Pour accompagner la sortie en DVD des entretiens de Serge Daney avec Régis Debray (notre critique sera en ligne dans quelques jours), les Éditions Montparnasse et le cinéma Reflet Médicis à Paris organisent un festival du 16 au 22 mars. Pendant ces sept jours seront projetés une quinzaine de films aimés et découverts par celui qui fut l’un des plus grands critiques et penseurs du cinéma du XXe siècle. Ils seront organisés autour de trois grands axes : "Le cinéma, c’est l’enfance" ou comment l’enfant sans père adopte le cinéma comme famille ; "Le cinéma, promesse d’appartenance au monde" ou le cinéma comme voyage et expérience du temps ; "Le cinéma, les armes de la critique". Les amis de Serge Daney, réalisateurs, critiques et collaborateurs à Libération et aux Cahiers du cinéma, participeront aux débats qui suivront les films-phares projetés en soirée. Nul doute que cette passionnante manifestation saura montrer en quoi la pensée de Serge Daney, disparu en 1992, reste d’une formidable actualité et ouvre grandes les portes sur la compréhension du cinéma en particulier et de notre époque en général.
Festival Serge Daney, Itinéraire d’un ciné-fils
Reflet Médicis - 3, rue Champollion - 75005 Paris
Mercredi 16 mars 2005
· Les contrebandiers du Moonfleet, de Fritz Lang (14h10, 16h10, 18h10)
· Rio Bravo, d’Howard Hawks (20h30)
Jeudi 17 mars 2005
· Le diable probablement, de Robert Bresson (14h10, 16h10, 18h10)
· 2001, l’odyssée de l’espace, de Stanley Kubrick (20h15)
Vendredi 18 mars 2005
· Au bord de la mer bleue, de Boris Barnet (14h10, 16h10, 18h10)
· Francisca, de Manoel de Oliveira (20h30)
Samedi 19 mars 2005
· Trafic, de Jacques Tati (14h10, 16h20, 18h30)
· Prénom Carmen, de Jean-Luc Godard (20h30)
Dimanche 20 mars 2005
· Stalker, d’Andrei Tarkovski (13h et 16h)
· Nick’s movie, de Wim Wenders (19h30)
Lundi 21 mars 2005
· AK, de Chris Marker (11h30)
· Dodeskaden, d’Akira Kurosawa (13h, 15h40, 18h)
· Qu’est-ce que l’acte de création, par Gilles Deleuze (les 22 premières minutes) puis Jacques Rivette, le veilleur, de Claire Denis et Serge Daney (20h30)
Mardi 22 mars 2005
· La messe est finie, de Nanni Moretti (14h10, 16h10, 18h10)
· Van Gogh, de Maurice Pialat (20h30)
sexta-feira, 30 de junho de 2006
Pour accompagner la sortie en DVD des entretiens de Serge Daney avec Régis Debray (notre critique sera en ligne dans quelques jours), les Éditions Montparnasse et le cinéma Reflet Médicis à Paris organisent un festival du 16 au 22 mars. Pendant ces sept jours seront projetés une quinzaine de films aimés et découverts par celui qui fut l’un des plus grands critiques et penseurs du cinéma du XXe siècle. Ils seront organisés autour de trois grands axes : "Le cinéma, c’est l’enfance" ou comment l’enfant sans père adopte le cinéma comme famille ; "Le cinéma, promesse d’appartenance au monde" ou le cinéma comme voyage et expérience du temps ; "Le cinéma, les armes de la critique". Les amis de Serge Daney, réalisateurs, critiques et collaborateurs à Libération et aux Cahiers du cinéma, participeront aux débats qui suivront les films-phares projetés en soirée. Nul doute que cette passionnante manifestation saura montrer en quoi la pensée de Serge Daney, disparu en 1992, reste d’une formidable actualité et ouvre grandes les portes sur la compréhension du cinéma en particulier et de notre époque en général.
Compiled by Ford Scholar - Tag Gallagher
The present filmography is based upon previously published ones but contains many corrections and additions, particularly from Bill Levy, John Ford: A Bio-Bibliography (Greenwood: Westport, CT, 1998). Plot summaries for the silent period have been drawn from contemporary periodicals and differ from those in Peter Bogdanovich’s filmography, where they appear to have been drawn from Universal’s records.
Information on John Ford’s work prior to The Tornado in 1917 is sketchy. His niece speaks of a film co-directed with Edward Laemmie, for example, ofwhich nothing is known. Ford liked to say he got his start as a director with some action sequences for Carl Laemmle’s guests in 1916; these were incorporated into a western directed by someone else (not one by Francis Ford), but nothing else is known. Although John participated in some fashion in thirty or more Francis Ford pictures (possibly beginning with Lucille Love, a fifteen-chapter serial issued weekly from April 14, 1914) and worked also for other filmmakers (such as Allan Dwan), only those pictures in which he has been definitely identified have been listed. John Stewart’s Filmarama (Metuchen, N.J.: Scarecrow Press, 1975) lists, without further detail, two stage appearances for Ford: in 1901 (!) in King’s Carnival and in 1919 in Tumble In.
** denotes a presumably totally lost film.
* denotes a film from which only fragments remain.
† denotes films in which Ford participated but which he did not direct.
All films prior to 1928 are silent; all those after 1929 are all-talking. Films in the transition years are identified accordingly.
All films are in black and white, unless otherwise described. For silents, quoted reviews are from trade journals from the weekly number closest to the film’s issue date.
*† 1914 Lucille Love - The Girl of Mystery (Gold Seal-Universal). 30-reel serial: 15 two-reelers released weekly from April 14. Director: Francis Ford. Writer: Grace Cunard, Francis Ford. Assistant: Jack Ford.
Five or six chapters survive in damaged condition.
**† l914 The Mysterious Rose (Gold Seal-Universal). 2 reels. November 24. Director: Francis Ford. Writer: Grace Cunard. Filmed August 7-15. With Francis Ford (Phil Kelly), Grace Cunard (Baffles), Jack Ford (Dopey), Harry Schumm (D.A.’s son), Wilbur Higby (ward boss), Eddie Boland (Yeen Kee).
Political wars between ward bosses and D.A. Detective Kelly solves assassination with two roses as clue, and lets Raffles escape. Sixth in the “My Lady Raffles” series.
**† 1915 Smuggler’s Island (Gold Seal-Universal). 2 reels. January 19. Director: Francis Ford. Writer: Grace Cunard. With Ford, Cunard, Jack Ford (smuggler).
Ford saves Grace from smugglers who capture her when she discovers their lair.
† l915 The Birth of a Nation (Epoch Producing Corp.). 12 reels. February 8. Director: D. W. Griffith.
Jack Ford supposedly played a Ku Klux Klansman.
**† 1915 Three Bad Men and a Girl (101 Bison-Universal). 2 reels. February 20. Director: Francis Ford. Writer: Grace Cunard. Filmed December 23-29. With Francis Ford (Joe), Jack Ford (Jim), Major Paleolagus (Shorty), Grace Cunard (girl), Lewis Short (sheriff), F.J. Denecke (his assistant).
Mistaken for badmen, three good men capture real badmen and free girl from Mexican settlement. Satire on fanciful westerns, murders every fifty feet; Ford leaps seventy-nine feet; Grace crosses chasm on laundryline.
**† 1915 The Hidden City (101 Bison-Universal). 2 reels. March 27. Director: Francis Ford. Writer: Grace Cunard. With Francis Ford (Lt. Johns), Grace Cunard (princess), Jack Ford (Johns’s brother), Eddie Polo (Minister Poleau).
Captured after losing a battle, Johns refuses love of a princess of desert city in India, but she helps Jim escape and substitutes herself as sacrifice to fire god.
**† 1915 The Doorway of Destruction (101 Bison-Universal). 2 reels. April 17. Director: Francis Ford. Writer: Grace Cunard. Assistant: Jack Ford. Filmed February 26-March 4. With Francis Ford (Col. Patrick Feeney), Jack Ford (Edward Feeney), Mina Cunard (Cecille McLain), Harry Schumm (Gen. McLain), Howard Daniels (Frank).
Sent by British on a suicide mission, an Irish regiment assaults a Sepoy citadel waving an Irish flag made by Feeney’s mother.
**† 1915 The Broken Coin (Special Features—Universal). 44-reel serial: 22 two-reelers released weekly from June 21. Director: Francis Ford. Writer: Grace Cunard, novelized by Emerson Hough. Cameramen: R. E. Irish, Harry Maguire. Assistant: Jack Ford. Exteriors: Bisbee, Calif. With Grace Cunard (Kitty Gray), Francis Ford (Count Frederick), Eddie Polo (Roleau), Harry Schumm (King Michael II), Ernest Schields (Count Sacchio), Jack Ford (Sacchio’s accomplice), W. C. Canfield (Gorgas the outlaw), Beese Gardiner (the Apache), Doc Crane (pawnbroker). Harry Mann (servant). Vie Goss (servant), Lewis Short (prime minister), Mr. Uttal (henchman), Bert Wilson (confidante), Mina Cunard (king’s sweetheart [also doubled for Grace]), Carl Laemmie (editor).
Girl reporter finds half a coin hinting at vast treasure and sets off to Balkan kingdom ofGretzhoffen, where she becomes involved in palace intrigues and daredevil adventures.
**† 1915 The Campbells Are Coming (Broadway Feature-Universal). 4 reels. October 16. Director: Francis Ford. Writer: Grace Cunard. With portions filmed in late 1914. With Francis Ford (Nana Sahib), Duke Worne (Azimooah), Grace Cunard (Scotch lassie), F. J. Denecke (Campbell), Harry Schumm (lassie’s sweetheart), Lewis Short (her father), Jack Ford, 7,000 extras. Working titles: “The Lumber Yard Gang,” “The Yellow Streak.”
Sepoy, 1857: Nana Sahib ascends throne, sends Azimooah to Queen Victoria to learn father’s pension discontinued because Nan is only an adopted son. Returning, Azimooah falls in love with Scotch lassie, whom Nan seizes for harem but who escapes during rebellion. The Campbells attack Lucknow in mammoth battle, and Nan is left prey to jungle beasts without food or water.
**† 1916 The Strong Arm Squad (Rex-Universal). 1 reel. February 15. Director: Francis Ford. Writer: Grace Cunard. Filmed in Maine, November 26-29, 1915. With Francis Ford (Phil Kelly), Elsie Maison, Cecil McLean, Jack Ford (crook), William White (detective), Dandy Bowen (police chief), John, Abbie, Pat, Eddie, Mary, and Jo Feeney.
Kelly allows sweetheart’s brother to escape when proved head of the Lumber Yard Gang.
**† l916 Chicken-Hearted Jim (Rex-Universal). 1 reel. April 23. Director-writer: Francis Ford. Filmed in Maine, November 10-17, 1915. With Francis Ford (Jimmie Endicott), John A. Feeney (his father), Abbie Feeney (his mother), Cecil McLean (Jib), Phil Kelly (her father, captain). Pat Feeney (mate), Jack Ford, Eddie Feeney (crew), Mary Feeney, Jo Feeney (Jim’s sisters).
Jim worries his parents by his nightly debauches; fleeing the cops, he joins a schooner, single-handedly thwarts a mutiny, and marries the captain’s daughter. (Almost exactly the same plot as Ford-Cunard’s Captain Billie’s Mate (2 reels, September 27, 1913).
**† l916 Peg 0’the Ring. (Universal). 31-reel serial: 15 2-reelers (except chapter 1: 3 reels) released weekly from May 1. Director: Francis Ford. Writers: Grace Cunard, with Joe Brandy (Universal general manager), Walter Hill (circus publicity man). Photographers: Harry Grant, Abel Vallet. With Grace Cunard (Peg; Peg’s mother), Francis Ford (Dr. Lund, Jr.), Mark Fenton (Dr. Lund), Jack Ford (his accomplice), Pete Gerald (Flip), Jean Hathaway (Mrs. Lund), Irving Lippner (Marcus, the Hindoo), Eddie Boland (his pal), Ruth Stonehouse, Charles Munn, G. Raymond Nye, Eddie Polo.
Circus girl is subject to spells because mother clawed by lion.
**† 1916 The Bandit’s Wager (Big U-Universal). 1 reel. November 15. Director: Francis Ford. Writer: Grace Cunard. With Grace Cunard (Nan Jefferson), Francis Ford (her brother). Jack Ford.
Nan comes west to keep house for brother. Her car breaks down one day, and she meets bandits, but it’s her brother testing her courage.
*† 1916 The Purple Mask (Universal). 33-reel serial: 16 2-reelers (except chapter 1:3 reels) released weekly from December 25. Director: Francis Ford. Writer: Grace Cunard. With Francis Ford (Phil Kelly, “The Sphinx”), Grace Cunard (Patricia Montez), Jean Hathaway, Peter Gerald, Jerry Ash, Mario Bianchi, John Featherstone, John Duffy, Jack Ford.
Parisian society tomboy steals aunt’s jewels to baffle detective who snubbed her; but jewels are stolen again and she joins Apache to trace them.
Five or six chapters survive in damaged condition.
** 1917 The Tornado (101 Bison-Universal). 2 reels. March 3. Director-writer: Jack Ford. With Ford (Jack Dayton, the No-Gun Man), Jean Hathaway (his Irish mother), John Duffy (Slick, his partner), Peter Gerald (Pendleton, banker of Rock River), Elsie Thornton (his daughter Bess), Duke Wome (Lesparre, chief of the Coyote Gang).
Jack Dayton, the No-Gun Man, son of Old Ireland, wants to send money to his mother in Ireland to pay for her cottage. In Rock River, Lesparre, chief of the Coyote Gang, covets the mayor’s daughter; his gang robs the bank and kidnaps Bess. $5,000 reward. Jack joins gang to save Bess, jumps a passing train from his horse to fight Lesparre, whom he throws off the train. He gets the girl and the money.
** 1917 The Trail of Hate (101 Bison-Universal). 2 reels. April 28. Director-writer: Jack Ford. With Ford (Lt. Jack Brewer), Duke Worne (Capt. Dana Holden), Louise Granville (Madge), Jack Lawton.
Lt. Brewer, risen from the ranks in the 67th, is adored by his men but hated by West Pointer Holden. When Madge’s father is killed in a stage holdup, Jack marries her after an awkward courtship, but Madge leaves him for Holden. Years later, in the Philippines, Jack is leading troops against the Moros. Holden, trapped in the interior, abandons his men, his post, and Madge (now his wife) to save himself. When Jack saves Madge, she begs his forgiveness but is rejected in disgust.
Bogdanovich, citing a notice in Motion Picture News (April 28, 1917), credits direction to Francis Ford. But Universal Weekly (April 21, 1917) makes a big fuss about it being directed by Jack.
** 1917 The Scrapper (101 Bison-Universal). 2 reels. June 9. Director-writer: Jack Ford. Photographer: Ben Reynolds. With Ford (Buck Logan, the scrapper), Louise Granville (Helen Dawson), Duke Worne (Jerry Martin, a parasite), Jean Hathaway (Martha Hayes).
All the guys on the ranch like the teacher, Helen, and the pugnacious Buck saves her life when her team runs away. But she decides to return to the city. Buck proposes for the twentieth time, but she won’t promise anything. Meanwhile the town madam (Martha) and pimp (Martin) plan to use her to snare Col. Stanton and fake an attack so that Martin can rescue her and gain her confidence. She is given a new gown and taken to a party to meet the colonel, but Buck and the boys arrive and wreck the brothel, saving Helen. All escort Buck and Helen to board the train west.
* 1917 The Soul Herder (101 Bison-Universal). 3 reels. August 7. Director: Jack Ford. Writer: George Hively. Photographer: Ben Reynolds. With Harry Carey (Cheyenne Harry), Jean Hersholt (the parson), Elizabeth Jones (his daughter, Mary Ann), Fritzi Ridgeway (June Brown), Vester Pegg (Topeka Jack), Hoot Gibson (Chuck Rafferty), Bill Gettinger (Bill Young), Duke Lee, Molly Malone. Working titles: “Buckhorn Hits the Trail,” “The Sky Pilot.” Reissued as 2-reeler in 1922.
A terror Saturday night, tame by Sunday, Cheyenne Harry (Carey) has to have the sheriff remind him he shot up the town. In the desert he rescues a little girl from Indians. She makes him assume her dead daddy’s parson’s garb. After Harry rescues his girlfriend, he holds a funeral for her (dead) kidnapper, whose money he gives to prostitutes to leave town, and, since most of Buckhorn has missed three weeks of church, he escorts them at gunpoint to hear a four- (instead of a one-) hour sermon by him.
** 1917 Cheyenne’s Pal (Universal Star Featurette). 2 reels. August 13. Director:
Jack Ford. Scenarist: Charles J. Wilson, Jr., Irom story by Ford. Photographer: Friend F. Baker. Filmed May 20-23. With Harry Carey (Cheyenne Harry), Jim Corey (Noisy Jim), Gertrude Aster (dancehall girl), Vester Pegg, Steve Pimento, Hoot Gibson, Bill Gettinger, Ed Jones (cowboys), Pete Carey (Cactus, the horse). Working titles: “Cactus My Pal,” “A Dumb Friend.” Made to promote sales otwar bonds.
Cheyenne Harry sells horses to the British Army, but not Cactus My Pal. But he blows his money and, drunk, sells Cactus lor $350, which he loses gambling. So Harry gets a horse-tendingjob on the boat, but at midnight jumps off (with horse) and swims to shore. Jim Corey lets them go.
1917 Straight Shooting (Universal Butterfly). 5 reels (music timing: 67 minutes, 55 seconds). August 27. Director: Jack Ford. Writer: George Hively. Photographer: George Scott. With Harry Carey (Cheyenne Harry), Molly Malone (Joan Sims), Duke Lee (Thunder Flint), Vester Pegg (Placer Fremont), Hoot Gibson (Sam Turner), George Berrell (Sweetwater Sims), Ted Brooks (Ted Sims), Milt Brown (Black-Eyed Pete). Working titles: “The Cattle War,” “Joan of the Cattle Country.” Reissued as 2-reeler, Straight Shootin, January 1925.
Ranchers vs. farmers. Thunder Flint (Uuke Lee) sends Sam Turner (Hoot Gibson) to evict farmer Sims; but Sam loves Sims’s daughter Joan (Molly Malone). So Flint hires freelance outlaw Cheyenne Harry. But Harry comes upon Sims, Joan, and Sam mourning over the grave of brother Ted, killed by Flint’s man Placer (Vester Pegg). This sight, and sudden attraction to Joan, change his life; he sends word to Flint, “I’m reforming, I’m giving up killing, I’m quitting.” Planning to attack Sims, Flint sends Placer, Harry’s drinking buddy, to bump off Harry; but wins the duel. Joan gallops to rally farmers; in the ensuing battle. Harry arrives in the nick of time with outlaw Mexicanos to defeat Flint, Sims asks Harry to take his son’s place.
In Ford’s original cut (but not in the surviving print), Harry sends Joan back to Sam and gazes toward the setting sun.
* 1917 The Secret Man (Universal Butterfly). 5 reels. October 1. Director: Jack Ford. Writer: George Hively. Photographer: Ben Reynolds. With Harry Carey (Cheyenne Harry), Morris Foster (Harry Beaufort), Elizabeth Jones (his child), Steve Clemente (Pedro, foreman), Vester Pegg (Bill), Elizabeth Sterling (Molly his sister). Hoot Gibson (Chuck Fadden), Bill Gettinger. Working titles: “The Round Up,” “Up Against It.”
Molly gets a note about a sick child and runs away from her brother Bill and lover Chuck. Meanwhile, Cheyenne Harry escapes from prison in a garbage truck and is aided on a train by Harry Beaufort, who gives him a job on his ranch. But when the sheriff starts poking around, Cheyenne leaves, and Beaufort has Pedro take his little girl to another town. When Molly hears Pedro has had an accident and the child is dead, she loses her mind, because slie is secretly married to Beaufort. Meanwhile, Cheyenne finds the child and spends the night with her. The posse shoots his horse, and the girl is hurt when they fall down a cliff. They find no water, only bones, so Cheyenne signals for the posse. Back in town, the girl is to be raffled at a church bazaar, but Cheyenne reunites the family and stops Bill from killing Beaufort, who explains that his uncle from whom they had concealed their marriage is now dead. Molly forgives him; Cheyenne and Chuck look at each other, and one after the other they go out into the night.
1236 feet survive at Library of Congress.
** 1917 A Marked Man (Universal Butterfly). 5 reels. October 29. Director: Jack Ford. Scenarist: George Hively, from story by Ford. Photographer: John W. Brown. With Harry Carey (Cheyenne Harry), Molly Malone (Molly Young), Harry Rattenbury (Young, her father, a rancher), Vester Pegg (Kent), Mrs. Townsend (Harry’s mother). Bill Gettinger (sheriff), Hoot Gibson.
Hiding in rain in rocks from posse, Harry reads letter from his mother, who thinks he has a ranch and wife. He stumbles into a house, helped by Molly and her father (Harry had held up Molly’s train and allowed her to keep her dead mother’s brooch), who then lend Harry money to enter the rodeo—to get money to visit his mother back East. But Ben Kent cuts Harry’s cinch, so that Harry, losing the rodeo, will help Ben hold up a stage, which they do, in a river, and Harry protests when Ben shoots the driver. They are caught and sentenced to hang, but when news arrives that his mother is coming. Harry is given two weeks’ grace and the use of Young’s ranch and Molly. After a wonderful visit. Harry gives himself up, but a stagecoach passenger testifies he is innocent.
Remade as Under Sentence (1920) by Ford’s brother Edward.
1917 Bucking Broadway (Universal Butterfly). 5 reels. December 24. Director: Jack Ford. Producer: Harry Carey. Writer: George Hively. Photographer: John W. Brown. With Harry Carey (Cheyenne Harry), Molly Malone (Helen Clayton), L. M. Wells (Ben Clayton, her father), Vester Pegg (Capt. Eugene Thornton, a cattle buyer), William Gettinger.
Harry’s fiancee, Helen, is seduced away to New York by horse-buyer Thornton. Harry, distraught, follows in pursuit. Sharpshooters try to take his money, but a lady crook befriends him and helps him locate Helen. Thornton, still putting off marriage, holds a party, and Helen sends Harry a little redwood heart he once gave her. The V-Plus Ranch boys show up to help, riding down Broadway, and brawl along the rooftops.
1213 meters of the original 1425 survive.
** 1918 The Phantom Riders (Universal Special). 5 reels. January 28. Director: Jack Ford. Producer: Harry Carey. Scenarist: George Hively, from a story by Henry McRae. Photographer: John W Brown. Filmed September 8-27, 1917. With Harry Carey (Cheyenne Harry), Molly Malone (Molly), Buck Connor (Pebble, her father), Bill Gettinger (Dave Bland), Vester Pegg (leader of the Phantom Riders), Jim Corey (foreman).
Bland dominates Paradise Creek Valley, open government grazing land, through masked, white-coated riders led by Unknown, and he wants Molly too. Harry brings a small herd into the valley, is warned to leave, replies he will fight Bland single-handed, slaps him for insulting Molly, and is sentenced to hang by Bland. Molly’s father goes to his aid. Harry finds him hanging dead from a tree, then is captured again after routing six phantoms in a bar celebrating BIand’s marriage to unwilling Molly, who rides for help and rescues Harry with U. S. Rangers.
** 1918 Wild Women (Universal Special). 5 reels. February 25. Director: Jack Ford. Producer: Harry Carey. Writer: George Hively. Photographer: John W. Brown. With Harry Carey (Cheyenne Harry), Molly Malone (the princess), Martha Maddox (the queen), Vester Pegg, Ed Jones, E. Van Beaver, W. Taylor.
Harry gets drunk celebrating a rodeo victory in San Francisco and passes out. He and his pals are shanghaied, mutiny, and cast onto a desert island with native girls; the possessive queen pursues him as he pursues the princess—till he wakes up with a hangover.
** 1918 Thieves’ Gold (Universal Special Feature). 5 reels. March 18. Director: Jack Ford. Scenarist: George Hively, from story “Back to the Right Train,” by Frederick R. Bechdolt. Photographer: John W. Brown. With Harry Carey (Cheyenne Harry), Molly Malone (Alice Norris), L. M. Wells (Savage), Vester Pegg (Simmons, or Padden, an outlaw). Harry Tenbrook, M. K. Wilson, Martha Maddox.
Harry leaves the herds for Mexico with Padden, who, drunk, shoots someone. Next day Harry holds up an auto, is arrested, but will not rat on Padden. When fiancee Alice deserts him. Harry goes to Mexico, beats Padden at cards, Padden wounds Harry and dies, and Alice finds Harry unconscious and forgives him.
Received poor reviews.
* 1918 The Scarlet Drop (Universal Special). 5 reels. April 22. Director: Jack Ford. Scenarist: George Hively, from story by Ford. Photographer: Ben Reynolds. With Harry Carey (Kaintuck Cass), Molly Malone (Molly Calvert), Vester Pegg (Capt. Marley Calvert), M. K. Wilson (Graham Lyons), Betty Schade, Martha Maddox, Steve Clemente. Working title: “Hill Billy.”
Kaintuck Cass hates the Calverts, aristocrats, and they consider Casses trash, unworthy to fight with the Confederacy in the Civil War. So Cass becomes a bandit, holds up a stage, and takes Molly Calvert prisoner, but falls in love with her and sends her home. Later she falls in love with him when he saves her from rape by gentleman Lyons (blackmailing her because her mother was Negro). Calvert hides Cass from cops in attic, while Molly offers them tea, but a falling drop of blood betrays Cass. He eventually escapes back to Molly.
The plot resembles Francis Ford’s War Time Reformation (1914). Reviewers found it “old hat.”
32 minutes survive in the Getty Images Archive.
1918 Hell Bent (Universal Special Attraction). 5,700 feet. June 29. Director: Jack Ford. Writers: Ford, Harry Carey. Photographer: Ben Reynolds. With Harry Carey (Cheyenne Harry), Neva Gerber (Bess Thurston, his girl), Duke Lee (Cimarron Bill, his pal), Vester Pegg (Jack Thurston), Joseph Harris (Beau, an outlaw), M. K. Wilson, Steve Clemente.
Escaping to Rawhide after a shooting spree and finding dancehall and hotel full, Harry forces Cimarron to share a room; friendship. Harry meets Bess, whose brother Jack has been fired from Wells Fargo and whose mother is ill, and who lias to earn money in dancehall, so Harry gets himself hired as bouncer to protect her. Beau covets Bess, hates Harry, and persuades Jack to join his holdup gang, who kidnap Bess. Harry pursues, corners Beau, but to avoid Bess thinking him cowardly, challenges Beau to race on foot fifty miles across desert to Yaqui waterhole; but the hole is dry, Beau dies, and Cimarron rescues Harry, who marries Bess.
The film begins with author of story rejected for lack of punch admiring Remington picture called “The Misdeal,” which comes to life to start tlie story— which pokes fun at itself.
Exhibitors’ Trade Review: “Typical Harry Carey picture, which means that thrills and excitement are plentifully distributed about, and that speed and more speed is the keynote...A tickling tone of merriment.”
** 1918 A Woman’s Fool (Universal Special Attraction). 60 minutes. August 12. Director: Jack Ford. Scenarist: George Hively, from novel Lin McLean, by Owen Wister. Photographer: Ben Reynolds. With Harry Carey (Lin McLean), Betty Schade (Katy), Roy Clark (Tommy Lusk), Molly Malone (Jessamine).
Lin loves Katy, a biscuit shooter in a Denver railroad restaurant, and offers her a home in the West. Then there is a drought and Katy’s husband shows up offering to make it rain for six hours for $1,000, and does so, and Katy returns to him. Broken-hearted Lin goes to another town, where he meets a young pal, Tommy, who turns out to be Katy’s abandoned child. Lin adopts him, and falls in love with Jessamine, a station agent; Katy reappears and, after failing to wreck their marriage, kills herself, and Tommy reunites the couple.
** 1918 Three Mounted Men (Universal Special Attraction). 6 reels. October 7. Director: Jack Ford. Writer: Eugene B. Lewis. Photographer: John W. Brown. With Harry Carey (Cheyenne Harry), Joe Harris (Buck Masters), Neva Gerber (Lola Masters), Harry Carter (the warden’s son), Ella Hall.
Harry is put in solitary for fighting with Buck. Buck is a friend of warden’s son, a forger, and pardoned. But Buck bribes son tor hush money, so Harry, on hard labor, is released to get Buck. Harry arranges a holdup with Buck and Buck is arrested. But then Harry discovers Buck is Lola’s brother, and so he rescues him from cops and marries Lola.
Exhibitors’ Trade Review (November 21, 1918) complained of too much realism, too much filth and rats in prison. “Carey consistently portrays a rough character throughout the picture. The only wonder of it is that anyone should attempt to heroize such a type. There may be such men in the west, but it is best on the screen to show them up as horrible examples of what a man may be.”
** 1919 The Craving (Universal-Bluebird). 5 reels. January 6. Directors: Francis and Jack Ford. Story and scenario: Francis Ford. With Francis Ford (Carroll Wayles), Mae Gaston (Beaulah Grey), Peter Gerald (Ala Kasarib), Duke Worne (Dick Wayles), Jean Hathaway (Mrs. Wayles). Working title: “Delirium.”
Carroll Wayles, scientist with powerful explosive, has a rival, Ala Kasarib, an East Indian come to America for the formula with Beaulah Grey, under Kasarib’s hypnotic control, to seduce Wayles. Wayles refuses to drink, recounting his past deliria (special effects recreate girls poured from bottles into wineglasses, battlefields in Europe, etc. “Everywhere he looked he saw nude women”). In a mental battle in his lab, Kasarib gets the formula, and Wayles takes to drink. Later, he fights Kasarib in the latter’s lab, an explosion leaves Kasarib dead, and Wayles and Beaulah fall in love.
Bogdanovich removes The Craving from Ford’s credit, and even quotes Ford’s disclaimer. Yet Universal Weekly (January 14,1919) insists Jack participated. Curiously, Moving Picture World. (October 12, 1918!) reviews it unfavorably and credits distribution to M. H. Hoffman, a states’ rights agent, rather than to Universal. Everything about the picture smells of Francis; if Jack helped, it was just help.
** 1919 Roped (Universal Special). 6 reels. January 13. Director: Jack Ford. Writer: Eugene B. Lewis. Photographer: John W. Brown. With Harry Carey (Cheyenne Harry), Neva Gerber (Aileen Judson Brown), Molly McConnell (Mrs. Judson Brown), J. Farrell MacDonald (butler), Arthur Shirley (Ferdie Van Duzen).
Harry is a millionaire cattleraiser in Arizona in need of a housekeeper, so his hands put a marry ad in the newspaper and a note arrives from a poor but beautiful girl living at the Ritz in New York City. Harry goes east and marries Aileen, ensnared by her bankrupt society mother who, when a baby is born, will not let him see it and tells him it is dead (preferring alimony and a lounge lizard to marriage). Harry returns from a business trip to find them gone, but the butler tips him off, and Harry and his cowboys find them, knock out the lounge-lizard, and the couple takes a honeymoon to Grand Canyon.
** 1919 Harry Carey Tour Promotional Film (Universal). 1/2 reel (500 feet). February. Directors: Harry Carey, and Jack Ford. With Harry Carey.
A compilation of sensational stunts to illustrate Carey’s tour talk.
** 1919 The Fighting Brothers (Universal). 2 reel’s. March 10. Director: Jack Ford. Scenarist: George Hively, from story by George C. Hull. Photographer: John W. Brown. Filmed February 8-15. With Pete Morrison (Sheriff Pete Larkin), Hoot Gibson (Lonnie Larkin), Yvette Mitchell (Conchita), Jack Woods (Ben Crawley), Duke Lee (Slim). Working title: “His Buddy.”
Sheriff Larkin does his duty, arresting for murder his brother, whom he knows to be innocent. Then he takes off his badge and helps him escape.
** 1919 A Fight for Love (Universal Special Attraction). 6 reels. March 24. Director: Jack Ford. Writer: Eugene B. Lewis. Photographer: John W. Brown. Exteriors filmed in California’s Big Bear region. With Harry Carey (Cheyenne Harry), Joe Harris (Black Michael), Neva Gerber (Kate McDougall), Mark Fenton (Angus McDougall, her father), J. Farrell MacDonald (the priest). Princess Neola Mae (Little Fawn), Chief Big Tree (Swift Deer). Workingtitle: “Hell’s Neck.”
Harry crosses to Canada and rolls a cigarette gazing at the posse pursuing him. But the Americans call the Mounties and Harry hides with Indians and fights with whiskey-runner Black Michael over an Indian girl. Michael is also Harry’s rival for Kate, whom he abducts, killing an Indian boy and confessing to a priest; then, pursued by Harry and falling from a cliff, he confesses again to the law and dies.
Exhibitors’ Trade Review commented on its many fights for love, exciting chases, Indians, and spellbinding locations.
1919 By Indian Post (Universal). 2 reels. April 12. Director: Jack Ford. Scenarist: H. Tipton Steck, from story “The Trail of the Billy-Doo,” by William Wallace Cook. Filming began February 18. With Pete Morrison (Jode McWilliams), Duke Lee (Pa Owens), Madga Lane (Peg Owens), Ed Jones (Stumpy, the cook). Jack Woods (Dutch), Harley Chambers (Fritz), Hoot Gibson (Chub), Jack Walters (Andy), Otto Myers (Swede), Jim Moore (Two-Horns, an Indian). Workingtitle: “The Love Letter.”
Stumpy writes a love letter to Peg for Jode, copying it from “Lothario’s Compendium,” but other cowboys find the letter and tack it to a door, where Two-Horns, admiring the “paper talk,” finds it and shows it to everyone he meets. Before Jode can catch him, Two-Horns shows it to Peg, with happy effect. Working title: “The Love Letter.”
Footage resides with a private collector.
** 1919 The Rustlers (Universal). 2 reels. April 26. Director: Jack Ford. Writer: George Hively. Photographer: John W. Brown. Filmed February 22-March 8. With Pete Morrison (Ben Clayburn), Helen Gibson (Postmistress Nell Wyndham), Jack Woods (Sheriff Buck Parley), Hoot Gibson (his deputy). Workingtitle: “Even Money.”
A government ranger infiltrates a rustler gang so effectively that Nell has to save him from a lynch mob.
** 1919 Bare Fists (Universal Special). 5,500 feet. May 5. Director: Jack Ford. Scenarist: Eugene B. Lewis, from story by Bernard McConville. Photographer: John W. Brown. Filming began July 20, 1918. With Harry Carey (Cheyenne Harry), Molly McConnell (his mother), Joseph Girard (his father), Howard Ensteadt (his brother. Bud), Betty Schade (Conchita), Vester Pegg (Lopez), Joe Harris (Boone Travis), Anna Mae Walthall (Ruby, a dancehall girl). Working title: “The Man Who Wouldn’t Shoot.”
Harry’s father is marshall of Hays City, a lawless bordertown. His mother begs them not to intervene in a saloon Rght, but they do and Pa is killed. Harry killing two of the slayers. So mother makes him swear on the Bible not to carry a gun again. But Harry is framed for Boone’s murder of Conchita and sentenced to die, and when his mother makes her last visit, he learns brother Bud has been branded a cattle thief. So Harry escapes and gets the real thieves.
** 1919 Gun Law (Universal). 2 reels. May 10. Director: Jack Ford. Writer: H. Tipton Steck. Photographer: John W. Brown. Filmed March 11-21. With Peter Morrison (Dick Alien), Hoot Gibson (Bart Stevens, alias Smoke Gublen), Helen Cibson (Letty), Jack Woods (Cayuse Yates), Otto Myers, Ed Jones, H. Chambers (Yatess gang). Working title: “The Posse’s Prey.”
A government agent infiltrates a mine to prove its owner is a mail robber, but in the process he falls in love with the guy’s sister and the guy saves his life, causing a dilemma alleviated by recovery of the intact mailbags.
** 1919 The Gun Packer (Universal). 2 reels. May 24. Director: Jack Ford. Scenarist: Karl R. Coolidge, from a story by Ford and Harry Carey Photographer: JohnW. Brown. Filming began March 25. With Ed Jones (Sandy McLoughlin), Pete Morrison (“Pearl Handle” Wiley), Magda Lane (Rose McLoughlin), Jack Woods (Pecos Smith), Hoot Gibson (outlaw leader). Jack Walters (Brown), Duke Lee (Buck Landers), Howard Enstaedt (Bobby McLoughlin). Working title: “Out Wyoming Way” Reissued August 1924.
A reformed gunman, sheepmen, and a gang of outlaws unite to win water rights from cattle barons.
** 1919 Riders of Vengeance (Universal Special). 6 reels. June 9. Director: Jack Ford. Producer: P. A. Powers. Writers: Ford, Harry Carey. Photographer: John W. Brown. With Harry Carey (Cheyenne Harry), Seena Owen (the Girl), Joe Harris (SherriffGale Thurman), J. Farrell MacDonald (Buell), Jennie Lee (Harry’s mother), Glita Lee (Virginia), Alfred Alien, Betty Schade, Vester Pegg, M. K. Wilson.
As Harry and his bride emerge from the church, she and his parents are murdered. Harry reappears a year later to post the names of those he will kill in revenge, which he does, one by one, till Gale Thurman. But Harry rescues Thurman’s girl from stage holdup, cares for her in his cave /home after considering harming her, and falls in love. Then, trapped with Thurman in the desert and fighting off Apache, he discovers the man’s innocence and tries to save him for the girl’s sake, but Thurman dies.
According to W.P.Wooten, Ford, taking over when the original director took ill, only directed portions.
Exhibitors’ Trade Review used phrases like: “sympathetic,” “strenuous,” “action,” “color,” “lots of suspense.” Moving Picture World (May 24, 1919): “scenic,” “lots of killings.”
* 1919 The Last Outlaw (Universal). 2 reels. June 14. Director: Jack Ford. Scenarist: H. Tipton Steck, from story by Evelyne Murray Campbell. Photographer: John W. Brown. Filmed April 8-12. With Ed “King Fisher” Jones (Bud Coburn), Richard dimming (Sheriff Brownio), Lucille Hutton (Idaleen Coburn), Jack Walters (Chad Alien), Billie Hutton. Working title: “A Man of Peace.” Reissued December 1923; remade as feature, 1936.
Bud returns home from ten years in jail to find his town gone “civilized and dry” and his daughter in the clutches of a bootlegger. So the old outlaw kidnaps his daughter and is wounded saving her.
The first reel survives.
** 1919 The Outcasts of Poker Flat (Universal Special). 6 reels. July 6. Director: Jack Ford. Producer: P. A. Powers. Scenarist: H. Tipton Steck, from stories “The Outcasts of Poker Flat” and “The Luck of Roaring Camp,” by Bret Harte. Photographer: John W. Brown. With Harry Carey (Square Shootin’ Lanyon; John Oakhurst), Cullen Landis (Billy Lanyon; Tommy Oakhurst), Gloria Hope (Ruth Watson; Sophy), J. Farrell MacDonald, Charles H. Mailes, Victor Postel, Joe Harris, Duke R. Lee, Vester Pegg.
Square Shootin Harry Lanyon, owner of Arizona gambling hall, loves ward Ruth but thinks she loves his adopted son Billy and will not interfere. Then he reads Harte’s “Outcasts of Poker Flat” and sees in it similarities to his own situation. (John Oakhurst befriends Sophy as she is about to kill herself on a steamboat, deserted by gambler fiance Stratton. Oakhurst brings Sophy to Poker Flat and encourages her to marry his son Tommy. Then Stratton reappears, coveting Sophy; but vigilantes drive everyone out of the town, where they are caught in a storm and only Sophy and Tommy survive.) Impressed, Lanyon vows not to make similar mistakes and discovers Ruth loves him, not Billy. Remakes by Christy Cabanne, 1937, and Joseph Newman, 1952.
Moving Picture World (June 28, 1919): “Catches admirably the spirit of the early days in California.” Photoplay: “Two remarkable things are Harry Carey’s rise to real acting power, and director Ford’s marvelous river locations and absolutely incomparable photography. This photoplay is an optic symphony.”
** 1919 The Age of the Saddle (Universal Special). 6 reels. August 18. Director: Jack Ford. Producer: P. A. Powers. Scenarist: George Hively, from story by B. J. Jackson. Photographer: John W. Brown. Exteriors filmed in the Rio Grande Valley. With Harry Carey (Cheyenne Harry Hender-son), Joe Harris (Sheriff “Two Gun” Hildebrand of Yucca County), Duke R. Lee (Sheriff Faulkner ofPinkerton County), Peggy Pearce (Madeline Faulkner, his daughter). Jack Walters (Inky O’Day), Vester Pegg (gambler), Zoe Ray, Howard Ensteadt (the children), Ed “King Fisher” Jones (Home Sweet Holmes), William Cartwright (Humpy Anderson), Andy Devine. Working title: “A Man of Peace.”
Yucca’s sheriff is in cahoots with rustlers of Harry’s steers, and it is outside of Pinkerton sheriff’s jurisdiction; but Harry falls in love with latter’s daughter, who makes him give up guns. When his water is poisoned, Harry drags his cabin into Finkerton County with six horses. Rustlers kidnap Madeline, Harry rescues her, and posse captures leaders, who, however, are saved by a raid at their trial, only to be lured by Harry to his cabin, knocked out with the poisoned water, and recaptured.
** 1919 The Rider of the Law (Universal Special). 5 reels. November 3. Director: Jack Ford. Producer: P. A. Powers. Scenarist: H. Tipton Steck, from story “Jim of the Rangers” by G. P. Lancaster. Photographer: John W. Brown. With Harry Carey (Jim Kyneton), Gloria Hope (Betty, his girl), Vester Pegg (Nick Kyneton), Theodore Brooks (the Kid), Joe Harris (Buck Souter), Jack Woods (Jack West), Duke R Lee (Capt. Graham Saltire), Claire Anderson (Roseen), Jennie Lee (mother).
Jim loves mother’s ward Betty, but thinks she loves brother Nick. Betty loves Jim, thinks he loves pretty, treacherous Roseen. Saloonman Buck loves Roseen, but vows vengeance on Jim, thinking Roseen loves Jim. Jim is a Texas Ranger after Midas Mine thieves; duty is his middle name and he arrests his own brother Nick and locks all in cabin; but Roseen, repulsed by Jim, lets them out. Jim, accused a traitor, captures them again, but Nick rides off cliff rather than be captured. Jim marries Roseen.
Exhibitors’ Trade Review (October 18, 1919): “Typical Harry Carey…wild chases, commingling of bathos and humor, realistic.”
* 1919 A Gun Fightin’ Gentleman (Universal Special). 5 reels. November 30. Director: Jack Ford. Producer: P. A. Powers. Scenarist: Hal Hoadley, from story by Ford and Harry Carey. Photographer: John W. Brown. With Harry Carey (Cheyenne Harry), J. Barney Sherry (John Merritt), Kathleen O’Conner (Helen Merritt), Lydia Yeamans Titus (her aunt), Harry von Meter (Earl ofJollywell), Duke R. Lee (Buck Regan), Joe Harris (Seymour), Johnny Cooke (the old sheriff), Ted Brooks (the Youngster).
Harry refuses to surrender land to Merritt Packing Co., eludes their hired men, but is dispossessed when a lawyer finds a title flaw. Harry goes to Chicago, but at dinner Merritt mocks his clothes and manners. So Harry becomes an outlaw, robs Merritt’s payrolls, finally abducts his daughter Helen, and falls in love. When Merritt comes to save her, she makes him right wrong.
Portions of the first three reels survive, but don’t look like Ford.
** 1919 Marked Men (Universal Special). 5 reels. December 21. Director: Jack Ford. Producer: P. A. Powers. Scenarist: H. Tipton Steck, from story “The Three Godfathers,” by Peter B. Kyne. Photographer: John W Brown. Editors: Frank Lawrence, Frank Atkinson. With Harry Carey (Cheyenne Harry), J. Farrell MacDonald (Tom “Placer” McGraw), Joe Harris (Tom Gibbons), Winifred Westover (Ruby Merrill), Ted Brooks (Tony Garcia), Charles Lemoyne (Sheriff Pete Cushing), David Kirby (Warden “Bruiser” Kelly). Working title: “The Trail of Shadows.”
Harry, Bill, and Tom, in state pen for train robbery, escape. Later Harry leaves Ruby to rob bank with Bill and Tom. but they are chased into Mojave Desert, encounter a dying mother and vow to save her baby; only Harry survives, staggering into a dancehall Christmas Eve. Ruby and sheriff learn the baby is his nephew and obtain pardon from governor. Numerous remakes, including Ford’s 3 Godfathers, 1948.
** 1920 The Prince of Avenue A (Universal Special). 5 reels. February 23. Director: Jack Ford. Scenarist: Charles J. Wilson, Jr., from story by Charles and Frank Dazey. Photographer: John W. Brown. With James J. “Gentleman Jim” Corbett (Barry O’Conner), Mary Warren (Mary Tompkins), Harry Northrup (Edgard Jones), Cora Drew (Mary O’Conner), Richard Cummings (Patrick O’Conner), Frederik Vroom (William Tompkins), Mark Fenton (Father O’Toole), George Vanderlip (Reggie Vanderlip), Johnny Cooke (butler), Lydia Yeamans Titus (housekeeper), George Fisher.
The prince is Barry O’Conner, whose father, Patrick, is district ward boss and supports Tompkins for mayor, whose daughter Mary is pleasant to Barry for political reasons, but Barry falls in love. At her dance, all refuse to dance with him, so he invites a maid to “trip the light fantastic” and Mary, humiliated, orders him out. Patrick, insulted, demands apology, and Tompkins and Mary come to call and Mary consents to be Barry’s partner at Grand Ball. There, O’Conner’s rival insults Mary, and Barry defends her in a gigantic brawl, winning Mary.
Exhibitors’ Trade Review (January 17, 1920): “Wealth of human interest, good comedy, a bit of pathos…atmosphere…one can always be sure of clever details when Ford has taken a hand at things.” Moving Picture World (January 17, 1920): “A triumph among unique character stories…a story of genuine life…an undercurrent of humor.” Ford’s first non-western.
** 1920 The Girl in No. 29 (Universal Special). 4,775 feet. April 3. Director: Jack Ford. Scenarist: Philip J. Hum, from story “The Girl in the Mirror,” by Elizabeth Jordan. Photographer: John W. Brown. 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).
Laurie Devon wrote a successful play and will not work again. Friends deplore his rut. One day he sees a girl across the way holding a revolver to her head, breaks in to prevent her suicide, begs to be her protector, discovers Shaw is bothering her, follows Shaw, gets dumped into cellar, escapes, learns girl abducted, rescues her from thugs, thinks he has killed Shaw, then learns the whole thing is a joke by his friends, and marries the girl. (Lots of rain and night.)
**† l920 Under Sentence (Universal). 2 reels. June 12. Director: Edward Feeney. Scenarist: George Hively, from story by Jack Ford. Shooting started April 12. With Bob Anderson, Ethel Ritchie, Jennie Lee, J. Farrell MacDonald, Cap Anderson, Jack Woods.
Remake of Ford’s A Marked Man, 1917, by younger brother Edward, who later changed his name to O’Fearna and served as assistant director on many of John’s pictures.
** 1920 Hitchin’ Posts (Universal Special). 5 reels. August 29. Director: Jack Ford. Scenarist: George C. Hull, from story by Harold M. Schumate. Photographer: Benjamin Kline. With Frank Mayo (Jefferson Todd), Beatrice Burnham (Ophelia Bereton), Joe Harris (Raoul Castiga), J. Farrell MacDonald (Joe Alabam), Mark Fenton (Col. Carl Bereton), Dagmar Godowsky (octoroon). Duke R. Lee (Col. Lancy), C. E. Anderson (steamboat captain), M. Biddulph (Maj. Gray).
Todd, a Southern gentleman whose lands are confiscated by Yankees, takes to gambling for livelihood and on a Mississippi riverboat wins last possessions of Col. Bereton—four race horses. Bereton commits suicide that night, and the captain asks Todd to inform Bereton’s daughter Barbara; but Bereton had already asked Castiga to do this. Todd and Castiga meet on plantation, and Todd dislikes Castiga for his treatment of his wife, Todd’s sister. They duel: Castiga fires before allowed, but Todd reserves his shot in accord with promise to Todd’s sister. Barbara, penniless, goes West to homestead, Todd and Castiga, too, separately, and unknown to Barbara. Todd and Castiga race for oil claim on Bereton’s horses, fight, and Castiga drowns. Todd’s sister has died and he marries Barbara.
1920 Just Pals (William Fox-20th Century Brand). 5 reels. November 14. Director: Jack Ford. Scenarist: Paul Schofield, from story by John McDermott. Photographer: George Schneiderman. With Buck Jones (Bim), Helen Ferguson (Mary Bruce, schoolteacher), George E. Stone (Bill), Duke R. Lee (sheriff), William Buckley (Harvey Cahill), Edwin Booth Tilton (Dr. Warren Stone), Eunice Murdock Moore (Mrs. Stone), Burt Apling (brakeman), Slim Padgett, Pedro Leone, (outlaws), Ida Tenbrook (maid), John J. Cooke (elder).
Norwalk, a village on the border between Wyoming and Nebraska: Bim, the town bum, befriends a ten-year-old hobo, and together they thwart an express office robbery and win the schoolteacher’s heart.
** 1921 The Big Punch (William Fox-20th Century Brand). 5 reels. January 30. Director: Jack Ford. Scenarists: Ford, Jules Furthman, from story “Fighting Back,” by Furthman. Photographer: Frank Good. With Buck Jones (Buck), Barbard Bedford (Hope Standish), George Siegmann (Flash McGraw), Jack Curtis (Jef, Buck’s brother), Jennie Lee (Buck’s mother). Jack McDonald, Al Fremont (Jed’s friends), Edgar Jones (sheriff), Irene Hunt (dancehall girl), Eleanor Gilmore (Salvation Army girl).
Buck is planning to go to theological seminary, his mother a widow alone on ranch. Buck finds brother Jed drunk with pals in saloon listening to McGraw plan new crime. Hope Standish, Salvation Army girl, comes selling War Crys, and McGraw will throw her out if she does not kiss him, so she does, coldly, and crowd buys all her papers. Buck forces Jed to come home, McGraw’s gang attacks him, but Jed and pals support Buck, and McGraw swears revenge. He has crony sheriff arrest them for sheep rustling and Buck, trying to warn them, is arrested too, getting two years, the others ten. In prison. Buck loves Hope, v ho visits, and studies for ministry. Ordained after release, he takes over the old circuit rider’s route, lives down his “reputation,” learns to love work and Hope, and converts Jed when Jed escapes from prison.
Exhibitors’ Trade Review: “Action,” “full of human touches,” “heart tugs.”
** 1921 The Freeze Out (Universal Special). 4,400 feet. April 9. Director: Jack Ford. Writer: George C. Hull. Photographer: Harry C. Fowler. With Harry Carey (Ohio, the Stranger), Helen Ferguson (Zoe Whipple), Joe Harris (Headling Whipple), Charles Lemoyne (Denver Red), J. Farrell MacDonald (Bobtail McGuire), Lydia Yeamans Titus (Mrs. McGuire).
A stranger rides into Broken Buckle to open a gamblinghouse to rival Red and Whipple’s. Teacher Zoe, who disapproves of brother Whipple’s house, tries to interest the Stranger in reform but is ignored. But the new house turns out to be a school and library.
** 1921 The Wallop (Universal Special). 4,539 feet. May 7. Director: Jack Ford. Scenarist: George C. Hull, from story “The Girl He Left Behind Him,” by Eugene Manlove Rhodes. Photographer: Harry C. Fowler. With Harry Carey (John Wesley Pringle), Joe Harris (Barela), Charles Lemoyne (Matt Lisner), J. Farrell MacDonald (Neuces River), Mignonne Golden (Stella Vorhis), Bill Gettinger (Christopher Foy), Noble Johnson (Espinol), C. E. Anderson (Applegate), Mark Fenton (Major Vorhis). Working title: “The Homeward Trail.”
Adventurer Harry Pringle makes his strike and returns home and recognizes his lost love, Stella, in a movie theater. Alas, she loves another, Chris, who is running for sheriff against incumbent Lisner, Foiled by Harry in an attempt to kill Chris, Lisner frames Chris for murder. A posse pursues Chris and Stella, who hide in a cave; Harry finds them, ties up Chris, claims the reward, then frees him, reveals Lisner’s corruption and, having reunited Chris and Stella, goes back alone to his mine.
Exhibitors Trade Review: “Pleasing to all... interesting story…big outdoors…night and rain, with only a campfire for light.”
** 1921 Desperate Trails (Universal Special). 4,577 feet. July 9. Director: Jack Ford. Scenarist: Elliot J. Clawson, from story “Christinas Eve at Pilot Butte,” by Courtney Riley Cooper. Photographers: Harry C. Fowler, Robert DeGrasse. Filmed March 14-April 11. With Harry Carey (Bert Carson), Irene Rich (Mrs. Walker), George E. Stone (Danny Boy), Helen Field (Carrie), Barbara La Marr (Lady Lou), George Siegmann (Sheriff Price), Charles Insley (Dr. Higgins), Ed Coxen (Walter A. Walker). Working title: “Christmas Eve at Pilot Butte.”
Loved by Widow Walker, Harry loves Lady Lou, and goes to prison to protect Lou’s brother, where, discovering the “brother” is her lover, he escapes and kills him. To give Widow Walker the reward for his capture, he turns himself in to her boy on Christmas eve; but Lou has confessed the frame-up.
Exhibitors’ Trade Review:”No padding,” “good night scenes.” Motion Picture News:“The closing reels show the slow change of seasons in the trackless forest.”
** 1921 Action (Universal Special). 4,590 feet. September 12. Director: Jack Ford. Scenarist: Harvey Gates, from “The Mascotte of the Three Star,” by J. Alien Dunn. Photographer: John W. Brown. With Hoot Gibson (Sandy Brooke), Francis Ford (Soda Water Manning), J. Farrell MacDonald (Mormon Peters), Buck Conners (Pat Casey), Byron Munson (Henry Meekin), Clara Horton (Molly Casey), William B. Daley (J. Plimsoll), Charles Newton (Sheriff Dipple), Jim Corey (Sam Waters), Ed “King Fisher” Jones (Art Smith), Dorothea Wolburt (Mirandy Meekin). Working title: “Let’s Go.”
Molly is an orphan, heir to ranch and mine, alone, threatened. Sandy, Soda Water, and Mormon wander in from range and take interest. Sandy falls in love, works mine, fends off conspirators and sends Molly east to school. But conspirators conspire and Molly returns to Rnd all in jail, but she straighten things out.
Hoot Gibson’s first feature starring role, and Francis Ford’s first appearance under Jack’s direction. Exhibitors’ Trade Review: “Unusually good,” “artistic,” “box office,” “original.”
** 1921 Sure Fire (Universal Special). 4,481 feet. Novembers. Director: Jack Ford. Scenarist: George C. Hull, from story “Bransford of Rainbow Ridge,” by Eugene Manlove Rhodes. Photographer: Virgil G. Miller. With Hoot Gibson (Jeff Bransford), Molly Malone (Marian Hoffnan), Reeves “Breezy” Eason, Jr. (Sonny), Harry Carter (Rufus Coulter), Murdock MacQuarrie (Major Parker), Fritzi Brunette (Elinor Parker), George Fisher (Burt Rawlings), Charles Newton (Leo Ballinger), Jack Woods (Brazos Bart), Jack Walters (Overland Kid), Joe Harris (Romero), Steve Clemente (Gomez), Mary Philbin.
Jeff’s girl, Marian, is down on him for lack of ambition, and her married sister, Elinor, is about to elope with an Eastern lover (who, her child tells Jeff, has just stolen $5,000 mortgage money for Elinor’s house). Mr. Parker discovers Jeff there, and Elinor Parker puts the blame on Jeff, who escapes to a cabin. Meanwhile, bandits kill the Easterner, take the money, abduct Marian, and escape to the same cabin, where Jeff saves Marian. Posse arrives, finds loot on a baddy. Elinor’s secret is safe, her husband (still complaisantly ignorant) gives Jeff the $5,000 for his marriage to Marian.
** 1921 Jackie (William Fox). 4,943 feet. November 27. Director: Jack Ford. Scenarist: Dorothy Yost, from story by Countess Helena Barcynska (pseudonym for Marguerite Florence Helene Jervis Evans). Photographer: George Schneiderman. With Shirley Mason (Jackie), William Scott (Mervyn Carter), Harry Carter (Bill Bowman), George E. Stone (Benny), John Cooke (Winter), Elsie Bambrick (Millie).
Jackie, a Russian waif, is apprenticed to a cheap roadshow. But her lustful manager assaults her, and she flees with Benny, a crippled boy, to London, where she dances on the street. Carter, a wealthy American, picks her up, pays for an operation for Benny and lessons for her. Then, after her successful debut, he has to dispose other former master before marrying her.
Exhibitors’ Trade Review: “Wealth of pathos,” “colorful.” “The production is remarkable for the insistent adherence to accurate and artistic detail which have distinguished director Jack Ford’s contributions to the screen in the past.”
** 1922 Little Miss Smiles (William Fox). 4,884 feet. January 15. Director: Jack Ford. Scenarist: Dorothy Yost, from “Little Aliens,” by Myra Kelly, adapted by Yost and Jack Strumwasser. Photographer: David Abel. With Shirley Mason (Esther Aaronson), Gaston Glass (Dr. Jack Washton), George Williams (Papa Aaronson), Martha Franklin (Mama Aaronson), Arthur Rankin (Dave Aaronson), Baby Blumfield (Baby Aaronson), Richard Lapan (Leon Aaronson), Alfred Testa (Louis Aaronson), Sidney D’Albrook (the Spider).
Ups and downs of a Jewish family in New York ghetto tenement. The mother is losing her eyesight, daughter Esther loves young Dr. Jack, and brother Dave’s ambitions to become a prizefighter worry his parents. Complications arise when Dave, in bad company, shoots a gangster for insulting Esther. But Dr. Jack restores mother’s eyesight and marries Esther.
Exhibitors’ Trade Review: “Ghetto stories usually popular, this one is unoriginal, but very good: pathos and comedy, realistic people and places.”
**† l922 Silver Wings (William Fox). 8,271 feet. August 26. Directors: Jack Ford (the Prologue), Edwin Carewe (the Play). Writer: Paul H. Stone. Photographers: Joseph Ruttenberg, Robert Kurle. With (in the Prologue): Mary Carr (Anna Webb), Lynn Hammond (John Webb), Knox Kincaid (John, their child), Joseph Monahan (Harry, another son), Maybeth Carr (Ruth, their daughter), Claude Brook (Uncle Andrews), Robert Hazelton (the priest), Florence Short (widow). May Kaiser (baby); and (in the Play): Mary Carr (Anna Webb), Percy Halton (John), Joseph Striker (Harry), Jane Thomas (Ruth), Roy Gordon (George), Florence Haas (Little Anna), Claude Brook (Uncle Andrews), Roger Lytton (banker), Ernest Hilliard (Jerry).
The Prologue: John Webb invents an improved sewing machine, enriching his family, then dies. The Play: Eldest son Harry, however, mismanages affairs, John skips town, accused of stealing the money Harry embezzled, Ruth elopes. Mother Abba sells the business to cover Harry’s debts and, impoverished, takes a menial factory job. Later, a magazine story of her life helps reunite the family.
The Ford sequence contained an affecting scene of a baby’s death.
**† l922 Nero (William Fox), c. 11,500 feet. September 17. Director: J. Gordon Edwards. With Jacques Gretillat, Alexander Salvini. Filmed mostly in Italy.
Ford wrote and directed scenes to heighten Edwards’s climax. As Edwards’s Christians are being torn apart by lions, Ford, in parallel montage, added scenes of horsemen gathering, like Griffith’s klans, while enormous drums beat. These horsemen, spearheading the rebellious army of Galba, assault the city, but are opposed by Nero’s soldiers at a bridge over the Tiber; some of them fall into the Tiber spectacularly before they gain the bridge. At this point the film returned to Edwards’s shot of the horsemen entering the arena just in time to save the star Christians.
* 1922 The Village Blacksmith (William Fox). 7,540 feet. November 2. Director: Jack Ford. Scenarist: Paul H. Sloane, from poem by Henry Wadsworth Longfellow. Photographer: George Schneiderman. With William Walling (John Hammond, blacksmith), Virginia True Boardman (his wife), Virginia Valli (Alice Hammond), David Butler (Bill Hammond), Gordon Griffith (Bill, as child), Ida Nan McKenzie (Alice, as child), George Hackthorne (Johnnie), Pat Moore (Johnnie, as child), Tully Marshall (Squire Ezra Brigham), Caroline Rankin (Mrs. Brigham), Ralph Yeardsley (Anson Brigham), Henri de la Garrique (Anson, as child), Francis Ford (Asa Martin), Bessie Love (Rosemary Martin), Helen Field (Rosemary, as child), Mark Fenton (Dr. Brewster), Lon Poff (Gideon Crane, schoolteacher), Cordelia Callahan (Aunt Hattie), Eddie Gribbon (village gossip), Lucille Hutton (flapper).
In a prologue, Johnnie Hammond, one of the blacksmith’s two sons, falls crippling himself from a tree young Anson Brigham has dared him to climb. Anson is the son of the squire, who hates the blacksmith for marrying the woman the squire loved. She dies. Years later (around 1923), son Bill Hammond goes off to medical school (for Johnnie), and Anson, back from college, ensnares Hammond’s daughter, Alice, arousing gossip. Bill is injured in a train accident, and Alice, accused of stealing church money (actually stolen by Anson), tries suicide in storm; crippled Johnnie pursues Anson. The blacksmith arrives to save Alice and forces Anson and the squire to confess. Bill recovers and operates successfully on Johnnie.
Only fragments survive.
** 1923 The Face on the Barroom Floor (William Fox). 5,787 feet. January 1. Director: Jack Ford. Scenarists: Eugene B. Lewis, G. Marion Burton, from poem by Hugh Antoine D’Arcy. Photographer: George Schneiderman. With Henry B. Walthall (Robert Stevens, an artist), Ruth Clifford (Marion Von Vieck), Walter Emerson (Richard Von Vieck), Alma Bennett (Lottie), Norval McGregor (governor), Michael Dark (Henry Drew), Gus Saville (fisherman).
As a derelict paints a girl’s face on a barroom floor, flashbacks tell his story: Robert Stevens is a famous artist engaged to socialite Marion. In Maine he paints a charming fisherman’s daughter, but Marion’s brother dishonors her and she kills herself. Stevens, shielding Marion’s brother, is blamed and Marion drops him. He drifts from bad to worse; when thieves plant a stolen wallet on him, he is sent to prison. During a riot he escapes, saves the governor’s life, swims to a lighthouse, and when the keeper is too ill to work, signals for him and saves ships. Returning to prison, he is pardoned and eventually reunited with Marion.
** 1923 Three Jumps Ahead (William Fox). 4,854 feet. March 25. Director-writer: Jack Ford. Photographer: Daniel B. Clark. With Tom Mix (Steve Clancy), Alma Bennett (Annie Darrell), Virginia True Boardman (Mrs. Darrell), Edward Piel (Taggit), Joe E. Girard (Annie’s father), Francis Ford (Virgil Clancy), Margaret Joslin (Juliet), Henry Todd (Cicero), Buster Gardner (Brutus).
Steve Clancy and his uncle Virgil are captured by outlaws and imprisoned in their mountain hideout cave, where another prisoner, Darrell, imprisoned there two years, is forced to flog them. Darrell escapes, and the baddies promise Steve they will release his uncle if he recaptures Darrell but will kill him if he fails. Steve, outside, meets Ann, traps Darrell, returns him, discovers he is Ann’s father, rescues him.
1923 Cameo Kirby (William Fox). 5,910 feet. October 21. Director: John Ford. Scenarist: Robert N. Lee, from play by Harry Leon Wilson and Booth Tarkington. Photographer: George Schneiderman. Released with tinted sequences. With John Gilbert (Cameo Kirby), Gertrude Olmstead (Adele Randall), Alan Hale (Col. Moreau), William E. Lawrence (Col. Bandall), Jean Arthur (Ann Playdell), Richard Tucker (Cousin Aaron), Phillips Smalley (Judge Playdell), Jack McDonald (Larkin Bruce), Eugenie Ford (Mine. Dauezac), Frank Baker.
Riverboat gambler Kirby wins Colonel Randall’s estate solely to save him from crooked Moreau. But Randall kills himself and Moreau, blaming Kirby, shoots him in the back. Kirby kills Moreau in a second duel, but a Randall brother, deceived by Moreau, pursues Kirby, who, hiding in the Randall house, discovers his secret love Adele is Randall’s daughter and proves his innocence. Remade, 1929, by Irving Cummings.
Ford’s first billing as “John Ford.” Exhibitors’ Trade Review (October 27, 1923): “As though the men and women of that pre-Civil War period had come to life again in the full vigor and beauty of their joy of living. Ranks with the best of the year.” Despite some pretty pictures, it seems overtitled tedium today.
* 1923 North of Hudson Bay (William Fox). 4,973 feet. November 19. Director: John Ford. Writer: Jules Furthman. Photographer: Daniel B. Clark. Released with tinted sequences. With Tom Mix (Michael Dane, a rancher), Kathleen Kay (Estelle MacDonald), Jennie Lee (Dane’s mother), Frank Campeau (Cameron MacDonald), Eugene Pallette (Peter Dane), Will Walling (Angus MacKenzie), Frank Leigh (Jeffrey Clough), Fred Kohler (Armand LeMoir). Working title: “Journey to Death.”
Rancher Michael Dane falls in love with Estelle while en route to northern Canada, where his brother Peter has struck gold. But there he finds his brother dead and his partner MacKenzie sentenced to walk the “death trail” until dead. Dane tries to help MacKenzie, earns the same sentence, but both escape, battling wolves, and meet Estelle, pursued by her uncle, the real murderer, who dies after a canoe chase over a waterfall.
Only portions of the film survive—with Czech titles.
** 1923 Hoodman Blind (William Fox). 5,434 feet. December 20. Director: John Ford. Scenarist: Charles Kenyon, from play by Henry Arthur Jones and Wilson Barrett. Photographer: George Schneiderman. With David Butler (Jack Yeulette), Gladys Hulette (Nance Yeulette; Jessie Walton), ReginaConnelly (Jessie Walton, the first), Frank Campeau (Mark Lezzard), Marc MacDermott (John Linden), (Battling Brown), Jack Walters (Bull Yeaman).
John Linden, a victim of wanderlust, deserts wife and daughter and goes West with a village girl, with whom he has a second daughter, then leaves them as well. In South Africa he finds wealth. Meanwhile, both mothers die. Nancy, the legitimate daughter, marries a fisherman; look-alike Jessie, the illegitimate daughter, becomes a whore. Through their resemblance, crooked lawyer Mark Lezzard arouses the jealousy of Nancy’s husband, hoping to gain Nancy for himself and thus the money that Linden sends her through Lezzard. Linden returns and is reunited with his daughters, after Nancy’s husband heroically rescues Jessie from a sinking boat.
Exhibitors’ Trade Review: Atmospheric, crooked streets, character studies, almost all outside and at night, “with that eerie and striking contrast of nickering light and sharp shadows.” “ Heavy melodrama that seems to depress instead of entertain,” wrote an exhibitor to Moving Picture World (August 29, 1925).
1924 The Iron Horse (William Fox). 11,335 feet. August 28 (Egyptian Theater, Los Angeles). Director: John Ford. Scenarist: Charles Kenyon, from story by Kenyon and John Russell. Photographers: George Schneiderman, Burnett Guffey. Titles: Charles Darnton. Music score: Erno Rapee. Assistant director: Edward O’Fearna. Released with tinted sequences. Filmed January-March. With George O’Brien (Davy Brandon), Madge Bellamy (Miriam Marsh), Judge Charles Edward Bull (Abraham Lincoln), William Walling (Thomas Marsh), Fred Kohler (Deroux [Baumann (GB edition)]), Cyril Chadwick (Peter Jesson), Gladys Hulette (Rudy), James Marcus (Judge Haller), Francis Powers (Sgt. Slattery), J. Farrell MacDonald (Cpl. Casey), James Welch (Pvt. Schultz [Mackay (GB)]), Colin Chase (Tony), Walter Rogers (Gen. Dodge), Jack O’Brien (Dinny), George Waggner (Col. Buffalo Bill Cody), John Padjan (Wild Bill Hickok), Charles O’Malley (Maj. North), Charles Newton (Collis P. Huntington), Delbert Mann (Charles Crocker), Chief Big Tree (Cheyenne chief). Chief White Spear (Sioux chief), Edward Piel (old Chinaman), James Gordon (David Brandon, Sr.), Winston Miller (Davy, as child), Peggy Cartwright (Miriam, as child), Thomas Durant (Jack Ganzhorn), Stanhope Wheatcroft (John Hay), Frances Teague (Polka Dot), Dan Borzage, Frank Baker.
Working titles: “The Transcontinental Railroad,” “The Iron Trail.”
Headin’ west, Davy sees his father killed by (fake) Indians. He grows up to scout for the railway constructors building the transcontinental railroad, and reencounters his childhood sweetheart engaged to his father’s murderer.
Most prints derive from a poorly edited British negative, including an atrocious restoration by Kevin Brownlow.
** 1924 Hearts of Oak (William Fox). 5,336 feet. October 5. Director: John Ford. Scenarist: Charles Kenyon, from play by James A. Herne. Photographer: George Schneiderman. With Hobart Bosworth (Terry Dunnivan, a sea captain), Pauline Starke (Chrystal), Theodore von Eitz (Ned Fairweather), James Gordon (John Owen), Francis Powers (Grandpa Dunnivan), Jennie Lee (Grandma Dunnivan), Francis Ford, Frank Baker.
Terry Dunnivan, an elderly sea captain, adopts orphan Chrystal, who grows up and loves Ned. But Ned voyages and is reported missing. Two years pass, the old captain is about to wed his ward, but a steamer is wrecked and Ned is a survivor. The captain marries Nancy, but learns other love for Ned, follows him, takes him on an Arctic trip and, dying midst frozen wastes, hears the voice of his wife and baby (“Goodby Daddy”). Ned and Chrystal wed.
Exhibitors’ Trade Review: “Great Bosworth.” “Photos of sea, Arctic, New England”—”a veritable triumph of realism.” “Good box-office.”
1925 Lightnin’ (William Fox). 8,050 feet. August 23. Director: John Ford. Scenarist: Frances Marion, from play by Winchell Smith and Frank Bacon. Photographer: Joseph H. August. Assistant director: Edward O’Fearna. With Jay Hunt (Lightnin’ Bill Jones), Madge Bellamy (Millie), Edythe Chapman (Mother Jones), Wallace MacDonald (John Marvin), J. Farrell MacDonald (Judge Lemuel Townsend), Ethel Clayton (Margaret Davis), Richard Travers (Raymond Thomas), James Marcus (Sheriff Blodgett), Otis Harlan (Zeb), Brandon Hurst (Everett Hammond), Peter Mazutis (Oscar).
Lightnin’ Bill Jones is thin, lazy old codger, named in jest, who, with his wife, owns the Calivada Hotel on the California-Nevada border. “Mother” Jones wants to sell the hotel, but a young lawyer, John Marvin convinces Lightnin’ that the offer is fraudulent. When Mother persists, Lightnin’ exiles himself to the veterans’ home, but everything is cleared up in court, and Marvin wins the Joneses’ adopted daughter.
A downbeat comedy from a record-running stageplay, the prestige production received excellent distribution and played around for almost two years—unusual for the 1920s. Exhibitors invariably praised it, but said its box-office appeal was mediocre. Today, Madge Bellamy aside, the humor seems ponderous and mostly in the titles. Remade, 1930, by Henry King, with Will Rogers.
1925 Kentucky Pride (William Fox). 6,597 feet. September 6. Director: John Ford. Writer: Dorothy Yost. Photographers: George Schneiderman, Edmund Reek. Assistant director: Edward O’Fearna. Filmed in Kentucky. With Henry B. Walthall (Roger Beaumont), J. Farrell MacDonald (Mike Donovan), Gertrude Astor (Mrs. Beaumont), Malcolm Waite (Greve Carter), Belle Stoddard (Mrs. Donovan), Winston Miller (Danny Donovan), George Read (butler). Peaches Jackson (Virginia Beaumont), and the horses Man O’War, Fair Play, The Finn, Confederacy, and Virginia’s Future (herself), Negofol (her sire), Morvich (her husband).
Virginia’s Future trips at the finish line, and her desperate owner Beaumont disappears. Saved by groom Donovan, she foals and is sold. Donovan, now a cop, finds Beaumont selling bourbon trackside, reunites him to his daughter, rescues the mare from a junk dealer after an epic fight, and rides lier in tails and tophat proudly down Main St., to see her daughter Confederacy win, 20-1.
** 1925 The Fighting Heart (William Fox). 6,978 feet. October 18. Director: John Ford. Scenarist: Lillie Hayward, from “Once to Every Man,” by Larry Evans. Photographer: Joseph H. August. Released with tinted sequences. With George O’Brien (Danny Bolton), Billie Dove (Doris Anderson), J. Farrell MacDonald (Jerry), Diana Miller (Helen Van Alien), Victor McLaglen (Soapy Williams), Bert Woodruff (Grandfather Bolton), James Marcus (Judge Maynard), Lynn Cowan (Chub Morehouse), Harvey Clark (Dennison), Hank Mann (his assistant), Francis Ford (the town fool), Francis Powers (John Anderson), Hazel Howell (Oklahoma Kate), Edward Piel (Flash Fogarty), Frank Baker (manager).
The townspeople look down on the Boltons, the male members having all succumbed to drink except young Denny, who feels the situation keenly. He gives Soapy Williams a sound thrashing when he discovers him selling bootleg hootch to his grandfather. When grandfather dies and sweetheart Doris turns against him (suspecting he is drinking), Denny follows a reporter’s advice to go to New York and become a prizefighter. He gets a tryout at Flash Fogarty’s gym and earns a match against Williams (now heavyweight champ), but Williams’s fan Helen vamps Denny into breaking training, so he loses the fight. Later Denny meets Williams and Helen outside a nightclub and, taunted, licks him on the street and returns home to Doris.
Moving Picture World (September 26, 1925); George O’Brien a he-man, not a “dude like Mix.” Just a good programmer. Too much character and atmosphere, slow pace.
** 1925 Thank You (William Fox). 6,900 feet. November 1. Director: John Ford. Producer: John Golden. Scenarist: Frances Marion, from play by Winchell Smith and Tom Cushing. Photographer: George Schneiderman. Released with tinted sequences. With George O’Brien (Kenneth Jamieson), Jacqueline Logan (Diana Lee, the mother), Alee Francis (David Lee), J. Farrell MacDonald (Andy), Cyril Chadwick (Mr. Jones), Edith Bostwick (Mrs. Jones), Vivian Ogden (Miss Glodgett), James Neill (Dr. Cobb), Billy Rinaldi (Sweet, Jr.), Maurice Murphy (Willie Jones), Robert Milasch (Sweet, Sr.), George Fawcett (Jamieson, Sr.), Marion Harlan (Millie Jones), Ida Moore, Frankie Bailey (gossips).
After a series of escapades, Kenneth Jamieson’s millionaire father banishes him to a chicken farm in the slow village of Dedham, where, on the same day, Diane, niece of Rev. David Lee, arrives from Paris with French clothes and delights David. A few days later Kenneth gets drunk and offends Diane, but David talks to him and he reforms. David, underpaid and always having to beg, is refused an increase in pay unless he sends Diane away; busybody Jones notifies Jamieson, Sr., who goes after Diane roughshod, expecting to find a gold-digger. But Diane wins him over, particularly after she nurses Kenneth back from an illness, and Jamieson, Sr. gives the townspeople a sound verbal thrashing, calling them hypocrites and pharisees at their treatment of David. Not long after, David and Jamieson, Sr., who were old cronies, are overjoyed at engagement of Diane and Kenneth.
Moving Picture World (October 3, 1925): “sympathetic, but too much characterization slows story.”
1926 The Shamrock Handicap (William Fox). 5,685 feet. May 2. Director: John Ford. Scenarist: John Stone, from story by Peter B. Kyne. Photographer: George Schneiderman. Titles: Elizabeth Pickett. Assistant director: Edward O’Fearna. Released with tinted sequences. With Leslie Fenton (Neil Ross), J. Farrell MacDonald (Con O’Shea), Janet Gaynor (Sheila O’Hara), Louis Payne (Sir Miles O’Hara), Claire McDowell (Molly O’Shea), Willard Louis (Orville Finch), Andy Clark (Chesty Morgan), George Harris (Benny Ginsburg), Ely Reynolds (Virus Cakes), Thomas Delmar (Michael), Brandon Hurst (the procurer).
Ireland: The O’Haras sell their horses for taxes, and Sheila bids adieu to Neil, whom Finch takes to America to jockey. But the O’Haras mortgage everything, go to America with handyman Con and a pet goose, enter Dark Rosaleen in the stakes, and win.
Some filmographies give different character names; those above correspond to the existing print.
1926 3 Bad Men (William Fox). 8,710 feet. August 28. Director: John Ford. Scenarists: Ford, John Stone, from the novel Over the Border, by Herman Whitaker. Photographer: George Schneiderman. Filmed at Jackson Hole, Wyoming, and in the Mojave Desert, March-May. Released with tinted sequences. With George O’Brien (Dan O’Malley), Olive Borden (Lee Carlton), J. Farrell MacDonald (Mike Costigan), Tom Santschi (Bull Stanley), Frank Campeau (Spade Alien), Louis Tellegen (Sheriff Layne Hunter), George Harris (Joe Minsk), Jay Hunt (old prospector), Priscilla Bonner (Millie Stanley), Otis Harlan (Zack Leslie), Walter Perry (Pat Monahan), Grace Gordon (Millie’s friend), Alee B. Francis (Rev. Calvin Benson), George Irving (Gen. Neville), Phyllis Haver (prairie beauty), Vester Pegg, Bud Osborne.
Dakota land rush, 1876: three outlaws befriend orphaned Lee, encourage romance with Dan, and give their lives to thwart Hunter stealing her gold map (but then the plot— or cuts?—forgets the map).
1926 The Blue Eagle (William Fox), 6,200 feet. September 12. Director: John Ford. Scenarist: L. G. Bigby, from story “The Lord’s Referee,” by Gerald Beaumont. Photographer: George Schneiderman. Assistant director: Edward O’Fearna. Titles: Malcolm Stuart Boylan. Released with tinted sequences. With George O’Brien (George Darcy), Janet Gaynor (Rose Cooper), William Russell (Big Tim Ryan), Robert Edeson (Father Joe O’Reagan), David Butler (Nick Galvani), Phillip Ford (Limpy Darcy), Ralph Sipperly (Slats Mulligan), Margaret Livingston (Mary Rohan), Jerry Madden (Baby Tom), Harry Tenbrook (Bascom), Lew Short (Capt. McCarthy), Frank Baker.
On shipboard, a submarine attack interrupts a grudge fight between Darcy and Ryan, who both love Rose Cooper. After the war, their skipper (and pastor of a dock-front parish) unites them momentarily to blow up a submarine used by dope smugglers; then he referees their fight. Darcy wins and gets Rose. But Father Joe finds a widow for Ryan and it all ends with an American Legion parade.
The soldier-priest prefigures Ward Bonds pugnacious roles, and inventive humor redeems a pedestrian film. Janet Gaynor has only a couple of scenes, alas. Rated good entertainment in 1926
† 1926 What Price Glory? (William Fox). 12 reels. November 23. Director: Raoul Walsh. With Victor McLaglen, Edmund Lowe, et al.
Ford is said to have directed shots in the going-off-to-the-front sequence.
** 1927 Upstream (William Fox). 5,510 feet. January 30. Director: John Ford. Scenarist: Randall H. Faye, from story “The Snake’s Wife,” by Wallace Smith. Photographer: Charles G. Clarke. Assistant director: Edward O’Fearna. With Nancy Nash (Gertie King), Earle Foxe (Eric Brasingham), Grant Withers (Jack LeVelle), Raymond Hitchcock (the star boarder), Lydia Yeamans Titus (Miss Breckenbridge), Emile Chautard (Campbell Mandare), Ted McNamara, Sammy Cohen (a dance team), Francis Ford (juggler), Judy King, Lillian Worth (sister team), Jane Winton (soubrette), Harry Bailey (Gus Hoffman), Ely Reynolds (Deerfoot), Frank Baker.
In a vaudeville boardinghouse, conceited Brasingham is chosen (for his wealthy name) for a West End revival of Hamlet and makes good. But he fails to credit his coach and coming home to a wedding (his sweetheart marrying her knife-throwing partner) assumes it’s a part for him, and gets kicked out; but he smiles for photographers.
Derived from Francis Ford’s unreleased Matinee (1925).
† l927 7th Heaven (William Fox). 12 reels. May 6. Director: Frank Borzage. With Janet Gaynor, Charles Farrell, etc.
Ford directed portions of the taxis-to-the-Marne sequence.
* 1928 Mother Machree (William Fox). 75 minutes. January 22. Director: John Ford. Scenarist: Gertrude Orr, from lyric and song by Rida Johnson Young. Photographer: Chester Lyons. Editors and title-writers: Katherine Hilliker, H. H. Caldwell. Assistant director: Edward O’Eearna. Released with sequences tinted light amber, lavender, green, and blue. General release: March 5. Synchronized music and sound effects, with the title song sung with voice synch. With Belle Bennett (Ellen McHugh, Mother Machree), Neil Hamilton (Brian McHugh), Philippe de Lacy (Brian, as child). Pat Somerset (Bobby De Puyster), Victor McLaglen (Terence O’Dowd, Giant of Kilkenny), Ted McNamara (Harper of Wexford), William Platt (Pips, Dwarf of Munster), John MacSweeney (Irish priest), Eulalie Jensen (Rachel van Studdiford), Constance Howard (Edith Cutting), Ethel Clayton (Mrs. Cutting), Jacques Rollens (Signer Bellini), Rodney Hildebrand (Brian McHugh, Sr.), Joyce Wirard (Edith Cutting, as child), Robert Parrish (child).
An Irish fishing village, 1899: Ellen McHugh's husband is lost in a storm. Later, in difficulty in America, three Irish sideshow folk find her work as a "half-woman" on the midway. Forced to surrender her son to a school principal, she becomes housekeeper for a wealthy Fifth Avenue family. Years later, the son falls in love with their daughter, and rediscovers his mother.
The Story of Mother Machree was announced in Fox publicity in June 1926 and went into production that September. In November its premiere was announced for December 12, 1926, tied in to marketing oi music and discs of the title song. But no film appeared. In February, just after completion of Sunrise. Ford voyaged to Germany, returning in April. In May 1927, at Fox sales convention in Atlantic City, Sunrise, 7th Heaven, and Mother Machree were privately screened (with Movietone scores?), and in April the first Movietone Sound newsreels were shown at the Roxy. In September Sunrise opened, with Movietone track, and Four Sons was nearing completion. In January 1928 Mother Machree was said to have cost $750,000 and its “delay” to have been worthwhile. (It was, however, shown in prerelease at the Astoria Theater, London, in September 1927—presumably a silent version.)
Only reels 1, 2 and 5 of seven survive; reel 1 is mostly entry music.
1928 Four Sons (William Fox). 100 minutes. February 13. Director: John Ford. Scenarist: Philip Klein, from story “Grandma Bernie Learns Her Letters,” by I. A. B. Wylie, and from a treatment thereof by Herman Bing (uncredited). Photographers: George Schneiderman, Charles G. Clarke. Music arranger: S. L. Rothafel. Original score: Carli Elinor. Theme song: “Little Mother,” by Erno Rapee, Lee Pollack; sung by Harold van Duzee and the Roxy Male Quartette. Editor: Margaret V. Clancey. Title writers: Katherine Hilliker, H. H. Caldwell. Assistant director: Edward O’Fearna. Released with music and synchronized sound effects. With Margaret Mann (Frau Bernle), James Hall (Joseph Bernle), Charles Morton (Johann Bernle), George Meeker (Andres Bernle), Francis X. Bushman, Jr. (Franz Bernle), June Collyer (Annabelle Bernle), Albert Gran (postman), Earle Foxe (Major Von Stomm), Frank Reicher (headmaster). Jack Pennick (Joseph’s American friend), Archduke Leopold of Austria (German captain), Hughie Mack (innkeeper), Wendell Franklin (James Henry), Auguste Tollaire (Major), Ruth Mix (Johann’s girl), Robert Parrish (child), Michael Mark (Von Stomm’s orderly), L. J. O’Conner (aubergiste), Ferdinand Schumann-Heink, Capt. John Porters, Carl Boheme, Constant Franke, Hans Furberg, Tibor von Janny, Stanley Biystone, Lt. George Blagoi (officers), Frank Baker (soldier).
A Bavarian mother loses three sons in World War I and goes to America to join the fourth.
1928 Hangman’s House (William Fox). 6,518 feet. May 13. Silent. Director: John Ford. Scenarists: Marion Orth, Willard Mack, from novel by Brian Oswald Donn-Byrne, adapted by Philip Klein. Photographer: George Schneiderman. Editor: Margaret V. Clancey. Title-writer: Malcolm Stuart Boylan. Assistant director: Phil Ford. With Victor McLaglen (Citizen Denis Hogan), Hobart Bosworth (James O’Brien, Lord Chief Justice), June Collyer (Connaught O’Brien), Larry Kent (Dermott McDermott), Earle Foxe (John D’Arcy), Eric Mayne (legionnaire colonel), Joseph Burke (Neddy Joe), Belle Stoddard (Anne McDermott), John Wayne (spectator at horse race; hanging man), Frank Baker (English officer), Jack Pennick (Hogan’s friend).
Ireland: Dying, a hanging judge compels his daughter to forsake Dermott and wed scoundrel D’Arcy, who kills her horse and steals her estate. While fighting Hogan, an exiled patriot whose sister he killed, D’Arcy is consumed in the burning castle.
** 1928 Napoleon’s Barber (William Fox-Movietone). 2,980 feet. November 24. All-talking. Director: John Ford. Scenarist: Arthur Caesar, from his own play. Photographer: George Schneiderman. Title-writer: Malcolm Stuart Boylan. Released with talking sound. With Otto Matiesen (Napoleon), Frank Reicher (the barber), Natalie Golitzin (Josephine), Helen Ware (barber’s wife), Philippe De Lacy (barber’s son), Russell Powell (blacksmith). Buddy Roosevelt, Ervin Renard, Joe Waddell, Youcca-Troubetzkoy (French officers), Henry Herbert (soldier), D’Arcy Corrigan (tailor), Michael Mark (peasant).
A barber brags what he would do to Napoleon, not knowing his customer iA- Napoleon.
Ford recorded Josephine’s coach crossing a bridge, against the advice of the sound man, and achieved perfect results. His claim that it was “the first time anyone ever went outside with a sound system” is correct only in dramatic films. Fox Movietone News had frequently recorded outdoors, notably the West Point cadets (shown April 30, 1927 at the Roxy) and the Lindbergh takeoff. May 20, 1927.
Moving Picture World (February 26, 1927), noting a Georges Renavant production of Napoleon’s Barber at the Grove Street Theater, called it a gem of a “screen laugh-maker that would be almost certain to go big with a star like Buster Keaton or Harry Langdon.” Ford began filming September 29, 1928.
1928 Riley the Cop (William Fox). 67 minutes. November 25. Director: John Ford. Writers: James Gruen, Fred Stanley. Photographer: Charles G. Clarke. Editor: Alex Troffey. Assistant director: Phil Ford. Released with music and synchronized sound effects. With J. Farrell MacDonald (Aloysius Riley), Louise Fazenda (Lena Krausmeyer), Nancy Drexel (Mary), David Rollins (Davy Collins), Harry Schultz (Hans Krausmeyer), Billy Bevan (Paris cab driver), Mildred Boyd (Caroline), Ferdinand Schumann-Heink (Julius), Del Henderson (judge), Russell Powell (Kuchendorf), Mike Donlin (crook), Robert Parrish.
When Davy leaves to visit his girl vacationing in Germany, lovable Officer Riley is sent in pursuit of a missing $5,000. He takes Davy from a Munich jail to a beergarden, has to be hauled by Davy onto a plane to Paris and, drunk again and pursued by a beermaid, has to be handcuffed onto a taxi. On ship Davy finds his girl; a cable exonerates.
** 1929 Strong Boy (William Fox). 63 minutes. March 3. Director: John Ford. Scenarists: James Kevin McGuinness, Andrew Bennison, John McLain, from story by Frederick Hazlett Brennan. Photographer: Joseph H. August. Title-writer: Malcolm Stuart Boyland. Released with music and synchronized sound effects. With Victor McLaglen (William “Strong Boy” Bloss), Leatrice Joy (Mary McGregor), Clyde Cook (Pete), Slim Summerville (Slim), Kent Sanderson (Wilbur Watkins), Tom Wilson (baggage master). Jack Pennick (baggageman), Eulalie Jensen (the queen), David Torrence (railroad president), J. Farrell MacDonald (Angus McGregor), Dolores Johnson (usherette), Douglas Scott (Wobby), Robert Ryan (porter), Frank Baker. Working title:“The Baggage Smasher.”
A railroad porter becomes a hero and marries the boss’s daughter.
The only print of this film—a 35mm nitrate—was reportedly in a private collection in Australia. Does it still exist?
1929 The Black Watch (William Fox). 93 minutes. May 8. All-talking. Director: John Ford. “Staged by”: Lumsden Hare. Scenarists: James Kevin McGuinness, John Stone, Frank Baker, from novel King of the Khyber Rifles, by Talbot Mundy. Photographer: Joseph H. August. Art director: William Darling. Song “Flowers of Delight,” and musical arrangements: William Kernell. Editor: Alex Troffey. Assistant director: Edward O’Fearna. Filmed: January-February. With Victor McLaglen (Capt. Donald .King), Myrna Loy (Yasmani), Roy D’Arcy (Rewa Ghunga), Pat Somerset (Highlanders’ officer), David Rollins (Lt. Malcolm King), Mitchell Lewis (Mohammed Khan), Walter Long (Harem Bey), Frank Baker, David Percy (Highlanders’ officers), Lumsden Hare (colonel), Cyril Chadwick (Maj. Twynes), David Torrence (Marechal), Francis Ford (Maj. MacGregor), Claude King (general in India), Frederick Sullivan (general’s aide), Joseph Diskay (muezzin), Richard Travers (adjutant), Joyzelle.
Remade 1954, by Henry King, as King of the Khyber Rifles.
1929 Salute (William Fox). 86 minutes. September 1. All-talking. Director: John Ford. Scenarist: James K. McGuinness, from story by Tristram Tupper, John Stone. Photographer: Joseph H. August. Editor: Alex Troffey. Title-writer: Wilbur Morse, Jr. Assistant directors: Edward O’Fearna, R. L. Hough. Technical advisor: Schuyler E. Grey. Filmed at Annapolis, May-July. With William Janney (Midshipman Paul Randall), Helen Chandler (Nancy Wayne), Stepin Fetchit (Smoke Screen), Frank Albertson (Midshipman Albert Edward Price), George O’Brien (Cadet John Randall), Joyce Compton (Marion Wilson), Clifford Dempsey (Maj. Gen. Somers), Lumsden Hare (Rear Adm. Randall), David Butler (navy coach). Rex Bell (cadet), John Breeden, Ward Bond, John Wayne (midshipmen).
Setting out for Annapolis, raised by his admiral grandfather, Paul does not notice girlfriend Marion flirting with his big brother John, who, raised by the general grandfather, is a West Point football star. At Annapolis, Paul meets Nancy Wayne; but too light for football and accused of ratting on upperclassmen, he nearly quits. At the Spring Weekend ball, Marion ignores Paul, and brother John devours Nancy. But next fall, Paul beats John in the army-navy game, and realizes Nancy loves him.
**† l929 Big Time (William Fox). 83 or 87 minutes. September 7. All-talking. Director: Kenneth Hawks. With Lee Tracy, Mae Clark, Stepin Fetchit, John Ford (as himself).
A melodrama about a vaudeville family drifting to Hollywood.
* 1930 Men Without Women (William Fox). 77 minutes. January 31. Director: John Ford. “Staged by”: Andrew Bennison. Scenarist: Dudley Nichols, from story “Submarine,” by Ford, James K. McGuinness. Photographer: Joseph H. August. Settings: William S. Darling. Music: Peter Brunelli, Glen Knight. Musical score (sound version): Carli Elinor. Editor: Paul Weatherwax. Film editor (sound version): Walter Thompson. Editorial supervision (sound version): John Stone. Assistant director: Edward O’Fearna. Technical advisor: Schuyler E. Gray. Titles: Otis C. Freeman. Filmed at Catalina, fall 1929. With Kenneth MacKenna (Burke), Frank Albertson (Price), Paul Page (Handsome), Pat Somerset (Lt. Digby, B.N.), Walter McGraiI (Cobb), Stuart Erwin (Jenkins, radio operator), Warren Hymer (Kaufman), J. Farrell MacDonald (Costello), Roy Stewart (Capt. Carson), Warner Richmond (Lt. Commander Bridewell), Harry Tenbrook (Winkler), Ben Hendricks, Jr. (Murphy), George LeGuere (Pollosk), Charles Gerrard (Weymouth), John Wayne, Robert Parrish, Frank Baker.
A Shanghai nightclub: Weymouth thinks “Burke” is Quartermain, sole survivor of a destroyer torpedoed carrying “England’s greated Field Marshall”; there had been scandal about a Lady Patricia, whom Quartermain had visited, but “I voted to clear the woman and damned the memory of my best friend.” Later, one man must stay behind in a trapped submarine. Burke tells Price about Quartermain, “a man whose name are dead but who didn’t die himself.” When Price surfaces he tells Weymouth, “His name was Burke, he’s from my home town.”
Surviving prints are of a silent edition with intertitles. Only portions of the talking edition survive from a work print for an international version: 73 minutes (video).
1930 Born Reckless (William Fox). 82 minutes. May 11. Director: John Ford. “Staged by”: Andrew Bennison. Scenarist: Dudley Nichols, from novel Louis Beretti, by Donald Henderson Clarke. Photographer: George Schneiderman. Art director: Jack Schulze. Associate producer: James K. McGuinness. Editor: Frank E. Hull. Assistant director: Edward O’Fearna. With Edmond Lowe (Louis Beretti), Catherine Dale Owen (Joan Sheldon), Lee Tracy (Bill O’Brien), Marguerite Churchill (Rosa Beretti), Warren Hymer (Big Shot), Pat Somerset (Duke), William Harrigan (Good News Brophy), Frank Albertson (Frank Sheldon), Ferike Boros (Ma Beretti), J. Farrell MacDonald (district attorney), Paul Porcasi (Pa Beretti), Eddie Gribbon (Bugs), Mike Donlin (Fingy Moscovitz), Ben Bard (Joe Bergman), Paul Page (Ritzy Reilly), Joe Brown (Needle Beer Grogan), Jack Pennick, Ward Bond (soldiers), Roy Stewart (District Attorney Cardigan), Yola D’Avril (French girl).
New York, 1917: For publicity, a D.A. sends three burglars to war instead of “up the river.” After France, one, Louie Beretti, swears vengeance on a mobster who shot his sister’s husband, but we hear no more of that storyline. He goes to propose to Joan, but meets her fiance; so much for love. 1920: prospering with a speakeasy, he alibis for Big Shot, who shot a stoolie. 1922: Big Shot kidnaps Joan’s child; Louie rescues her and kills Big Shot.
1930 Up the River (William Fox). 92 minutes. October 12. Director: John Ford. “Staged by”: William Collier, Jr. Writers: Maurine Watkins with Ford, William Collier, Sr. Photographer: Joseph H. August. Set designer: Duncan Cramer. Music and lyrics: Joseph McCarthy, James F. Hanley. Wardrobe: Sophia Wachner. Editor: Frank E. Hull. Sound: W.W. Lindsay. Wardrobe: Sophie Wachner. Assistant directors: Edward O’Fearna, Wingate Smith. Filmed: summer. With Spencer Tracy (St. Louis), Warren Hymer (Dannemora Dan), Humphrey Bogart (Steve Phillips), Claire Luce (Judy), Joan Marie Lawes (Jean), Sharon Lynn (Edith La Verne), George McFarlane (Jessup), Gaylord “Steve” Pendleton (Morris), Morgan Wallace (Frosby), William Collier, Sr. (Pop), Robert E. O’Connor (warden), Louise Macintosh (Mrs. Massey), Edythe Chapman (Mrs. Jordan), Johnny Walker (Happy), Noel Francis (Sophie), Mildred Vincent (Annie), Wilbur Mack (Whitelay), Goodee Montgomery (Kit), Althea Henley (Cynthia), Carol Wines (Daisy Elmore), Adele Windsor (Minnie), Richard Keene (Dick), Elizabeth and Helen Keating (May and June), Robert Burns (Slim), John Swor (Clem), Pat Somerset (Beauchamp), Joe Brown (deputy warden), Harvey Clark (Nash), Black and Blue (Slim and Klem), Morgan Wallace (Fosby), Robert Parrish, Ward Bond (prisoner).
St. Louis deserts Dan during a prison escape, then shows up looking opulent in K.C., where Dan, street-singing for a gospel group, slugs him, and, as the band plays, both are hauled back to Bensonatta Penitentiary. There, Judy, who plans to marry parolee Steve, hears ex-boyfriend Frosby is blackmailing Steve to help cheat their wealthy New England neighbors. So St. Louis and Dan break out during a variety show, hop a freight, set things right for Steve—and return to prison for the big ball game with Upstate.
The surviving print is missing numerous shots.
1931 Seas Beneath (William Fox). 99 minutes. January 30. Director: John Ford. Staged by: William Collier, Sr. Scenarists: Dudley Nichols, William Collier, Sr., Kurt von Furberg from story by James Parker, Jr. Photographer: Joseph H. August. Editor: Frank E. Hull. Sound: W.W. Lindsay. Assistant directors: Edward O’Fearna, WIngate Smith, L.F. Hough. Production manager: C.E. Crapnell. Wardrobe: Sophie Wacher. Makeup: Al McQuarrie. Technical advisor: Capt. C.F. Cook. Filmed at Catalina, November. With George O’Brien (Comdr. Bob Kingsley, USN), Marion Lessing (Anna Marie Von Steuben), Warren Hymer (Lug Kaufman), William Collier, Sr. (Mugs O’Flaherty), John Loder (Franz Schilling), Walter C. “Judge” Kelly (Chief Mike “Guns” Costello), Walter McGraw (Joe Cobb), Henry Victor (Ernst Von Steuben, commandant, U-boat 172), Mona Maris (Lolita), Larry Kent (Lt. MacGregor), Gaylord Pendleton (Ens. Richard Cabot), Nat Pendleton (Butch Wagner), Harry Tenbrook (Winkler), Terry Ray (Skits Reilly), Hans Furberg (Fritz Kampf, 2nd officer, U-172), Ferdinand Schumann-Heink (Adolph Brucker, engineer, U-172), Francis Ford (trawler captain), Kurt von Furberg (Hoffman), Ben Hall (Harrigan), Harry Weil (Levinsky), Maurice Murphy (Merkel), Henry Mount (bugler), Marvin Shector (gunner), Harry Strang (gunner, drill sergeant), Hans Winterhalder, Anton Tell, Philip Ahim (German petty officers), Harry Schultz (German officer), Frank Baker.
Canary Island, 1918: Commanding a Q-boat—a German-hunting schooner with hidden cannon, reservist crew, and trailing U.S. sub—Capt. Bob romances Anna Marie, who, unknown to him, is German U-172's commander s sister. Ens. Cabot, drugged by Lolita, later dies sinking a German trawler; Anna, rescued by Bob, fails to warn off U-172, which is sunk. She, her brother, and fiancé go off to prison, leaving Bob hoping she'll return at wars end.
The German edition’s reedited music track is mostly Wagner; their sub sinks to the “Liebestod.” But it contains a scene, missing from the U.S. edition, in which the Germans bury Cabot at sea—to “Taps.”
1931 The Brat (Fox Film). 81 minutes. August 23. Director: John Ford. Dialogue director: William Collier, Sr. Scenarists: Sonya Levien, S. N. Behrman, Maud Fulton, from play by Fulton. Photographer: Joseph H. August. Editor: Alex Troffey. Art director: Jack Schulze. Music: Harry Leonhardt. Sound: Eugene Grossman. With Sally O’Neil (the brat), Allan Dinehart (MacMillan “Mack” Forester), Frank Albertson (Stephen Forester), Virginia Cherrill (Angela), June Collyer (Jane), J. Farrell MacDonald (Timson, the butler), William Collier, Sr. (Judge O’Flathery), Margaret Mann (housekeeper), Albert Gran (bishop), Mary Forbes (Mrs. Forester), Louise Macintosh (Lena), Ward Bond (policeman).
In court for not paying for spaghetti, a waif is discharged for book research to writer MacMillan and taken to his mother’s Long Island estates, where she encounters mother, two courting ladies, a jovial bishop, and a proper butler. MacMillan coldly has his way with her until she chooses drunk brother Steve and goes to his Wyoming ranch (which mother had wished to sell for a two-story yacht for MacMillan).
1931 Arrowsmith (Samuel Goldwyn-United Artists). 108 minutes. December 1. Director: John Ford. Producer: Samuel Goldwyn. Executive producer: Arthur Hornblow, Jr. Scenarist: Sidney Howard, from the novel by Sinclair Lewis. Photographer: Ray June. Art director: Richard Day. Music: Alfred Newman. Editor: Hugh Bennett. Sound: Charles Noyes, Jack Noyes. Assistant directors: H.Bruce Humbertstone, Bert Such. Filmed” September-October. With Ronald Colman (Dr. Martin Arrowsmith), Helen Hayes (Leora Tozer), A. E. Anson (Prof. Max Gottlieb), Richard Bennett (Dr. Gustav Sondelius), Claude King (Dr. A. DeWitt Tubbs), Beulah Bondi (Mrs. Tozer), Myrna Loy (Joyce Lanyon), Russell Hopton (Terry Wickett), De WittJennings (Mr. Tozer), John Qualen (Henry Novak), Adele Watson (Mrs. Novak), Lumsden Hare (Governor Sir Robert Fairland), Bert Roach (Bert Tozer), Charlotte Henry (a young pioneer girl), Clarence Brooks (Dr. Oliver Marchand), Walter Downing (city clerk), David Landau (state veterinarian), James Marcus (Doc Vicherson), Alec B. Francis )Cecil Twyford), Sidney DeGrey (Dr. Hesselink), Florence Britton (Miss Twyford), Kendall McComas (drunk), Theresa Harris (native woman), Eric Wilton (ship’s officer), Pat Somerset, Bobby Watson, Ward Bond (policeman), Frank Baker (ship captain).
Dr. Martin Arrowsmith declines research under Prof. Gottlieb at famed McGurk Institute, choosing to practice medicine with Leora in yokel-fill Wheatsylvania, S.D., where his cure for Blackleg wins him his own invitation to McGurk. There, a crazed burst of research is deflated, first by supercilious director Tubbs announcing it as "A Cure for All Disease," then by similar findings published in France. A year later Martin accompanies eccentric doctor-soldier Sondelius to the plague-ridden West Indies, where indignation greets Gottlieb's insistence on testing Martin's serum by treating only half the islanders, until a black doctor offers his people. Leora is left behind, Martin contemplates adultery with Joyce, Sondelius dies, then Leora, alone. "To hell with science!" screams Martin, releasing serum to everyone. In New York, a hero, he confesses his failure as scientist to Gottlieb, but Gottlieb has gone insane. Martin rejects Tubbs, refuses Joyce's hand, and rushes madly after a departing colleague to be a "true" scientist.
Four Oscar nominations: best picture, best adaptation (Sidney Howard); art direction (Richard Day); photography (Ray June).
† 1932 Hot Pepper (Fox Film). 76 minutes. January 15. Director: John G. Blystone. With Victor McLaglen, Edmund Lowe, Lupe Velez.
A sequel to What Price Glory? Ford directed some 2nd unit scenes.
1932 Airmail (Universal). 83 minutes. November 3. Director: John Ford. Producer: Carl Laemmie, Jr. Scenarists: Dale Van Every, Lt. Comdr. Frank W. Wead, from story by Wead. Photographer: Karl Freund. Aerial photography: Elmer Dyer. Editor: Harry W. Lieb. Special effects: John P. Fulton. Aerial stunts: Paul Mantz. Filmed: spring. Locations: Bishop, California. With Pat O’Brien (Duke Talbot), Ralph Bellamy (Mike Miller), Gloria Stuart (Ruth Barnes), Lillian Bond (Irene Wilkins), Russell Hopton (“Dizzy” Wilkins), Slim Summerville (Slim McCune), Frank Albertson (Tommy Bogan), Leslie Fenton (Larry Thomas, aka Tony Dressel), David Landau (Pop), Tom Corrigan (Sleepy Collins), William Daly (Tex Lane), Hans Furberg (Heinie Kramer), Lew Kelly (drunkard), Frank Beal, Francis Ford, James Donlan, Louise Macintosh, Katherine Perry (passengers), Beth Milton (plane attendant), Edmund Burns (radio announcer), Charles de la Montte, Lt. Pat Davis (passenger plane pilots), Jim Thorpe (Indian), Enrico Caruso, Jr., Billy Thorpe, Alene Carroll, Jack Pennick.
Conflicts and daredevilry punctuate pilots’ dreary days.
1932 Flesh (Metro-Goldwyn-Mayer). 95 minutes. December 9. Director: John Ford. Producer: John Considine. Scenarists: Leonard Praskins, Edgar Allan Woolf, and (uncredited) William Faulkner, Moss Hart, from story by Edmund Goulding. Dialogue: Moss Hart. Photographer: Arthur Edeson. Editor: William S. Gray. Art director: Cedric Gibbons. Sound: James Brook, Douglas Shearer. Assistant director: Dave Taggart. With Wallace Beery (Polokai), Karen Morley (Lora Nash), Ricardo Cortez (Nicky Grant), Jean Hersholt(Mr. Herman), John Miljan (Joe Willard), Vince Barnett (waiter), Herman Bing (Pepi, head waiter), Greta Meyer (Mrs. Herman), Ed Brophy (Dolan, referee), Ward Bond (wrestler “Muscles” Manning), Nat Pendleton (wrestler, first American opponent), Chuck Eilliams (sports reporter).
Just released from German prison (and awaiting Nicky's release), American Lora contemptuously accepts oafish Polokai's hospitality, and gets his money for her "brother" (boyfriend) Nicky. Nicky skips for America and Lora, bereft, marries Polokai, bearing a child the night he becomes Germany's champ wrestler. She makes him move to New York, where Nicky compels her to make him sign with Nicky s crooked syndicate. But learning German friends have all bet on a fight he is supposed to throw, Polokai gets drunk. Lora finds him in bed, Nicky enters, beats her, she tells Polokai the truth, he strangles Nicky, and, encouraged by Lora, breaks out of his stupor to win the match. In jail, he forgives Lora, who will await his release.
1933 Pilgrimage (Fox Film). 90 minutes. July 12. Director: John Ford. Scenarists: Philip Klein, Barry Connors, Dudley Nichols, William Collier, Sr., I.A.R. Wylie, Basil Woon, Henry Johnson, Kate Horton from story “Gold Star Mother,” by I. A. R. Wylie. Dialogue: Dudley Nichols. Photographer: George Schneiderman. Additional cameramen: Curt Fetters, James Gordon, Lou Kunkel. Art director: William Darling. Music: R. H. Bassett. Musical direction: Samuel Kaylin. Wardrobe: A. R. Luick. Editor: Louis R. Loeffler. Sound: Eugene Grossman, W.W. Lindsay. Assistant director: Edward O’Fearna. Dialogue director: William Collier, Sr. Filmed in February. Filmed: February-April. With Henrietta Crosman (Hannah Jessop), Heather Angel (Suzanne), Norman Foster (Jim Jessop), Marian Nixon (Mary Saunders), Maurice Murphy (Gary Worth), Lucille La Verne (Mrs. Tally Hatfield), Charles Grapewin (Dad Saunders), Hedda Hopper (Mrs. Worth), Robert Warwick (Maj. Albertson), Betty Biythe (Janet Prescot), Francis Ford (Mayor Elmer Briggs), Louise Carter (Mrs. Rogers), Jay Ward (Jimmy Saunders), Francis Rich (nurse), Adele Watson (Mrs. Simms), Jack Pennick (sergeant), Inez Palange (Mrs. Carlucci), Rosa Rosanova (Mrs. Goldstein), Greta Meyer (Mrs. Haberschmidt), Margaret Mann (Mrs. Quincannon), Francis Moore, Shirley Palmer, Beatric Roberts (nurses), Sarah Padden.
An Arkansas mother realizes her guilt during a journey to France.
1933 Doctor Bull (Fox Film). 76 minutes. September 22. Director: John Ford. Producer: Winfield Sheehan. Script and dialogue: Jane Storm. Adapted by Paul Green from novel The Last Adam, by James Gould Cozzens. Photographer: George Schneiderman. Additional cameramen: Curt Fetters, James Gordon, Lou Kunkel. Art director: William Darling. Music: Samuel Kaylin. Editor: Louis Loeffler. Sound: E.F. Grossman, C. Dwyer. Assistant director: Edward O’Fearna. Unit manager: B.F. McEveety. Wardrobe: Rita Kaufman. Filmed in June-July. With Will Rogers (Dr. Bull), Marian Nixon (May Tupping, telephone operator), Berton Churchill (Herbert Banning), Louise Dresser (Mrs. Rita Banning), Howard Lally (Joe Tupping), Rochelle Hudson (Virginia Banning), Vera Allen (Janet Cardmaker), Tempe Pigotte (Grandma Banning), Elizabeth Patterson (Aunt Patricia Banning), Ralph Morgan (Dr. Verney), Andy Devine (Larry Ward), Nora Cecil (Aunt Emily Banning), Patsy O’Byrne (Susan, cook), Effie Ellsler (Aunt Myra Cole), Veda Buckland (Mary, cook), Helen Freeman (postmistress Helen Upjohn), Robert Parrish, Louise Carter (Mrs. Ely), James Dolan (Harry Weems), Mike Donlin (Lester Dunn), George Humbert (Louis Papolita), Reginald Barlow (Henry Harris), Francis Ford (mayor). Working title: “Life’s Worth Living.”
A folksy doctor tries to help an intolerant community.
1934 The Lost Patrol (RKO Radio). 74 minutes. February 16. Director: John Ford. Executive producer: Merian C. Cooper. Associate producer: Cliff Reid. Scenarists: Dudley Nichols, Garrett Fort, and (uncredited) Frank Baker, Jerry Webb from nove Patrol, by Philip MacDonald. Photographer: Harold Wenstrom. Art directors: Van Nest Polglase, Sidney Ullman. Music: Max Steiner. Editor: Paul Weatherwax. Sound: Clem Portman, P.J. Faulkner, Murray Spivac. Assistant director: Argyle Nelson. Technical advisor: Frank Baker. Filmed in the Yuma desert, September-October. With Victor McLaglen (sergeant), Boris Karloff (Sanders), Wallace Ford (Morelli), Reginald Denny (George Brown), J. M. Kerrigan (Quincannon), Billy Bevan (Herbert Hale), Alan Hale (Matlow Cook), Brandon Hurst (Cpl. Bell), Douglas Walton (Pearson), Sammy Stein (Abelson), Howard Wilson (flyer), Neville Clark (Lt. Hawkins), Paul Hanson (Jock Mackay), Francis Ford, Frank Baker (relieving colonel; Arab).
A British patrol is picked off one by one by unseen desert Arabs.
Remake, 1943: Bataan, by Tay Garnett.
1934 The World Moves On (Fox Film). 104 minutes. June 27. Director: John Ford. Producer: Winfield Sheehan. Writer: Reginald C. Berkeley [Joseph Cunningham, James Gleason, William Conselman, Edward T. Lowe, Jr., Llewellyn Hughes, Doris Anderson, Henry Wales]. Photographer: George Schneiderman. Cameramen: Paul Lockwood, John Van Wormer. Editor: Paul Weatherwax. 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 De Francesco; “Ave Maria,” by Charles Gounod. Musical direction: Arthur Lange. Assistant director: Edward O’Fearna. Unit manager: B.F. McEveety. Wardrobe: Rita Kaufman. Filmed: February 20-April 17. With Madeleine Carroll (Mrs. Warburton, 1824; Mary Warburton, 1914), FranchotTone (Richard Girard, 1824 and 1914), Lumsden Hare (Gabriel Warburton, 1824; Sir John Warburton, 1914), Raul Roulien (Carlos Girard, 1824; Henri Gerard, 1914), Reginald Denny (Erik von Gerhardt), Siegfried Rumann (Baron von Gerhardt), Louise Dresser (Baroness von Gerhardt), Stepin Fetchit (Dixie), Dudley Diggs (Mr. Manning), Frank Melton (John Girard, 1824), Brenda Fowler (Mrs. Agnes Girard, 1824), Russell Simpson (notary public, 1824), Walter McGrail (French duelist, 1824), Marcelle Corday (Miss Girard, 1824), Charles Bastin (Jacques Girard, 1914), Barry Norton (Jacques Girard, 1929), George Irving (Charles Girard, 1914), Ferdinand Schumann-Heink (Fritz von Gerhardt), Georgette Rhodes (Jeanne Girard, 1914), Claude King (Braithwaite), Ivan Simpson (Clumber), Frank Moran (Culbert), William Worthington (judge of duel), Emmett King, Sydney de Grey (card players), Otto Kottke (German soldier), Mario Dominici (French doctor), Billy McClain (black Frenchman), Jack Pennick (orderly), Pierre Callos (chef), Hans Joby (cook), Anders Van Haden (German doctor), Margarat Mann (housekeeper), Winter Hall (minister), Neville Clark (English aviator), Eva Dennison (aviator’s mother), Ben Hall (English soldier), Alphonse Martell (French sergant), Ramsay Hill (British officer), Anita Brown (Dixie’s wife), Jacques Lory, George Renault, Harry Tenbrook, Francis Ford (legionnaires), Torbin Mayer (German chamberlain, 1914), Andrea Cheron (French officer), George Milo (officer), Fred Cravens (French taxi driver), Beulah Hall Jones (Louie La Croix), Perry Vekroff (Pierre Conderc).
1825, New Orleans: Cotton King Sebastian Girard’s will directs his sons to set up branches in France, Prussia, America, and, with Warburton, Manchester; all vow unity. Richard kills Mary’s offender in a duel, but, the vow barring love, she sails for England with her husband. 1914: New generations renew the vow. Richard and Mary think they recognize each other. Germany: Jeanne marries Fritz. World War I: Richard and Henri enlist for France, Fritz and Erik for Germany, Fritz’s sub sinks a liner carrying Girards, then is sunk itself. Mary runs English firm, marries Richard. Henri is killed, Erik maimed, Richard, wounded in Germany, is cared for by Erik’s parents. 1924: Manic Richard tries to corner cotton. 1929: Bankruptcy returns him to Mary.
War footage from Les Croix de bois (France, 1931: Raymond Bernard).
1934 Judge Priest (Fox Film). 81 minutes. September 28 (?). Director: John Ford. Producer: Sol M. Wurtzel. Scenarists: Dudley Nichols, LamarTrotti, from stories by Irvin S. Cobb. Photographer: George Schneiderman. Music: Cyril J. Mockridge. Musical direction: Samuel Kaylin. Decorator: William Darling. Editor: Paul Weatherwax. Sound: Albert Prozman. Assistant director: Edward O’Fearna. Wardrobe: Royer. Filmed: early June-July 18. With Will Rogers (Judge William Priest), Henry B. Walthall (Rev. Ashby Brand), Tom Brown (Jerome Priest), Anita Louise (Ellie May Gillespie), Rochelle Hudson (Virginia Maydew), Berton Churchill (Senator Horace K. Maydew), David Landau (Bob Gillis), Brenda Fowler (Mrs. Caroline Priest), Hattie McDaniel (Aunt Dilsey), Stepin Fetchit (Jeff Poindexter), Frank Melton (Flem Tally), Roger Imhof (Billy Gaynor), Charley Grapewin (Sgt. Jimmy Bagby), Francis Ford (juror no. 12), Paul McAllister (Doc Lake), Matt McHugh (Gabby Rives), Hyman Meyer (Herman Feldsburg), Louis Mason (Sheriff Birdsong), Grace Goodall (Mrs. Maydew), Ernest Shield (Milan), Vester Pegg (Joe Herringer), Paul McVey (Trimble), Winter Hall (Judge Fairleigh), Duke Lee (deputy), Gladys Wells, Beulah Hall Jones, Melba Brown, Thelma Brown, Vera Brown (black singers), May Rousseau (guitar player), Harry Tendrook, Pat Hartigan, Harry Wilson, Frank Moran, Constantine Romanoff (townsmen in saloon), Margaret Mann (governess), George H. Reed (black servant), Robert Parrish.
Kentucky, 1890. Judge Priest’s court’s folksy informalities irk prosecutor Maydew (who is running for Priest's seat), but Priest goes fishing with Jeff, a young black charged with loitering. Nephew Rome returns from law school and Priest encourages romance with Ellie May despite Rome’s mother’s disapproval of the girl’s unknown parentage. When blacksmith Bob Gillis gets into a fight defending Ellie May's honor, Rome gets his first case, but when Gillis refuses to introduce Ellie May's name into the trial, Rev. Brand reveals Gillis’s past life as a condemned prisoner pardoned for war heroism and as father and secret provider for Ellie May. All join in a Memorial Day parade.
A lynching scene was removed prior to release.
1935 TheWhole Town’s Talking (Columbia). 95 minutes. February 22. Director: John Ford. Associate producer: Lester Cowan. Scenarist: Jo Swerling, from story “Jail Breaker” by W. R. Burnett (in Colliers, July-August, 1932). Dialogue: Robert Riskin. Photographer: Joseph H. August. Cameramen: Dave Regan, James Goss. Editor: Viola Lawrence. Sound: Paul Neal, Glenn Rominger. Makeup: Hal Senator. Assistant directors: Wilbur McGaugh, Cliff Broughton. Filmed: October 24-December 11. 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 MacDonald (warden), Etienne Girardot (Mr. Seaver), James Donlan (Howe), John Wray (henchman), Effie Ellsler (Aunt Agatha), Robert Emmett O’Connor (police lieutenant), Joseph Sawyer, Francis Ford, Robert Parrish. Working title: “Passport to Fame.”
After eight years’ punctuality, Jones is late for work and discovers he looks like “Killer” Mannion. At lunch he is arrested, with his secret love, Miss Clark. After confusion, the D.A. gives him a passport and his boss asks him to write on Mannion for the papers. But at home he finds Mannion, who declares he will use Jones’s passport at night and dictates his life story himself. To get Jones out of the way, the D.A. sends him to prison; but Mannion goes instead, to rub out an informer, then escapes. He sends Jones on an errand to the bank and informs police Mannion is coming, but Jones, having forgotten something, misses the ambush. When Mannion’s mob suggest killing Jones, Jones lets them kill Mannion, then overpowers them with a tommy gun, rescues his kidnapped aunt, dark, and Seaver, and wins an award and Miss Clark.
Prison footage from Hawks’s The Criminal Code (1931).
1935 The Informer (RKO Radio). 91 minutes. May 1. Director: John Ford. Associate producer: Cliff Reid. Scenarist: Dudley Nichols [Liam O’Flaherty, Robert Sisk], from novel by Liam O’Flaherty. Photographer: Joseph H. August. Art directors: Van Nest Polglase, Charles Kirk. Set decorator: Julia Heron. Costumes: Walter Plunkett. Music: Max Steiner. Editor: George Hively. Sound: Hugh McDowell, Jr. Wardrobe: Walter Plunkett. Assistant directors: Eddie Donahue, Edward O’Fearna. Filmed: February 11-March 14. With Victor McLaglen (Gypo Nolan), Heather Angel (Mary McPhillip), Preston Foster (Dan Gallagher), Margo Grahame (Katie Madden), Wallace Ford (Frankie McPhillip), Una O’Connor (Mrs. McPhillip), J. M. Kerrigan (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 Flynn), May Boley (Madame Betty), Grizelda Harvey (an obedient girl), Dennis O’Dea (street singer), Jack Mulhall (lookout), J. Farrell MacDonald (man in street), Robert Parrish (soldier), Clyde Cook (man at Madame Betty’s), Major Sam Harris, Earle Foxe (British officers), James Murray, Barlowe Borland, Frank Moran, Arthur McLaglen, Frank Baker.
Dublin, one night during the Sinn Fein rebellion, 1922: Gypo Nolan, cashiered from the IRA for failing to carry out an execution and thus left alone and destitute, betrays his friend Frankie McPhillip to the British for £20, for passage money to America for himself and a streetwalker. To shield himself, he accuses another, then nightmarishly carouses away the money. He breaks down before a rebel court, is sentenced to die, but escapes. The streetwalker unwittingly betrays him and, pursued and wounded, he dies in church begging Frankie’s mother to forgive him.
0scars: best direction, screenplay; actor (McLaglen); score; nomination for best picture, best editing. New York Film Critics awards: best picture, best direction. Belgian Crown: Chevalier Order of the Crown of Belgium (Ford); the Belgian Prix du Roi (Ford). L’Academie Française: Officier de l’Academie Française (Steiner). King of Belgium: bronze medal. International Artistic Motion Picture Exhibition (Venice): cup (Nichols). National Board of Review: best picture. Foreign Press Society of Holland: certificate of honor (Ford, McLaglen). Film Daily Poll: third best. Cinema Jumpo-sha (Japan): among eight best foreign films of the year. Daily Variety Poll rating (by 200 industry figures, 1950); fourth-best film of the first half-century of cinema.
Remake of Arthur Robison’s The Informer (1929).
1935 Steamboat round the Bend (Fox Film—20th Century-Fox). 80 minutes. September 6. Director: John Ford. Producer: Sol M. Wurtzel. Scenarists: Dudley Nichols, Lamar Trotti, from novel by Ben Lucian Burman. Photographer: George Schneiderman. Cameramen: James Gordon, Paul Lockwood. Art director: William Darling. Set decorator: Albert Hogsett. Music director: Samuel Kaylin. Title song: Oscar Levant (uncredited). Editor: Alfred De Gaetano. Sound: Albert Protzman, Jack Lescoulie, Hal Lombard. Makeup: Paul B. Stanhope, Verne Murdock. Assistant director: Edward O’Fearna. Casting: Al Smith. Script clerk: Stanley Scheuer. Location photography on Sacramento and San Joaquin Rivers. Filmed: May-June 21. With Will Rogers (Dr. John Pearly), Anne Shirley (Fleety Belle), Eugene Pallette (Sheriff Rufe Jeffers), John McGuire (Duke), Berton Churchill (The New Moses), Stepin Fetchit (George Lincoln Washington), Francis Ford (Efe), Irvin S. Cobb (Capt. Eli), Roger Imhof (Pappy), Raymond Hatton (Matt Abel), Hobart Bosworth (Chaplin), Charles B. Middleton (Fleety’s father), Si Jenks (a drunk), Jack Pennick (ringleader of boat attack), William Benedict (Breck), Lois Verner (Addie May), John Lester Johnson (Uncle Jeff), Pardner Jones (New Elijah), Fred Kohler, Jr. (Fleety Belle’s fiance), Ben Hall (Fleety Belle’s brother), Louis Mason, Robert E. Holmes (race officials), John Wallace, Dell Henderson (salesman), Ernie Shields, Otto Richards (prisoner), Heinie Conklin (tattoo artist), Caprtain Anderson (jailer), Grace Goodall (sheriff’s wife), Ferdinand Munier (governor), D’Arcy Corrigan (hangman), James Marcus, Luke Cosgrove (labor boss), Vester Pegg, John Tyke, Wingate Smith, Jim Thorpe, Frank Baker.
Dr. John Pearly sells a cure-all, “Pocahontas Remedy,” on his Mississippi steamboat, in the 1890s. Nephew Duke accidentally kills a man to defend swampgirl Fleety Belle, is sentenced to hang, and John starts a wax museum to finance an appeal, which fails. Fleety Belle and Duke marry in jail. She and John hunt the New Moses, who can clear Duke, but encounter a riverboat race, and Capt. Ely taunts John not to renege on an old wager (both boats to winner). As they race, they lasso Moses aboard, burn wax figures and “medicine for fuel, and win just in time to avert Duke’s hanging.
1936 The Prisoner of Shark Island (20th Century-Fox). 95 minutes. February 12. Director: John Ford. Producer: Darryl F. Zanuck. Associate producer-scenarist: Nunnally Johnson, from life of Dr. Samuel A. Mudd. Photographer: Bert Glennon. Art director: William Darling. Set decorator: Thomas Little. Costumes: Gwen Wakeling. Music director: Louis Silvers. Editor: Jack Murray. Sound: W.D. Flick, Robert Heman. Wardrobe: Gwen Wakeling Assistant director: Edward O’Fearna. Filmed: November 12-January. With Warner Baxter (Dr. Samuel A. Mudd), Gloria Stuart (Mrs. Peggy Mudd), Claude Gillingwater (Col. Jeremiah Milford Dyer), Arthur Byron (Mr. Erickson), 0. P. Heggie (Dr. Mclntyre), Harry Carey (Comdt. of Fort Jefferson, “Shark Island”), Francis Ford (Cpl. 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 (Buckingham Montmorency Tilford), Paul Stanton (orator), Merrill McCormick (commandant’s aide), Paul Fix (David Herold), Frank Shannon (Holt), Leila Mclntyre (Mrs. Lincoln), Etta McDaniel (Rosabelle Tilford), Beulah Hall Jones (Blanche), Lloyd Whitlock (Maj. Rathbone), James Marcus (blacksmith), Jan Duggan (actress), Robert Dudley (druggist), Bud Geary, Duke Lee, Robert E. Holmans (sergeants), Murodck MacQuarrie (Spangler), Dick Elliot (actor), Wilfeed Lucas (colonel), Cyril Thornton (Maurice O’Laughlin), Arthur Loft (carpetbagger), Paul McVey (Gen. Hunter), Maurice Murphy (orderly), J.P. McGowan (ship captain), Harry Strange (mate), Jack Pennick (soldier who sends flag messages), J. M. Kerrigan (Judge Maiben), Whitney Bourne, Robert Parrish, Frank Baker.
After setting a stranger’s leg, Dr. Samuel A. Mudd is arrested, summarily tried, and given life at Dry Tortugas (Florida). Wife Peggy’s escape plan fails; Mudd and black friend Buck are thrown into a dank pit; but yellow fever erupts and the commandant begs Mudd’s aid. He squashes a black mutiny and fires on a federal ship, forcing its plague-fearing captain to land supplies and doctors. All petition Mudd’s pardon. He and Buck return home. (The film follows Mrs. Mudd’s biography, but elides the years in prison. Mudd [1833 -83] was pardoned by Andrew Johnson on his last day in office [March 21, 1869], but appeals for his exoneration [recently, to President Carter] have not succeeded.)
† 1936 The Last Outlaw (BKO Radio). 62 minutes. June 19. Director: Christy Cabane. Associate producer: Robert Sisk. Screenplay: John Twist, Jack Townley, from story by John Ford and Evelyne Murray Campbell. Photographer: Jack MacKenzie. Art director: Van Nest Polglase. Associate: Jack Gray. Musical direction: Alberto Colombo. Song: “My Heart’s on the Trail,” music by Nathaniel Shilkret, lyrics by Frank Luther. Sound: Denzil A. Cutler. Editor: George Hively. With Harry Carey (Dean Payton), Hoot Gibson (Chuck Wilson), Margaret Callahan (Sally Mason), Tom Tyler (Al Goss), Henry B. Walthall (BillYates), Bay Meyer (Joe), Harry Hans (Jess), Frank M. Thomas (Dr. Mason), Russell Hopton (Sheriff Billings), Frank Jenks (Tom), Maxine Jennings (receptionist), Fred Scott (Larry Dixon).
A remake of Ford’s 1919 two-reeler.
1936 Mary of Scotland (RKO Radio). 123 minutes. July 24. Director: John Ford [Katharine Hepburn, Les Goodwins]. Producer: Pandro S. Berman. Scenarist: Dudley Nichols, Mortimer Offner, from play by Maxwell Anderson. Photography: Joseph H. August, Jack MacKenzie. Art directors: Van Nest Polglase, Carroll Clark. Set decorator: Darrell Silvera. Costumes: Walter Plunkett. Music: Max Steiner. Musical direction: Nathaniel Schildkret. Orchestration: Maurice de Packh. Editor: Jane Loring. Assistant editor: Robert Parrish. Special effects: Vernon L. Walker. Sound: Hughe McDowell, Jr., Denzil A. Cutler. Wardrobe: Walter Plunkett. Makeup: Mel Burns. Assistant dirctor: Edward Donahue. Unit managers: Louis Shapiro, Charles Stallings, Bert Gilroy. Filmed in January-April 23. With Katharine Hepburn (Mary Stuart), Fredric March (Bothwell), Florence Eldridge (Elizabeth), Douglas Walton (Darnley), John Carradine (David Rizzio), Monte Blue (messager), Jean Fenwick (Mary Seton), Robert Barrat (Morton), Gavin Muir (Leicester), lan Keith (James Stuart Moray), Moroni Olsen (John Knox), Donald Crisp (Huntley), William Stack (Ruthven), Molly Lament (Mary Livingston), Walter Byron (Sir Francis Walsingham), Ralph Forbes (Randolph), Alan Mowbray (Trockmorton), Frieda Inescort (Mary Beaton), David Torrence (Lindsay), Anita Colby (Mary Fleming), Lionel Belmore (English fisherman), Doris Lloyd (his wife), Bobby Watson (his son), Lionel Pape (Burghley), Ivan Simpson, Murray Kinnell, Lawrence Grant, Nigel DeBrulier, Barlowe Borland (judges). Alec Craig (Donal), Mary Gordon (nurse), Wilfred Lucas (Lexington), Leonard Mudie (Maitland), Brandon Hurst (Arian), D’Arcy Corrigan (Kirkcaldy), Frank Baker (Douglas), Cyril McLaglen (Faudoncide), Robert Warwick (Sir Francis Knellys), Earle Foxe (Duke of Kent), Wyndham Standing (sergeant), Gaston Glass (Chatelard), Neil Fitzgerald (nobleman), Paul McAllister (Du Croche), Jean Kircher (Prince James), Robert Homans (jailer).
1936 The Plough and the Stars (RKO Radio). 67 minutes. December 26. Director: John Ford. Executive producer: Samuel Briskin. Associate producers: Cliff Reid, Robert Sisk. Scenarist: Dudley Nichols, from play by Sean O’Casey. Photography: Joseph H. August. Art directors: Van Nest Polglase, Carroll Clark. Music: Nathaniel Shilkret, Roy Webb. Editor: George Hively. Sound: D.A. Cutler. Retake directors: George Nicholls, Edward Donahue. Assistant director: Arthur SHields. Technical director: George Bernard McNulty. Filmed: July 8-August 20; mid-September-early October. With Barbara Stanwyck (Nora Clitheroe), Preston Foster (Jack Clitheroe), Barry Fitzgerald (Fluther Good), Dennis O’Day (the Young Covey), Eileen Crowe (Bessie Burgess), Arthur Shields (Padraic Pearse), Erin O’Brien Moore (Rosie Redmond), Brandon Hurst (Sgt. Tinley), F. J. McCormick (Capt. Brennon), Una O’Conner (Maggie Corgan), Moroni Olsen (Gen. Connolly), J. M. Kerrigan (Peter Flynn), Neil Fitzgerald (Lt. Langen), Bonita Granville (Mollser Gogan), Cyril McLaglen (Cpl. Stoddart), Robert Homans (barman), Mary Gordon, Doris Lloyd (women at barricades), Jack Pennick (bar patron), Mary Quinn, Lionel Pape (Englishman), Michael Fitzmaurice (ICA), Gaylord Pendleton (ICA), D’Arcy Corrigan, Les Sketchley, Pat Harrington, Francis Ford, Wingate Smith, Gaylord Pendleton, James Gordon, Pat O’Malley, Harry Tenbrook, Wesley Barry (boy), Frank Baker (English officer).
Dublin, Easter Rebellion.
1937 Wee Willie Winkie (20th Century-Fox). 99 minutes. July 30. Director: John Ford. Producer: Darryl F. Zanuck. Associate producer: Gene Markey. Scenarists: Ernest Pascal, Julian Josephson, [Howard Ellis Smith, Mordaunt Shairp], from story by Rudyard Kipling. Photography: Arthur Miller. Art director: William Darling. Set decorator: Thomas Little. Music: Alfred Newman, Louis Silvers. Editor: Walter Thompson. Sound: Eugene Grossman, Roger Heman. Wardrobe: Gewn Wakeling. Assistant director: Edward O’Fearna. Filmed: late January-late March. Released with tinted sequences (sepia for day, blue for night). With Shirley Temple (Priscilla Williams), Victor McLaglen (Sgt. Donald MacDuff), C. Aubrey Smith (Col. Williams), June Lang (Joyce Williams), Michael Whalen (Lt. “Coppy” Brandes), Cesar Romero (Khoda Khan), Constance Collier (Mrs. Allardyce), Douglas Scott (Mott), Gavin Muir (Capt. Bibberbeigh), Willie Fung (Mohammed Dihn), Brandon Hurst (Bagby), Lionel Pape (Major Allardyce), Clyde Cook (Pipe Maj. Sneath), Lauri Beatty (Eisi Allardyce), Lionel Braham (Maj. Gen. Hammond), Mary Forbes (Mrs. MacMonachie), Cyril McLaglen (Cpl. Tummel), Pat Somerset (officer), Hector Sarno (conductor), Herbert Evans, Jack Pennick (soldiers), George Hassell (MacMonahie), Noble Johnson (Sikh policeman), Scotty Mattraw (merchant), Louis Vincenot (African chieftain), La Chand Mahra, Gurdail Singh (servants), Frank Leigh (Rajput merchant), John G. “Lucky” Call (sword swallower), David Clyde (card playing soldier).
1890s: Widowed American Joyce Williams with daughter Priscilla is obliged to accept hospitality from her father-in-law, a British colonel in India. There a young officer courts Joyce, and Priscilla befriends a tough sergeant and the notorious Khoda Khan. Thinking her abducted, the regiment is about to storm an impregnable fortress when Priscilla shames the Indians into negotiation. (There is almost no similarity to Kipling’s poem.)
Oscar nomination to Thomas Little (interior decoration).
1937 The Hurricane (Samuel Goldwyn-United Artists). 102 minutes. November 9. Director: John Ford. Producer: Samuel Goldwyn. Associate producer: Merritt Hulburd. Scenarists: Dudley Nichols, Ben Hecht (uncredited), from novel by Charles Nordhoff, James Norman Hall, adapted by Oliver H. P. Garrett. Associate director: Stuart Heisler. Hurricane sequence: James Basevi, R.T.Layton, R.O. Binger. Photographer: Bert Glennon. South Seas photography: Archie Stout, Paul Eagler. Art directors: Richard Day, Alex Golitzen. Set decorator: Julie Heron. Costumes: Omar Kiam. Music: Alfred Newman. Editor: Lloyd Nosier. Sound recording: Jack Noyes. Assistant director: Wingate Smith. Technical advisors: Chief Tufele, Alfred Levy. Exterior locations at Samoa, Catalina. Filmed: May 3-September. With Dorothy Lamour (Marama), Jon Hall (Terangi), Mary Astor (Germaine DeLaage), C. Aubrey Smith (Father Paul), Thomas Mitchell (Dr. Kersaint), Raymond Massey Gov. Eugene DeLaage), John Carradine (guard), Jerome Cowan (Capt. Nagle), Al Kikume (Chief Mehevi), Kuulei DeClercq (Tita), Layne Tom, Jr. (Mako), Mamo Clark (Hitia), Movita Castenada (Arai), Reri (Reri), Francis Kaai (Tavi), Pauline Steele (Mata), Flora Hayes (Mama Rua), Mary Shaw (Marunga), Spencer Charters (judge), Roger Drake (captain of the guards), Inez Courtney (girl on boat), Paul Strader, Araner.
Dr. Kersaint (Thomas Mitchell) reminisces about a sandbar, once an island paradise. Flashback: DeLaage (Raymond Massey), French governor of Manacura, denies mercy as Terangi s jailbreaks increase a six-month term for hitting back a Frenchman. After eight years, Terangi (Jon Hall) escapes across six hundred miles of ocean to his wife (Dorothy Lamour) and unseen daughter. DeLaage, deaf to pleas by his wife (Mary Astor), pursues—until a hurricane destroys everything.
As Director of the U.A. Sound Department, Thomas Moulton received an Oscar for sound, but is not credited on the film; nominations to Thomas Mitchell and to Alfred Newman (music).
After completion of rough cut, some interiors were reshot with new dialogue by Ben Hecht.
† l938 The Adventures of Marco Polo (Samuel Goldwyn-United Artists). 100 minutes. April 15. Director: Archie Mayo. Producer: Samuel Goldwyn. Scenarist: Robert E. Sherwood, from story by N.A. Pogson. Photography: Rudolph Mate. Art director: Richard Day. Music: Alfred Newman. Special effects: James Basevi. With Gary Cooper, Sigrid Gurie, Basil Rathbone.
Ford shot scenes for a brief montage in which, in seconds, Polo is shipwrecked by a storm, caught in a desert sandstorm, and crosses a mountain.
1938 Four Men and a Prayer (20th Century-Fox). 85 minutes. April 29. Director: John Ford. Producer: Darryl F. Zanuck. Associate producer: Kenneth MacGowan. Assistant producers: Robert Guggenheim, Jr., Henry Joe Brown, Bert Levy. Scenarists: Richard Sherman, Sonya Levien, Walter Ferris, and (un-credited) William Faulkner, Wallace Sullivan, Austin Parker, W.Lawrence, from novel by David Garth. Photographer: Ernest Palmer. Art directors: Bernard Herzbrun, Rudolph Sternad. Set decorator: Thomas Little. Music: Louis Silvers, Ernst Toch. Editor: Louis R. Loeffler. Costumes: Royer. Sound: J.L. Siegler. Special effects: Louis Witte. Assistant directors: Ed O’Fearna, Wingate Smith, Tom Dudley. Makeup: Sam Kaufman. Technical advisors: Capt. Harry Lloyd Morris, Frank Gompert. Filmed: January-March 11. With Loretta Young (Lynn Cherrington), Richard Greene (Geoffrey Leigh), George Sanders (Wyatt Leigh), David Niven (Christopher Leigh), William Henry (Rodney Leigh), C. Aubrey Smith (Col. Loring Leigh), J. Edward Bromberg (Gen. Torres), Alan Hale (Peter Farnoy), John Carradine (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 attorney), Frank Dawson (Mullins), Lina Basquette (Ah-nee), Winter Hall (judge), Will Stanton (Cockney), John Spacey, C. Montague Shaw (lawyers), Lionel Pape (coroner), Brandon Hurst (jury foreman), William Stack (prosecutor), Harry Hayden (secretary), Paul McVey (secretary), Manuel Paris (captain), George Mendoza (page), Robert Lowery (sailor), Chris Pin Martin (soldier), Selmer Jackson (yacht captain), Patrick X. Kerry (O’Toole), Cyril McLaglen (O’Hara), Tom Ricketts (stationmaster), Eddie Abdo (sheik), Jamiel Hasson (interpreter), George Regas, Francesco Maran (Egyptian policemen), Douglas Gordon (orderly), Michael Field (undergraduate), Barbara Denny, Ruth Clifford, Mimi Doyle, Murel Sharada (telephone operators), June Gale (Elizabeth), Helen Ericson (Joan), Casino family (dancers).
Four sons roam the world to establish the innocence of their disgraced (and murdered) father.
1938 Submarine Patrol (20th Century-Fox). 95 minutes. November 9. Director: John Ford. Producer: Darryl F. Zanuck. Associate producer: Gene Markey. Assistant producer: Ralph Dietrich. Scenarists: Rian James, Darrell Ware, Jack Yellen and (uncredited) William Faulkner, Don Ettlinger, Karl Tunberg, Kathryn Scola, Sheridan Gibney, George Noville, George Markey, from novel The Splinter Fleet, by John Milholland. Photography: Arthur Miller. Art directors: William Darling, Hans Peters. Costumes: Gwen Wakeling. Set decorator: Thomas Little. Music director: Arthur Lange. Editor: Robert Simpson. Sound: Eugene Grossman. Wardrobe: Gewn Wakeling. Makeup: Sam Kaufman. Assistant directors: Edward O’Fearna, WIngate Smith. Production manager: V.L. McFadden. Unit manager: B.F. McEveety. Filmed: late June-late August. With Richard Greene (Perry Townsend III), Nancy Kelly (Susan Leeds), Preston Foster (Lt. John C. Drake), George Bancroft (Capt. Leeds), Slim Summerville (Ellsworth”Spuggs” Ficketts—“Cookie”), Joan Valerie (Anne), John Carradine (Matt McAllison), Warren Hymer (Rocky Haggerty), Henry Armetta (Luigi), Douglas Fowley (Brett), J. Farrell MacDonald (Sails Quincannon), Dick Hogan (Johnny), Maxie Rosenbloom (Sgt. Joe Duffy), Ward Bond (Olaf Swanson), Robert Lowery (Sparks), Charles Tannen (Kelly), George E. Stone (Irving Goldfarb), Moroni Olsen (Capt. Wilson), Jack Pennick (Guns McPeck), Elisha Cook, Jr. (“Professor” Pratt), Harry Strang (Grainger), Charles Trowbridge (Adm. Joseph Maitland), Victor Varconi (chaplain), Murray Alper (sailor), E.E. Clive (Mr. Pringle), Russ Clark (Anderson), Harry Tenbrook, George Bruggeman (sailors), Max Wagner (marine), ALan Davis (aide), Murray Alper (orderly), Lon Chaney, Jr. (marine), Dorothy Christy, Frank Moran (water), Ferdinand Schumann-Heink (officer), Fred Malatesta, Manuel Paris (soldiers).
1918: Playboy Perry and a motley crew shape up in convoy from Brooklyn to Brindisi on a wooden subchaser whose Capt. Drake needs to redeem himself for letting a destroyer run arock. Perry’s attempt to wed Susan is thwarted by her freighter-captain father; Perry wins his respect on a mission, but orders to sail postpone marriage.
1939 Stagecoach (Walter Wanger-United Artists). 97 minutes. February 2. Director: John Ford. Executive producer: Walter Wanger. Scenarist: Dudley Nichols, from story “Stage to Lordsburg,” by Ernest Haycox. Photography: Bert Glennon. Art director: Alexander Toluboff (credited; actually, set decorator: Wiard B. Ihnen). Costumes: Walter Plunkett. Music (adapted from seventeen American folk tunes of early 1880s): Richard Hageman, W. Franke Harling, John Leipold, Leo Shuken, Louis Gruenberg. Musical direction: Boris Morros. Editorial supervision: Otho Lovering. Editors: Dorothy Spencer, Walter Reynolds. Special effects: Ray Binger. Stunt coordinators: Yakima Canutt, Chief Big Tree. Production manager: Daniel Keefe. Assistant directors: Wingate Smith, Lowell Farrell. Filmed in Monument Valley and other locations in Arizona, Utah, and California, October-January. With John Wayne (the Ringo Kid), Claire Trevor (Dallas), John Carradine (Hatfield), Thomas Mitchell (Dr. Josiah Boone), Andy Devine (Buck Rickabaugh), Donald Meek (Samuel Peacock), Louise Platt (Lucy Mallory), Tim Holt (Lt. Blanchard), George Bancroft (Sheriff Curly Willcox), Berton Churchill (Henry Gatewood), Tom Tyler (Luke Plummer), Chris-Pin Martin (Chris), Elvira Rios (Yakima, his wife), Francis Ford (Billy Pickett), Marga Ann Daighton (Mrs. Pickett), Kent Odell (Billy Pickett, Jr.), Yakima Canutt, Chief Big Tree (stuntman). Henry Tenbrook (telegraph operator). Jack Pennick (Jerry, barman), Paul McVey (Express agent), Cornelius Keefe (Capt. Whitney), Florence Lake (Mrs. Nancy Whitney), Louis Mason (sheriff), Brenda Fowler (Mrs. Gatewood), Walter McGrail (Capt. Sickel), Joseph Rickson (Hank Plummer), Vester Pegg (Ike Plummer), William Hoffer (sergeant), Bryant Washbum (Capt. Simmons), Nora Cecil (Dr. Boone’s landlady), Helen Gibson, Dorothy Annleby (dancing girls), Buddy Roosevelt, Bill Cody (ranchers). Chief White Horse (Indian chief), Duke Lee (sheriff of Lordsburg), Franklin Farnum (deputy), Mary Kathleen Walker (Lucy’s baby), Many Mules (Geronimo), Ed Brady (saloon keeper), Robert Homans (editor), Jim Mason (Jim). Merrill McCormach (Ogler), Artie Ortega (barfly), Steve Clemente, Theodore Larch, Fritzi Brunette, Leonard Trainer, Chris Phillips, Tex Driscoll, Teddy Billings, John Eckert, Al Lee, Jack Mohr, Patsy Doyle, Wiggie Blowne, Margaret Smith, Frank Baker.
Tonto, 1870s. Passengers board a stagecoach: Lucy Mallory, a pregnant lady joining her officer husband; Dallas, a whore being evicted; Doc Boone, a drunk also ostracized; Peacock, a meek whiskey salesman; Gatewood, a haughty banker. Cavalry ride guard, for Apache are loose. Hatfield, a gambler, goes along to “protect” Mrs. Mallory, and the sheriff to hunt the Ringo Kid, who escaped jail to avenge his brother, and who joins the coach outside town.
At Dry Ford Station, relief cavalry fail to rendezvous, but the passengers vote to go on without protection. At Apache Wells, Lucy learns her husband was wounded and Dallas and Boone deliver her baby. Bingo and Dallas fall in love, but smoke signals foil his escape. And, after fording a river, the coach is pursued by Apache across salt flats. Hatfield, about to kill Lucy to protect her, is killed himself, just as cavalry arrive.
In Lordsburg the travellers separate. Gatewood is arrested for robbing his bank. Bingo kills the three Plummer brothers and the sheriff lets him ride off with Dallas into the sunset.
Oscars for supporting actor: Thomas Mitchell; score: Richard Hageman et al.; nominations for best picture, direction, art direction, photography editing—losing out generally to Cone with the Wind). The New York Film Critics chose Ford best director and the National Board of Review cited it as the year's third best.
1939 Young Mr. Lincoln (Cosmopolitan-20th Century-Fox). 101 minutes. June 9. Director: John Ford. Executive producer: Darryl F. Zanuck. Producer: Kenneth Macgowan. Scenarist: LamarTrotti, based on life of Abraham Lincoln. Photography: Bert Glennon, Arthur Miller (uncredited, river locations). Art directors: Richard Day, Mark Lee Kirk. Wardrobe: Royer. Set decorator: Thomas Little. Music: Alfred Newman. Editor: Walter Thompson. Costumes: Royer. Sound: Eugene Grossman, Roger Heman. Sound effects editor: Robert Parrish. Filmed March-April 15. With Henry Fonda (Abraham Lincoln), Alice Brady (Abigail Clay), Marjorie Weaver (Mary Todd), Dorris Bowdon (uncredited) (Carrie Sue Clay), Eddie Collins (Efe Turner), Pauline Moore (Ann Rutledge), Arleen Whelan (Sarah Clay), Richard Cromwell (Matt Clay), Ward Bond (John Palmer Cass), Donald Meek (John Felder), Spencer Charters (Judge Herbert A. Bell), Eddie Quillan (Adam Clay), Milburn Stone (Stephen Douglas), Cliff Clark (Sheriff Billings), Robert Lowery (juror), Charles Tannen (Ninian Edwards), Francis Ford (Sam Boone), Fred Kohler, Jr. (Scrub White), Kay Linaker (Mrs. Edwards), Russell Simpson (Woolridge), Charles Halton (Hawthorne), Edwin Maxwell (John T. Stuart), Robert Homans (Mr. Clay), Jack Kelly (Matt Clay, as child), Dicky Jones (Adam Clay, as child), Harry Tyler (hairdresser), Louis Mason (court clerk), Jack Pennick (Big Buck), Steven Randall (juror), Clarence Wilson, Elizabeth Jones. Credited as Carrie Sue, but not appearing: Judith Dickens.
Lincoln’s discovery of the Law, his love for Ann Rutledge, and his first public victory—in a murder trial.
1939 Drums along the Mohawk (20th Century—Fox). Technicolor. 103 minutes. November 3. Director: John Ford. Executive producer: Darryl F. Zanuck. Producer: Raymond Griffith. Scenarists: LamarTrotti, Sonya Levien, and (un-credited) William Faulkner, from novel by Walter D. Edmonds. Photography: Bert Glennon, Ray Rennahan. Art directors: Richard Day, Mark Lee Kirk. Color set consultant: Natalie Kalmus, Henri Jaffa. Costumes: Gwen Wakeling. Makeup: Norbert Miles, Newton House, Bob Cowan, Steve Drimm. Set decorator: Thomas Little. Proety man: Joseph Behn. Music: Alfred Newman. Editor: Robert Simpson. Sound effects editor: Robert Parrish. Assistant directors: Edward O’Fearna, Wingate Smith, F.E. Johnson. Production manager: Duke Groux. Filmed: June 28-late August, in Utah’s Wasatch Mountains; completed in November. With Claudette Colbert (Lana Borst 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 (Fr. Rosenkranz), Robert Lowery (John Weaver), Roger Imhof (Gen. Nicholas Herkimer), Francis Ford (Joe Boleo), Ward Bond (Adam Hartmann), Kay Linaker (Mrs. DeMooth), Russell Simpson (Dr. Petry), Chief Big Tree (Blue Back), Spencer Charters (Fisk, innkeeper), Arthur Aysleworth (George Weaver), Si Jenks (Jacob Small), Jack Pennick (Amos), Charles Tannen (Dr. Robert Johnson), Paul McVey (Capt. Mark DeMooth), Elizabeth “Tiny” Jones (Mrs. Reall), Lionel Pape (general), Clarence H. Wilson (paymaster), Edwin Maxwell (pastor Daniel Gros), Clara Blandick (Mrs. Borst), Beulah Hall Jones (Daisy), Robert Greig (Mr. Borst), Noble Johnson (indian), Mae Marsh, Ruth Clifford, Frank Baker (commander of colonial troops).
Mohawk Valley pioneers during Revolutionary War.
Oscar nominations: Best supporting actress (Edna May Oliver).
1940 The Grapes of Wrath (20th Century—Fox). 129 minutes. January 24 (Rivoli Theater, New York). Director: John Ford. Producer: Darryl F. Zanuck. Associate producer-scenarist: Nunnally Johnson, from novel by John Steinbeck. Photography: Gregg Toland. Art directors: Richard Day, Mark Lee Kirk. Set decorator: Thomas Little. Wardrobe: Gewn Wakeling. Makeup: Gus Norin. Music: Alfred Newman. Song “Red River Valley” played on accordion by Dan Borzage. Technical consultant: Tom Collins. Costumes: Gwen Wakeling. 2nd-unit director: Otto Brower. Editor: Robert Simpson. Sound: George Leverett, Roger Heman. Sound effects editor: Robert Parrish. 2nd unit director: Otto Brower. Assistant dirctors: Edward O’Fearna, Wingate Smith. Technical consultant: Tom Collins. Filmed: October 4-November 16. With Henry Fonda (Tom Joad), Jane Darwell (Ma Joad), John Carradine (Casey), Charley Grapewin (Grampa Joad), Dorris Bowdon (Rosasharn), Russell Simpson (Pa Joad), 0. Z. Whitehead (Al Joan), John Qualen (Muley), Eddie Quillan (Connie), Zeffie Tilbury (Grandma Joad), Frank Sully (Noah), Frank Darien (Uncle John), Darryl Hickman (Winfield), 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 (Muley’s son), Paul Guilfoyle (Floyd), Charles D. Brown (Wilkie), Roger Imhof (Thomas), William Pawley (Bill), Arthur Aysleworth (father), Charles Tannen (Joe), Selmar Jackson (inspector), Eddie C. Waller (proprietor), David Hughes (Frank), Cliff Clark (townsman), Adrian Morris (agent), Robert Homans (Spencer), Irving Bacon (conductor), Walter McGrail (gang leader), Adrian Morris (agent), Kitty McHugh (Mae), Georgia Simmons, James Flavin (guard), George O’Hara (clerk), Thorton Edwarts (motor cop), Harry Cording, Paul Sutton, Pat Flaherty, Tom Tyler, Ralph Dunn (deputies), Ted Oliver (state policeman), Ben Hall (gas station attendant), Gloria Roy (waitress), Norman Willis (Joe), Erville Alderson (storekeeper), Harry Strang (Fred, truck driver), Rex Lease (cop), Inez Palange (woman in camp), Louis Mason (father of dead children), Harry Tenbrook (deputy), Frank O’Connor (deputy), Herbert Heywood (gas station man), Walter Miller (border guard), Gaylor Pendleton, Robert Shaw, Lee Shumway, Dick Rich, Trevor Burdette (Julie(, Wailliam Haade, Peggy Ryan, Wally Albright, Shirley Coates, Mae Marsh, Francis Ford, Jack Pennick (camp guard).
An evicted Oakie family seeks a new home during the 1930s.
Oscars for direction; supporting actress: Darwell. Nominations for best picture; actor: Fonda; script: Johnson; editing: Robert Simpson; sound. New York Film Critics chose it best picture, and awarded Ford best director for it and The Long, Voyage Home.
1940 The Long Voyage Home (Argosy Pictures-Wanger-United Artists). 105 minutes. October 9. Director: John Ford. Producer: Walter Wanger. Scenarist: Dudley Nichols, from one-act plays “The Moon of the Caribbees,” “In the Zone,” “Bound East for Cardiff,” “The Long Voyage Home,” by Eugene O’Neill. Photography: Gregg Toland. Art director: James Basevi. Set decorator: Julia Heron. Music: Richard Hageman. Music director: Edward Paul. Editor: Sherman Todd. Sound editor: Robert Parrish. Special effects: Ray Binger, R. T. Layton. Assistant director: Wingate Smith. Production managers: James Dent, Wingate Smith, B.F. McEveety, Loewell Farrell. Filmed: April 17-June. With Thomas Mitchell (Aloysius Driscoll), John Wayne (Ole Olsen), lan Hunter (Thomas Smitty Fenwick, “Smitty”), Barry Fitzgerald (Cocky), Wilfred Lawson (captain), Mildred Natwick (Freda), John Qualen (Axel Swanson), Ward Bond (Yank), Joe Sawyer (Davis), Arthur Shields (Donkeyman), J.M. Kerrigan (Crimp), David Hughes (Scotty), Billy Bevan (Joe), Cyril McLaglen (mate), Robert E. Perry (Paddy), Jack Pennick, (McDonald), Constantin Frenke (Narvey), Constantin Romanoff (Big Frank), Dan Borzage (Tim), Harry Tenbrook (Max), Douglas Walton (2nd lieutenant), Raphaela Ottiano (Daughter of the Tropics), Carmen Morales, Carmen d’Antonio (girls in canoe), Harry Woods (first mate), Edgar “Blue” Washington, Lionel Pape (Mr. Clifton), Art Miles (Amindra captain), James Flavin, Lee Shumway (policemen), Wyndam Standing (officer), Lowell Drew (bald man), Sammy Stein (seaman), Edgar “Blue” Washington, Jane Crowley, Maureen Roden-Ryan.
The Glencairn’s crew dream of land, but always return to the sea.
Nominations for best picture; screenplay; music photography; editing; effects; sound. New York Film Critics chose Ford best director for this and Grapes.
1941 Tobacco Road (20th Century-Fox). 84 minutes. February 20. Director: John Ford. Producer: Darryl F. Zanuck. 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 decorator: Thomas Little. Music: David Buttolph. Editor: Barbara McLean. Sound effects editor: Robert Parrish. With Charley Grapewin (Jeeter Lester), Marjorie Rambeau (Sister Bessie), Gene Tierney (Ellie May Lester), William Tracy (Duke Lester), Elizabeth Patterson (Ada Lester), Dana Andrews (Dr. Tim), Slim Summerville (Henry Peabody), Ward Bond (Lov Bensey), Grant Mitchell (George Payne), Zeffie Tilbury (Grandma Lester), Russell Simpson (sherriff), Spencer Charters (employee), Irving Bacon (teller), Harry Tyler (auto salesman), George Chandler (employee), Charles Halton (mayor). Jack Pennick (deputy sheriff), Dorothy Adams (Payne’s secretary), Francis Ford (vagabond), John “Skins” Miller (garage attendant).
Life among decadent rural whites in Georgia.
1941 Sex Hygiene (Auto Productions—U. S. Army Signal Corps). 30 minutes. Summer. Director: John Ford. Producer: Darryl F. Zanuck. Photographer: George Barnes. Editor: Gene Fowler, Jr. With Charles Trowbridge, Robert Lowery, George Reeves.
An army training film on venereal disease.
1941 How Green Was My Valley (20th Century-Fox). 118 minutes. October 28 (Rivoli Theater, New York). Director: John Ford. Producer: Darryl F. Zanuck. Scenarist: Philip Dunne, from novel by Richard Llewellyn. Photography: Arthur Miller. Art directors: Richard Day, Nathan Juran. Set decorator: Thomas Little. Costumes: Gwen Wakeling. Music: Alfred Newman. Choral effects: Eisteddfod Singers of Wales. Editor: James B. Clark. Narrator: Irving Pichel. U.K. version narrator: Rhys Williams. Filmed in June—August. With Walter Pidgeon (Mr. Gruffydd), Maureen O’Hara (Angharad Morgan), Donald Crisp (Gwilym Morgan), Sara Allgood (Mrs. Beth Morgan), Anna Lee (Bronwen Morgan), Roddy McDowall (Huw Morgan), John Loder (lanto Morgan), Patrick Knowles (Ivor Morgan), Richard Fraser (Davy Morgan), James Monks (Owen Morgan), Barry Fitzgerald (Cyfartha), The Welsh Singers (singers), Morton Lowery (Mr. Jonas), Arthur Shields (Mr. Parry), Ann Todd (Ceinwen), Frederick Worlock (Dr. Richards), Evan E. Evans (young Gwilym Morgan), Rhys Williams (Dai Bando), Lionel Pape (Old Evans), Ethel Griffies (Mrs. Nicholas), Marten Lamont (Iestyn Evans), Mae Marsh (miner’s wife), Louis Jean Heydt (miner), Denis Hoey (Motschell), Tudor Williams (singer), Clifford Severn (Mervyn), Elizabeth “Tiny” Jones (shopkeeper), Mary Field (Eve), Herbert Evans (postman), Eve March, Frank Baker.
Leaving his Welsh mining valley after fifty years, Huw Morgan recalls childhood as youngest in a large, working family. Flashback to c. 1900: Midst increasing economic recession, the valley quarrels over unions and liberal ideas of a new minister. Four brothers quit the valley to find work elsewhere, the eldest brother is killed in the mine, but Huw, who is the first in the valley to receive an education and could become a doctor, chooses to go down the colliery. Sister Angharad’s divorce incites her excommunication, the minister (who loves her) quits in disgust, and Huw’s father dies in Huw’s arms in the mine. But in a second flashback, Huw recalls the good times.
Oscars for production, direction, supporting actor (Crisp), photography, set direction, interior decoration. Nominations for supporting actress (Allgood), script, editing, music, sound. New York Film Critics chose Ford best director
† l941-46 Field Photo films for OSS. Many training films and documentaries for restricted use were made by Ford’s crews under his general supervision (amounting to zero or greater?), including:
California State Guard Mobilization and Induction Ceremonies
Condition of Atlantic Fleet. November. Supervisor: Ford. Photography: Ray Kellogg.
Iceland (11 min.)
Canal Report. December. Director-editor-writer-narrator: Ford. Assistants: Al Jolkes, Al Ziegler, Robert Parrish.
Doolittle Raid: Ships in Task Force (unedited)
Task Force at Sea: On Way to Doolittle's Tokyo Raid (unedited)
Doolittle Raid: Fliers Take Off from USS Enterprise & USS Hornet (unedited)
1942 The Battle of Midway (U.S. Navy-20th Century-Fox). Kodachrome /Technicolor. 17 minutes. September 14 (Radio CIty Music Hall, New York). Director: Lt. Comdr. John Ford, USNR. Narration: Ford, Dudley Nichols, James Kevin McGuinness. Photography: Ford, Jack McKenzie, Lt. Kenneth M. Pier, GreggToland. Music: Alfred Newman. Editors: Ford, Robert Parrish. Sound effects editor: Phil Scott. With voices of Henry Fonda, Jane Darwell, Donald Crisp, Irving Pichel.
A report on the actual battle.
Oscar: Best documentary.
1942 Torpedo Squadron (U.S. Navy). Kodachrome. 8 minutes (8mm). Director: Lt. Comdr, John Ford, USNR.
According to Bogdanovich, Ford’s unit took some footage of life on a torpedo boat (Torpedo Squadron 8) in 16mm color shortly before the Battle of Midway. All but one of the squadron were killed, and the edited footage was delivered by personal envoys (such as Joe August) to the dead sailors’ families.
Pearl Harbor (Damage)
U.S.S. Kearny (aka Damage Repair of the WWII Destroyer) (4 min.)
How to Operate behind Enemy Lines. With Dana Andrews.
How to Interrogate Enemy Prisoners
Living Off the Land
Nazi Industrial Manpower
National Gallery of Art. Director-editor: Robert Parrish.
North African Invasion (unedited, 302 min., color)
† 1943 December 7th (U.S. War Department; U.S. Department of the Navy). 86-minute (82’25” video) and 34-minute versions. Directors: Lt. Gregg Toland, USNR, Lt. Comdr. John Ford, USNR. Narration writer: George O’Brien, James K. McGuinness. Photography: Toland, Eddie Pyle, U.S. Navy photographers. 2nd-unit directors: James C. Havens, USMC; Ray Kellogg. Music: Alfred Newman. Editor: Robert Parrish. Crew: Sam Engel, Ralph Hoge, Jack Pennick, James Mitchell, Robert Parrish, James Saper. With Walter Huston (Uncle Sam), Harry Davenport (Mr. Conscience), Dana Andrews (Lt. William R. Schick, dead sailor), Paul Hurst (World War One veteran), Carlton Young (narrator).
A study of life in Hawaii, before and after Pearl Harbor. Mostly Toland s work.
Originally made 85 minutes long, but unreleased; nontheatrically distributed in a 34-minute version.
Oscar: Best documentary.
Dunkirk in Reverse
At the Front in North Africa (Signal Corps/OSS, 41 min., color); JF also appears
War Department Report (46 min.)
German Manpower (22 min.)
German Air Power (20 min.)
OSS Camera Report: China, Burma, India (17 min.)
Inside Tibet (39 min., Kodachrome)
Preview of Assam (9 min.)
Homenaje a Mexico (Mexico National Celebration) (10 min.)
Maneuver Report No. 1 (24 min.)
Victory in Burma: On Mountbatten and Father Stuart; (directed by Irving Asner, assisted by Jack Swain, Bob Rhea, Arthur Meehan), etc. (Mark Armistead, supervisor; Ford shot some China portions).
Coverage: Allied landings at Normandy, June 1944.
Research: documentary footage for use at Nuremberg trials (by Ray Kellogg, Budd and Stewart Schulberg, Joe Ziegler, Bob Webv), later released as Nuremberg (War Dept.: 1946, 76 minutes), compiled by Pare Lorentz and Stuart Schulberg. Prints available from National Archives).
† 1944 We Sail at Midnight (Crown Film Unity-U.S. Navy), 20 minutes. July. Director: Ford (?). Narration written by Clifford Odets. Music: Richard Addinsell.
Hazards of merchant shipping in combat zones.
An extant fragment shows cargo handling in New York City and trucks on Broadway. Attribution to Ford is very dubious.
† Manuel Quezon: In Memoriam. 22 minutes. Narrated by Quentin Reynolds. “Ave Maria” [sung] by Enya Gonzalez. In Technicolor from 16mm original.
These are the only credits on this record of the Washington D.C. funeral of the first president of the Philippines made by Ford’s Field Photo Branch. The film is uninteresting and Ford’s direct supervision was probably minimal; he himself appears in one shot during the funeral. A 16mm print is preserved among the Ford papers at Lilly Library, Indiana University.
Burial of Air Crash Victims (4 min.)
Personnel Inspection of Field Photographic Branch (6 min.)
Marshal Tito's Wartime Headquarters (4 min., color)
King George Inspects USS Augusta, LST, LCI, and LCTs at Portland, England
Normandy Invasion (Navy/Coast Guard/Field Photo/Allied governments)
German Reprisals; Destruction in Greece (53 min., color)
Japanese Surrender [Burma] (9 min.)
A Report on OSS Morale Operations in Italy (10 min.)
Campbell Missile (28 min.)
Cayuga Mission (outtakes, 11 min.)
Mission to Giessen (7 min.)
Evacuation of Prisoner of War (3 min.)
A Report on Airborne Rockets Prepared by the Joint Committee on New Weapons and Equipment of the Joint Chiefs of Staff (color)
That Justice Be Done (on the Nuremberg Nazi War Crimes Trials, 10 min.)
Nazi Supreme Court Trial of the Anti-Hitler Plot, Sept. 1944-Jan. 1945 (44 min.)
Nazi Concentration Camps (59-min. compilation shown at the Nuremberg Trials, largely photographed by U.S. Army Lieutenant George Stevens)
The Nazi Plan (compilation shown at the Nuremberg Trials, assembled by Stevens and Budd Schulberg)
Nuremberg (76-min. record of the Nuremberg Trials, filmed and assembled by Ray Kellogg, Pare Lorentz, and Stuart Schulberg)
Blind Bombing (14 min.)
Body Search (19 min.)
Brazilian Material OSS Unit No. 17 (color)
Burma Butterflies (9 min.)
Burma, Kachin Guerrilla Camp (9 min., color)
Burmese Troops (9 min., color)
Chinese Commandos (10 min.)
Crete (30 min.)
The E 2-Man Fol-Boat (8 min.)
The 8-Man Fol-Boat (6 min.)
Farish Report (11 min.)
Fate conoscenza col nemico: Uniformi tedesche e distintivi (Italian sound track, 14 min., color)
Galahad Forces (20 min.)
Ground to Air Transfer (11 min.)
House Search (27 min.)
Iconography (30 min.)
Japanese Background Study Program: Natural Resources of Japan: Part 2 (22 min.)
Japanese Behavior (50 min.)
Joan and Eleanor (18 min.)
Kachin State, Burma (11 min., color)
Kachin State, Burma, During World War II, Office of Strategic Services (7 min., color)
Kachin State, Burma, Office of Strategic Services Operations (10 min., color)
Meet the Enemy (Germany) (40 min.)
Morale Operations Field Report No. 1 (46 min.)
Nassau Training Report (10 min., produced by Field Photo for the Maritime Unit)
Nylon Rubber Boat (16 min.)
Office of Strategic Services Operations, Burma (8 min., color)
OSS Activities in Burma During World War II (8 min., color)
OSS Activities in Burma During World War II (note: this is a different film from the title listed above)
OSS Basic Military Training (25 min.)
OSS Training in Middle East (10 min.)
Pridi Phanomyong Meets Office of Strategic Services Officers (2 min.)
Project Eagle (16 min.)
Project Gunn (21 min.)
P.W.E. and M.O.—Cairo (16 min.)
Rescued Flyers (4 min.)
Seabees (44 min.)
S.I. in Action (14 min.)
Suspended Runway (22 min.)
This Is Japan (12 min.)
Undercover (80 min.)
Unfinished Report (17 min.)
Using the Lambertson Unit (8 min.)
1945 They Were Expendable (Metro-Goldwyn-Mayer). 136 minutes. December 20. Director-producer: John Ford [and Robert Montgomery]. Associate producer: Cliff Reid. Scenarist: Frank W. Wead, from book by William L. White. Photography: Joseph H. August. Art directors: Cedric Gibbons, Malcolm F. Brown. Set decorators: Edwin B. Willis, Ralph S. Hurst. Editors: Frank E. Hull, Douglas Biggs. Music: Herbert Stothert. Editors: Frank E. Hull, Douglas Biggs. 2nd-unit director: James C. Havens (rear projection plates by Robert Montgomery). Assistant director: Edward O’Fearna. 2nd unit director: James C. Havens. Special effects: A.Arnold Gillespie. Filmed in Florida, February-May. With Robert Montgomery (Lt. John Brickley), John Wayne (Lt. Rusty Ryan), Donna Reed (Lt. Sandy Davis), Jack Holt (Gen. Martin), Ward Bond (Boots Mulcahey), Louis Jean Heydt (Ohio, flyer in hospital), Marshall Thompson (Snake Gardner), Russell Simpson (Dad, chiefof shipyard), Leon Ames (Maj. Morton), Paul Langton (Andy Andrews), Arthur Walsh (Seaman Jones), Donald Curtis (Shorty Long), Cameron Mitchell (George Cross), Jeff York (Tony Aiken), Murray Alper (Slug Mahan), Harry Tenbrook (Larsen), Jack Pennick (Doc Charlie), Charles Trowbridge (Adm. Blackwell), Robert Barrat (Gen. Douglas MacArthur), Bruce Kellogg (Tomkins), Tim Murdock (Ens. Brown), Vernon Steele (doctor), Trina Lowe (Gardner’s girlfriend), Alex Haver (Benny), Eve March (nurse), Pedro de Cordoba (priest), Facita Tod-Tod (nightclub singer), William B. Davidson (hotel manager), Robert Emmett O’Conner (Silver Dollar bartender). Max Ong (mayor of Cebu), Bill Wilkerson (Sgt. Smith), John Carlyre (Lt. James), Philip Ahn (orderly), Betty Blythe (officer’s wife), Kermit Maynard (airport officer), Stubby Kruger, Sammy Stein, Michael Kirby, Blake Edwards (boat crew), Wallace Ford, Tom Tyler, Frank Baker.
Brickley and Ryan pioneer PT-boats in combat during America’s defeat in the Philippines.
1946 My Darling Clementine (20th Century-Fox). 97 minutes. November 7 (Centre Theatre, Salt Lake City). Director: Jolm Ford. Executive producer: Darryl F. Zanuck. Producer: Samuel G. Engel. Scenarists: Engel, Winston Miller, from story by Sam Hellman, based on book Wyatt Earp, Frontier Marshall, by Stuart N. Lake. Photography: Joseph P. McDonald. Art directors: James Basevi, Lyie R. Wheeler. Set decorators: Thomas Little, Fred J. Rode. Costumes: René Hubert. Music: Cyril J. Mockridge, David Buttolph. Music direction: Alfred Newman. Orchestrations: Edward Powell. Editors: Dorothy Spencer, (uncredited) Darryl F. Zanuck. Sound: Eugene Grossman, Roger Hemen. Special effects: Fred Sersen. Assistant director: William Eckhardt. Exteriors filmed in Monument Valley, May-June. With Henry Fonda (Wyatt Earp), Linda Darnell (Chihuahua), Victor Mature (Doc John Holliday), Walter Brennan (Old Man Clanton), Tim Holt (Virgil Earp), Ward Bond (Morgan Earp), Cathy Downs (Clementine Carter), Alan Mowbray (Granville Thorndyke), John Ireland (Billy Clanton), Grant Withers (Ike Clanton), Roy Roberts (Mayor), Jane Darwell (Kate Nelson), Russell Simpson (John Simpson), Francis Ford (Dad, old soldier), J. Farrell MacDonald (Mac, barman), Don Garner (James Earp), Ben Hall (barber), Arthur Walsh (hotel clerk), Jack Pennick, Robert Adier (stagecoach drivers), Louis Mercier (François), Mickey Simpson (Sam Clanton), Fred Libby (Phin Clanton), Harry Woods (Luke), Charles Stevens (Indian Charlie), William B. Davidson (Oriental saloon owner), Earle Foxe (gambler), Aleth “Speed” Hansen (guitarist), Danny Borzage (accordionist), Frank Conlan (pianist), Don Barclay (opera house owner), Charles Anderson, Duke Lee (townsmen), Margaret Martin, Frances Rey, Mae Marsh (old lady going to church).
Based on myths of Wyatt Earp, Doc Holliday, and the Battle of the 0. K. Corral. A remake of Frontier Marshall (Allan Dwan, 1939): remade as Wichita (Jacques Tourneur, 1955), Gunfight at the 0. K. Corral (John Sturges, 1957), and others.
A preview print, preserved at UCLA, contains material missing from the release version, lacks the kiss at the end, and associates the theme song with Holliday rather than Earp.
The tomb scene was directed by Lloyd Bacon.
1947 The Fugitive (Argosy Fictures-RKO Radio). 104 minutes. December 25 (New York). Director: John Ford. Producers: Ford, Merian C. Cooper. Associate producer: Emilio Fernandez. Scenarist: Dudley Nichols, from novel The Labyrinthine Ways (or The Power and the Glory), by Graham Greene. Photography: Gabriel Figueroa. Art director: Alfred Ybarra. Set decorator: Manuel Parra. Music: Richard Hageman. Orchestration: Lucien Caillet. Editor: Jack Murray. Special effects: Fed Sersen. Sound: Jose Carles, Galdino Samperio. Executive assistant: Jack Pennick. Directorial assistant: Melchor Ferrer. Assistant director: Jesse Hibbs. Filmed in forty-seven days on locations in Taxco, Cholula, Cuernavaca, Mexico and at Churubusco Studios, Mexico City, November 4-January 27. With Henry Fonda (A Fugitive), Dolores Del Rio (An Indian Woman), Pedro Armendariz (A Lieutenant of Police), Ward Bond (El Gringo), Leo Carrillo (A Chief of Police), John Qualen (A Refugee Doctor), Fortunio Bonanova (The Governor’s Cousin), Chris-Pin Martin (An Organ Player), Miguel Inclan (A Hostage), Fernando Fernandez (A Singer), Jose I. Torvay (A Mexican), Melchor Ferrer.
Pursued by a tormented police lieutenant, a priest holds furtive baptisms, is nearly betrayed, almost escapes but returns for a dying man, is arrested trying to buy Mass wine, watches a hostage die in his place, is aided by the lieutenant’s ex-mistress, and an outlaw. Free at last, he is tricked into returning for the dying outlaw, and executed.
1948 Fort Apache (Argosy Pictures-RKO Radio). 127 minutes. March 9. Director: John Ford. Producers: Ford, Merian C. Cooper. Scenarist: Frank S. Nugent, from story “Massacre,” by James Warner Bellah. Photography: Archie Stout, William Clothier (2nd unit). Camera: Eddie Fitzgerald. Art director: James Basevi. Set decorator: Joe Kish. Music: Richard Hageman. Musical director: Lucien Caillet. Editor: Jack Murray. Sound: Joseph Kane, Frank Webster. 2nd unit director: Cliff Lyons. Special effects: Dave Koehler. Costumes: Michael Meyers, Ann Peck. Makeup: Emile La Vigne. Choreographer: Kenny Williams. Script supervisor: Meta Sterne. Choreography: Kenny Williams. Technical consultants: Maj. Philip Kieffer, Katharine Spaatz. Research editor: Katharine Clifton. Costume research: D. R. 0. Hatswell. Production manager: Bernard McEveety. Assistant directors: Lowell Farrell, Jack Pennick. Filmed in forty-five days on locations in Utah, Monument Valley, Corrigan’s Ranch (California) and Selznick Studio, July-October 2, 1947. 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. Maj. O’Rourke), George O’Brien (Capt. Sam Collingwood), Victor McLaglen (Sgt. Festus Mulcahy), Pedro Armendariz (Sgt. Beaufort), Anna Lee (Mrs. Emily Collingwood), Irene Rich (Mrs. Mary O’Rourke), Guy Kibbee (Dr. Wilkens), Grant Withers (Silas Meachum), Miguel Inclan (Cochise), Jack Pennick (Sgt. Shattuck), Mae Marsh (Mrs. Martha Gates), Dick Foran (Sgt. Quincannon), Frank Ferguson (newspaperman), Archie Twitchell, William Forrest (reporters), Francis Ford (Fink, bartender), Mickey Simpson (non-com at dance), Ray Hyke (Gates), Movita Castenada (Guadalupe), Hank Worden (Southern recruit), Fred Graham (Irish recruit), Ray Hyke (recruit), Harry Tenbrook (courier), Mary Gordon (woman in stagecoach), Cliff Clark (driver), Frank Baker, Ben Johnson (stunt riders).
Life on a calvalry post, 1876.
† 1948 Red River (Monterey Productions-United Artists). Director: Howard Hawks. With John Wayne, Montgomery Clift, Joanne Dru.
Hawks was having great difficulties getting the footage he had shot worked into a coherent film. Ford made numerous editing suggestions, including the use of a narrator.
1948 3 Godfathers (Argosy Pictures-Metro-Goldwyn-Mayer). Technicolor. 106 minutes. December 1. Director: John Ford. Producers: Ford, Merian C. Cooper. Scenarists: Laurence Stallings, Frank S. Nugent, from story by Peter B. Kyne. Photography: Winton C. Hoch, Charles P. Boyle (2nd unit). Art director: James Basevi. Set decorator: Joe Kish. Music: Richard Hageman. Music arranged and directed: Lucien Caillet. Editor: Jack Murray. Color consultants: Natalie Kalmus, Morgan Padelford. Camera: Harvey Gould, Edward Fitzgerald (2nd unit). Production manager: Lowell Farrell. Assistant directors: Wingate Smith, Edward O’Fearna. Filmed in thirty-two days on locations in the Mojave Desert, mid May-June 9. With John Wayne (Robert Marmaduke Sangster Hightower), Pedro Armendariz (Pedro “Pete” Roca Fuerte), Harry Carey, Jr. (William Kearney, “the Abilene Kid”), Ward Bond (Perley “Buck” Sweet), Mildred Natwick (mother), Charles Halton (Mr. Latham), Jane Darwell (Miss Florie), Mae Marsh (Mrs. Perley Sweet), Guy Kibbee (judge), Dorothy Ford (Ruby Latham), Ben Johnson, Michael Dugan, Don Summers (posse), Fred Libby, Hank Worden (deputy sheriffs), Jack Pennick (Luke, train conductor), Francis Ford (drunk), Ruth Clifford (woman in bar), Richard Hageman (saloon pianist), Cliff Lyons (guard at Mojave tanks).
Three bandits fleeing across a desert adopt a baby.
Remake of Ford’s Marked Men (1919), G. M. Anderson’s Bronco Billy and the Baby (1915), Wyler’s Hell’s Heroes (1929), and Boleslawski’s Three Godfathers (1936).
† 1949 What Price Glory Stage production. Supervisor: John Ford. Assistant supervisor: George O’Brien. Directed by: Ralph Murphy. Produced by the Masquers Club of Hollywood for the Military Order of the Purple Heart. Producer: Harry Joe Brown. Assistant: Eddie Oxford. Management: Jacques Pierre. Stage manager: G. Pat Collins. Performed: February 22, 1949, Long Beach; February 24, 1949, San Jose; February 25, 1949, Oakland; February 27, 1949, San Francisco; March 1, 1949, Pasadena; March 2, 1949, Los Angeles. With Ward Bond (Flagg), Pat O’Brien (Quirt), George O’Brien, Alan Hale, Sr., Robert Armstrong, Wallace Ford, Oliver (Babe) Hardy, Charles Kemper, Henry O’Neill, Jimmy Lydon, Herbert Rawlinson, Louis Alberni, Harry Carey, Jr., Forrest Tucker, Fred Graham, Larry Blake, Michael J. Dugan, Don Summers, G. Pat Collins, Gregory Peck, John Wayne, Maureen O’Hara.
Pat O’Brien: “It was always Ford’s wish to do a stage play because he loved actors for the theater.... It was all for charity. None of us got a quarter.” (Karyn Kay and Gerald Peary, “Talking to Fat O’Brien,” Velvet Light Trap, Fall 1975.) The proceeds, $30,000, went to build a clubhouse for paraplegic veterans. Ford was then president of the Purple Heart organization.
† l949 Mighty Joe Young (Argosy Pictures-RKO Radio). 94 minutes. Director: Ernest B. Schoedsack. Producers: John Ford, Merian C. Cooper. Scenarist: Ruth Rose, from story by Cooper. Photography: J. Roy Hunt. Art director: James Basevi. With Terry Moore, Ben Johnson, Robert Armstrong, Frank McHugh, Begis Toomey.
“I had nothing to do with it,” said Ford to Bogdanovich.
1949 She Wore a Yellow Ribbon (Argosy Pictures-RKO Radio). Technicolor. 103 minutes. November 17 (Capitol Theater, New York). Director: John Ford. Producers: Ford, Merian C. Cooper. Associate producer: Lowell Farrell. Scenarists: Frank S. Nugent, Laurence Stallings, from stories “War Party” and “The Big Hunt” by James Warner Bellah. Photography: Winton C. Hoch, Charles P. Boyle (2nd unit). Art director: James Basevi. Set decorator: Joe Kish. Music: Richard Hageman. Conductor: Constantin Bakaleinikoff. Editor: Jack Murray. Assistant editor: Barbara Ford. 2nd-unit director: Cliff Lyons. Assistant directors: Wingate Smith, Edward O’Fearna. Technical consultants: Cliff Lyons, Maj. Philip Kieffer. Color consultants: Natalie Kalmus, Morgan Padelford. Special effects: Jack Cosgrove, Jack Caffee. Costumes: Michael Meyers, Ann Peck. Camera: Harvey Gould. Historical technical advisor: D. R. 0. Hatswell. Filmed in thirty-two days on locations in Monument Valley, October 1948. With John Wayne (Capt. Nathan Brittles), Joanne Dru (Olivia), John Agar (Lt. Flint Cohill), Ben Johnson (Sgt. Tyree), Harry Carey, Jr. (Lt. Pennell), Victor McLaglen (Sgt. Quincannon), Mildred Natwick (Mrs. Abbey Allshard), George O’Brien (Maj. Mack Allshard), Arthur Shields (Dr. O’Laughlin), Francis Ford (barman, Irish), Harry Woods (Karl Rynders), Chief John Big Tree (Pony That Walks), Noble Johnson (Red Shirt), Cliff Lyons (Trooper Cliff), Tom Tyler (Cpl. Mike Quayne), Michael Dugan (Sgt. Hochbauer), Mickey Simpson (Wagner), Fred Graham (Hench), Frank McGrath (trumpeter), Don Summers (Jenkins), Fred Libby (Cpl. Krumrein), Jack Pennick (Sgt. Major), Billy Jones (courier). Bill Gettinger (officer), Fred Kennedy (Badger), Rudy Bowman (Pvt. Smith, aka Gen. Rome Clay, CSA), Post Park (officer), Ray Hyke (McCarthy), Lee Bradley (interpreter), Paul Fix (gunrunner), Chief Sky Eagle, Dan White, Frank Baker, Irving Pichel (narrator).
An aging captain leads a final cavalry patrol, 1876.
Oscar: Photography—Winton C. Hoch.
† 1949 Pinky (20th Century- Fox). 102 minutes. November. Director: Elia Kazan. Producer: Darryl F. Zanuck. Scenarists: Philip Dunne, Dudley Nichols, from novel Quality, by Cid Ricketts Summer. Photography: Joseph MacDonald. Music: Alfred Newman. Assistant director: Wingate Smith. With Jeanne Grain, Ethel Barrymore, Ethel Waters, William Lundigan, Basil Ruysdael.
A black girl passes for white. Ford prepared the production and worked a day on it before taking ill in Marcg, although illness was apparently a pretext for his withdrawal, desired both by himself and Zanuck. Nothing in the finished film seems Fordian.
1950 When Willie Comes Marching Home (20th Century-Fox). 82 minutes. February (Roxy, New York). Director: John Ford. Producer: Fred Kohlmar. Scenarists: Mary Loos, Richard Sale, from story “When Leo Comes Marching Home,” by Sy Gomberg. Photography: Leo Tover. Art directors: Lyle R. Wheeler, Chester Gore. Set decorators: Thomas Little, Bruce MacDonald. Music: Alfred Newman. Orchestrations: Edward Powell. Editor: James B. Clark. Assistant director: Wingate Smith. Production manager: Joe Behm. Special effects: Fred Sersen. Choreography: Kenny Williams. Camera: Till Gabbani. Costumes: Charles LeMaire, Travilla. Script supervisor: Meta Sterne. Filmed: June-August 11, 1949. With Dan Dailey (Bill Kluggs), Corinne Calvet (Yvonne), Colleen Townsend (Marge Fettles), Lloyd Corrigan (Major Adams), William Demarest (Herman Kluggs), James Lydon (Charles Fettles), Evelyn Varden (Gertrude Kluggs), Kenny Williams, Les Clark (musicians), Charles Halton (Mr. Fettles), Mae Marsh (Mrs. Fettles), Jack Pennick (Sgt. Briggs), Mickey Simpson (MP Kerrigan), Frank Pershing (Maj. Bickford), Don Summers (MP Sherve), Gil Herman (Lt. Comdr. Crown), Peter Ortiz (Pierre), Luis Alberni (barman), John Shulick, John McKee (pilots), Clarke Gordon, Robin Hughes (marine officers), Cecil Weston (Mrs. Barnes), Harry Tenbrook (Joe, taxi driver), Russ Clark (Sgt. Wilson), George Spaulding (Judge Tate), James Eagle (reporter), Harry Strang (sergeant), George Magrill (chief petty officer), Hank Worden (choir leader), Larry Keating (Gen. G. Reeding), Dan Riss (Gen. Adams), Robert Einer (Lt. Bagley), Russ Conway (Maj. J. A. White), Whit Bissell (Lt. Handley), Ann Codee (French instructor), Bay Hyke (Maj. Crawford), Gene Collins (Andy), James Flavin (Gen. Brevort), David McMahon (Col. Ainsley), Charles Trowbridge (Gen. Merrill), Kenneth Tobey (Lt. K. Geiger), Maj. Sam Harris (hospital patient), Alberto Morin, Louis Mercier (resistance fighters), Paul Harvey (officer), James Waters, Ken Lynch, Frank Baker, J. Farrell MacDonald, Vera Miles.
Comedy about small-town war fever.
1950 Wagon Master (Argosy Pictures— RKO Radio). 86 minutes. April 19. Director: John Ford. Producers: Ford, Merian C. Cooper. Associate producer: Lowell Farrell. Writers: Frank S. Nugent, Patrick Ford, from story by John Ford. Photography: Bert Glennon, Archie Stout (2nd unit). Art director: James Basevi. Set decorator: Joe Kish. Music: Richard Hageman. Songs: “Wagons West,” “Rollin” Shadows in the Dust,” “Song of the Wagon Master,” “Chuck A-Walla-Swing,” by Stan Jones, sung by the Sons of the Pioneers. Editor: Jack Murray. Assistant editor: Barbara Ford. 2nd-unit director: Cliff Lyons. Assistant director: Wingate Smith. Costumes: Wes Jeffries, Adele Parmenter. Special effects: Jack Caffee. Technical consultant: D. R. 0. Hatswell. Filmed in Moab and Professor Valley, Utah, mid-November-December 7, 1949. With Ben Johnson (Travis Blue), Harry Carey, Jr. (Sandy Owens), Joanne Dru (Denver), Ward Bond (Elder Wiggs), Charles Kemper (Uncle Shiloh Clegg), Alan Mowbray (Dr. A. Locksley Hall), Jane Darwell (Sister Ledeyard), Ruth Clifford (Fleuretty Phyffe), Russell Simpson (Adam Perkins), Kathleen O’Malley (Prudence Perkins), James Arness (Floyd Clegg), Fred Libby (Reese Clegg), Hank Worden (Luke Clegg), Mickey Simpson (Jesse Clegg), Francis Ford (Mr. Peachtree), Cliff Lyons (sheriff of Crystal City), Don Summers (Sam Jenkins), Movita Castenada (young Navajo girl), Jim Thorpe (Navajo), Chuck Haywood (Jackson).
A Mormon wagon train, 1849.
1950 Rio Grande (Argosy Pictures-Republic). 105 minutes. November 15. Director: John Ford. Producers: Ford, Merian C. Cooper. Scenarist: James Kevin McGuinness, from story “Mission with No Record,” by James Warner Bellah. Photography: Bert Glennon, Archie Stout (2nd unit). Art director: Frank Hotaling. Set decorators: John McCarthy, Jr., Charles Thompson. Music: Victor Young. Songs, sung by the Sons of the Pioneers: “My Gal Is Purple,” “Footsore Cavalry,” “Yellow Stripes,” by Stan Jones; “Aha, San Antone,” by Dale Evans; “Cattle Call,” by Tex Owens; and “Down by the Glen Side,” “You’re in the Army Now.” Editor: Jack Murray. Assistant editor: Barbara Ford. 2nd-unit director: Cliff Lyons. Costumes: Adele Palmer. Special effects: Howard and Theodore Lydecker. Filmed near Moab, Utah, June 15-July. With John Wayne (Lt. Col. Kirby Yorke), Maureen O’Hara (Mrs. Yorke), Ben Johnson (Trooper Tyree), Claude Jarman, Jr. (Trooper Jeff Yorke), Harry Carey, Jr. (Trooper Daniel Boone), Chill Wills (Dr. Wilkins), J. Carroll Naish (Gen. Philip Sheridan), Victor McLaglen (Sgt. Quincannon), Grant Withers (deputy marshall), Peter Ortiz (Capt. St. Jacques), Steve Pendleton (Capt. Prescott), Karolyn Grimes (Margaret Mary), Alberto Morin (lieutenant), Stan Jones (sergeant), Fred Kennedy (Heinze), Jack Pennick, Pat Wayne, Chuck Roberson, Cliff Lyons, The Sons of the Pioneers (regimental singers): Ken Curtis, Hugh Farr, Karl Farr, Lloyd Ferryman, Shug Fisher, Tom Doss.
A family reunites on a cavalry post.
† l950 The Bullfighter and the Lady
(Republic). 87 minutes. Director: Budd Boetticher. With Robert Stack.
Ford assisted Boetticher in editing the picture.
1951 This Is Korea! (U.S. Navy-Republic). 3-Strip Trucolor. 50 minutes. August 10. Director: RearAdm. John Ford, USNR. Narration: James Warner Bellah, Frank Nugent, Ford. Photography: Charles Bohuy, Bob Rhea, Mark Armistead. Shot: January. Filmed: January-February, Korea. With the voices of John Ireland, Irving Pichel, George O’Brien.
An on-the-spot documentary of the marines in Korea.
1952 What Price Glory (20th Century-Fox). Technicolor. 111 minutes. August. Director: John Ford. Producer: Sol C. Siegel. Scenarists: Phoebe and Henry Ephron, from play by Maxwell Anderson, Laurence Stallings. Photography: Joseph MacDonald. Art directors: Lyie R. Wheeler, George W. Davis. Set decorators: Thomas Little, Stuart A. Reiss. Music: Alfred Newman. Orchestrations: Edward Powell. Song: “My Love, My Life,” by Jay Livingston, Boy Evans. Editor: Dorothy Spencer. Sound: Winston Leverett, Roger Heman. Color consultant: Leonard Doss. Costumes: Charles LeMaire, Edward Stevenson. Makeup: Ben Nye. Special effects: Ray Kellogg. Choreography: Billy Daniel. Filmed: fall-winter, 1951. With James Cagney (Capt. Flagg), Corinne Calvet (Charmaine), Dan Dailey (Sgt. Quirt), William Demarest (Cpl. Kiper), Craig Hill (Lt. Aldrich), Robert Wagner (Lewisohn), Marisa Pavan (Nichole Bouchard), Casey Adams (Lt. Moore), James Gleason (Gen. Cokely), Wally Vernon (Lipinsky), Henry Letondal (Cognac Pete), Fred Libby (Lt. Schmidt), Ray Hyke (Mulcahy), Paul Fix (Gowdy), James Lilburn (young soldier), Henry Morgan (Morgan), Dan Borzage (Gilbert), Bill Henry (Holsen), Henry “Bomber” Kulkovich (company cook), Jack Pennick (Ferguson), Ann Codee (nun), Stanley Johnson (Lt. Cunningham), Tom Tyler (Capt. Davis), Olga Andre (Sister Clotilde), Barry Norton (priest), Luis Alberni (the great uncle), Torben Meyer (mayor), Alfred Zeisler (English colonel), George Bruggeman (English lieutenant), Scott Forbes (Lt. Bennett), Sean McClory (Lt. Austin), Charles FitzSimmons (Capt. Wickham), Louis Mercier (Bouchard), Mickey Simpson (MP), Peter Ortiz (French officer), Paul Guilfoyle.
World War I in France.
1952 The Quiet Man (Argosy Pictures-Republic). Technicolor. 129 minutes. September 14. Director: John Ford. Producers: Ford, Merian C. Cooper. Scenarists: Frank S. Nugent, from story “Green Rushes” by Maurice Walsh (The Saturday Evening Post, February 11, 1933), adapted by Richard Llewellyn (uncredited). Photography: Winton C. Hoch, Archie Stout (2nd unit). Art director: Frank Hotaling. Set decorators: John McCarthy, Jr., Charles Tompson. Music: Victor Young. Songs: “The Isle oflnnisfree,” by Richard Farrelly; “Galway Bay,” by Dr. Arthur Colahan, Michael Donovan; “The Humour Is on Me Now,” by Richard Haywood; “The Young May Moon,” by Thomas Moore; and “The Wild Colonial Boy,” “Mush-Mush-Mush.” Editor: Jack Murray. Assistant editor: Barbara Ford. 2nd-unit directors (uncredited): John Wayne, Patrick Ford. Assistant director: Andrew McLaglen. Color consultant: Francis Cugat. Costumes: Adele Palmer. Filmed: June 6-July 17; exteriors in Cong and throughout Connemara, Ireland. With John Wayne (Sean Thornton), Maureen O’Hara (Mary Kate Danaher), Barry Fitzgerald (Michaeleen Og Flynn), Ward Bond (Fr. Peter Lonergan), Victor McLaglen (Red Will Danaher), Mildred Natwick (Mrs. Sarah Tillane), Francis Ford (Dan Tobin), Eileen Crowe (Mrs. Elizabeth Playfair), May Craig (woman at railroad station), Arthur Shields (Rev. Cyril Playfair), Charles FitzSimmons (Forbes), Sean McClory (Owen Glynn), James Lilburn (Fr. Paul), Jack McGowran (Feeney), Ken Curtis (Dermot Fahy), Mae Marsh (Fr. Paul’s mother), Harry Tenbrook (policeman), Maj. Sam Harris (general), Joseph O’Dea (train driver), Eric Gorman (railroad conductor), Kevin Lawless (fireman), Paddy O’Donnell (porter), Webb Overlander (railroad station chief). Hank Worden (trainer in flashback), Harry Tyler (Pat Cohen), Don Hatswell (Guppy), David H. Hughes (constable), Douglas Evans (ring doctor), Jack Roper (boxer), Al Murphy (referee), Elizabeth “Tiny” Jones (widow Tillane’s maid), Philip Stainton (Anglican bishop), Patrick Wayne, Antonia Wayne, Melinda Wayne, Michael Wayne (children at race), Pat O’Malley, Bob Perry, Frank Baker (in bar).
A Yank returns to his birthland in Ireland.
Osacrs for direction and photography; nominations for best picture, supporting actor (McLaglen), screenplay, art direction, set direction, sound. Screen Directors Guild gave its crown to Ford, and Screen Writers Guild its to Nugent. National Board of Review and Look magazine chose it best film. At Venice it shared the Internation Award with Rossellini’s Europa ‘51 and Mizoguchi’s Life of O’Haru.
1953 The Sun Shines Bright (Argosy Pictures-Republic). 90 minutes. May 2. Director: John Ford. Producers: Ford, Merian C. Cooper. 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 McCarthy, Jr., George Milo. Costumes: Adele Palmer. Music: Victor Young. Editor: Jack Murray. Assistant editor: Barbara Ford. Assistant director: Wingate Smith. Filmed: August 18-October 1952. With Charles Winninger (Judge William Pittman Priest), Arleen Whelan (Lucy Lee Lake), John Russell (Ashby Corwin), Stepin Fetchit (Jeff Poindexter), Russell Simpson (Dr. Lewt Lake), Ludwig Stossel (Herman Felsburg), Francis Ford (Brother Finney), Paul Hurst (Sgt. Jimmy Bagby), Mitchell Lewis (Andy Radcliffe), Grant Withers (Buck), Milburn Stone (Horace K. Maydew), Dorothy Jordan (Lucy’s mother), Elzie Emanuel (U. S. Grant Woodford), Henry O’Neill (Jody Habersham), Slim Pickens (Sterling), James Kirkwood (Gen. Fairfield), Mae Marsh (Amora’s companion), Jane Darwell (Amora Ratchitt), Ernest Whitman (Uncle Pleasant Woodford), Trevor Bardette (Rufe, leader of lynch mob), Hal Baylor (his son), Eve March (Mallie Cramp), Clarence Muse (Uncle Zack), Jack Pennick (Beaker), Ken Williams, Patrick Wayne (cadet).
Portrait of a 1905 Kentucky town.
One video release contained footage deleted from the theatrical edition.
1953 Mogambo (Metro-Goldwyn-Mayer). Technicolor. 116 minutes. October 9 (Radio City Music Hall). Director: John Ford. Producer: Sam Zimbalist. Scenarist: John Lee Mahin, from play Red Dust, by Wilson Collison. Photography: Robert Surtees, Fredrick A. Young. Art director: Alfred Junge. Costumes: Helen Rose. Editor: Frank Clarke. 2nd-unit directors: Richard Rossen, Yakima Canutt, James C. Havens. Assistant directors: Wingate Smith, Cecil Ford. Color consultant: Joan Bridge. Special effects: Tom Howard. Safari director: Carr Hartley, superintendent of Mount Kenya reserve. Filmed: October-February; interiors in London; exteriors in Tanganyika, Kenya, Uganda, French Equatorial Africa. With Clark Gable (Victor Marswell), Ava Gardner (Eloise Y. Kelly), Grace Kelly (Linda Nordley), Donald Sinden (Donald Nordley), Philip Stainton (John Brown Pryce), Eric Pohlmann (Leon Boltchak), Laurence Naismith (Skipper John), Dennis O’Dea (Fr. Joseph), Asa Etula (native male), Wagenia Tribe of Belgian Congo, Smuru Tribe of Kenya Colony, Bahaya Tribe of Tanganyika, M’Beti Tribe of French Equatorial Africa.
A game hunter, a playgirl, and a sheltered English couple on safari in Africa.
Remake of Victor Fleming’s Red Dust (1932) and Hnery Potter’s Congo Maise (1940). In Vincente Minnelli’s The Courtship of Eddie’s Father (1963), Glenn Ford sees a scene from Mogambo on TV (Gable and Kelly by a waterfall.).
† l954 Hondo (Wayne-Fellows-Warner Brothers). Warnercolor/3-D. 83 minutes. December. Director: John Farrow. Producer: Robert Fellows. Scenarist: James Edward Grant, from story by Louis L’Amour. Photography: Robert Burks, Archie Stout. With John Wayne, Geraldine Page, Ward Bond.
Two shots, only, were directed by Ford—of a troop of cavalry that Wayne sees when he visits an army post—but they stand out in this film like Delacroixes in a gallery of TV Guide covers.
1955 The Long Gray Line (Rota Productions-Columbia). Technicolor / Cinemascope. 138 minutes. February 9. Director: John Ford. Producer: Robert Arthur. Scenarist: Edward Hope, from autobiography Bringing up the Brass, by Marty Maher with Nardi Reeder Champion. Photography: Charles Lawton, Jr. Art director: Robert Peterson. Set decorator: Frank Tuttle. Music adaptation: George Duning. Music conductor: Morris Stoloff. Editor: William Lyon. Sound: John Livadary, George Cooper. Assistant directors: Wingate Smith, Jack Corrick. Costumes: Jean Louis. Color consultant: Francis Cugat. Technical advisers: Lt. Col. George McIntyre, Maj. George Pappas. Filmed: March-May 1954; exteriors at West Point. With Tyrone Power (Martin Maher), Maureen O’Hara (Mary O’Donnell), Robert Francis (James Sunstrom, Jr.), Donald Crisp (Old Martin), Ward Bond (Capt. Herman J. Koehler), Betsy Palmer (Kitty Carter), Phil Carey (Charles Dotson), William Leslie (Red Sundstrom), Harry Carey, Jr. (Dwight Eisenhower), Patrick Wayne (Cherub Overton), Sean McClory (Dinny Maher), Peter Graves (Sgt. Rudolph Heinz), Milburn Stone (Capt. John Pershing), Erin 0’Brien-Moore (Mrs. Koehler), Walter D. Ehlers (Mike Shannon), Don Barclay (McDonald), Martin Milner (Jim O’Carberry), Chuck Courtney (Whitey Larson), Willis Bouchey (doctor, Maj. Thomas), Jack Pennick (Tommy, sergeant), Philip Kieffer (superintendent), Norman Van rocklin (Gus Dorain), Diane DeLaire (?)(nurse), Donald Murphy (captain), Lisa Davis (Eleanor), Donna Cole (Peggy), Robert Roark (cadet Pirelli), Robert Ellis (cadet Short), Ken Curtis, Mimi Doyle (nun), Jack Spars (Knute Rockne), Fritz Apking, Mary Benoit, Raoul Freeman, Jack Mower, Jack Ellis, Leon McLaughlin, Tom Hennessey (Peter Dotson), John Herbin (cadet Ramsey), Mickey Roth (cadet Curley Stern), Elbert Steele (The President), Jean Moorhead, Mickey Simpson (NY policeman), Pat O’Malley, Harry Denny (priests), Pat Harding, Dorothy Seese (ad-lib girls).
Fifty years of an Irish immigrant at West Point.
1955 The Red, White and Blue Line (U. S. Treasury Dept.-Columbia). Technicolor/ Cinemascope. 10 minutes. Director: John Ford (?). Writer: Edward Hope. Photography: Charles Lawton, Jr. Narrator: Ward Bond.
A savings bond promotional made on set of The Long Gray Line and featuring, according to Joseph McBride, about seven minutes from that picture, plus scenes on set of cast at supper table, discussing bonds, during which Donald Crisp serves stew.
† 1955 Mister Roberts (Orange Productions-Warner Brothers). Warnercolor/Cinemascope. 123 minutes. July 30. Directors: John Ford, Mervyn LeRoy, and (un-credited) Joshua Logan. Producer: Leland Hayward. Scenarists: Frank Nugent, Joshua Logan, from play by Logan, Thomas Heggen, and novel by Heggen. Photography: Winton C. Hoch. Art director: Art Loel. Set decorator: William L. Kuehl. Music: Franz Waxman. Editor: Jack Murray. Assistant director: Wingate Smith. Costumes: Moss Mabry. Makeup: Gordob Bau. Production manager: Norman Cook. Technical consultants: Adm. John Dale Price, USN, Ret., Comdr. Merle MacBain, USN. Exteriors filmed in the Pacific, Midway Island, September 1954. With Henry Fonda (Lt. (jg) Doug Roberts), James Cagney (captain), Jack Lemmon (Ens. Frank Thurlowe Pulver), William Powell (Doc), Ward Bond (CPO Dowdy), Betsy Palmer (Lt. Ann Girard), Phil Carey (Mannion), Nick Adams (Reber), Harry Carey, Jr. (Stefanowski), Ken Curtis (Dolan), Frank Aletter (Gerhart), Fritz Ford (Lidstrom), Buck Kartalian (Mason), William Henry (Lt. Billings), William Hudson (Olson), Studdy Kruger (Schlemmer), Harry Tenbrook (Cookie), Perry Lopez (Rodriguez), Robert Boark (Insigna), Pat Wayne (Bookser), Tige Andrews (Wiley), Jim Maloney (Kennedy), Denny Niles (Gilbert), Francis Conner (Johnson), Shug Fisher (Cochran), Danny Borzage (Jonesey), Jim Murphy (Taylor), Kathleen O’Malley, Maura Murphy, Mimi Doyle, Jeanne Murray-Vanderbilt, Lonnie Pierce (nurses), Martin Milner (shore patrol officer), Gregory Walcott (shore patrolman), James Flavin (MP), Jack Pennick (marine sergeant), Duke Kahanamoko (native chief), George Brangier (French colonial officer), Charles E. Frank (officer), Carolyn Tong.
Life on a backwater cargo boat, World War U.
1955 Rookie of the Year (Hal Roach Studios, episode for the Screen Directors Playhouse TV series). 29 minutes. Telecast: December 7, NBC. Director: John Ford. Scenarist: Frank S. Nugent, from story by W. R. Burnett. Photography: Hal Mohr. Art director: William Ferrari. Set director: Rudy Butler. Editor: Marsh Henry. Story editor: james Geller. Sound: James Speak, Joel Moss. Assistant director: WINGATE Smith. Production suprevisor: Sidney Van Keuren. Production coordinator: William Sterling. Photographic effects: Jack Glass. Filmed in summer 1955. With John Wayne (Mike Cronin), Vera Miles (Ruth Dahlberg), Pat Wayne (Lyn Goodhue), Ward Bond (Larry Goodhue, alias Buck Garrison), James Gleason (Ed Shaeffer), Willis Bouchey (Mr. Cully, newspaper editor), Henry Tyler (Wright), William Forrest (Walker), Robert Leyden (Willie). John Ford appears in the introduction, spotlit on a director’s chair, with baseball gear.
A cynical newsman thinks he has discovered a great story, one that will liberate him from ten years with the “Emery ville Post-Gazette”: the Rookie of the Year is the son of Buck Garrison, a great player who took a bribe. But he withholds the story, out of decency to Buck, and lands a tour of the Orient.
Rapidly paced, loaded with invention, fantastic dialogue, and great caricatures
1955 The Bamboo Cross (Lewman Ltd.—Revue; episode for the Fireside Theatre TV series). 27 minutes. Telecast: December 6, NBC. Director: John Ford. Producer: William Asher. Scenarist: Laurence Stallings, from 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 7-11. With Jane Wyman (Sister Regina), 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.
Maryknoll nuns are captured by Chinese Communists eager to prove the “unmarried ladies” kill babies with “poisoned cakes” (i.e., Communion wafers). Sister Regina oozes pietism, the commissar is rarely less than apoplectic—until a servant, who had joined the Communists to learn “the truth of the poverty and ignorance of my people,” leaps into the frame brandishing a long knife. The commissar dies gurgling percussively off-camera, and the nuns are saved.
The low point of Ford’s career.
1956 The Searchers (C. V. Whitney Pictures-Warner Brothers). Technicolor/ Vista Vision. 119 minutes. May 26. Director: John Ford. Producers: Merian C. Cooper, C. V. Whitney. Scenarist: Frank S. Nugent, from novel by Alan LeMay. Associate producer: Patrick Ford. Photography: Winton C. Hoch, Alfred Gilks (2nd unit). Art directors: Frank Hotaling, James Basevi. Set decorator: Victor Gangelin. Music: Max Steiner. Title song: Stan Jones. Editor: Jack Murray. Production supervisor: Lowell Farrell. Assistant director: Wingate Smith. Color consultant: James Gooch. Costumes: Frank Beetson (M), Ann Peck (F). Special effects: George Brown. Script supervisor: Robert Gary. Filmed: June-August 16; exteriors in Aspen and Gunnison, Colorado; Monument Valley; Edmonton, Alberta. With John Wayne (Ethan Edwards), Jeffrey Hunter (Martin Pawley), Vera Miles (Laurie Jorgensen), Ward Bond (Capt. Rev. Samuel Johnson Clayton), Natalie Wood (Debbie Edwards), John Qualen (Lars Jorgensen), 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 child), Walter McCoy (Aaron Edwards), Dorothy Jordan (Martha Edwards), Pippa Scott (Lucy Edwards), Pat Wayne (Lt. Greenhill), Beulah Archuletta (Look), Jack Pennick (private), Peter Mamokos (Jerem Futterman), Bill Steele (Nesby), Cliff Lyons (Col. Greenhill), Chuck Roberson (man at wedding), Ruth Clifford (deranged woman at fort), Mae Marsh (woman at fort), Dan Borzage (accordionist at funeral). Billy Cartledge, Chuck Hayward, Slim Hightower, Fred Kennedy, Frank McGrath, Dale van Sickle, Henry Wills, Terry Wilson (stuntman), Away Luna, Billy Yellow, Bob Many Mules, Exactly Sonnie Betsuie, Feather Hat, Jr., Harry Black Horse, Jack Tin Horn, Many Mules Son, Percy Shooting Star, Pete Grey Eyes, Pipe Line Begishe, Smile White Sheep (Comanche).
Seven years roaming the West in search of a girl kidnapped by Comanche.
1957 The Rising of the Moon (Four Provinces Productions-Warner Brothers). 81 minutes. May 16 (Dublin); June (G.B.); August 10 (U. S.). Director: John Ford. Producer: Michael Killanin. Scenarist: Frank S. Nugent, from stories. Photography: Robert Krasker. Art director: Raymond Simm. Costumes: Jimmy Bourke. Music: Eamonn O’Gallagher. Editor: Michael Gordon. Assistant editor: Dennies Bertera. Continuity: Angela Martell. Production manager: Teddy Joseph. Camera: Dennys Coop. Sound: Lionel Selwyn, Earnon O’Malley. Technical consultants: Earnon O’Malley, Lennox Robinson, Patrick Scott. Filmed in Ireland, spring 1956. Introduced by Tyrone Power.
“The Majesty of the Law,” from story by Frank O’Connor. 23 minutes, 24 seconds. Noel Purcell (Dan O’Flaherty), Cyril Cusack (Inspector Michael Dillon), Jack McGowran (the poteen maker: Mickey J.), Eric Gorman, Paul Farrell (neighbors), John Cowley (the Gombeen Man).
An old farmer goes to jail to defend his honor.
“A Minute’s Wait,” from play by Michael J. McHugh. 23 minutes, 43 seconds. Jimmy O’Dea (porter), Tony Quinn (railroad station chief), Paul Farrell (engine driver), J. G. Devlin (guard), Michael Trubshawe (Col. Frobisher), Anita Sharp Bolster (Mrs. Frobisher), Godfrey Quigley (Christy), Harold Goldblatt (his father(, Maureen Porter (barmaid), Maureen O’Connell (May Ann McMahon), May Craig (May’s aunt), Michael O’Duffy (singer), Ann Dalton (fisherman’s wife), Kevin Casey (Mr. McTigue).
A train stops at a station.
“1921,” from play “The Rising of the Moon,” by Lady Gregory. 27 minutes, 53 seconds. Dennis O’Dea (police sergeant), Eileen Crowe (his wife), Maurice Good (P. C. O’Grady), Frank Lawton (major), Edward Lexy (ROMS), Donal Donnelly (Sean Curran), Joseph O’Dea (chief of guards), Dennis Bennan, David Marlowe, Dennis Franks (English officers), Doreen Madden, Maureen Cusack (false nuns), Maureen Delaney (old woman), Martin Thornton (sergeant), John Horan (bill poster), Joe Hone, John Comeford, Mafra McDonagh (IRA men), and members of the Abbey Theatre Company.
A patriot escapes during 1921 rebellion. (This episode resembles Francis Ford’s 1916 The Cry of Erin.)
Ford did not personally direct the framing scenes with Tyrone Power.
1957 The Wings of Eagles (Metro-Goldwyn-Mayer). Metrocolor. 110 minutes. February 22. Director: John Ford. Producer: Charles Schnee. Associate producer: James E. Newcom. Scenarists: Frank Fenton, William Wister Haines, based on life and writings of Comdr. Frank W. Wead, USN. Photography: Paul C. Vogel. Art directors: William A. Horning, Malcolm Brown. Set decorators: Edwin B. Willis, Keogh Gleason. Maureen O’Hara’s wardrobe: Walter Plunkett. Music: Jeff Alexander. Editor: Gene Ruggiero. Aerial stunts: Paul Mantz. Recording supervisor: Dr. Wesley G. Miller. Makeup: William Tuttle. Assistant director: Wingate Smith. Color consultant: Charles K. Hagedon. Technical advisors: Adm. John Dale Price, USN, Ret., Dr. JohnKeye. Special effects: A. Arnold Gillespie, Warren Newcombe. Filmed: August 1956. With John Wayne (Frank W. “Spig”Wead), Maureen O’Hara (Minne Wead), Dan Dailey (Carson), Ward Bond (John Dodge), Ken Curtis (John Dale Price), Edmund Lowe (Adm. Moffett), Kenneth Tobey (Herbert Allen Hazard), James Todd (Jack Travis), Barry Kelley (Capt. Jock Clark), Sig Ruman (party manager), Henry O’Neill (Capt. Spear), Willis Bouchey (Barton), Dorothy Jordan (Rose Brentmann), Peter Ortiz (Lt. Charles Dexter), Louis Jean Heydt (Dr. John Keye), Tige Andrews (Arizona Pincus), Dan Borzage (Pete), William Tracy (air force officer), Harlan Warde (executive officer), Jack Pennick (Joe McGuffey), Bill Henry (naval aide), Alberto Morin (2nd party manager), Mimi Gibson (Lila Wead), Evelyn Rudie (Doris Wead), Charles Trowbridge (Adm. Crown), Mae Marsh (Nurse Crumley), Janet Lake (nurse), Fred Graham (officer in brawl), Stuart Holmes (producer), Olive Carey (Bridy O’Faolain), Maj. Sam Harris (patient), May McEvoy (nurse), William Paul Lowery (Wead’s baby, Commodore), Chuck Roberson (officer), James Flavin (MP at garden party), Cliff Lyons, Veda Ann Borg, Christopher James.
Story of a navy man between the wars who became a screenwriter after being paralyzed.
1957 The Growler Story (U.S. Navy). Eastmancolor. 22 minutes. Director: John Ford. Producer: Mark Armistead. Photography: Pacific Fleet Combat Camera Group. Editor: Jack Murray. Assistant editor: Barbara Ford. Narrator: Dan Dailey. Filmed in the Pacific, November 1956 (Navy Film No. MN 8679). With Ward Bond (Quincannon), Ken Curtis (Capt. Howard W. Gilmore), and navy personnel, wives, and children.
Made for navy personnel. An actual World War II incident. Capt. Gilmore bids farewell to his tearful wife and two children; Quincannon leaves his wife and eight children. A dockside band plays “Far Away Places,” wives wave anxiously, flower wreaths are thrown into the water as the submarine sails out of Pearl Harbor. At sea the log records the sinking of a freighter, the rescue of downed flyers, until one day an enemy vessel emerges from the fog: Gilmore is wounded but gives the order to submerge, saving the ship at the cost of his life. Back at Pearl his wife receives his Medal of Honor and a wreath floats from The Growler’s prow. Gilmore is a background character, as Ford lavishes cornball sentimentality on Ward Bond’s Quincannon, whose eight kids stand in line from tallest to shortest to salute goodbye, who hears of a ninth child coming while giving blood, and who grins broadly when The Growler gets her first kill. Such (inhumane?) exuberance is typical of Ford’s documentaries, in contrast to his usual moral responsiveness. The picture employs open forms and a zoom lens, and spends half its length poeticizing the farewell.
1958 Gideon’s Day (Columbia British Productions). Technicolor. 91 minutes. March 1958 (G. B.); February 1959 (U. S.). U.S. title: Gideon of Scotland Yard. Director: John Ford. Producer: Michael Killanin. Associate producer: Wingate Smith. Scenarist: T. E. B. Clarke, from novel by J. J. Marric (pseudonym for John Creasey). Photography: Frederick A. Young. Art director: Ken Adam. Music: Douglas Gamley. Music director: Muir Mathieson. Editor: Raymond Poulton. Assistant director: Tom Pevsner. Costumes: Jack Dalmayne. Production manager: Bill Kuly. Filmed in London, September 1957. With Jack Hawkins (Inspector George Gideon), Dianne Foster (Joanna Delafield), Anna Massey (Sally Gideon), Anna Lee (Mrs. Kate Gideon), Cyril Cusack (Herbert “Birdie” Sparrow), Andrew Ray (P. C. Simon Farnaby-Green), James Hayter (Robert Mason), Ronald Howard (Paul Delafield), Howard Marion-Crawford (chief of Scotland Yard), Laurence Naismith (Arthur Sayer), Derek Bond (Det. Sgt. Eric Kirby), Griselda Harvey (Mrs. Kirby), Frank Lawton (Det. Sgt. Liggott), John Loder (Ponsford, the Duke), Doreen Madden (Miss Courtney), Miles Malleson (judge at Old Bailey), Marjorie Rhodes (Mrs. Rosie Saparelli), Michael Shepley (Sir Rupert Bellamy), Michael Trubshawe (Sgt. Golightly), Jack Watling (Rev. Julian Small), Hermione Bell (Dolly Saparelli), Donal Donnelly (Feeney), Billie Whitelaw (Christine), Malcolm Ranson (Ronnie Gideon), Mavis Banson (Jane Gideon), Francis Crowdy (Fitzhubert), David Aylmerand Brian Smith (Manners and White-Douglas, Fitzhubert’s acolytes), Barry Keegan (Riley, chauffeur), Maureen Potter (Ethel Sparrow), Henry Longhurst (Rev. Mr. Courtney), Charles Maunsell (Walker), Stuart Saunders (Chancery Lane policeman), Dervis Ward (Simmo), Joan Ingram (Lady Bellamy), Nigel Fitzgerald (Insp. Cameron), Bobert Raglan (Dawson), John Warwick (Insp. Gillick), John LeMesurier (prosecuting attorney), Peter Godsell (Jimmy), Robert Bruce (defending attorney), Alan Roife (CID man at hospital), Derek Prentice (first employer), Alastair Hunter (2nd employer), Helen Goss (woman employer), Susan Richmond (Aunt May), Raymond Rollett (Uncle Dick), Lucy Griffiths (cashier), Mary Donevan (usherette), O’Donovan Shiell, Bart Allison, Michael O’Duffy (policemen), Diana Chesney (barmaid), David Storm (court clerk), Gordon Harris (CID man).
A day in the life of a Scotland Yard detective.
1958 The Last Hurrah (Columbia). 121 minutes. November. Director-producer: John Ford. Scenarist: Frank Nugent, from novel by Edwin O’Connor. Photographer: Charles Lawton, Jr. Art Director: Robert Peterson. Set decorator: William Kiernan. Wardrobe: Jean Louis. Editor: Jack Murray. Sound: John Livadary, Harry Mills. Assistant directors: Wingate Smith, Sam Nelson. Filmed: spring. With Spencer Tracy (Frank Skeffington), Jeffrey Hunter (Adam Caulfield), Dianne Foster (Maeve Caulfield), Pat O’Brien (John Gorman), Basil Rathbone (Norman Cass, Sr.), Donald Crisp (the cardinal), James Gleason (Cuke Gillen), Edward Brophy (Ditto Boland), John Carradine (Amos Force), Willis Bouchey (Roger Sugrue), Basil Ruysdael (Bishop Gardner), Ricardo Cortez (Sam Weinberg), Wallace Force (Charles J. Hennessey), Frank McHugh (Festus Garvey), Anna Lee (Gert Minihan), Jane Darwell (Delia Boylan), Frank Albertson (Jack Mangan), Charles FitzSimmons (Kevin McCluskey), Carleton Young (Mr. Winslow), Bob Sweeney (Johnny Degnan), Edmund Lowe (Johnny Byrne), William Leslie (Dan Herlihy), Ken Curtis (Monseigneur Killian), 0. Z. Whitehead (Norman Cass, Jr.), Arthur Walsh (Frank Skeffington, Jr.), Helen Westcott (Mrs. McCluskey), Ruth Warren (Ellen Davin), Mimi Doyle (Mamie Burns), Dan Borzage (Pete), James Flavin (police captain), William Forrest (doctor), Frank Sully (fire chief), Charlie Sullivan (chauffeur), Ruth Clifford (nurse), Jack Pennick (policeman), Richard Deacon (Plymouth Club director). Harry Tenbrook, Eve March, Bill Henry, James Waters, Rand Brooks, Harry Lauter (young politicians), Harry Tyler (retainer), Robert Levin (Jules Kowalsky), Julius Tannen (Mr. Kowalsky), Hal K. Dawson (managing editor), Clete Roberts (news commentator), Tommy Earwood (Gregory McCluskey), Edmind Cobb, Charles Trowbridge, Tommy Jackson, Frank Baker.
An old-style politician’s last campaign.
1959 Korea: Battleground for Liberty (U.S. Dept. of Defense). Eastmancolor. c. 40 minutes. November. Director: Rear Adm. John Ford, USNR. Producers: Ford, Capt. George O’Brien, USN, Ret. Filmed in and around Seoul, fall 1958. With O’Brien, Kim-Chi Mi, Choi My Ryonk.
An orientation film for American soldiers being stationed in Korea. Cameos trace life and culture as Sgt. Cliff Walker, at first terrified, befriends a Korean family, serves on a community council, and combats prostitution with a 4H club. Speeches by Eisenhower and Rhee conclude, dissolving into bathers at a rock pool; pop musicians; Walker and Korean picnicking; DMZ lookout post. The film encourages fraternization between U. S. soldiers and Korean civilians. Ford had planned to direct additional such films on Taiwan and Vietnam, and may have consulted on their scripts.
1959 The Horse Soldiers (Mirisch Company-United Artists). Deluxe Color. 119 minutes. June 16 (Strand Theatre, Shreveport). Director: John Ford. Producers-scenarists: John Lee Mahin, Martin Rackin, from novel (1954) by Harold Sinclair. Photography: William H. Clothier. Art director: Frank Hotaling. Set decorator: Victor Gangelin. Music: David Buttolph. Song: “I Left My Love,” by Stan Jones. Editor: Jack Murray. Special effects: Augie Lohman. Costumes: Frank Beetson (M), Ann Peck(F). Makeup: Webb Overlander. Assistant directors: Wingate Smith, Ray Gosnell, Jr. Filmed: October 27-December; exteriors in Louisiana, Mississippi, San Fernando Valley (California). With John Wayne (Col. John Marlowe), William Holden (Maj. Hank Kendall), Constance Towers (Hannah Hunter), Althea Gibson (Lukey), Hoot Gibson (Brown), Anna Lee (Mrs. Buford), Russell Simpson (Sheriff Capt. Henry Goodboy), Stan Jones (Gen. U.S. Grant), Carleton Young (Col. Jonathan Miles), Basil Ruysdael (commandant, Jefferson Military Academy), Willis Bouchey (Col. Phil Secord), Ken Curtis (Wilkie), 0. Z. Whitehead (Hoppy Hopkins), Judson Pratt (Sgt. Major Kirby), Denver Pyle (Jagger Jo), Strother Martin (Virgil), Hank Worden (Deacon), Walter Reed (Union officer), Jack Pennick (Sgt. Maj. Mitchell), Fred Graham (Union soldier), Chuck Hayward (Capt. Woodward), Charles Seel (Newton Station bartender), Stuart Holmes, Maj. Sam Harris (passengers to Newton Station), Richard Cutting (Gen. Sherman), Bing Russell (Dunker), William Forrest (Gen. Steve Hurlburt), William Leslie (Maj. Richard Gray, Confederate artillery), Bill Henry (Confederate lieutenant), Ron Hagherty (bugler), Jan Stine (dying man), Dan Borzage, Fred Kennedy, William Wellman, Jr.
Civil War: Union cavalry raids deep within Confederate lines.
1960 Sergeant Rutledge (Ford Productions-Warner Brothers). Technicolor. 111 minutes. May 28. Director: John Ford. Producers: Patrick Ford, Willis Goldbeck. Writers: Goldbeck, James Warner Bellah. Photography: Bert Glennon. Art director: Edie Imazu. Set decorator: Frank M. Miller. Music: Howard Jackson. Song: “Captain Buffalo,” by Mark David, Jerry Livingston. Editor: Jack Murray. Assistant directors: Russ Saunders, Wingate Smith. Costumes: Marjorie Best, Howard Jackson. Filmed in Monument Valley, July 1959. With Jeffrey Hunter (Lt. Tom Cantrell), Constance Towers (Mary Beecher), Woody Strode (Sgt. Braxton Rutledge), Billie Burke (Mrs. Cordelia Fosgate), Juano Hernandez (Sgt. Matthew Luke Skidmore), Willis Bouchey (Col. Otis Fosgate), Carleton Young (Capt. Shattuck), Judson Pratt (Lt. Mulqueen), Bill Henry (Capt. Dwyer), Walter Reed (Capt. MacAfee), Chuck Hayward (Capt. Dickinson), Mae Marsh (Nellie), Fred Libby (Chandler Hubble), Toby Richards (Lucy Dabney), Jan Styne (Chris Hubble), Cliff Lyons (Sam Beecher), Charles Seel (Dr. Eckner), Jack Pennick (sergeant), Hank Worden (Laredo, on train), Chuck Roberson (juror), Eva Novak, Estelle Winwood (spectators), Shug Fisher (Mr. Owens, train conductor).
1880s: The trial ofa Negro cavalry sergeant for rape and murder ofa white girl.
1960 The Colter Craven Story (Revue Productions-MCA; episode for the Wagon Train series.) 53 minutes. Telecast: Nov. 23, 1960, NBC. Director: John Ford. Producer: Howard Christie. Writer: Tony Paulson. Photographer: Benjamin N. Kline. Art director: Martin Obzina. Music: Stanley Wilson. Theme tune: Jerome Morros. Set decorator: Ralph Sylos. Editors: Marston Fay, David O’ConneIl. Costumes: Vincent Dee. Assistant director: James H. Brown. Filmed in six days, 2nd week of May. With Ward Bond (Maj. Seth Adams), Carleton Young (Colter Craven), Frank McGrath (Chuck Wooster), Terry Wilson (Bill Hawks), John Carradine (Park), Chuck Hayward (Quentin), Ken Curtis (Kyle), Anna Lee (Alarice Craven), Cliff Lyons (Weatherby), Paul Birch (Sam Grant), Annelle Hayes (Mrs. Grant), Willis Bouchey (Jesse Grant), Mae March (Mrs. Jesse Grant), Jack Pennick (drill sergeant), Hank Worden (Shelley), Charles Seel (Mort), Bill Henry (Krindle), Chuck Boberson (Junior), Dennis Rush (Jamie), Harry Tenbrook (Shelley’s friend), Beulah Blaze, Lon Chaney, Jr., John Wayne (billed as Michael Morris) (Gen. Sherman).
The wagon train picks up Craven and his wife. Craven is a doctor who worked through med school in a slaughter house, then graduated to Shiloh, where 500 of his patients died. Now, taken to drink, he is afraid to perform a caesarian. But Adams tells him the story of his friend Sam, who was a failure back in Wilmette, but whom he met again at Shiloh, after losing all but 19 of his 223 townsmen. But Sam (Grant) had 30,000 casualties and still overcame “defeat.” Craven delivers the baby.
The episode uses footage from Ford’s Wagon Master (on which the series was based). Only the wonderful eleven-minute Galena flashback looks strongly Fordian, within an otherwise shoddy film. Ford’s cut originally ran 72 minutes.
† l960 The Alamo (Batjac-United Artists). Technicolor/Todd-A.O. 192 minutes. October 24. Director-producer: John Wayne. Writer: James Edward Grant. Photography: William H. Clothier. With John Wayne, Richard Widmark.
Ford was present for most of the four months of shooting and directed much 2nd-unit work in addition to various scenes with the principals. Most of this was deleted, however, when The Alamo was cut to the current 161. A dance sequence by Ford had been deleted even earlier. Remaining Ford shots include caisons fording a river; Crocket being greeted by Tennesseans; Travis shooting a charging dragoon outside the gate; Santa Anna’s parading army; a cannon dismounted by its recoil, and other battle shots; the chapel blowing up, One entire sequence (by far the strongest in the film) of Frankie Avalon deliving a message to Richard Boone by a riverside has a definite Ford feel to it, although production stills show Wayne directing.
1961 Two Rode Together (Ford-Sheptner Productions—Columbia). Eastman Color by Pathé. 109 minutes. July 26. Director: John Ford. Producer: Stan Sheptner. Scenarist: Frank Nugent, from novel Comanche Captives (1958), by Will Cook. Photography: Charles Lawton, Jr. Art director: Robert Peterson. Set decorator: James M. Crowe. Music: George Duning. Orchestrations: Arthur Morton. Editor: Jack Murray. Sound: Charles Rice, Harry Mills. Assistant director: Wingate Smith. Costumes: Frank Beetson. Makeup: Ben Lane. Filmed: June-November 1960; exteriors in Bracketville, Texas. With James Stewart (Guthrie McCabe), Richard Widmark (Lt. Jim Gary), Shirley Jones (Marty Purcell), Linda Cristal (Elena de la Madriaga), Andy Devine (Sgt. Darius P. Posey), John Mclntire (Maj. Frazer), Paul Birch (Edward Purcell), Willis Bouchey (Harry J. Wringle), Henry Brandon (Quanah Parker), Harry Carey, Jr. (Ortho Clegg), Ken Curtis (Greeley 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 Clegg), Woody Strode (Stone Calf), 0. Z. Whitehead (Lt. Chase), Cliff Lyons (William McCandless), Mae Marsh (Hannah Clegg), Frank Baker (Capt. Malaprop), Ruth Clifford (woman), Ted Knight (Lt. Upton), Maj. Sam Harris (post doctor), Jack Pennick (sergeant), Bob Kenneally, Ed Sweeney (officers), