me Not, by

Scenarists: Dudley Nichols Lamar Trotti from stories by "Vin 5_ Cobb phologaphcrz 620,3; schncidcp man. Music: SamuclKaylin. 80rninutes Released" ocmbu, 5_ Wm, Wm Rogers dud Wmiam tniuyi pcsm Hcnn. B_ qhmun (Rev, Ashby Brand) -|-om Brown (jeromc Priest), Anita Louise (uni! May Gillespie) Rochelle Hudson (Virginia Maydew) Berton Churchill,(SnatorH0l1ce K. Maydew) oavidlaiieau (Bub Gillis), Brenda Fowl" (Mrs arolinc pcsn Hattie McDaniel (Aunt Dilsey). Stepin Fclchit (]ell' Poindexter), Frank lueimii (Flern Tally), Roger lmhof (Billy G,ym,|.)_ Chnlcy Gnpcwin (SE, Jimmy Baby), Francis Ford (]\tr0r No. 1:), PaulMcAllister(Doc Lake), M," Md-{ugh (Gabby Rives), Hy Meyer (Herman ;:,.|dbu,8)_ Louis Mason (5h,m- Birdsong), Ruben Parrish. I890. A small Kentucky town that hasn't forgottenthe Civil War. When Gillis is brought to trial for a murderous assault. it is the Rev. Brand's testimony. recounting Gillis heroism in the Virginia Regin-ient,that nally wins the man's acquittal from a iury of Confederate veterans. Ford teas ta me the same characters and many element: /rum llnr /ilm in Thc Sun Shines

Bright (I953).

I30

7
I935

(Columbia). Director: John Ford. Producer: Lester Cowan. Scenarist: Jo Swerling, from novel by W. R. Burnett. Dialogue: Robert Riskin. Photographer: Joseph H. August. Editor: Viola Lawrence. Assistant director: Wilbur McGaugh. 95 minutes. Released: February 22. With Edward G. Robinson (Arthur Ferguson Jones; Killer Mannion), jean Arthur (Miss Bill Clark), Wallace Ford (Mr Healy), Arthur Byron (Mr Spencer), Arthur Hohl (Det. Sgt Michael Boyle), Donald Meek (Mr Hoyt), Paul Harvey (J. G.Carpenter), Edward Brophy (Slugs' Martin), J. Farrell McDonald (Warden), Etienne Girardot (Mr Seaver), James Donlan (Howe), John Wray (Henchman), Effie Ellsler (Aunt Agatha), Robert Emmett O'Connor (Police Lt.), Joseph Sawyer, Francis Ford, Robert Parrish. A timid little clerk is a dead ringer for a notorious gangster. When the latter escapes from iail, the clerk is picked up instead, and thus becomes a celebrity in his own right. The gangster decides to rub him out and take over his identity, but, needless to say, he fails. Ferd: It war all ri'ghtl never raw it. (Working title: Pairpart to Fame).

THE WHOLE TOWN'S TALKING

I9 THE INFORMER (RKO Ridi)_ Director: John Ford. Associate producer: curt Reid. Sunni. Dudley Nichols, 1-mm owl by Linn
l

dimcmrs: van NH, pulglascy chm Km 5" decorator: Julia Heron. Costumes: Walter Plunkett. Music: Max Steiner. Editor: George Hively. 9| tninutes. Released: May l. With Victor McLaglen (Gypo Nolan), Heather Angel (Mary McPhillip), Preston Foster (Dan Gallagher), Margot Grahame (Kattie Madden), Wallace Ford (Frankie McPhillip), Una O'Connor (Mrs Mcl'hillip)r ]~ M~ Kcrrigan (Terry), Joseph Sawyer (Bartley Muiholland), Neil Fitzgerald (Tommy Conner), Donald Meek (Pat Mulligan), D'Arcy Corrigan (The Blindman), Leo McCabe (Donahue), Gaylord Pendleton (Daley). Francis Ford (Judge FlYll), Mly Boley (Mrs Betty), Grizelda Harvey (an obedientgirl), Dennis ODea (street singer), Jack Mulhall(look-out), Robert Parrish (soldier), Clyde Cook, Barlowe Borland, Frank Moran, Arthur McLaglen. Dublin. I922. During the Sinn Fein rebellion, Gypo Nolan tums a friend in to the police because he wants the reward money to go to America. I-ord'i greater: crilical im-cert tn that lime, the /ilm IL'|I!I him bath the Academy Att'rrrdandtheNetuYork Fi'ImCritic.t Award fur Beit Dt're:ti'tm. (Oteurt also went lo MrLagIert, Nichol: and Steiner.)

o.Fhhcm,' photognphm

Joseph H_

Augu An

Director: John Ford. Producer: Sol M. Wurtzel. Scenarists: Dudley Nichols, Lamar Trotti, from story by Ben Lucian Bunnan. Photographer: George Schneidertnan. Art director: William Darling. Set decorator: Albert Hogsett. Music director: Samuel Kaylin. Editor: Alfred De Gaetano. Assistant director: Edward O'Fearria. 80 minutes. Released: September 6. With Will Rogers (Dr John Pearly). Anne Shirley (Fleety Belle), Eugene Pallette (Sheri Rufe Jeers), John McGuire (Duke), Berton Churchill (The New Moses), Stepin' Fetchit (George Lincoln Washington), Francis Ford (Efe), lrvin S. Cobb (Capt. Eli), Roger lmhof (Pappy), Raymond Hatton (Matt Abel), Hobart Bosworth (Chaplain), Louis Mason (boat race organizer), Charles B. Middleton (Fleetys father), Si Jenks (a drunk), Jack Pennick (Ringleader of boat attack). Dr John sells a sure-re cure-all medicine along the Mississippi, and somehow acquires an old steamboat, which he converts into a oating waxworks museum. When his nephew is convicted ofa murder, John steams down the river looking for the only eye-witness who an prove it was self-defence. The big steamboat coma! at the end is also .1 race to save the buy from hanging. and with '1 MP 9' was """h4<>* ("=1 <11" '=X""|< "id "K doctor's highly alcoholic patent medicine). John wins both. (Me u/I"tmI'i 1t.;i- 'th|rI|t'i /um. uni] Rut-r1i'I.|i_t}iIm. (ll'i>rlun_g tttlr-: Steamboat Bill.) During tIi.- thriritihg, Itl.\' nrrvgrd with

Century~Foit).

I935 STEAMBOAT ROUND THE BEND (20th

"T"' 7"""""3

"""/~"'."-

-"'/' 7""""'

"*""'-

I936 THE PRlSONER OF SHARK ISLAND (20th Century-Fox). Director: John Ford. Producer: Darryl F. Zanuck. Associate producer-scenarist: Nunnally Johnson, from life of Dr Samuel A. Mudd. Photography: Bert Glennon. Art director: William Darling. Set decorator: Thomas Little. Music director: Louis Silvers. Editor: Jack Murray. Assistant director: Edward O'Fearna. 95 minutes. Released: February I2. With Wamer Baxter (Dr Samuel A. Mudd), Gloria Stuart (Mrs l'egBy Mudd), Claude Gillingwater (Col. Dyer), Arthur Byron (Mr Ericson), O. P. Heggie (Dr. Mclntyre), Harry Carey (Cdt. of Fort Jefferson, Shark lsland'), Francis Ford (Corporal O'Toole), John Carradine (Sgt Rankin), Frank McGlynn, Sr. (Abraham Lincoln), Douglas Wood (Gen. Ewing), Joyce Kay (Martha Mudd), Fred Kohler, Jr. (Sgt Cooper), Francis McDonald (John Wilkes Booth), John McGuire (Lt. Lovell), Ernest Whitman (Buckland Montmorency Buck Tilford), Paul Fix (David Herold). Frank

l3l

Shannon (Holt). Leila Melntyre (Mrs Lincoln), Etta McDaniel (Rosabelle Tilford), Arthur Loft (carpetbaggerl. Paul McVey (Gen. Hunter). Maurice Murphy (orderly), Jack Pennick (soldier who sends flag messages). J. M. Kerrigan (Judge Maihen), Whitney Bourne. Robert Parrish. The true story of Samuel Mudd. the doctor who treated John Wilkes Boothunaware that the man had just shot President Lineolnand was tried as an accornplice in the assassination and sentenced to life impri:onmen! at Ft.]e'erson. His heroism duringayelluw lever epidemic was instrumental in having his case re-opened. which resulted in his exoneration. (Ultalriul renluke. Hellgate,Jlreclr-tl in I952 byCIiurI:s M. l\"arrn.)

Glass (Chatelard). Neil Fitzgerald (nobleman). Paul

McAllister (Du Croehe). The reign of Mary. Queen of Scots, her rivalry with Elizabeth of England. her love a'air with Bothwcll, her
nal

it

rt-as

martyrdom. ll did t't'v_\- ti-ell." sold Fnnl, though rm badly ll/Kc! I It-ft.

I936 The Lart Oullutv (RKO Radio). Director: Christy Cabanne. Scenarists: John 'I'vi'ist, Jack Townley, from story by John Ford and E. Murray George Hively. 61 minutes. Campbell. Editor: Harry Carey. Hoot Gibson. I9. With June Released: Tom Tyler, Henry B. Walthall. A remake of Ford's I91) two-reeler.

MARY OF SCOTLAND (RKO Radio Hcrlllan. Director: John Ford. Producer: Pandru s. i || i Ag,,.,a':\,. ].,5:',', ff P: s'" . . -: oto ra An erson. directors: Van Flesii )Polglase,p Carroll Clark. Set decorator: Darrell Silvera. Costumes: Walter l"lunhm Music: Max 5win,_.,_ mm; Jane Longg
1936
-

:Dd|.Nh1|-

|.bM if

editor: Robert Parrish. Special e'ects: Vemon L. Walker. I2] minutes. Released: July 24. With Killllifim Hilrbiilll (Milly SW3"). Fredrie Mild! (B0lhW|l)r F10l'II Eldlldgll (E|i1ll1'll\)r Cmdim (DIVM D0\-B115 Wllwn (Darnley)r Jh F~"vi'iL1< (Milly Rizziol. Monte Blue <MSiKc')t l
Assistant

W5l"Y Ba"? The story ofa man and his wife told against the backBivimd <>i the Irish Rsbsllin iii l3=i'=t Wi"=k- 19"
I937 WEE

I936 THE PLOUGH AND THE STARS (RKO Radio). Director: John Ford. Associate producers: Cli' Reid, Robert Sisk. Scenarist: Dudley Nichols. from play by Sean O'Casey. Photography: Joseph H. August. Art director: Van Nest Polglase. Music: Nathaniel Shilkret. Roy Webb. Editor: Gerge Hively. '72 minutes. Released: December 26. With Barbara Stanwyck (Mora Clitheroe]. Preston Foster (Jack Clitheroe). Barry Fitzgerald (Fluther Good), Dennis O'Dea (The Young Covey). Eileen Crowe (Bessie Burgess), Arthur Shields (Padraie Pearse). Erin O'Brien Moore (Rosie Redmond), Brandon Hurst (Sgt. Tinley). F. J. McCormick (Capt. Brennon). L'na O'Conner (Maggie Corgan). Moroni Olsen (Gen. Connnll)').J. M. Kerrigan (Peter Flynn). Neil Fitzgerald (Lt. Kangon). Bonita Granville (Mollser Gogan\. Cyril Mclsaglen <b""1="*l- Mm <<3i"i><>"1 5*di1=")- R"l*'=" Q inn (second woman) ' n). M d fi G oron(rstvtoma Lionel Papc (the Englishman). Michael Fitzmaurice (lc-'\_)i 65'1""! p"d|" (lCA)- D'i5 u'\|- D'Arcy

"mini aryu

c"'5""i

Scion).RobertBarr=l<Morinn)rG=\'in Miiir(Lvieir). Ian Keith (James Swirl Moray). Meroni Olsen (John 5lI|< Kllmllr Dmlilil CYl5P (H"l\ll\)'lr Willlll (Ruthven). Molly Lamont (Mary Li\'innwn). Walter Byron (Sir Francis Walsineh=rn), Ralph Forbes (R=n do|ph).Alan Mowbray (Trockrnorton). Frieda lneseort (Mary Beaton). David Torrence (Lindsay). Anita Colby (Mm Fleming). Lionel Helmorv (English nshcrrnatu.

Pm

D0755

U0? (his wife), Bobby

(urshleylr

WIISOH (hi5 0l1.)-

Lawrence Grant, Nigel DeBrulier. Barlowe Borland (iiidstsl. Alec Craig (Donal). Mary Gordon (nurse), Wilfred L\iC=s(LXinzlnn), Lennard Miidis (Maiilan-I). Brandon Hurst (Arian), D'Arcy Corrigan (Kirkcaldy). Frank Balter(Douglas). Cyril McLaglen (Faudoncide), Robert Warwick (Sir Francis Knellys). Earle Foxe (Duke of Kent), Wyndham Standing (sergeant), Gaston
I32

lvin 5imti50ii- Murray Kinr-ell.

Lllwl

Photography: Arthur Miller. St-t decorator: Music: Louis Silvers. Editor: Little. Walter Thompson. I9 minutes. Released (with tinted sequences): July so. with Shirley Temple (Priscilla Williams). Victor McLaglen (5gt MacDu). C_ Aug). smhh (COL wmiumix lune Lung Gcycc Williams), Mich-1 What, (LL *(jQ;,m-' Br;n4t~;), Cesar Romero (Rhoda Khan). Constance Collier (Mrs. Allardyce). Douglas Scott (Mott). Gavin Muir (Capt. Bibherbeigh).Wil|ie tmnguvtaharnrrieii Dihn).Brandon Hufgl (Bagby), Lionel Pape (Major Allardyce). Clyde Coolt(Pipe MaiorSneath).LauriBeatty(ElsiAllardyce), Lionel Bi-aham (Major Gen. Hammondl, Mary Forbes (Mrs. MacMonachie), Cyril McLaglen (Corporal Hector Sarno Tummel). Pat Somerset (oicer). (conductor). The adventures of a little girl at an l8*l0's British

WILLIE WINKIE (10th CenturyFox). John Ford. Producer: Darryl F. Zanuck. Director: Associateproduccr: Gene Markey. Scenarists: Ernest Pascal, Julian Josephson, from story by Rudyard
Kipling.
Thomas

peace treaty.

