John Ford Movies
Maine-born John Ford (born Sean Aloysius O'Fearna) originally went to Hollywood in the shadow of his older brother, Francis, an actor/writer/director who had worked on Broadway. Originally a laborer, propman's assistant, and occasional stuntman for his brother, he rose to became an assistant director and supporting actor before turning to directing in 1917. Ford became best known for his Westerns, of which he made dozens through the 1920s, but he didn't achieve status as a major director until the mid-'30s, when his films for RKO (The Lost Patrol [1934], The Informer [1935]), 20th Century Fox (Young Mr. Lincoln [1939], The Grapes of Wrath [1940]), and Walter Wanger (Stagecoach [1939]), won over the public, the critics, and earned various Oscars and Academy nominations. His 1940s films included one military-produced documentary co-directed by Ford and cinematographer Gregg Toland, December 7th (1943), which creaks badly today (especially compared with Frank Capra's Why We Fight series); a major war film (They Were Expendable [1945]); the historically-based drama My Darling Clementine (1946); and the "cavalry trilogy" of Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950), each of which starred John Wayne. My Darling Clementine and the cavalry trilogy contain some of the most powerful images of the American West ever shot, and are considered definitive examples of the Western.Ford also had a weakness for Irish and Gaelic subject matter, in which a great degree of sentimentality was evident, most notably How Green Was My Valley (1941) and The Quiet Man (1952), which was his most personal film, and one of his most popular. It also earned more Oscars and nominations than any other movie ever produced at Republic Pictures. Poor health dogged Ford's career during the 1950s, but he still managed to create The Sun Shines Bright (1953) -- one of his favorite films, dealing with politics and race relations in the 19th century South -- Mogambo (1953), and The Searchers (1956), which is considered one of the most powerful Western dramas ever made. The Horse Soldiers (1959) showed some of Ford's flair, but was marred by production problems, and Ford later directed the John Wayne/Harry Morgan section of How the West Was Won (1963). His concern with social justice, which manifested itself in The Sun Shines Bright also became more evident during the early '60s, in films such as Sergeant Rutledge (1960), Donovan's Reef (1963), and Cheyenne Autumn (1964), all of which sought to address problems of racial prejudice.
Ford was the recipient of the first Life Achievement Award bestowed by the American Film Institute, and was the subject of Peter Bogdanovich's documentary, Directed by John Ford (1971). He died in 1973. ~ Bruce Eder, Rovi
The most successful and artistically advanced film of its time, The Birth of a Nation has also sparked protests, riots, and divisiveness since its first release. The film tells the story of the Civil War and its aftermath, as seen through the eyes of two families. The Stonemans hail from the North, the Camerons from the South. When war breaks out, the Stonemans cast their lot with the Union, while the Camerons are loyal to Dixie. After the war, Ben Cameron (Henry B. Walthall), distressed that his beloved south is now under the rule of blacks and carpetbaggers, organizes several like-minded Southerners into a secret vigilante group called the Ku Klux Klan. When Cameron's beloved younger sister Flora (Mae Marsh) leaps to her death rather than surrender to the lustful advances of renegade slave Gus (Walter Long), the Klan wages war on the new Northern-inspired government and ultimately restores "order" to the South. In the original prints, Griffith suggested that the black population be shipped to Liberia, citing Abraham Lincoln as the inspiration for this ethnic cleansing. Showings of Birth of a Nation were picketed and boycotted from the start, and as recently as 1995, Turner Classic Movies cancelled a showing of a restored print in the wake of the racial tensions around the O.J. Simpson trial verdict. ~ Hal Erickson, Rovi
- Starring:
- Henry B. Walthall, Miriam Cooper, (more)
- 1916
The popular action adventure team of Grace Cunard and Francis Ford (older brother of John) wrote, directed, and starred in this 16 chapter serial in which Cunard plays a female Robin Hood. Playing lovely Patricia Montez by day, Cunard turns into The Queen of the Apaches, an outlaw who steals from the rich to gives to the poor, always leaving a purple mask behind as a trademark. She is pursued by detective Phil Kelly (Ford), who also lives a double life. The detective is in reality the head of a strange gang, the members of which know him only as a cloaked figure they call The Sphinx. Appearing in a supporting role as Cunard's butler is Mario Bianchi who, as Monty Banks, would enjoy a minor career as a comedy star in the '20s. Other minor roles were played by Joe Moore, the brother-in-law of Mary Pickford, future comedienne Gertrude Short, future B-Western menace Tom London and Ford's son Philip Ford. Pulp fiction in its purest form, The Purple Mask was a major success for its producer, Universal. ~ Hans J. Wollstein, Rovi
- 1917
John Ford -- then billed as Jack Ford -- had recently begun directing his own features when he made this Western with Harry Carey. Harry wakes up one morning in jail with a hangover, and is informed by the sheriff that because of his wild behavior the night before he is to get out of town. On the road Harry comes upon an Indian attack, during which a young minister, John Marks (Jean Hersholt), hides his little daughter (Elizabeth Janes) before being killed by his attackers. When the Indians have gone, Harry rescues the little girl, who insists that he dress like her daddy. He obliges, finding a note to John from his sister-in-law Jane (Fritzi Ridgeway) asking him to come to the town of Buckhorn. Harry does as the letter instructs, the child in tow. Jane assumes that he is John at first, but when he gets in a fight with one of the town's bad guys, it becomes clear that he is no minister. Harry, however, is willing to give it a try and he forces the saloon's patrons to attend a sermon, which he gives cowboy-style, guns and all. Unfortunately, the town's ruffians blame Jane for being forced to go to church, and they kidnap her, compelling Harry to shoot it out with the bad guys and rescue Jane. He returns victorious and closes down the saloon. Carey and Ford would make films together for several years, and the blend of action and humor here is typical of their output. ~ Janiss Garza, Rovi
- 1917
Long thought lost, the 1917 western Straight Shootin' was rediscovered in the vaults of the Czech Film Archive. Thus, and thankfully, was safely preserved the very first feature-length effort of director John Ford. Harry Carey stars as a "good badman" type, slightly emulating William S. Hart without ever sacrificing his own distinct style. A professional gunman, Carey intervenes on behalf of the downtrodden homesteaders during a violent range war. Expanded from its intended two-reel length to five reels during production, the film allowed Ford to invest a great deal of humanity in his characters. The fact that no one is shown as wholly good or wholly evil adds to the overall veneer of realism, as do occasional on-screen "accidents" such as supporting actor Hoot Gibson's obviously unrehearsed tumble from a horse. Many of the locations utilized in Straight Shootin', notably a thin trail through a deep gorge (not a natural formation, as has often been assumed, but a man-made trail created for a never-completed railroad line), would pop up time and again in Ford's silent and talkie films. Though only 22 at the time of Straight Shootin', John Ford directed with the self-assuredness of a man twice his age; the result was a film that looked more like a slick product of the 1920s, rather than an assembly-line star vehicle of 1917. ~ Hal Erickson, Rovi
- 1917
This Western was one of the early collaborations between actor Harry Carey and John Ford, then a fledgling director. Cheyenne Harry (Carey) is a bandit on the run from a posse, but for years he has been deceiving his mother, writing her that he owns a ranch and is happily married. He finds refuge at the home of rancher Grant Young (Harry Rattenberry). Young's daughter, Molly (Molly Malone), recognizes Harry as the train robber who allowed her to keep a brooch belonging to her dead mother, and convinces her father to give him a chance. Harry enters a rodeo but his former associate Ben Kent (Vester Pegg) forces him to participate in a stage robbery. Over Harry's protests, Kent shoots the messenger dead. The sheriff (William Gettinger) takes the two men into custody and they are condemned to be hanged. A telegram from Harry's mother arrives which says she is coming to town to visit. The sheriff gives him a two-week reprieve and Young allows him the use of his ranch. His mother has a nice visit, and after she has left, Harry gives himself up. But one of the coach's passengers tells the sheriff that it was Kent who killed the messenger. Harry is freed, and he returns to the Young ranch, and to Molly. ~ Janiss Garza, Rovi
- 1917
John Ford hadn't quite yet gotten his directorial career off the ground when he starred in this melodrama. He plays Lieutenant Jack Brewer, who has worked his way up through the ranks and is now based at a fort in the West. He has won the respect of his men, with the exception of Captain Dana Holden, a West Point graduate (Duke Worne). A stage coach is held up by outlaws, and the soldiers come to the rescue. In the skirmish, Brewer protects Madge (Louise Granville), whose father is killed. Madge becomes a servant at the fort and Brewer brings her some clothes. This causes a scandal, so he marries her to put things right. Madge doesn't think he loves her, so she feels free to carry on a flirtation with Holden. Brewer catches them together and it breaks up the marriage. A few years later Brewer is sent to the Philippines, where there is trouble with the natives. Holden and Madge are there too, and Holden is on scouting duty. When the natives attack, Holden tries to abandon Madge and the fort and is wounded. Brewer comes to Madge's aid. They find Holden, and Madge begs Brewer to take her back. He refuses and turns away from her. ~ Janiss Garza, Rovi
- 1918
Harry Carey returned in his traditional role of "Cheyenne Harry" in this early John Ford effort. Here Cheyenne Harry is in jail, as is a forger, Buck Masters (Joe Harris). The warden's mercenary son (Harry Carter) has Masters lend his craftsmanship to the prison books so he can steal funds. But when Masters is pardoned, he doesn't think that the warden's son gave him a big enough cut, so he starts blackmailing him. Then Harry is pardoned, with the condition that the pardon will be unconditional if he tracks down Masters. A long-time enemy of Masters, Harry agrees to the scheme, but his resolve is weakened when he falls in love with Masters' sister Lola (Neva Gerber). So Harry rounds up his two brothers and retrieves Masters, only to return him to his mother whereupon he promises to reform. Meanwhile, Harry and Lola go to the nearest town and get married. ~ Janiss Garza, Rovi
- 1918
The Scarlet Drop was one of John Ford's seven directorial efforts for the year 1918 -- none of which, alas, seem to have survived. Ford also wrote the screenplay, while his friend and mentor Harry Carey essayed the leading role. Briefly dropping his standard "Cheyenne Harry" characterization, Carey is cast as "Kaintuck" Ridge, a veteran of the War Between the States. Disdained as "poor white trash," Ridge distinguishes himself with conspicuous acts of courage when he joins a Southern guerilla band, comprised of social outcasts like himself. With a price on his head, Ridge is forced to escape to the West, where he is reunited with Marley Calvert (Vester Pegg), an aristocratic Southern belle whose life he saved during the war. Though he is deeply in love with Marley, he has sworn vengeance against her family due to past humiliations, and it takes plenty of hard ridin', fancy shootin' and heavy drinkin' before the plot is resolved. ~ Hal Erickson, Rovi
- 1918
John Ford's fourteenth film is a fast-paced Harry Carey western vehicle featuring Carey as his popular Cheyenne Harry hero. From the Plains, Harry rides into the disorderly western town of Rawhide, where he makes an immediate friend in Cimmaron Bill (Duke Lee). Harry then falls for dance-hall girl Bess (Neva Gerber), an upstanding woman forced into this particular line of work by a series of dire circumstances. Rawhide is yet another western town lorded over by crooks and outlaws. Harry determines to rid the town of the riffraff and restore order, but complications set in when he finds out that Bess' brother is a member of the gang that is riding roughshod over the town. ~ Paul Brenner, Rovi
- Starring:
- Harry Carey, Neva Gerber, (more)
- 1918
Bucking Broadway was John Ford's eighth feature film. Harry Carey, who starred in most of Ford's earliest productions, is here cast as cowpuncher Cheyenne Harry, who has just saved up enough money to marry the boss' daughter. Alas, the girl has already been promised in marriage to a wealthy city-slicker horse trader. Philosophical about his disappointment, Harry offers the girl a little wooden heart as a wedding present, telling her that if she's ever in trouble, to mail the heart back to him and he'll come a-galloping to the rescue. Upon moving back to New York with her new husband, the heroine learns that a predatory female intends to take her hubby for every penny he has. She promptly sends Cheyenne the little wooden heart, and within what seems like minutes Cheyenne and his saddle pals converge upon the Big Apple. Through sheer brute force, our hero and his chums make short work of the temptress and her henchmen and also manage to expose the girl's husband as a fraud and a cheat. Though the film was once thought lost, a copy exists in a French film archive. ~ Hal Erickson, Rovi
- 1918
Most moviegoers tend to associate Francis Ford with the "loveable drunk" characterizations he essayed for his director brother John in the 1930s and 1940s. In the teen years, however, Francis Ford was not only a virile action hero, but an accomplished director in his own right. In The Craving (aka Delirium), Ford plays a recovering boozer who creates a revolutionary new explosive. Villain Peter Gerald tries to wrest the secret formula away from Ford by coercing Our Hero back to liquor. To that end, Gerald engages the service of lovely May Gaston, who has been hypnotized to lead Ford down the road to ruin. The Craving was cowritten by Francis and John Ford, who usually avoided the sort of pulpish melodrama that seeps through this film's 5 reels. ~ Hal Erickson, Rovi
- 1918
Based on a novel, Lin McLean, by Western writer Owen Wister, this Harry Carey feature was one of John Ford's early directoral efforts. Carey's pictures often added touches of comedy to a Western atmosphere, and in spite of a tragic end, this picture is no exception. Lin McLean (Carey) is a cowboy who falls for Katy, a waitress (Betty Schade). He takes her back to his ranch and everything seems to be going along just fine until her husband shows up. Katy runs off with him, and later on McLean discovers Billy (Roy Clark), the couple's little boy, who has been deserted. McLean adopts the child and then meets Jessie, a decent girl (Molly Malone). They marry but then Katy reappears and causes much domestic turmoil. McLean, however, doesn't want to have anything to do with her, so she finds work at a nearby dance hall, and, despondent over the end of her romance, swallows poison. Little Billy, meanwhile, helps McLean and Jessie see the error of their ways. ~ Janiss Garza, Rovi
- 1919
In this Harry Carey/John Ford collaboration, Carey plays Texas Ranger Jim Kyneton. Jim's foster brother Nick (Vesta Pegg) has fallen in with a pack of bandits who rob a mine. For this particular Ranger, duty comes before family, and Jim arrests all of them, including Nick. But Roseen (Claire Anderson), a dance-hall girl, is angry because Jim spurned her, so she helps the varmints escape. Jim has to go round them up all over again, which he does -- except for Nick, who commits suicide by riding his horse off a cliff. His job finished, Jim returns to Betty (Gloria Hope), the girl he loved all along. ~ Janiss Garza, Rovi
- 1919
Ranch owner Cheynne Harry (Harry Carey) winds up romancing Easterner Aileen Judson-Brown (Neva Gerber) because of an advertisement run by his friends as a joke. Harry and Aileen fall in love, though, and he goes to New York to marry her. But her mother (Molly McConnell) sees Harry only as a meal ticket. She's a society woman who has lost her money and she has no use for this Westerner. She wishes to see her daughter divorce him so she can rake in the alimony. The couple have a baby, but one day Aileen's mother spirits it away and tells Harry that it is dead. In addition, she tells him that Aileen doesn't love him anymore. He goes back to his ranch in misery, and the mother tells Aileen that Harry has grown tired of her. However, the butler (J. Farrell McDonald), who sympathizes with the couple, wires Harry to come back. He does, escorted by his cowboys and finds the baby and discovers that his wife still does love him. So the scheming mother is thwarted, and Harry, Aileen and the baby leave her behind when they go to live on Harry's ranch. The director of this film, Jack Ford, became better known as John Ford a few years later; at this point in his career, he was busy directing most of Harry Carey's films. ~ Janiss Garza, Rovi
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