Anny post in Raipore, lndia, where her grandfather Besides nding a husband for her widowed mother, making friends with a tough sergeant and softening the old colonel: overly strict regime, she manages to coax a notorious Indian rebel to sign a
is Colonel.

|937 THE HURRICANE (gomwyruniud Ami") Dinner; John Fm.d_ pmduun sum," Goldwyn Mwchlg product Merrin Hu",m,d_ Sunni":
James Norman Hall, adapted by Oliver H. P. Garrett. Aasociate director: Stuart Heisler. Hurricane sequence: JameaBasevi. Photography:

Dudley Nichols, from novel by Charles Nordho,

Producer: Samuel Goldwyn. Scenarist: Robert E. Sherwood, from story by N. A. Pogson. Photography: Rudolph Mat. Art director: Richard Day. Music: Alfred Newman. Special effects: _James Basevi. I00 minutes. Released: April I5. With Gary Cooper, Sigrid Gui-ie, Basil Rathbone, George Barbier, Binnie Barnes, Ernest Truex, Alan Hale, H. B. Warner. According to Ford, Mayo_ asked _him to do _some action scenes for the picture;his workincludesablizaard sequence and the scenes of Polo crossing the Himalayas.
I938 FOUR MEN AND A PRAYER (20th CenturyFox). Director: John Ford. Producer: Darryl F. Zanuck. Associate producer: Kenneth Macgowan. Scenarists: Richard Sherman, Sonya Levicn, Walter Ferris, from novel by David Garth. Photography: Ernest Palmer. Art directors: Bemard Hetzbrun, Rudolph Sternad. Set decorator: Thomas Little. Music: Louis Silvers, Ernst Toch. Editor: Louis R. Loeler. 85 rninutes. Released: April 29. With Loretta Young (Lynn Cherrington), Richard Greene (Jeffrey Leigh), George Sanders (Wyatt Leigh), David Niven (Christopher Leigh), William Henry (Rodney Leigh), C. Aubrey Smith (Col. Loring Leigh), J. Edward Bromberg (General Torres), Alan Hale (Farnoy), John Carr-adine (Gen. Adolfo Arturo Sebastian), Reginald Denny (Douglas Loveland), Berton Churchill(Martin Cherrington), Claude King (Gen. Bryce), John Sutton (Capt. Drake), Barry Fitzgerald (Mulcahy). Cecil Cunningham (Pyer), Frank Baker (defense attomey), Frank Dawson (Mullins), Lina Basquette (Ah-Nee), William Stack (prosecuting attorney), Harry Hayden (Cherrington's secretary), Winter Hall (judge), Will Stanton (Cockney), John Spacey, C. Montague Shaw (lawyers), Lionel Pape (coroner), Brandon Hurst (jury foreman). A British ofhcer is unjustly disgraced and then murdered by gun runners in India. His four sons vow
n

Bert Glennon, Archie Stout (second-unit). Art directors: Richard Day, Alex Golitzen. Set deoontor: Julia Heron. Costumes: Omar Kiam. Music: Alfred Newman. Editor: Lloyd Nosler. Sound recording: Thomas Moulton. Assistant director: Wingate Smith. Eaterior locations at Samoa. I02 minutes. Released: December 24. With Dorothy Lamour (Marama), Jon HalI(Terangi), Mary Astor (Mrs DeLaage), C. Aubrey Smith (Father Paul), Thomas Mitchell (Dr Kersaint), Raymond Massey (Mr DeLaage), John Carradine (guard), Jerome Cowan ((Jptain Nagle), Al Kiltume (Chief Meheir), Kuulei DeClercq (Tita), Layne Tom, Jr. (Make), Mamo Clark (Hitia), Movita Castenada (Arai), Reri (Reri), Francis Kaai (Tavi), Pauline (Mata), Flora Hayes (Mama Rua), Mary Steele (Mlrunga), Spencer Charters (iudge), Roger Shaw Drake (mptain of the guards), Inez Courtney (girl on boat), Paul Strader. On a peaceful South Seas Island, a sadistic governor sends an innocent native to jail for European six months. Unable to stand the connement, the youth escapes to join his new bride. When he is caught, the govemor extends his sentence, but, instinctively, the native continues to break outand each time his sentence is lengthened. During his nal attempt, he kills a vicious guard. but before they can catch him, a terrible hurricane, as though sent by the gods, destroys the island and the helpless Europeans. Ford: jim Boievi conceived the hurricane ittrl/and actually 4-'4 all the rneellntlirt. While Ill and I were rhoatirte ti, [ave Stu Him" second tdIl|t1yald never km what Ute he would happen and I mid, the ma] blow: o or a sarong blow: a or mrnebody /ails don/ngrt it." And or a matter o_/fart, I thinlt he had quite a few than in the picture. (The lm received

avenge him and clear hi~ name Hit-y do.

"If

an Oscar /or tound recording.)

I938 The Adventurer of Marco Polo (Goldwyn~United Artists). Director: Archie Mayo (and uncredited: John Ford).

Preston Foster (Lt. John C. Drake), George Bancroft (Capt. Leeds), Slim Summerville (Ellsworth

"[33 SUBMARINE PATROL (mill Cl'lllIl'Y-Fl)Prvduwr Darryl F. ZIrw9l=Arsw-Its Pr<><l\rcr= G=n= M-rl==y- Scenlnrm Rim limes, Darrell Wm. lack Y=ll=n, from novsl. TM Splinter Fleet, by John Milholland. Photography: Arthur Miller. Art directors: William Darling, Hans Peters. Set decorator: Thomas Little. Music director: Arthur Lange. Editor: Robert Simpson. 95 minutes. Released: November 2!. With Richard Greene (Perry Townsend, III), Nancy Kelly (Susan Leeds),
Dlr==5@r= John F<ird-

Spotta' I33

loan Valerie (Anne), john Carradine (McAllison), Warren Hymer (Rocky I-Iaggerty), Henry Armetta (Luigi), Douglas Fowley (Brett), I. Farrell McDonald (Quincannon), Dick Hogan (lohnny), Maxie Ward Bond (Olaf Rosenbloom (Sgt Joe Duy), Swanson), Robert Lowery (Sparks), Charles Tannen (Kelly). George E. Stone (Irving), Moroni Olsen (Capt. Wilson), lack Pennick (Guns McPeck), Elisha Cook, lr. ('Professor' Pt-art), Harry Sti-ang,(Graii-iger), Charles Trowbridge (Admiral Joseph Mairland), Victor Vareoni (chaplain), Murray Alper (sailor), E. E. Clive. A broken-down ship in the Splinter Fleet (whose job was searching out enemy submarines in World War I) is whipped into shape by a tough captain.
Ficketts),
. -u d A STAGECOACH w Director-producer: Johii P255: Eztslllillfnnplggdl-ICCIZ wilrerwinger. Scenarist: Dudky Nichols, from story. Stage to Lotdshurg,' by Ernest Haycox. Photography: :Al it Tlbo. s .A ii BrrGl tqnoitw. rs ngnmih Tune, rguz wilt? dc Mug: (adapted 'i::m lgmhnresrican foil: Piizlkettzf tunes of early lllB0s): Richard Hageman, W. Franke

Doyle, Wiggie Blowne, Margaret Smith. I884. A group of mistsof one kind or anothercross the New Mexico Territory in a stagecoach, threatened and nally attacked by Apaches. Probably Ford: mnrt famous western, and the rst to he shat in Monument Valley. The New Ynrk I-t'!m Critic: gave him their Bert Director award; and Orcavr went to the eampomr and to Thamar Mitchell at belt ruppartiug aetnr. Footage /ram the chase hat been uied in at lean two B weslenir: I Killed Geronimo, I950, and Laramie Mountains, I952. The lm was remade, abnminably, in I966.)
l

I919 YOUNG MR

LINCOLN (Cosmopolitan Zolh

.

mo

"

"

C?""Y'F")"
I
-

b. I-Ilin]hL'IdLShkL'G Editorgl sfiplelrviiiri

Spencer, Walter Reynolds.

5"" ""'' T'" "*" g;:('|""{|1|':- A" ""' "M .". Y Nrwnun. hdltor Walter Thompson. Little. Music: Alfred ;ldr' gab p"s"' Io! "'"" ,Rld1 rxni
A'",m," Ni-"' Richard DI 'na':|'{ ?';5_";5I;
v

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F'd'

E""""

PPd\fv<r- Darryl l-'. ;i|'||]ck_

(xbigailclay)

Oithociovcifitilz l?.:ilti>rs:ul;:ro:tIigY Assistant director: Wingate Smith. Filmed in Monument Valley and nriier locations in Arizona UIIII, Califom. 91 min t . Released: Match 2. ' wiiii John Wi:ne (The itiinegii H 5 M (D ll , yr (3; 4' Kid) Cl' T 'i5..i.. i'....l'>I ri..,.;..."i5/iir.i'.iYi'<i>. (Buck), Donald Meek (Samuel Peacock), Louise Platt (Lucy Mallory) Tirn Holt (Lt. Bllndiltd) George Bancroft (Sheri Curly Wilcox), Berton izlnircliill (Henry Gatewood), T0111 TyIet(Hank l=linni-ner>, Chris Pin Martin (Chris), Elvira Rios (Yakima, nit wife), Francis Ford (Billy Pickett), Mirgi Daighton (Mrs Pickett), Kent Odell (Billy Pickett, ]r.), Yiilrirni Clnu, Chief Big Tree (stuntmen), Harry Tenbrook (telegraph barman), Paul McVey operator) Iack Pennick (lerry, (Expmis ' AFN) Comclius KR (caph whim), noun Lake (MN Nancy whim"), Louis Mum (Sham), Brenda Fowl" (MN Gewood) Wm" MeGrail (Capt. Sickel), Jcirepli Rickson(Luke Plummet), Vesrer Pegg (Ike Plummet), William Hoer (sergeant), Bryant Washbum (Capt. Simmons), Nora Cecil (Dr Boone's housekeeper), Helen Gibson, Dorothy Annleby glancliin girlshbuddy Roosevelt, Bill Cody (ranchers), hire orse (Indian chief), Duke Lee (Sheriff hie of Lordsburg), Mary Kathleen Walker (Lucy's baby), Ed Brady, Steve Clemente, Theodore Larch, Fritzi Brunette, Leonard Trainor. Chris Phillips, Tex Driscoll, Teddy Billings, John Eckert, Al Lee, Jack Mohr, Patsy

(gin? 8 ( n :4*A(1;';l)F:i'?' 3"? g"" P'g;' c'."()]1 = ," "M" " B "tt))ic|re:ir)(cgri;; P'.""
<'*=" B-."-."==> Rm" '~"?~ <*-"='> C"--'== II 1'5"; (h'fc'"; E:"'d>-;,;:" "*1f"a; B?? a Y " " " " - ." 5d"')*R""5!P<w"!)*C'"""" 5""")r ("""")- 54" M"=" (1'"' T C15!-l'=
f:%:;)"tI;; (M!Ag:')l1"=" K}"'{dMlf[* "W Y." ' Y . '. ' l='= "T" =l"l<). (".""")' L M" <?"" w'l' S'v Randi" (I'")'
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.
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Flay) iddc;;Cl.hns (Bk T"m)' P|' Mm d (mmwcu (Mm Cm) Wm In MB) '
3

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.

oug as,

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fililif

Eli,

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.

n.' I'll}: earlrylifc of _Abe Lincoln, his tragic love for Ann tit e_gc, is decision to become a lawyer and his rst trial, in which he defends two brothers on a murder
.
.

cl
.

"B "4

P'" "" ""'-

I939 DRUMS

ALONG THE MOHAWK (20th

Century-Fox) Director: John Ford. Executive producer: Darryl F. Scenarists: Zanuck. Producer: Raymond Grilfith. umar Tmrti. Sonya Levicn and (uncredited) William
Faulkner. from novel by Walter D. Iidtnonth. Photography (in color)! Bert Glennon, Ray Rennahan. An directors: Richard Day. Mark Lee Kirk. Set decorator. Thomas Little. Music

I34

Alfred Newman. Editor: Ruben Simpson. Sound editor:Robert Parrish. I03 minutes. Released: November 3. With Claudette Colbert (Lana Burst Martin), Henry Fonda (Gilbert Martin), Edna May Oliver (Mrs McKlennan), Eddie Collins (Christian Reall), John Carradine (Caldwell), Dorris Bowdon (Mary Reall), Jessie Ralph (Mrs Weaver), Arthur Shields (Father Rosenkranz). Robert Lowery (John Weaver), Roger lmhof (General Nicholas Herkimer), Francis Ford (Joe Boleo), Ward Bond (Adam l-lartmann), Kay Linakcr (Mrs Demooth), Russell Simpson (Dr Petry), Chief Big Tree (Blue Baelt), Spencer Charters (Fisk, innkeeper), Arthur Aysleworth (George), Si Jenks (Jacobs), Jack Penniclt (Amos), Charles Tannen (Robert Johnson), Paul McVey (Capt. Mark Demooth), Elizabeth Jones (Mrs Reall), Lionel Pape (General), Clarence Wilson (Paymaster), Edwin Maxwell (pastor), Clara Blandick (Mrs Borst), Beulah Hall Jones (Daisy), Robert Greig (Mr Borst),Mae Marsh. The experiences ofa young couple in the Mohawk Valley before and during the Revolutionary War. Ford: rst lm in eolnr. Faotage ured in other lm, M1151) MhIWk, in I956.
e'ects

Kitty Mcl-lugh (Mae), Mae Marsh, Francis Ford, Jack Penriielt. The odyssey of the Joads, a family oi Oakies forced oil their land in the dustbowl of the 30's. I-uni and ]une Dariuell receitwtl Osmri and Ford wan the New Ynrk Film Criticr Ari-ard /i1! his work an thir arid The Long Voyage Home.
I940 THE LONG VOYAGE HOME (Wanger-United Artists). Director: John Ford. Producer: Walter Wanger. Scenarist: Dudley Nichols, from one-act plays, The Moon of the Caribbees,' ln the Zone, Bound East for CardiiT,' The Long Voyage Home, by Eugene O'Neill. Photography: Gregg 'Ioland. Art director: James Basevi. Set decorator: Julia Heron. Music: Richard Hagen-ian. Editor: Shemian Todd. Sound editor: Robert Parrish. Special effects: Ray Binger, R. T. Layton. I05 minutes. Released: October 8. With Thomas Mitchell (Aloysius Driscoll), John Wayne (Ole Olsen), lan Hunter (Thomas Fenwiek, Smiity'), Barry Fitzgerald (Cocky), Wilfred Lawson (Captain), Mildred Natwick (Freda), John Qualen (Axel Swanson), Ward Bond (Yank), Joe Sawyer (Davis), Arthur Shields (Donlteyrna_n), J. M. Kerrigan (Crimp). David Hughes <5"Y) B'"Y Fm" 0") CW" Md-=$|=" (Mm)Rb" 5' PS? P'd5Y)i -lick P"""k (-lh""Y

mo THE GRAPES or WRATH(20th Century-Fox). Direetor: John Ford. Producer: Darryl F. Zanuck. Associate producer-scenarist: Nunnally Johnson, from novelby John Steinbeck. Photography:Gregg Toland. An directors; Rich, Diy_ Mark Kirk 5" decorator: Thorrias Little. Music: Alfred Newman. Song, Red River Valley, played on accordion by Dan B,.,_.g:_ 5x,nd_uni, dinner om, Brow Milo,-_ Rob, Simpwnv Sound. Gm, Lc,,n.m_ Rog "mm, Sound amen Rob, parish Agisunl dimqm; Edwud OFeama. 129 minutes. Released: March I5. wnn Henry Fonda (Tam Jud), Jam Dimcll (M, lam), John Qmdinc (Quay), Charley Grapewin (Gmmp. load), Dams Bowdcn (RDah,m), Russ; simpsun (pa Ild)_ 0. z. Whitehead (Al), John Qualen (Muley), Eddie Quillan (Connie), Zele Tilbury (Grandma Joad), Frank Sully (Noah), Frank Darien (Uncle John), Darryl Hickman (Wineld), Shirley Mills (Ruth Joad), Grant Mitchell (guardian), Ward Bond (policeman), Frank Faylen (Tim), Joe Sawyer (accountant), Harry Tyler (Bert), Charles B. Middleton (conductor), John Arledge (Davis), Hollis Jewell (Muleys son), Paul Guilfoyle (Floyd), Charles D. Brown (Wilkie), Roger lmhof (Thomas), William Pawley (Bill), Arthur Aysleworth (father), Charles Tannen (Joe), Selmar Jackson (inspector), Eddie C. Waller (proprietor), David Hughes (Frank), Cli Clark (townsrnan), Adrian Morris (agent), Robert Homans (Spencer), Irving Bacon (conductor),

L"

Tenbrook (Max), Douglas Walton (Second Lieutenant), R=Ph"l= Omen" (D="shl=r Of I1"-= Tmi>i<=)- C="=wn M'=|=- CI""'='_\ 1!-\n"i (this in ==w=)- Hwy Woods (the Admiral's sailor), Edgar Blue' Washington, Lionel Pape, Jane Crowley, Maureen Roden-Ryan. Each man on the Glencairn looks forward in his own '=Y W "W ""1 Y lh= \{~w=s=- but. == always, they nd the land as disappointing as the sea and all but one sign on for another run. O'Neill: fuearit: amnng the lrrii made of hit work, and the only one he looked at P"w4'wIl>'l9-4| TOBACCO ROAD (10th Century-Fox). Director: John Ford. Producer: Darryl F. Zanuek. Associate producers: Jack Kirkland, Harry H. Oshrin. Scenarist: Nunnally Johnson, from play by Kirkland and novel by Erskine Caldwell. Photography: Arthur C. Miller. Art directors: Richard Day, James Basevi. Set decoriitor:Thoi'nas Little. Music: David Euttolph. Editor: Barbara McLean. Sound effects editor: Robert Parrish. 84 minutes. Released: February 20. With Charley Grapewin (Jeeter Lester), Marjorie Ramheau (Sister Bessie), Gene Tiemey (Ellie May Lester), William Tracy (Dude Lester), Elizabeth Patterson

B'3")- c_"5'""" F""k (N""Y)- C"5"'"i" R'"=""" (B1! PPIHRJ D" Bu"-12 (Tim "WY

I35

(Ada Lester), Dana Andrews (Dr Tim), Slim Summerville (Henry Peabodylr Ward Bond (Luv |]e|'|L')l, Grant Mitchell(Geurge Iayne),Zeie'l'ilhury (Grandma Lester). Russell Simpson (Sheriff), Spencer Charters (employee). Irving Baez? (Eellerl), HarrhT-F-|er"(auto ar es a ton salesman). George (Than er emp oyei: , ()\l;|yr;r),]aek lennielt(Deputy Sheriff), Dorothy Adams (pa)-M-5 5cc|-(;|f)'l_ Ffgnqig Fan] (\;|g;|bgnd)_ The futile lives of a decadent poor-white Georgia

ofces

III Pans and London.

Among those he took

with him were Greizs l<3I=nd- Jvsvrh Walker. Budd Schulberg, Carson l(an|n. Daniel Fuchs. Claude Dauphin, Robert Parrish. jack lennii:lt, Ray Kellogg. Harold Wll!:;l'(:T.phl:?l:gra:Uhb.bDf:f\1.!orD:\;:c Igoitgrdz
newsmatjr W_ and for intelligence assessment. the work of guerrillas. sabuteurs. Resistance Oulvti. . . . Besides this. there WK 5P""1i55|B"""'"l5-

family.
PrOdl1t=l'I DBIYYI F~ xii"-\k~ Photographer: George Barnes. Editor: Gene Fowler, ]t30 minuves. With Charles Trowhridge. An Army "wins lm on the denser: of, and Mrs to prevent, venereal disease.

Director: lohn Ford

I941 SEX

HYGIENE (Audio ProductionsAU.S. Army).

I942 THE BATTLE OF Cum,-y_pox)_

MIDWAY (U.S. Navy-10th

Director; John pm.d_ pmduc; Dam; p_ 1,.-mck_ gcmnisl. phmp Dunn, {mm novel by Richard l_1.d|yn_ phomgmphy; Anhu, Mm An din,c_ tors: Richard Day, Nathan Juran. Set decorator: Thomas Little. Costumes: Gwen Wakeling. Music: Alfred Newman. Choral effects: Eisteddfod Singers of Wales. Editor: Iames B. Clark. Narrator: Rhys Williams. minutes. Released: December. With Walter Pidgeon (Mr Grulfydd). Maureen O'Hara (Angharad Morgan). Donald Crisp (Mr Morgan), Anna Lee (Brunwen Morgan). Roddy McDowell (Huw hlorganl. john Loder (lanto Morganl, Sara Allgood (Mrs Beth Morgan), Barry Fitzgerald (Cyfartha). Patrielt Knowles (lvor Morgan). The Welsh Singers

I94] HOW GREEN WAS cmury_pox)_

MY VALLEY (20th

Director-photographer: l.t. Commander john Ford. U.S.N.R. Narration written hy Ford. Dudley Nichols. james Kevin McGuinness. Additional photography: jack McKenlie. Music: Alfred Newmiin. Editors: Ford. Robert Parrish. Z0 minutes. Released (in cnlur): September. With the voices of Henry Fonda. INK 1)=_rWe|l.D\1nlld Csifh meriea's rst war ocumentary ll receive t e Academy Award as suehl. lmed during the actual battle. Although he was wounded in the-_ rst attack. hvrd continued to photograph the events himself.
I9-J2 TORPEDO SQUADRON (U.S. Navy). Director: l.t. Commander john Ford. U.S.N.R. 8 minutes in colour. Just before the battle of Midway. a photographer in Ford's unit took some I6 mm. colour footage of life on a PT BoarTorpedo Squadron It. When all but one man in this squadron were killed during the battle. Ford had the footage edited and reduced to an R mm. lm to he seen only by "1" '"" " ~*'='d boysPrints were deliv:-red tg them by persona: envoys (Sl;'Cl| as ]oe August)an the lm was never use or any ot er

ll!

(Mr Parry), Ann Todd (Ceiwen). Frederick Worloelt (Dr Richards). Richard Fraser (Davy Morgan). Evan
i.i"!;rirr3.2?r.riJ3L'I,3f ?;..rr.,Z22>r.?EIii22; Ethel Griies (Mrs Nicholas), Marten Lamont (Jestyn , . . Evans). Mae Marsh (miners wife). Louis jean Heydt Denis Hoey (Motschell) Tudor Williams (miner) Cliurd (singer): Sc/cm Eve Mart.
. .

(\ir||li:nl. Mnrtiiri

l.iivi-cry

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]nna~).

Anhur Shields

purpose.

ma?

3.""r9Eq***H'g"1g~;\>;, S N R L C 'm1rs' L. M" om ' " J. Imder John l*ord. U.S.N.R. Photography: loland.
'

5?"'"" Music: .~\lfred

Newman. lxdltur: Robert Parrish. Z0 minutes.

""'-.]""
.

C-

"""

u-5-M'Cthe
P1"

The slow and tragic disintegration of a Welsh mining l'amil' (Ind of the Valley iri which the" lived. <0rr.irr for Fisnl, srrr Pirlnre, Damzld Crirp, /in/irrr iimrrr. the irr! rlirlclorr; dI|dFt71'i.f'1f0IIY!}I award/Von! I'll NtteYi1rb
F,-lm cm.-H)

9"" "'."" "" . ""5 " " "": ""3! r"'="*' ~"'<"* *_"=~ M ?>~ I h="P}-*1 '""\ ='"Bl was there. hut (rregg was in charge of it.
I9-U WE SAIL U.S. Navy).

A" _'\i\1I\Y AWlYd'\l'lXlll'lg docurrientary about b!"'""$ "T "ml P_l="><"- A"*'"B *0 F"-1;

When he had completed How Green War [My Valley, Ford went on active duty in the Navy. He was appointed Chief of the Field Photographic Branch, a unit of the O.S.S. (Oice of Strategic Services) with

AT MIDNIGHT (Crown Film Unit-

Director: Lt. Commander john Ford. U.S.N.R. Narration written by Clilford Odets. Music: Richard

I36

Addiiiscll. 20 minurm. Released: July. A doaimcniary ahnui ilic hazards of geiiiiig incrcharir ships ihrough can-ihai mna. Thu imil ("hi7 iliwmmriina iiwii'mn]mscil u//mli1;;\<. I/It rliuonrig ql rvhrrh Fiml |4Ik1l'|S(|l, l\uI. IXCIAYIAIIPIK iii him. iiiiii I'M /lV!! |'UIl]lIz !L(7r. ilLl|(d_\ i-imqi/i-ii-J by him; in "I01! i-imx. iii: mini-riiil mi; lllflkil mw In iiilim ii:/iii IIIIJVI r14! ii mm ii /inirlii-il /iii-iuri~.
l9-U T/1: Lin! Oulliirr llfnrzalilxd prniccl]. Ford plannnl a rcmakc of Ih: WI9 lwo-rcclcr In be his rst lcarur: when the war was Over; he worked mi Ihc 4.Ti[ll. adding characters and alrcring lh: aiding. and preliminary negoriariom wcrc cunduqcd Wilh Hcrhc ]. files of Republic Piquris. The lm was ro srar Fnrd'.\ old friend. Harry Carry.

Sruhhy Krugcr. Sammy Srcin. Michael Kirby. Blake Edwards (hiiai crew). \l'alIau: Ford. Toni Tyler. 'lh: siory of ihc man vrliiv pinnccrcd di: \1.\ uf lhlt Fl Bnar in cumhai_ rold agaiml ihc hiickgrnund of :\mnu's ii-iiiii dcfcal. iii [ht Phlllpplnls. HWJ lllfil Iiii i.i/mi /iiiiii ilm jilni I!) build II Vl.\'VI.i|I|r1!I mirvr. Thr I-iimi_' /iiv I-'ii~!J P/iuingrii/ihic Rmndi !\>lYd!lL BiinL- /miiigc uxil in Malaya. I950 (Richard Tlmrp. M-G-M).
l9~l(> MY D.-\Rl.lNCi CLlir\llN'|'lNli (20!!! Gcnlury-Fox). D|rm1ur. lohn Ford. Producer: Samuel (3. Engcl. SCl!l\il'il$I Engcl. Winmin Milli-r. from iiory by Sam Hellman. based on hook, ':\'l|'! lzlirpl Fmnliiv illirrxlul, by Stuart N. Lakc. Phniugraphy: jmcpli l. i\lai:Di\nald. .\|1 dinuun: lama Bascvi. Lyle R. Wheeler. Sci dccnmois: 'l1mnne Liirlc.

iiiiiiip iiqiiii iii pfltpifc I iiiiii :1" ll ;.":"""FfF 12:1? " "_""' " ;::h' Fm nun crc was lo ic a ~cciinn on an : rriaiiir Wit Cflllllilsi aiiii (ht gftalbl pan nf [ht Wfk W2\ iii giiiii; "."F" "_" I ""1 I f r "" "'1 " clips ihai wuld mrvc
ixrii-i
his

Ill: Wifi Fiiiii iiiii

'

R*h:d_C;',"u hf? ""~ "'?'= EFT 1inr: mi .|\cnccr. . .~\i.<iani rncinr: Williarn Etkllzfdl. EXIBIIOFS miiiiii iii 'l\lK\Illll!ICI\l \'_a||_i-.
*

gr.

?&.v;"n";a;_)

in l\'ldCI\C lgillllsl ihc ai.ni.~ed. \llhii . (mn. Duriiivaii was urdcrcd clvmhcrc. Ihc prnicq was drnppcd,

(rm T.
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Hll

JUN! Hl1llidil)'). ,. . .

\niii-i Bmiiiiii mm Man Clilllkllll. . niigii l:iX|\). viii: amid miiigiii harp). (jlh) (Clcmcminc (jatm Man M0whr Gnnvmc
_

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EXlENDr\Bl.l;' (i\lll0(illld\\')'I\-

1 ""*- '\*~*='= P"*'"~*'" Cm Fmiii \l. wgaii. riiiiii hiiiiii l\_\ wiiiiiiii L. """- ""ll'=P">* 1"Pl "g -"B\*- A" "= Qdnc Gibbons. Malcolm l-1 Brown. Sci dK.'C0l'2l\1fI lidwiii 3- Willix Rllrh 5- H"N- -\1~I "cm" 5'"""- L4""= l""" *1 """ """B=* Bilv 5*'<"d-"'1" '1""\'1
'>*'==1*"-I"'*l"*""S\.CtI2Il.\lI

-\\=.vrli

D_m,| NltlSOIl). Ruhlll Slmpalln (Jr-iiii'siiii|.~<iii). i-mini (i>i.i.ii1ii Mlldlcf). 1. Flrfltll i\lClX>1\illd(l\\Il1i hifmlli <;,,,,,, (lgmcg Elfvl, Bcll Hall iiiamii. Aiiiiiii wiidi
Rm.

Ghlll

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niiii lhltl

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clerk). Jade pCl'll'llCk.R(\hk'

Made,

(F,.4,m,,_\]_ ,\\;L-km

C, Haviii-ii (rrar proiccumi plalcs; by Ruben Assisranr dirccior: Edward O'Farria. I36 minuim.

1" .'\lonigiimcrylRclnmli

l.ll'!l\\' (miiii ciaiiiiiii). iiiidiaii iiiiiii~1iiiakn. wii1i'aiii

i\til|L'l'(.\lIgL\\\{lCl'\ \|f|\'Cl'\].LOLIl\ s|'\p\lI (Sam Clanion). Find Hari'\' \N'i\<~ (l.ll|iCl, ciiii1< lC\'s
B.

Dl\'ld$l\h (om-iiiiii Siliklll

\l'iih Ruben Miiriigiimcry (Ll. john liricklryl. l"'" "Y"- "">' R*"l' "" '* "-- $">' D""l'
Dcccmbcr Z0.

iwi-ncr). Elflk Fn!4c(g;\mh|f)i.~\ln'll1$p\\l'Hantr\(g\.\|llri!)~ Dam. Rona, (\_md,nN)_ |.-rank Conn (pm|im_ D0 Ran.];\. (Mn hum u.Mr)_ MK Mmhv

l*"1"{"""Y""ff-"3"" "l""' T" T"%"P" 5"" ""**"l- R" *""P" lDd- "' "l *"|Y"'
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'ni Sll\l\' Ur wiaii Ear-p'.\ Tl\1|\\l|\il dI\'\ iiiii l\I\ mill(\I|!lll|\ Will! lhC'Cl\Il.\|l'Ipl|\'L' l)0C iiiiiiiiilii-. .4 mii.iIii-. iAY!I!|rlnTJ!ll\' iJIIrri'il. ii/.-|n.iii 1>ii-iiii I939 FHVIIIICI Marshal; I/Ir 5-lmi bun: iiiiyi hill ll!|l':. [\'P| Hirfil III I||lIlkIl1IlS yiiiiii.
IIIAHI

r.\[k7lII!'l'l\'

"I uiiiirigiii

ll

lhc

ox.

climii.

H157.

Mildiell (Georg: Crii). lctl York (Tony Aikcri). Murray .*\lpf($|ug .\iaiiaii).ii=riy'i"i=iiiiiiiikiia~.-ii). Iii! Ptllnlik lniic Ljliflifl. Cllilllt 'i"iiiii-iiiiiigi li'\dIl1ll'Il Blitkwtll),
(i"iiiii|iiiii). Tiiii .\iiiiiiiid< uiiii. BIOWII). vi-iiiiiii si<| (\|0ClUf)i Ami niii~i=i lBCIll'l_\]. EVE r\\iICl'I (iiiim). Ptdl dc Cfdhi (pl'\t\l)i Trinl LOWC ((;i!\1I|f'5 giiiiiiiiiin. Padia Tiu-Tiiii lllighlclllh il'\[lEYl. wiiiiaiii B. l)il\'|dMIl\ (hurcl manager). Ruben limmm O'(Innn:r (Silver Dollar l'\I|1CrIdtf).i\\iX 0|l(il)'0f Ilfcxlll. mu \ii'i|iimiiii (gl. Smidi). Inhri Carlyle (Li. jamcsl. Phillip Ahn (nrd:rl)'). Bcny Bl)'IJ1(OlLtf'.< wifi:).Ki-i-niii .\iayiiaiii(=ii-ii<iii 0|CCll.
Rcbcrr Harral (cncral
Drvuglas

um THE l~'L'Gl'll\li
Dll'LL1l\l'I Jiiiii-i

l-\fl\<)'

Pltlllra-RKQ

Fiiiii.

Rldll.
(IBUFICI.

.\lacAriliur). Bruix Kellogg

Sccnarisr: Dudley Nllllllh. iiiiiii l'll\\(|. Thu r.imiiii/iiii.- iruii (07 'r;i.- ,,r7llr.'1 Jrl i/ii- (rYT_\'l. by uiaiiiiii (illitll. iniiiiiigiaphyi (iibfltl Figiimia. :\ dil'l'L10fI mrii~ii niim. sq dC!(1IIl(\l'I .\iaiiii=i Parn. i\\\|SiCI Ririhlld Higciiiaii. Eklilfi Jii< Murray. Excuiiivc assistant: lack Pcnnick. Dirmiurial miiiai-ii; Altldlf Ftfrtr. I\.\\i.\lilI\l dlH.'Cl0fI iiii-i. l"ilm:d in -l7 days cvn lomrinns in Mexico arid al (Ihuru-

Assnciarc producer:

pvdl-lCl\I i=iiiii. limiliu FCI'!lIldCl.

l\lL'flI

c.

iiw

l'\\lCl\

Sllk|l(\.\.

Mrrxico

ciiy.

mi mlulhi

RClCI.\dI

l37

November 3. With Henry Fonda (The Fugitive), Dolores Del Rio (Mexican woman). Pedro Armendariz (Police Lieutenant). Ward Bond (El Gringo), Leo Carrillo (Chief of Police.) I. Carroll Naish (police spy), Robert Armstrong (Police Sergeant), John Qualen (Doctor). Fortunio Bonanova (Governor's cousin). Chris Pin Martin (organ player), Miguel Inclan (hostage), Fernando Fernandez (singer), Jose I. Ton-ay (a Mexicant. Melchor Ferrer. i he ight oi a priest through a police state. paralleled with that ofa wanted criminal. I947 The Fmtily (Unrealized proiect). Ford had planned to film Nina Fcderova's W40 novel (which had won the Atlantic Monthly Prize) with John wl)'l'l and Ethel Barrymore in the cast. The book deals with it family oi White Russians who are exiled to China after the Revolution. in an interview at the time. Ford said, 'lt's simply the story of the disintegration of a family Ifwr it "=5 hm \""<>l=d~' I948 FORT APACHE (Argosy Pictures-RKO Radio). Director: John Ford. Producers: Ford. Merian C. Cooper. Scenarist: Frank S. Nugentv from story,
Massacre- by James Warn" Bellah-_ Phowwnhyr 5'3: 5'~.w'|1l'"' C|ul" i*"5""d'"")- -'\" Hm-1" JIM B1\<'-- 5" <!=wr=R"= IM__K1>'=- ~\\1<i~'= Rim"!
llageman.
Second-unit

\Xa_\-ne

minutes. Released: December l. With John (Robert Marmaduke Sangster llightower), Pedro Arrnendariz (Pedro Roea Fuerte). llarry Carey. Jr. (William Kearney. The Abilene Kid). Ward Bond (Perley Buck' Sweet). Mildred Natwiclt (mother). Charles Halton (Mr Latham~. Jane Darwell (Miss F|0Yi), Mae Marsh (MKS PI-'Y|'=) Sweet). GUY Kibl7'~' Undue). Dorothy Fun! (Ruby Lathamir Ben JohnsonMichael Dugam D-in Summm ivatrolmvn). Fred Libby (DP\1l)' 5|1='fi'1- "Ink w\H!'-H lD~!"">' 5hYim- lick Ptrnnicl (Lem tr-in '-""l"1"l~FYi11'~i>|Wd(dntnlt)- RutlClmwd iwumn in Mn A remake of Ford's .\l.irkcJ Men. dedicated to the stat of that lin who had died the year before: To (hr mgmor) of Harry Carey-bright star of the early
lOh

(in colour): Winton C. Hoch, Charles P. Boyle (second unit). Art director: James Basevi. Set decorator: Joe Kish. Music: Richard Hagcrnan. Editor: Jack Farrell. Lowell Murray. Production manager: Assistant directors: Wingate Smith. Edward OFearna. Filmed in 32 days on locations in the Mojave Desert.

wnwm

513-_'

dircor:

directors: manager: Bernard Lowell Farrell lid P""flck- Film "' 45 d"Y5 " locations in Utah and in Monument Valley. I27 minutes. Released: March '2. With John Wayne (Capt. Kirby York). Henry Fonda (Lt. Col. Owen Thursday). Shirley Temple (Philadelphia Thursday). John Agar (Lt. Michael O'Rourke). Ward Bond (Sgt. Major O'Rourke), George O'Brien (Captain Sam Collingwood). Victor McLaglen (Sgt Mulcahy). Pedro Armendariz (Sgt Beaufort), Anna Lee (Mrs Collingwood). Irene Rich (Mrs O'Rourke), Guy Kibbee (Dr Wilkens), Grant Withers (Silas Melcham). Miguel lnclan (Cochise). Jack Pennick (Sgt Schattuck), Mae Marsh (Mrs Gates), Diclt Foran (Sgt Qihclnnon), Frank Ferguson (newspaperman), Francis Ford (bar~ tender). Ray Hyke (Gates). Movita Castenada (Guadalupe). llank Worden (Southem YCLTUII) llarry Tertbrook (courier).

Mcliveety.

uni

|.__\nns.

Production

Assistant

.\iirIirv_7r.~i'rm"g (Argosy l'ii:turesRKO Radio). Director: Ernest B. Schoedsack. Producers: John Ford. Merian c. chhprr. Lt'n!lll$l Ruth Rose.l'rom story l,(.Qm,m.,_ |,h(,u,Fm,h).. JR,yHum_ A,,dm.m,,, tum Basi 9,; mnuxcs R.1,_.,,_.d; ]u|y _\0_ wglh Terry Moore. Ben Johnson. Robert Armstrong. Frank
Mc|..|ugh_ Rcgis1_0omwy

mo

Fwd;

~|

ha; naming m do Wm, (Lt

Mary Gordon (woman in stagecoach). Th: m in Ford-S (unomchl)

Camry Hiram.

I949 SHE WORE A YlIl.l.OW RIBBON (Argosy Pictures-RKO Radio). Dtrcetor: John Ford. Producers: Ford. Merian C. Lowell Farrell. Cooper. producer: Associate Scenarists: Frank S. Nugent. Laurence Stallings. from story, War Party. by James Wamer Bellah. Photography (in colour): Winton C. lrloch. Charles P. Boyle Set (second-unit). Art director: James Basevi. decorator: Joe Kish. Music: Richard Hagen-tan. Editor: Jack Murray. Assistant editor: Barbara Ford. Second~unit director: Cli' Lyons. Assistant directors: Wingate Smith, Edward 0Fearna. Filmed in 3| days on locations in Monument Valley. I03 minutes. Released: _October 22. With John Wayne (Capt.

about an arrogant Apache mugqt

I948 3 Mayer)-

Lt. Ool. who

leads his men into an

GODl'AlHl:RS (Argosy licturcs-Metro-Goldwyiv

Nh3"_ B""l') ]""' DY" (0|""'")~ ]h" A8" (Lt. Flint Cohill). Ben Johnson (Sgt Tyree). Harry Carey. Jr. (Lt. Pennell). Victor Mcl.aglcn (Sgt Quincannon). Mildred Natwick (Mrs Allshard), George O'Brien (Mai. MacAllshard). Arthur Shields (Dr
OLaughlin), Francis Ford (barman). Harry Woods (Karl Rynders), Chief Big Tree (Pony That Walks), Noble Johnson (Red Shirt). Cli' Lyons (TrooperCli),

Director: John Ford. Producers: Ford, Merian C. Frank S. Cooper. Scenlrists: Laiirence Stllings, Nugent, from story by Peter B. Kyne. Photography I38

Torn Tyler <Qii=yiii. Michael uiigiii (llOCl\biI.IC\), Miekey Simpson (Wagner). Fred Graham (Hench), Frank Mcrath (trumpeter). Don Summers (Jenkins), Fred Libby (Colonel Krumrcin), Jaclt Penniclt (Sgt. Major), Hilly Jones (courier). Bill Gettinger (oicer). Fred Kennedy (Badger). Rudy Bowman (Pvt. Smith), Post Park (oicer). Ray Hylte (McCarthy). Lee Bradley (interpreter). Chief Sky Eagle, Dan White. The sectrnd in the cavalry trilogy, about an ageing captain's last mission before retirement. (Oxar In Hoch

J- A- White). Whit Bimll (Ln Hlndky). Ann Coder: (French instructor), Ray Hylte (Mai. Crawford), Gene Collins (Andy), James Flavin (Gen. Brevort),

(Mai.

/in
~

'9" I,-ink (mm cm,ry _Fx)_ . F d D'"' El Km ("mi 'd'd Mm ' ) Producer:DarrylF.Zanuck. Scenarists:PhilipDunne,
_\'
1
<

the [1/Iumgm[v![\'.)

David McMahon (Col. Ainsley), Charles Trowhridge (Gen. Merrill), Kenneth Tobey (Lt. K. Geiger), Mai. Sam Harris (hospital patient). Alberto Morin, Louis Mercier (Resistance ghters). Paul Harvey (officer), Iames Waters. Ken Lynch. Sgt. Kluggs is the rst man in his hometown to enter the Army in World War ll and he gets stationedin his hometown. His pleas to go overseas go unanswered. until nallyvhe is sent on a dangerous top secret mission
behind die

Dudley Nichols. from ll0\!tl, Qiiiliii-, by Cid Ricltetts

haic ' P1mi llld no iiiii believes '" =' M '\""P' Y 1 N"? ""i)
R!d'>~

lina

in Fiance. When he return only four days iii L\'tY left. (Actually I

inn"2..ms:"i:;;..:.":.*:..?:::,*;?::.:..mi
Cain Ethel Barrymore Em
Find: Vprepartd
m.
1

I02

miUICS.

Released:

Novcfbtl.

With JEIIIIIC War, William

m<>~ mm
Johny Ford.
<

Lundigan. Basi-I R uys d a ,1 . The story of a Negro girl who passed for white.

' Ioaki Imnie or the beginning

"

/mu imi I

il iii: IL'l1Ykdl1!I(' i1.i_i- DII it bzforzlgnl

3/101.

Ford. Meria_n C. Lowellhirrcll Writers" Cooper ' Associatcproducer . ' ' ' Funk S Nugcnh plmck Fur: phologiphgy ac"
Producers:

Director:

' ' , Fordwn.) partrciilnrli

(()!l,_\' Pi',ii_i-'i return

H7

her

dB::;:'ma
Sons

G""""i '*'!"* 5 ("_'_>- ." "?'f ;;;;?{,;,g; , Mast": Du; I of wagon

ofthe Pioneers.
FY _5 1"- ""1 Y,T*= Editor. Jack Muri-ay. Assistant Barliara Ford. Second-unit director. (.ll-

I950 WHEN WILLIE COMES MARCHING HOME (mm Cemun,_Fox)_ Dina: John Fo,d_ product. Fwd Koh|m,._ Sccnuisls. Mary Lws_ Richard Sal, from an, iwhm Lu, Comes Mnching Hommi by Sy Gnmbnm Ph otograp h y . L eo Tover A rt di rectors . L y it RV
Wheeler, Chester Gore. Set decorators: Thomas Little Bruce MacDonald. Music: Allrcd Newman. Editoi: James B. Clark. Assistant director: Wingate siiiiiii. az l'l'llIl|.|lL'S. Released: Februarv. With Din

'C""*'-*'W_'"*'5"'"8-'
editor:

Lyons. Assistant direcior._ Wingate Smith. Filmed in Monument Valley and in Professor Valley, Utah. 86 rniniitcs. Released: April I9. With Ben Johnson

(Tnws

Ulllty (Bill Klllggs), Cflhl Clive! (YVOIIIIC), Cllttn Townsen d (M arge F et u es), Wilyiam D emarest ( H erman
Kluitits) lame Lvdon (Charles Fettles) Llovd Corrigan (Mayor Adams), bvelyn Varden (Liertrudc Kluggs), Kenny Wmhms (muskim)_ Clark (musichrm ChlIlCSHIll0n(Mf Feltles), Mae MIrSh(MrS Fetllts), Jack Pennick (SICIl'illl'lSlt\lClDl'), Mickey Simpson (M.l'. Kcrrigan). Fiaiit PCl'Sl!il'|g (MIJOY Bickford), Don Sumrricrs (M.P. Sherve). Gil Htmlin (Ll. cllllllidtl Cwwn)_ Pu" oniz (mun), Luis Mbcmi (barman), _lDl\I| Shlllllik (pilot), Cllfkt G0fd0n, Rbbill Hughes (Marinc ofcers). Cecil Weston (Mrs Barnes), Harry Tenbroolt (Joe. taxi driver), Russ Clark (Sgt Wilson), George Spaulding (]udgeTate), James Eagle (reporter), Harry Strang (sergeant), George Magrill (Chief Petty Oicer), Hanlt Worden (choir leader), john McKee (pilot), Larry Keating (Gen. G. Rceding), Dan Risa (Gen. Adams), Robert Einer (Lt. Bagley), Russ Conway

C'"","<* (l"="'"Y '_"Y*>- R"'= 5""PP" ("d" Perkins), _Kathleen O Malley (Prudence Perkins), James

D7 (D"')' Wyd Ban ( Cr $55) I cs Kgmpn (unck Sh'lh Clem) Al Muwbuy (D" A l-F''Y *i=">- 1"" D=""" <5'=" l~_=dY="1)i Rm

Bl)'H'"7 (yg"gsdy?wc5):;'l

L"

ant (lily: C355) Fad E"blg (Rccsc Ckuidlgank

<Jw=1<

'd'f'n( " 5 35) 'c "Y _'_"psn (Jesse ,33)' Francis Ford (Mr. Peachtree), Lli Lyons (Sht:ll'40l' CYW" CW) 9" 5"'F"\=_" <5? J'"""')i M!"" cfummdi (ymmg Navaw 3",) hm Thwpc (Navllnh
traders, Is rnenaceel by Indians and outlaws as it makes ""= """Y Um "' "" '87-

A M"*"

Hlywil <J=d~=*\>~ "'8" """-_B'**" Y '

_

Y"_'B

'"

" "Y "

I950 RIO GRANDE (Argosy PicturesRepublic). Director: John Ford. Producers: Ford, Merian C. Cooper. Scenarist: James Kevin McGuinness. from story, Mission With No Record, by James Wamer Bellah. Photography: Bert Glennon, Archie Smut (second-unit). Art director: Frank Hotaling. Set
139

decorators: John McCarthy, ]r.. Charles Thompson. Music: Victor Young. Songs, sung by The Sons of the Pioneers: My Gal ls Purple, Foutsore (Avalry,' Yellow Stripes, by Stan Jones; Aha, San Antone, by Dale Evans; Qttle Call, by Tex Owens; and Erie Canal, I'll Talte You Home Again. Kathleen, Down by the Glen Side, You're in the Army Now. Editor: lack Murray. Assistant editor: Barbara Ford. Lyons. I05 minutes. Second-unit director: Cli' Released: November l5. With John Wayne (Lt. Col. Kirby Yorlte), Maureen OHnra (Mrs Yorke), Ben Iohnson (Trooper Tyree). Claude ]Irman, ]r. (Trooper Je Yorke), Hurry Qrey, Ir. (Trooper Daniel Boone), Chill Wills (Dr Wilkins), ]. Carroll Naish (Gen. Philip Quincannon), Sheridan), Victor McLaglen (Sgt Grant Withers(Deputy Marshal), Peter Ortiz (Capt. St Jacques), Steve Pt-ndleton (Capt. Prescott), Klrolyn Grimes (Margaret Mary), Alberto Morin (lieutenant), Stan Jones (sergeant), Fred Kennedy (Heinze), ]ack Pennielt. Pat Wayne. Chuck Roberson, The Sons of the Pioneers (regimental singers): Ken Curtis, Hugh

James Gleason(Gen.Cokel)').Wally Vemon(Lipinslty), Henry Letondal (Cognac Pete). l-red Libby (Lt. Schmidt). Ray Hyke (Mulcah)'), Paul liix (Gowdy), James l.ilburn(young soldier). Henry Morgan(Morgan), Dan Borzzrgc (Gilbert). Bill Henry (Holsen). Henry

:)i}q3:?E]8;|I!;rA,'(;3:?g.P'gc:: coop, Sunni; punk S_ Nuscm flfum

Bomber Kulkovich (company cook). lack Penmclt (Ferguson). Ann Codee (nun), Stanley johnson (Lt. Cunningham). Tom Tyler (Capt. Davis). Olga Andre (Sister Clutilde), Harry Norton (priest). Luis Alberni (the great uncle). Torhcn Meyer (mayor). Alfred Zeisler (linglish colonel). George Bruggeman (English lieutenant). Scott l-orhes (Lt. Bennett), Sean McClory (l.t. Austin). Charles FitzSimmorrs (Capt. Wickham). Louis Mereier (Bouchard), Micltey Simpson (M.l.). Peter Ortiz. Paul Guilfoyle. The adventures oi Capt. Flagg and Sgt Quirt in a A rr~n|ukr' of French village during World War l. Runu! ll"rrIr/rr jrmwm l9Ih lm. HZ
v
~

F"'-K"1F="UY** P"Y="-5h"B Fiih"-T"""Y

0 l Va m "57 '_b9'" C :|' h W: and sonestr:|nged since the Civil Warwho are drawn
,1
1

Bf:

ry,

together during an episode in the Apache wars near the

M='"" B"*"ln test. Iohn Wayne produced and Budd Boetticher directed The Bull/ighrrr and the Lady. Ford: l like ""Y ""-_ Th P*""$' W" 19 1"B_'"_ "= ""= "' "= "1 ""1 h'P ""11 '" "- 5 l 41

Charla -nwmpson Music: vino, young Snngs .1-he N, M lnnisccyr by Richard F;,m|l),; .Ol,a; Bay. by Dr Arthur Colahan. Michael Donovan; The
?;':,Q\,:~ rI.:.3|-},,':,,',]f4':,,fi..'i:f,:']l'|5',;L_

Sm. by C Photographv (in cohlr: Winton Maurice Walsh. Hoch. Archie Stout (second-unit). Arr director: Frank Holaling. Set decorators: john McCarthy, ]r.,

hd "H THIS ls
Dlmcwn

5"

colonel um -'Muh_Muh_Mushr' Edimn Jack Murray. Assistant editor: Barbara Ford. Secondnnit directors (uncredited): John Wayne, Patrick Ford.
$rL'.".. ri'li7"r1$"I.li.I.Y1..M<TilZ;1ZLI.T

RC Adrfunl -lh Fwd U'S'N'|_" so minutes. Released (in color): August I0. With the

KOREA!

<U$~ N=w~R=vt-t>lt>~

ber I4.

0-Han (Mary Kim Damh"), Barry

With John Wayne (Sean Thornton), Maureen Hlzgn|d

"' r lh 1""."d' "' K;c:"'"="l"Y P'""= f Wh" ll"

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W" W!

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pfoduccri $01 (;_ gig-g,_-|_ Sccnarlstsi Phoebe and lltlnry Ephton. from play by l\lIlxwcll Anderson. Lautcncc Stallings. Photography (in colorl: Ioscph Macl)ona|d. Art directors: Lyle R. Wheeler. Gcotgc W. Davis. Sct decorators: Thomas Little. Stuart A. Reiss. Music: Alfred Newman. Song. My Love. My Life. by jay Livingstun. Roy livans. Editor: Dorothy Spcnccr. minutes. Released: August. With james Cagney (Capt. Flaggl. CorinneCalvet(Charmaint:). Dan Dailey (Sgt Quirt). William Demarcst (Corporal Kiper). Craig Hill (l.t. Aldrich). Robert Wagner (Lcwisohn). Marisa Pavan (Nicole Bouchard). Casey Adams (Lt. Moore).

|t;53

Djmquy;

WHAT PR]CE GLQRY (gm), Ccmury

],,hn
[rl,m_

t:ox)_

(Michaeleeri Og Flynn). Ward Bond (Father Peter l.unt-rgan)Vlor .\\i:lJ|;len (Red \li|ll Danuhcr). Ataiarru Natwick (Mrs Sarah 'l'|llane). Fl'i1l|L'l\ Ford (lhln Tobin). liileen (Irovn; (,\\r\ Eltmbeth l1a)1'air). May Craig (woman at mlrt-ad \lZllltl'\]. Arthur l'\ll\|s(Rl!\llfCl'IAl Cyril llayl'a|r).(harlt~ Fit/Simmons (Forbes). Scan MClurv (Owen Glynn). James Lilburn (Father Pwl), J=k Mcuwrvt (Ft-trey). Ken Curtis

(Dmttvt Fnhy). Mae Marsh (Father Paul's mother).

lll

Harry T~'nbrtmk(vvlic=rtwr).M=i-Sam H=rris(gt-nml>In-rth 0'Dcn truarun. Eti= G""=tt (railroad contlttclut). Kevin Lawless (reman), Pnddy O'Donnell (vtttttt).Wvhb Overlandcr (railroad station chief). Hank
Worden (trainer in llzshhadtl. Harry l_'ler (Pat Cohen). Don Hatswell (Guppy). David H. Hughes (constable). Douglas Evans (ring physician). jack Roper (boxer). .-\l Murphy (referec), Patrick Wayne. Antonia Wayne. Melinda Wayne. Michael Wayne (children at raoc). Pat O'Malley. lloh Perry.

l-IO

A retired American-Irish boxer retums to the land of hi, people: [ht vim"; Fwd an mug hi, *5, to," 5,0,-y_' ty-,,V,.,,, and pm f-M4 4,4 ,,,_.,m| u, /W nu kw" mu Wm, wk, F, W, ,-"I. ",4 P,-m," !rnnhlnIIlI11IxIlI()rctIr.itsrvcllusunt/orilrp/It1!ogrtzph_\'. M, THE SUN SHIXES BHGHT R,p,,,,,,c,A Dinor. John t:m.d_ produairs. Ford Mm, C_

and a proper llllffbcd lady both compete for the white hunter's attention. A remake 0/ Victor I-'Iorii'ugr Red Dust (19,121: I netw saw Ih: original picture, Fard mid. I liked the rcripr mid the rmry. I liked the {=1-er uud 1"! "=1" bu" In I"-11 nu" cl A/ru-uw I jtul 4.4 its <1 t'."wtr.- .tmt~t11t"t The Courtship of

Eddie's l-ather. l\)h_\, Glum Ford rveleht-r u

Scenarist: Laurence Stallings, from stories, The Sun Shines Bright, The Mob from Massac. The Lord Provides. by Irvin S. Cobb. Photography: Archie Stout. Art director: Frank Hotaling. Set decorators: John .\\ctnh_t-. Jr, George .\ltltt. (Iu\lume\: Adele Palmer. Music: Vietor Young. Editor Jack Murray. .~\s.<istant editor: Barbara Ford, Auistant director: Wingatc Smith. 90 minutes. Released: May 2. With Charles Winninger (Judge William Pittman Priest), Arleen Whelan (Lucy Lee Lake), John Russell (Ashby Corwin), Step|n' Fetehit (]ePoindexter\. Russell Simpson (Dr. l.ewt Lake), Ludwig Stossel (Herman Felsburgl. Francis Ford (Feeney). Paul Hurst (Sgt Jintmy Bagby). Mitchell Lewis (Andy Redcliei, Grant Withers (Buck Ramsey). Milburn Stone (Horace K. Maydewl. Dorothy inll" (Lucy's mother). Elzie Emanuel (U.S. Grant Wtvudfurdh Henry O'Neill (Jody Hlbershamh Slim Pitrlwns (5!'~'llihB)- Jim Kil'l<W0od (Gen. Faireld). M=lu'M4l5l'l (Old lid) II liilll 13"" DlYLll (Amfi Ratchittl, Ernest Whitman (Uncle Pleaiit Wm\dlvYd)t Trevor Bardette (Rufe. leader of lynch mob}. Hal Baylor (hit son), Eve March (M=1lu- Cramtu. Clarence .\lu\e (Uncle Zack). Jadt Pennick (Beaker). Ken Williants.
Patrick Wayne.

Cooper.

M3mb " T-l'-)

teem:

/min

I953 Honda (Wayne-FellowsWarner Bros.) Producer: Robert Fellows. Scenarist: James Edward Grant, from novel by Lnuis L'Amour. Photography (in color and .1-D): Robert Burks, Archie Stout. Second-unit director: Clill

Director: John Farrow.

l.\'t\n~ and (uncredited) John Ford Privductitvn manager: Andrew Mclaglen. N3 minutm. Released: Demmher. \\'iih John Wayne. Geraldine l'age. Ward Bond, Michael Pate. Jamn Ame. Ford: l went down there to visit Duke. so immediatcly he sent me out to do some trivial second-unit

stu,

1955

P'llIl(I*l34): eve-nthougl\it' #'lll"lll'|\ in the I905 K~'ntud<>' lawn. Judse Billy Prim ill dl"d ll" l"1PP"lil 535'! l I NJ!!!" 3"54 l "P5, and sees that the last wish ofa prostitute is carried out. I953 MOGAMBO (MetrtGoldwyn-Mayer)
SK"-'.7|'4&"

John Ford. Producer: Sam Zirnbalist. Scenarist: John Lee Mahin, from play, Red Dust, by Wilson Collison. lhotogr:iplty (tn ettltirt; Robert Surtees, Fredrick A. Young. Art director: Alfred Jungc. Costumes: Helen Rose. Editor: Ftnk Richard Ross/on. Clarke. Second-unit directors: Yakima Canutt,]arnes C. Havens. Assistant directors. Wingate Smith, Cecil Ford. Exteriors filmed in Africa. H6 minutes. Released: October 9. With Clttrlt Gable (Victor Marswell), Ava Gardner (Eloise Y. Kelly), Gn== Klv (Linda Notdlvyh Dunlld Sinden (Donald Nordley)t Philip Stainttin (John Brown Pryce), Eric Pohlmnnn (Lwn Bnltehak). Laurence Nnisnuth ($l=iPv=r). Dennis 0Dea (Fh Joseph). Asa (young native girl), Wagenia Tribe of Belgian Cong!-I, Slmburu Tribe of Kenya Colony, Bahaya Tribe of Tmnnyih, M13; Tn'b< of punch gqutm-ht Mfg, During an Afrimn safari. a broad who's hegit at-nun

Director:

Producer; Robert Arthur. Scenarist: Edvi-art! Hope, from autobiography. Bmtgiiig Up [he Brett. by Marty Maher with Nardi Rceder Campion. Photography (in color and CinemaScope): Charles Lawton, Jr. Art director; Ruben Peterson. Setdeeorator: Fr:inl<Tuttle. Musicadapt:ition;George Duning. Editor: William Lyon. Assistant directors: Wingate Smith,]at:lt Corritsk. J38 minutes. Released: February 9. With Tyrone Power (Martin Maher), Maureen O'Hara (Mary O'Donnell), Robert Francis (limes Sundstrom. ]r.). Donald CYISP tom Martin). Ward Bond (Capt. Herman J. Koehler). Betsy Palmer (Kitty (;;,-rm, mitt Carey (Chif| Dqigtynj, William Leslie (Red Sundstrom). Harry Care). Jr. (Dwight Eisenhower). Patrick Wayne (Cherub Ut-ertoni, Sean McClory (Dinny Maher). Peter Graves (Capt. Rudolph Heinz), Milburn Stone (Capt. John Pershing), Erin O'Brien-Moore(Mrs Koehlerl, Walter D. Ehlers (Mike Shannon), Don Barclay (Major Thomas). Martin Milner (Jim OCarberry)- Chuck Courtney (Whitey Larson), Willis Bouchey (doctor), Jack Penniclt (sergeant). Fifty years in the life of Marty Maherand West Paint, I-ind; rst jilni in Ci'm:niuS:n]i. toss Tllli RED. \x'nt't"t~: AND nwr: LINE (us Treasury
Dept.-Columbia Pictures). Dirtvtori John I-'t\rt.l. \K'riler: Edward tlf\. t'tttttt.,,t-.tptt_t~ tttt color and Cl|1Lll\ISCO|'k.)I Charles l.a\\'ton. Jr, Nth-.ttttr= Ward Bond. Ill minutm. This promotional lilm urging .'\mertutn_\ to hut- qvtrtgt bonds wa\ made tin the _\cl 0| Ih.- l.tt/ii; (imv I-lllt (1055) and features about 7 l'!\lI|\.llL\ front that picture. H]

Columbia) Director: lohn Ford.

THE LONG GRAY LJNE (R0,, P,-du|jon5_

few stunts.

5""

1955 MISTER ROBERTS (Orange ProductionsWarner Bros.). Directors: John Ford, Mervyn LeRoy. Producer: Leland Hayward. Scenarists: Frank Nugent, Joshua Logan, from play by Logan, Thomas Heggen, and novel by Heggen. Photography (in color and CinetnaScope): Winton C. Hoch. Art director: Art Loci. Set decorator: William L. Kuehl. Music: Franz Waxman. Editor: Jack Murray. Assistant director: Wingate Smith. Exteriors lmed in the Pacic. 123 minutes. Released: July 30. With Henry Fonda (Lt. [ig] Robens), James Cagney (Captain), Jack Lemmon (Ensign Frank Thurlowc Pulver), William Powell (Doc), Ward Bond (C.P.0. Dowdy). Betsy Palmer (Lt. Ann Girard), Pt-iil Carey (Mannion), Nick Adams (Reber), Harry Carey, Jr. (Stelanowski), Ken Curtis (Doian), Frank Alctter(Gcrhart), Fritz Ford (Lidstrom), Buck Kartaiian (Mason), William Henry (Lt. Billings), William Hudson (Olson). swbby Kwstr (ichlemmer). Flirty Tsnbwok (C1wki=). Perry Lopez (Rndriizim). Robert Roark (insigna), Pat Wayne (Booitser), Tige Ar_\drw_=_ twllsy), litn Mnlmwy (K=nndy)- Denny Niles (()ilbC|1), i-rancis Conner (Johnson) ,Shug Fisher (<3hr=n)- DIM: B<>"=s= <I<>n==y)- Jim Murvhy (TIYIOI). Kilhk 0'MIl|Yi Milli! M\1l'PhYr Mimi Doyle, Jeanne Murray-Vanderbilt, Lonnie Pierce (llrsi), Martin Milner (shore patrol oicer), Gregory Walcott (sliorr Patrolman), JIIIIBS Flvi (M15), lllik P=nnicl= (Man-i= ms:-it). Duke Kahanimnkv <nativ=

episode for the Fireside Theatre television series). Director: John Ford. Producer: William Asher. Scenarist: Laurence Stailings,i'ron'i play by Theophane Lee. Photographer: John MacBurnie. Art director: Martin Obzina. Set decorator: James S. Redd. Music supervisor: Stanley Wilson. Supervising editor: Richard G. Wray. Assistant director: Wingate Smith. Filmed November 7li. 27 minutes. First broadcast: December 6. With Jane Wyman (Sister Reginl) Betty Lynn (Sister Anne), Soo Yong (Sichi Sao), Jim Hong (Mark Chu), Judy Wong (Tanya), Don Summers (Ho Kwong), Kurt Katch (King Fat), Pat O'Malley (Priest), Frank Baker (bit man). Two nuns in a Catholic convent in China are terrorized by a Communist overlord, who accuses them oi having killed native babies; a Chinese boy sacrices his life to help them escape. (lntrrertirig parallel with the story of 7 Women, made oi/er ten year: later.) I955 ROOKIE OF THE YEAR (Hal Roach Studios; episode for it-ie Semri Director: Ptaytmaie television 5;,-i,;)_ Director: John Ford. 29 n-iiriutes. First broadcast:

h1l)~

The story ofa cargo ship in the Pacic during World War ll. Although Henry Fonda had played the title role on Broadreay, Warner: wanted cithcr Williani Holden or Marlon Brando /or the picture, on the prerni:c that Fonda, who had been |IIL'tI_\' from picture: rincc I948 (Fort HmoApache), was no linger port-er/al at the box oicr. ever, when Ford refused tn do the lm with ariyotte else, Faiidawaingried/arit. Bitt,havi'ngpla_i'edtherole on stage for Il!'L'1i|l _\-ears, Fonda had certain xed idea: about the play and there began to cloth with Ford: direction he added a grr-at deal of ph_i':i'cai comedy in the exterior: and enlarged tome o] the ntinor roler. The argument: grew until, nally. according to Leland Hayward, a meeting that had been rolled to iron ott! the difference: developed into an actual it/ight bctii.-ren Ford and Fonda. Shortly afterward: Ford got ill attd LcRi1_\' ritthed the picture (all the exterior: had been that). Ford: I got a gall bladder attack tore-ardr the end of rhaoting, but I did Inns! 0] the /nrtiire. A lot of that /orced cotnrdy i'ti:i'i.lr the ihi/t train! rni'tte.' (Lcrnrnan rrrrit-ed the Acadevriy: Bert Supporting At-tor Award.)
I955

THE BAMBOO CROSS (Levi-man Ltd.~Revue;

1-q,n;)_ When it tums out that the father oi baseball's newest rookie of the year was himself champion rookie-who had become an alcoholica reporter refuses to write the =''Y Ind "Is "nth 1* 11"" I=v=I1sdI956 THE SEARCHERS (C. V. Whitney PicturesWamer Bros.). Director: John Ford. Producers: Merian C. Cooper, C. V. Whitney. Scenarist: Frank S. Nugcnt. from novel by Alan LeMay. Associate produer.-r. Patrick Ford. Photography (in color and VistaVisio|i): Wititon (I. Hoeh, Alfred Gillts (second-unit). Art directors: Frank Hoialing, James Basevi. Set decorator: Victor Gangeiiti. Music Max Steiner. Title song by Stan Jones. Ediion Jadt Murray. Production supervisor-. Lowell Farrell. Assistant director: Wingate Smith. Filmed in Colorado and in Monument Valley. II9 rninutes. Released: May 26. With John Wayne (Ethan Edwards), lcifrey Hunter (Martin PawleY)r Vera Miles (Laurie Jorgensen), Ward Bond (Capt. Rev. SamuelClayton), Natalie Wood(DebbieEdwards), John Qualen (Lars Jotgensen), Olive Carey (Mrs Jorgensen), Henry Brandon (Chief Scar), Ken Curtis (Charlie McCorry). Harry Carey, Jr. (Brad Jorgensen), Antonio Moreno (Emilio Figueroa), Hank Worden (Mose Harper), Lana Wood (Debbie as a child), Walter Coy (Aaron Edwards), Dorothy Jordan (Martha Edwards), Pippa Scott (Lucy Edwards), Pat Wayne (Lt. Green-

[)mi,"_ win, P" way, (Lyn Gmhug), V," Miles (Rose Goodhuc), Ward Bond (Larry Goodhue, alias Buck Garrison), James Gleason (Ed), Willis Bquqhgy (newspaper edil0r)- lhn WIYM (Mikh I

I42

hill), Beulah Arehuletta (Look), Jack Pennick (private), Peter Mariiakos (Ftittertnanl, Bill Steele (Nesby), Cli Lyons
at wedding) Mae Marsh (woman at fort), Dan Barrage (aucordionisi at funeral), Billy (hrtledge, Chuck Hayward, Slim Higittovler, Fred Kn-inedy, Frank Mdirath, Dale van Sickle, Henry Wills. Terry Wilson (stunt men), Away Luna. Billy Yellow, Bob Many Mules. Exactly Sonnie Betstiie, Feather Hat ]r., Harry Blati Horsey lack Tin Hom, Many Mules Son. Percy Shooting Star, Pete Grey Eyes, Pipe Line Begishe. Smile White Sheep (Comanches).

(Oil. Gnenhill), Chuck Roberson (man

The ten-year search hy two men for kidnapped by Comanches.

RZEJHIIHE WINGS OF EAGLES

little girl

(Mum Goldwyn
Cherie; Sehnee.

mmmmmmmmhmwwmmwmm
Director:
Joan Ford.
Protllaucgz
~~

=l:=)';yis2;~4ut5:
Bourke. Music: Eamonrt O'Gallagher. Editor: Michael Gordon. Fllmtii in Ireland. 8| rninutes. Released: August I0. With (introduction): Tyrone Power; (The Illa./e.tl\~ 0/ the Late): Noel Purccll_(Dan 0 , ll.'|:e))i Cyril Custlck (Inspector Michael Dillon), lad iowran (Mickey ].), Eric Gorrnan, Paul F ll (lieighbvti). Jhhh (owley (The Gnlrlbct Man): (.1 .11.-1:: Wait): Jimmy O'Dra (porter). Tony Quinn (railroad station

I957 THE RISING OF THE MOON (Four Province Productions-Warner Bros.). Director: John Ford. Producer: Michael Killanin. Scenarist: Frank S. Nu_gent, from story, The Maiesry

I957 THE GROWLER S'l()RY (LES. Navy). Director: john Ford. Producer". Mark Armistead. Photography (iii l6mrn. color): Pacic Fleet Combat (hmcra Group. Editor: Jack Murray. Assistant ediinn Barbara Ford. Namior: Dari Dailey. Shooting: November, I956, in the Pacic. Z9 minutes. With Ward Bond (Qiiiitannon). Ken Curtis (Capt. Howard W. Gilmore), and Navy personnel. wives and children. Made to publicize the Navy's suhmanne division. this short was based on a real World War ll incident, in which a wounded (hptain ordered his ship to submerge during an attack, leaving himself stranded on deck.

Rn: ggzgggzorwgwuglaxikfyoiiiiztymnggtngi: S deconm: Edwin B wink Keogh Gklwm cosmmuz wall" Plunhh Music: ICE Akundcn Edi I : G R A H I I P ul M Assigzm ?:m;"'inga;" 53:3 H6 min;':u_

K ra sll i.r. A rt director: R ay Si'mm.

C osturnes:]immy

ll

Bouehey (Barton), Dorothy Jordan (Rose Brentmann)i Peter Ortiz (Lt. Charles Dexter), Louis Jean Heydt (Dr ]ohn Keye) Tige Andrew (Arizo rt>' ) out Borzage (Pete),Williarn Trascy (Airnt=or'eTu:i=iie=-), Harlan Warde (Executive Qlcer), pet. Pennicls (Joe), Bill Henry (Naval Aide). Alberto Mfl (second mug"), Mimi Gibson (uh wad) Evelyn Rm: (Doris Wead), Charles Trowbridge (Admiral Crown), Mae Marsh (Nurse Crumley), ]anet Lake (nurse), Fred Graham (oiccr in brawl), Stuart Holmes (producer) Olive Carey (Bridy o'FI0lIi|'|), Mai. Sam Harri; (patient), May McEvoy (nurse), William Paul Lowery (Wead's baby, 'CDl'l'll'l10d0rt'), Chuck Roberson (oicer), Cli Lyons, Veda Ann Borg, Christopher James. The story of 'Spig Wead, an ace ier who turned to screenwriting when an accident left him paralyzed. weir WVDIQ Air Mail hm: They Were Expendable /or Ford and, among arhert, Howard Hawkr Ceiling Zero (I936), Frank Cobra: Dirigible (I931), and Georg: Hill: Hell Divers (I932), a elip from which i'r shown in The Wings of Eagles.

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l'I:f;.;l;:",~'4:_{'ZZ;1 Daley (Cinch), ward Bond (John Dad), Km Cum (Iohn Dale Price), Edmund Lowe (Admiral Moett), i<=hh=th Tobey (Herbert Allen Hanrd), ]lII'le Todd KT C k s~

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Director-producer: john Ford. Scenarist: Frank Nugent, from novel by Edwin O'Coni-ier. Photographer: Charles Lawton, Ir. Art director: Robert

H3

(Adam Cauleld). Dianne Foster (Macve Cauleld), Pat O'Brien (John German), Basil Rathbonc (Norman Cass Sr.), Donald Crisp (the Cardinal), James Gleason (Culte Gillcn), Edward Brophy (Ditto Boland), John Carr-adine (Amos Force), Willis Bouchey (Roger Sugrue), Basil Ruysdael (Bishop Gardner), Ricardo Cortrz (Sam Weinberg), Wallace Force (Charles J. Henncssey), Frank Mcliugh (Fcstus Garvey), Anna Lee (Gert Minihan), Jane Darwell (Delia Boylan), Frank Albertson (Jack Mangan), Charles FitzSimmons (Kevin McCluSl<)'), Carleton Young (Mr Winslow), Bob Sweeney (Johnny Degnan), Edmund Lowe (Johnny Byrne), William Leslie (Dan Herlihy), Ken Curtis (Monseigneur Killian), O. Z. Whitehead (Nomian Cass Jr.), Arthur Walsh (Frank Slteington Jr.), Helen Westcott (Mrs McClusl=ey), Ruth Warren (Ellen Davin), Mimi Doyle (Mamie Bums), Dan Boruge (Pete), James Flavin (Police Captain), William Forrest (|)qm,-)_ F,-any sully (F5,- Chigf), (rm-|i Sullivgn (chaueur), Ruth Clitford (nurse). Jack Icnnick(p0lieeman), Rn-tiara Deacon (Plymouth Club Director), Harry Tenbrook. Eve March, Bill Henry, James Waters. New England Mayor Frank Sl<efnglon's glorious last campaign for re-election, which ends in defeat.
I959 GIDEON OF SCOTLAND YARD (GlDEON'5 DAY) (Columbia Brirish ProdurionsColnrnbia)Director: John Ford. Producer: Michael Killanin. Scsrisriw Winssrs $rniihAssncisrs vr<>~iiir= T. E. B. Clarke, from novel, Gideon; Day, by J. J. Mlrris (vssiidvrwm for lvhn Cir-=s=y\ Phivwsriphy (tn color, but released in black and white): Frederick Ken Adam. Music: A. Young. Art director: Douglas Gamley. Editor: Raymond Poolron. Assisrant director: Tom Pcvsncr. Filmed in London. 9| rriinurcsr R=l-irssd: F=bru=iry- Wirh lrdr Hawkins nsvsswr Gsvrsc Gidwn). Dianne Foster (Joanna Dl==ld). Ann: Massey (Sally Gideon). Cyril Cusadr (H"b'l" 'Bil\li' 5P""-W), Andrew Ray (P~C- 5im0 Flmiby-Grr~n).J=m~'s!hyrer(Masnn).RonaldHoward (Paul Delacld), Howard Marion-Crawford (Chief of Scotland Yard). Laurens: Naismirh (Arthur Sayer), Derek Bond (Der. Sm Eric Kirby). Grissldi Harvry (Mrs Kirby). Frank LlWtOl'l (Det. Sgt Liasvir)iAnnLee (Mrs Kate Gideon), John Loder (Ponsford, The Duh), Doreen Madden (Miss C"rw=y>. Miles Malleson (Judge at Old Bailey), Marjorie Rhodes (Mrs Saparelli), Michael Shcpley (Sir Rupert Bellamy), Michael Tnilsshawe (Sgt Golightly), Jack Watling
l~H

Peterson. Set decorator: William Kiernan. Editor: Jack Murray. Assistant directors: Wingate Smith, Sam Nelson. l2l minutes. Released: November. With Spencer Tracy(Frank Skelngton),JetTrey Hunter

(Bv- luliih Small), Hermione Bcll (DUHY 5=\Pi"|li), Donal Donnelly (Feeney), Billie Whitelaw (Christine), Malcolm Ranson (Ronnie Gideon). Mavis Ranson (Jane Gideon), Francis Crowdy (Fitzhuben), David Aylmer (Manners), Brian Smith (White-Douglas), Barry Maureen Potter (Ethel Keegan (Rilcy, chaucur), Sparrow). Henry Longhurst (Rev. Mr Courtney), Charles Maunsell (Walker), Stuart Saunders (Chancery Lane policeman), Dervis Ward (Simmo), Joan lngram (Lady Bellam)')- Nigel Fitzgerald (lnsp. Cameron), Robert Raglan (Dawson). John Warwick (lnsp. Gillick), John Le Mesurier (prosecuting attorney), Pctcr Godscll (Jimmy), Robert Bruce (defending attorney), Alan Rolfe (C.l.D. man at hospital), Derek Prentice (lst employer), Alastair Hunter(1nd employer), Helen Goss (woman employer), Susan Richmond (Aunt May), Raymond Rollett (Uncle Dick), Lucy Grilths (cashier), Mary Donovan (usherette), Ol)onovan Shicll, Barr Allison, Michael O'Du'y (policemen), Diana Chesney (barmaid), David Storm (court clerk), Gordon Harris (C.l.D. man). One day in the life of lnspector Gideon, during which he deals with a dishonest associate, a mad killer, and a robhcl'Yi"d |"'=iV'= "'0 "3515 li'3kl5 [mm youns bobby who. bvfors rhe d=y is our. becomes his

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I959 KOREA (U.S. Department of Defense). Director: Rear Admiral John Ford, U.S.N.R. Prodgcgfgj Ford, Capt. George O'Brien, U.5.N.(Rctd.). Filmed in Color in and around Seoul, Fin, test. 10 |ni|1u[|g_ wiry, ()'5rim_ An orientation lm on Korean history and customs, made specically for American Occupation personnel.
1059 THE Hoggg Q|_[)[ER$ (Mi,-isch (:0,-|-,pmy_ Unitgd Artists), Director: John Ford. Producers-scenarists: ]ohn Lee Mahin, Martin Raekin. from novel by Harold Sinclair. Photography (in color): William H. Clothicr. Art director: Frank Hotaling. Set decorator: Victor Gangelin. Music: David Buttolph. Song, l Left My Love, by Stan Jones. Editor: Jack Murray. Assistant directors: Wingate Smith, Ray Gnsncll, Jr. Filmed in Louisiana and in Mississippi. 119 June. With John Wayne Released: minules. (Col. John Marlowe), William Holden (Mai. Hank Kendall). C0n!InCe Towers (Hannah Hunter), Althea Gibson (Lukey), Hoot Gibson (Brown), Anna l.ee (Mrs Buford), Russell Simpson (Shcri Capt. Henry Goodboy). Stan Jones (Gen. U.S. Grant),

(kirleton Young (Cnl. Jonathan Milesl, Basil Ruysdael (Commandant. ]e'erson Military Academyt. Willis Bouehey (Col. Phil Seeordi. Ken Curtis (Wilkie), 0. 2. Whitehead ('Ht\|'\|'1)" Hopkins. Judson Pratt (Sgt Malur Kirby. Deni-er Pyle (Jagger ]n\. Strother Martin (\irgil\. Hank Worden (Deaeoni. Walter Reed (Union ofeeri. jack Penniek (Sgt Maior Mitchell). Fred Graham (Union soldier. Chuck Hayward (Union captaint. Charles Seel (Newton Station bartender), Stuart Holmes. Mai. Sam Harris (passengers to Newton Station. Richard Cutting (Gen. Shermanl. Bing Russell. William Forrest. William Leslie. Bill Henry, Ron l"l;\ghl'l)'.|);ln Borzage. Fred Kennedy. In April. IBM. the L'.S. Cavalry goes on a raid deep behind the Confederate lines; based on an actual Civil War mission.

mo

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cou-tan CRAVEN
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STORY (Revue Pro-

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I960 SERGEANT RUTLEDGE (Ford ProductionsWarner Bros). Director: lohn Ford. Producers: Patrick Ford, Willis Goldbeck. Writers: Goldheelt. lames Warner Bellah. Photography lin colon: Bert Glennon. Art director: Eddie lmazu. Set declvratnr: Frank M. Miller. Music: Howard Jackson. Song. Captain Buffalo. by Mack David. Jerry Livingston. liditor: Jack Murray. Assistant directors: Russ Saunders, Wingate Smith. Filmed in Monument Valley. minutes. Released: May. With jetfrey Hunter (Lt. Tom (antrellh Constance Towers l.\lary Beecher), Woody Strode (Sgt Hraxton Rutledge. Billie Burke (Mrs Cordelia Fosgate. luano Hernandez (Sgt Matthew Luke Skidmnre, \li'illis Buuchey ltilvl. Otis Fosgatel. Carleton Young ltiapt. Shattuek. Judson Pratt (Lt. Mulqueenl. Bill Henry ltlapt. Dwyer). Walter Reed (Capt. Mac.-\feeY. Chuek H-.iy\\'ard (Capt. Dickinson). Mae Marsh (Xellie. Fred Libby [Chandler ""l?'~ Tl>' R*F""'> *~>' ""*"- l 5*'" (Chris Hubble7.Cllifl.yons.Sam Beecherl.Charles Seel (Dr Eekner). lack Pennielt lscrgeanb. Hank \X'ordt-n

lll

Director: john Ford. Producer: Howard Christie. Writer: Tony Paulson. Photographer: Benjamin N. Kline. r\rr director: Martin Obzina. st-t decorator: Ralph Sylos. Editors: Marston Fay, David O'Connell. 5.1 minutes. First l\f0;ldC!lSII May. With Ward Bond (Mai. Seth Adams). Carleton Youn Colter Ct:\\'t'nl. Frank McGrath (Chuck Wo0stei),(Terry Wilson (Bill Hawks. Iohn Carradine (Park), Chuck Hayward (Quentin\. Ken Curtis (Kylei. Anna Lee (Alarice Craven}. clllr Lyons (Creel). Paul Birch (Sill! G.-,m\_ Anndlc Hay (Mu Gram). wmis Bunch,
(1:55: Gum), Ma. Marsh

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visors:

116 T/1-"AI-ww (BIlllIl*L/nltuid Artists.

(M'

Jess:

Gum)

Ink

"' H- C".""< 5"""*"".t"''." 91' Lyons (and uncredited: John Fordl. lechnlcalsuper.
jaek lennlek. l~'rank Benson.
I00 minutes.

ph.'gmphy ('nm|"ml1TM'A9.):

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Shennan). His experiences at the Battle of Shiloh have left Dr cnvm - dmnken wreck so [ha he will perform I necessary operation, Adams recounts the story of a disgraced alcoholic ofcer who had enough guts to make himself General of the Union Armies. and President of the United StatesUlysses Simpson Grant. Footage from the ritw and the molmmin cmm'ng xeqimicei from Wagon Masterthr lm tr-hich arl'gl'nalI_v I!lI[Il7l'il I/tc Wagon Trail-l l(YkStt'tJI Midi III lhlr t[I|3t\lt.'. Ford: I've aIn~u_t-s wanted to do ll feature on Gratlt I think it: one of the great Anlerican rtav-it-i(:ut you can: do ir. You can! show him at a dnmhmi, gettiyg kicked out 0/ the Anny.

Pei-lnick(drillsergeant).Hank Worden(Shelley).Charlcs 5| (M0n)_ Bi Henry (Krind|)' Chuck Robsun (luniom Dennis Rush Uamic), Ha"), Tgnbmok (Shelley's friend). Beulah Blaze. Lon Chane , r., ohn Wayne (under pseudonym, Michael Morrig. its (lien.

R",|5"|i Ob" Wm Eh" walinc R.'Ch.d Widmark. Laurence Haryey. Rll;hard_ Boone. lKlIIk| Avalon, Patrick Wayne. (.hlll Wills. Linda Cristal. Ken

C"~

said.Do you

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I was

'".|y d.' h" " "':l'" mi Duke mind going out and getting a shot of
'.

scenesguys S\l'll'|1|'|Il!l rivers, that sort of thlnl;but

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I96] TWO RODE TOGETHER (FOR!-5hPl"" Produetions~Columhia). Director: john Ford. Produeer: Stan Shpetner. SL't:=l|ist: Frank Nugent. from novel, Comanche Ce/vtl'i-es, by Will Cook. Photography (in color): Charles Lawton. Jr. Art director: Robert Peterson. Set decorator: Iames M. Crowc. Music: George Duning. Editor: jack Murray. Assistant director: Wingllrc Smith. Filmed in Southwest Texas. I09 I45

July. With James Stewart (Guthrie MeCabe), Richard Widmark (Lt. Jim Gary), Shirley Jones (Marty Purcell), Linda Cristal (Elena de la Madriaga), Andy Devine (Sgt Darius P. Posey), John Mclntire (Mai. Frazer), Paul Birch (Edward Purcell), Willis Bouehey (Harry J. Wringle), Henry Brandon (Quanah Parker), Harry Carey, Jr. (Ortho Clegg). Ken Curtis (Grcely Clegg), Olive Carey (Abby Frazer), Chet Douglas (Ward Corbey), Annelle Hayes (Belle Aragon), David Kent (Running Wolf), Anna Lee (Mrs Malaprop), Jeanette Nolan (Mrs McCandless), John Qualen (Ole Knudsen), Ford Rainey (Henry Clea), Woody Strode (Stone Calf), O. Z. Whitehead (Lt. Chase), Cli Lyons (William McCandle55), Mag Maggh (Hannah Cle3)i Frank Baker (Capt. Malaptop), Ruth Clitford (woman), Ted Knight (Lt. Upton), Mai. Sam Harris (post doctor), Jack Penniclt (sergeant), Chuclt Roberson (Comanche), Dan Borzage, Bill Henry, Cl-iuek Hayward, Edward Brophy. A eynieal sheri and I "1;-y timromnr 54 ingq Comanche territory to trade for some white children who were kidnapped years before,
minutes.
Released:

the funeral of a pauper and tells an enquiring reporter the true story of who shot Liberty Valance.

LIBERTY VALANCE Director: John Ford. Producer: Willis Goldbeelt. from story Scenarists: Goldbeclt, James Wamer Bellah, by Dummy M Iohnwm Phomsnphy: winhm H_ Clmhiu An directors. H PR6, Eddk [mum

E" Sm era. Co stumes: Setdecorators: Sam Comer,Darr Edith Head. Music: Cyril J. Mockridge; rlirine from Young Mr Lincoln, by Alfred Newman. Editor: Otho Lovering. Assistant director: Wingate Smith. l22 minutes. Released: April. With James Stewart (Ransom Stoddard), John Wayne (Tom Doniphon), Vera Milo; (l-time Stoddard), Lee Marvin (Liberty vrlriiee), Edmond O'Brien (Dutton Peabody), Andy Devin: (Link Appleyard), Ken Murray (Doc Willoughby),]ohn Carradine (slirbl-lCkle), Jeanette Nolan (Nora Ericson), John Qlllltll (Peter Eritnn), Willis Bouchey (Jason Tully), Qrleton Young (Maxwell Scott), Woody Strode (Pompey), Denver Pyle (Amos Carruthers), Strother Cleef (Reese), Robert F. (Floyd), Lee v Min Simon (Handy Strong). O. Z. Whitehead (Ben Carruthers), Paul Birch (Mayor Winder), Joseph Hoover (Hasbrouck), Jack Penniclt (barman), Anna Lee (passenger), Charles e| (President, Election coiineil), Earle Hodgins, SIIIII1 Holmes, Shllg Fisher (dlk), Dorothy Phillips, Buddy Roosevelt, Gertrude Astor, Eva Novalt, Slim Talbot, Monty Montana, Bill Henry, John B. Whiteford, Helen Gibson, Mai. Sam Harris. Senator Ransom Stoddard retums to Shinbone for I46

Productions~ I961 FLASHING SPIKES (Avist Revue; episode for the Alcoa Premier: television series). Director: John Ford. Associate producer: Frank Baur. Scenarist: Jameson Brewer, from novel by Frank O'Rourke. Photographer: William H. Clothier. Art director: Martin Obzina. Set decorators: John Music: Johnny McCarthy, Martin C. Bradeld. Williams. Editors: Richard Belding, Tony Martinelli. Titles: Saul Bass. Series host: Fred Astaire. $3 minutes. First broadcast: October 4. With James Stewart (Slirn Conway), Jack Warden (Commissioner), Pit Wayne (Bill Riley). Edgar Biiehinin (Crib HelClimb). Tlse Andrews (Gaby Lwille). Clrlewn Yiiiins (RH 5h0l\)i Wlllii B0llh=Y (IIlly0l')i D0" Dl'Y5d*1= (Geiiner). SteP|'lllii Hill (Mry Riley). Charles Seel (iudge), Bing Russell (Hogan), Harry Carey, Jr. (man in dugout), Vin Scully (announcer), Walter Reed (second IP"f)i Sllly H"8h= (Ill-\l'=)i 1-iffy Blikll (til reporter), Charles Morton (umpire), Cy Malis (the bit man), Bill Henry (Commissioner's assistant), John Wayne (drill sergeant in Korea), Art Passarella (umpire), Vertl Stephens, Ralph Volkie, Earl Gilpin, Bud Harden, Wh,y C""lPb (b'b" Pl'_'5)' 5" h3'"3 iwund he lummg 3'md' an ld ballplayer whose career was nilned by a bribery scandal, strikes up a friendship with a young rst baseman, who helps to clear his name ' I962 How The Wm W-is Won (CineriniiMeirn G9|dWYl'l~MiY")~

(TM Rlilmldli

Dll!l'$1lDh"F0ld(Tl\Clvl|WIl)rG=l'Q=MIl5hl|l (The Rlvii 1: HIIIYY Hlhiwy

Plains, The Outlaws). Producer: Bemard SIlllfi'I~ $eeniri=i= Jiines R. Webb. sii3B"d by ieriesni LifeArt ilireeii=i'== Genrlze W- Dnvii. V/llliiiii Ferrari. Addison Hehr. Set decorators: _Henry Grace, Don Greenwood, Jr-_Ji_ek Mills- Music: Alfred Newman. Ken Dirby- Editor: lliinld F Kie=i~ Niiinw Spencer Triey- I62 rriiriiiie- Releiirdr Ni=_v="\bei~

l-*hI1liilI\ Llil\Tl|lllFord's brief sequeneethe one bright spot in an otherwise dreary film (his rst work in Cinerama) told of the Battle of Shiloh, perhaps the bloodiest

Phl0BNPhy (in coloriCln'=_l"l\I Vniiiiiyni ind Uliri_Piin=viiipn)= Joseph l-ii Sliellei (hen. iilrectrir. Wingate Smith. I5 minutes.Vhth John llayne Rawlings), (Zeb Peppard George V/lllllm T- Sherman), Cnmil Elk" (EV! Pl5li0ll)i !"|I\l'Y (Hil'\'Y) Ml8"l (Gen 11- 5- Grnnili Andy Deifine (C'P"l Pl"*"> Riiie Tlilblyn (desrriei). Willie Bniiehey (iiirseein), Clllllk lil"$ll Uefellliih Rawlinzil. Rl)'lli<"iil MIN?

F" U" F'"d "ll"_"f-'

encounter in the Civil War, and of the tragic homecomings that followed.

mount

I963 l?ONOVAN'S REEF (Ford Productions-Parr

.

Ighn Ford. Scenari;ts:EdFrank ugent, ames Edvi-ar Grant. from story y mund Beloin, adapted by Iarries Miehener. Photography (in color): William Clothier. Art directors: Hal Pereira, Eddie lmlla. Set dtgzfagoi amMCotner,cDai;reIll ivera. ostumes: it ea . usic: yri . Mockridge. Editor: Otho Lovering. Assistant directar: ing1atePSmith. Filmed on the island ofdKauai in t e out aeie. I09 minutes. Release : July. With john Wayne (Michael Patrick Guns Donovan), Lee Marvin (Thomas Aloysius Boats Gilhooley), Elizabeth Allen (Amelia Sarah Dedham),]aek Warden (Dr William Dedham). Cesar Romero (Marquis Andre

girector-froducer:

(Top Sergeant Stanislas Wiehowsky)r George O'Brien (Mai Braden), Sean Ms:Clory (Dr O'Carberry), Iudson Pratt (Mayor Dog' Kelly), Carmen D'Antonio (Pawnee Woman), Ken Curtis (Joe), Walter Baldwin (Jeremy Wright), Shug li.sh- (Sk' ) Nan y H5 h (l.ittle Bird), Chuck Ri\bLff;o|'i |(nPIiZtoon Ll'gISIi"l:), Harry Carey, Jr. (Tro p Smth). B n I h (Trooper Plumtree), ]imri',iyDHarla (Trooi1er).oCiiii:k Hayward (Trooper), Lee Bradley (Cheyenne), Frank Bradley (Cheyenne), Walter Reed (Lt. Peterson), Willis Bouehey (Colonel), Carleton Y (Aid to Cal Schurz), Denver Pyle (Senator 332%"), Iohn Qualern (Svenson), Nanomba Moonbeam' Morton (Running Deer), Dan Barrage, D a Sm'th Da 'd H. Mll , Bing Russell (Troopers)? n I , W er The tragic ight of 286 Cheyenne men, women and children. pursued by the Cavalry from a barren Oklahoma reservation to their native Yellowstone

:..:::::-.':.:.:";;':.::..':;*";..?"a.;:3::::.{"a:::?," e .

Dedhaml. (Armen Estrabeziu (Sister Gabrielle), Yvonne Peattie(Sister Matthew), I-rank Baker (Captain Martin), dstar Bi:ehail:nl(Bo;tor; (t!X;otary),UPa: V5715?

2:;2212::.:::.;:1::1s3:.=.;;2!.:";:;:.2r::
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John Fwd (omum "mm. -A John FOQ Film-)4 lixoducs. Ruben D_ Gum Robert Emmett Ginna. Associate producer: Michael Killanin. Scenarist: john Whiting, from auto-

D5222". lick (hrdm

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Lyons <<>m=-~>. F-wt >'=-h1Ann A "r1~' of NM" We "*1" h='~_ t<!i'd I9? 5""\ Seas lsland now spend most of their time raising hell.

l964 CHEYENNE
tionsWarner Brus.).

AUTUMN (FordSmith Produc-

Director: john Ford. Producer: Bernard Smith. Scenarist: Iames R. Webb, from book by Mari Sandoz. Photography (in color and Panavision): William Clothier. Art director: Richard Day. Set decorator: Darrell Silvera. Associate director: Ray Kellogg. Music: Alex North. Editor: Otho Lovering. Sound editor; Francis E.Stahl. Assistant directors: Wingate Smith, Russ Saunders. Filmed in Monument ValleyMoab, Utah; Gunnison, Colorado. I59 minutes: Released: October. With Richard Widmark (Capt. Thomas Archer), Carroll Baker (Deborah Wright), james Stewart (Wyatt F1151). Edward G. Robinson, (Secretary of the Interior Carl Schurz), Karl Malden glapts. Wessels), Sal hl4{ineod(Red Shin), Doliire; [l)rel io( panish Woman) icar oMontalban (Litt e o ) Gilbert Roland (Duli Knife), Arthur Kennedy (Dot; Hollidayh Patrick Wayne (Ind Lieut. Scott), Elizabeth Allen (Guinevere Plantagenet), john (Arradine (Mai. ]eiT Blair), Victor Jory (Tall Tree), Mike Mazurlti

Editor; Anne v. Coates. Filmed in |,..hnd_ no minuwi Rcluscdz Much Wm Rod Taylor (Sean Cassidy) Maggie Smith (Nora) Julie Christie (Daisy Battles): Flora Robson (Mrs Calssidy), Sian Phillips (Ella), Michael Redgrave (William Butler Yeats), Dame Edith Evans (Lady Gregory), jack MaeGowran (Archie), T. P. McKenna (Tom), ]ulie Ross (Sara), Robin Sumner (Michael), Philip O'Flynn (Mick Mullen), Pauline Delaney (Bessie Ballynoy), Arthur Oullivan (foreman), Tom Flnvin (constable), John Cow ey (barman), William oley (publisher's clerk), John Franklyn (bank teer), Harry Brogan (Murphy), Iames Fitzgerald (Charlie Ballynoy). Donal Donnelly (undertakers man), Harold Goldblatt (Director of Abbey Theatre), Ronald lbbs (theatre employee), May Craig, May Clusltey (women in the hall),Torn lrwin,Shivaun 0(Asey,and mi.-mbersofthc Abbey Theatre. Ford prepgredhthis lm about Sean ?'Ca;ey's earl); years and w en e became ill (short y a ter t e start o production), the producers announced that Iaclt (krdi would follow Ford's design for the rest of the shooting. Ford: I only did a few day's worltsome scenes between ]ulie [Christie] and Rod Taylor.
Sean 0Riada.

M,li..i1...lT.EI.Z;.,.tM..Lf;.r..'...

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l47

I966 7 WOMEN (Fwd-Smith Productions-Maw G0l=l-'yn-J\l=>'~'r)-

$:.'::::;;. 1.2.." Fink. by Norah Lens Phcmgnph), (in A" di,umS_ h Iashcuc H, him 1 01], Ecorzz WBms Bani: ma, Sci dcwmmj
.chim_c
' Henry Grace jack Mills. Costumes: Walter Plunkclt. Music: Elmer Bemstein. Editor: Olho S. Lovcring.

s'h. .l'd~:B~ ,...::* :~.::......::.".*.... :'::.;,.

Furesxrneh.n.h1=;e-rueheml\t'i|1iam].(~w1|.| ni|1')t>hh\-ah. W!L\ ii have bwn played prtvhably by Illhll \"l}'l'l\.

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senile <1-we War=ir>.1=== Ct-is (Miss Lina Hm W'"_'="\ 1-F" (K"") H- W- 6"" (C")- ""1" T5

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Am-~=~ Direq r-\'nter-lnt~r\'iewer: Peter Bigdanuv h. lr\du"er: (?curg:1C\'cn.\.]r..a1'\s| lama R.si|kefthien-ill P|1nl:\r;[\h; (In mlur): Laszlo the-=.\ Grcgur'Sandnr.Br1&'|< Matquanl. liric Shcrmatl. Editor: Richard |attt't$4\tt. .-\\isl:\nl tn Director::
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octor sacrt ccs use to save t e tves 0 missiwnarivi hld Hvtivs by = Chins u-arlurd. (.'|I|nr Baum/1 h']vIat'nI I.alm|.i .\'euI telm rt. mken
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wen... J?T.T.....lT 55$? ..i...I.-'..; i1i'\-....Z-"T~i'.I. 15. =1 which Hm: 1-"hm v\1\1h|:n:l(\ reu:|\'e the Fmti\'al.s highest award. With 1e-hh 1-1h1.]hhh we,-he. Henry

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Filmed lI1lCl'\'icW.\ Wllh actttr\ Whti had Wtttkt'd Wllh Ford mg Wm, mg din-qr, him,|y M Mm|m,:m y,||L.)._ mluqmn). talking Ihtllll his whrk. IHICNPIZIMXI Wllh C|i[\.\ (rum 21 hr his picturca. (1-\\-ailable ah lb mm. through t=ahh~. the.)

llma

Stewart.

L'NRli.~\l.IZli|) I , RO]li(ITS
Ford was signed by MGM to make this lm version of Reginald Atkcll's novel about a small English town in World War H, whose church is damaged by American forces moving in their equipment. The bulk of thc Story dealt with the conicts between American and British temperameni, as two G.l.s (one of whom was tn have been played by Dan Dailey) try to raise the money to pay {pr repairs. The script, by Willis Goldbeck and James Warner Bellah. was turned down by the studio and the project was shelved. According to Ford, it was to have been a lm in the same vein as ThrQnie1 Mrm; he was very pleased with the screenplay. 1%7_,,,, Ar", _",,,,,,,, ,,,m,,m,,_ A g.m.,,|,|,). by Mm, wahhh. lu have heeh [\|'\Id\1LI:d by Samuel (ioldwyn. Jr. t~'<h1= 'lt\ the hhry er I blacksmith -ha hl.\ ramily iu.\t heire the Revoluttunary War. The Banle hr Lcxingmn Ind Cuncttrd
"W e! II! "W Pml-1"" "11 hv in lhs "1m'~"" ha\1t.|ll_\ ttk the slu nl 1| lather and hh sun. There have been
very few picture abuut the
l%5b(~i

l97l
CBS].

The .'lmI'It'uV| ll"rsI ll/147/"I I-ur-I

(Gruup One-T|mex-

The

M|r.n'Ii- nl .\l--n1{imI (unwalized prutea).

Direuur: Denn Sands. lixemtn-e Pmdueer; Bub Banner. Producers: Tum Egan. Britt Lttmwtd. Dan I-turd. Writer: David H. Vuwell. |'l|ulttgr1phL'tI Bub Lkillins. lidttnr: Keith Olson. Fm! hr(\adx1~t: Deuemher 5. With Itthn Fntd. Iuhn
\K'ayne.

lama Stewart. Henrv 1~nni1a Dowmentary included clip Imrn Fuld \Ke~tem~ (19174 1962); the dire-nor l|\peaR\I with jhhn Wayne l Mnnumem Valley where he direued a stunt; interview limtage with ]ame\ Stewart and Henry Fnnda was shot at 1-'eird~ hnmc in Bel Air. and additional material with Fonda was \hnt ave-rltmking the old Fox Int in (lenrury City. I972 l.k_m|m_, '.mMm_, (UYSI'__\~)_

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T'_w"t=h wmP1w'\1> t:-\'m""er\I

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Sherman Beck. lixemlive Producer: Jhn

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Pm-

"Mr

L"-*""""*1

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Amman RC\'\I|\.\ll\\l'\| think b=="= =~1m' =r= =Fr=i-1 of ~\'=rins these wins But lhs PPl in the ~'~wntr>'m0t nf lh'=mdidn'r so w all that truul-ileso in this picture, the lead doesnt have to weir a WI:-' I967-68 0..\'..s'. (llftillllttl). The qury of the Wnrld War 11
i11lt||lgtI|T lgenq. and

um Tlte-.~l1nmmu Film Inslllulr I-ml ,-1"-1...! l.i/.- .~k/t|n'e' ,,,.,,, _.|n._"J C551 11,-1,,m,; (;,,,g,_- 5-\-L-M1, Prtsidcl NIXON =1 ap;\'urcdtu[\ri.\ett1 Ford the tin-ilnh Medal ht Hltlltlf. ]uhn \thyi-re. 1\\lUt|:1'\ O'Hara. mhiw Kaye and many nthen perfomied lnr the evening. taped nn'.\\arch 31 Ill'l\.| lint \ht\\A'I| (I11 tc|c\'|\ittt\ on April z.
um /aux 1-mm. .He'mm1uI ')|l_\' lvm. uam1hr\t'rii=r.uaim. Mark Haggard. Producers: Haggard.

of Ihc

l'llIll'\ Whtl was

il.\ chief (and

I48

Magwnod. Lnwcll l'|:lcrt~'0n. lhnlu|:r4phcr: Duuglm Krupp. Namlor. Linda Slmwn. I2 mmum. Fm: \huwn: April. With jnhn Ford. Waller Pidgcon. Ann: Lcc. Harry (hwy. ]r.. Ol|\'c Carcy. Dan Borzagv. Dick :\mm!or_ Mela Slcrnc. George Bagnall. Ra) Kellogg. Mary Ford. Wingzn: Smith. D\\C\.\\CI\lIll'_\ fczrura lhC rncmhcn uf ]0hn l~'on!~ Fncld Pholn Uni! an lhc 2-hh :\|muz| .\\cm0fiil Dz) Scr\'icc\ al lhc Molion Piclurc (Juunuy Hum: in Woodland H|ll~. (klnfornnz.
Paul

SELECTED BlBl.lOGR.~\lll\'

(lahlch du (ilnnu. In .\pvc|.:I Inlm Iiml (Nu. IN}. I966)lmogmphy. interview. lwo :|ruclc~; In mu: Nu. 45 (March
1955). an inlcrvucw.

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I49

MOVIE PAPERBACKS edited and designed by Ian Cameron

A series designed to illi the need tor authoritative and readable books on important directors. Each volume has well over a hundred stills, closely integrated with the text, plus a iuil iilmography.
Excellent illustrated series . . . it would he hard to iind more valuable analyses oi these key directors. London Sunday Tlmas important to anyone who cares about the cinema."

|.u|s BUNUEL

Raymond Durgnat

and analytical On its original appearance, this volume was described by Library Joumai as an imaginative themes and symbols . . . study. . . . Durgnat eloquently explores the ambiguities and complexities oi Bunueis poet and moraiist, Freudian and a splendidly conceived and executed critique oi a lllm maker who is both additional illustrations. Marxist. humanist and cynic." Now it has been augmented with iour new chapters and The best available introduction to Bunuels work.

JOHN FORD

Peter Bogdanovich

career. includes a This new version oi Bogdanovich's marathon interview book. covering Ford's iiity-year in Monument Valley, charming account oi how Ford received Bogdanovich when they iirst met. on location tor Ford. and has been and an eleglac last chapter. The iilmography is the most complete ever compiled extensively revised. An essential book on a great master.

FRANJU

Raymond Durgnat

his deliberate use oi Fran|u's career is covered in perceptive detail, emphasizing his visual prediiectlons. with a complete surrealist Imagery and his moody personality. One oi the best volumes in the series, FIIm News iilmography, substantial bibliography. and a plethora oi revealing stills."

STROHEIM
LAUREL AND HARDY

Joel Finler
Charles Barr

and oi his writings, as well "Solid and inionnative. summarising the plots oi his iilms. seeable and unseeable, Naw Society personality." as indicating the salient points oi his directorial style and creative

comedy team, this study analyzes The iirst serious criticial appreciation in English oi the work oi this proiiilc their stylistic devices and establishes them among the greats oi screen comedy.

UNIVERSITY OF CALIFORNIA PRES$

ISBN 0-520-03498-8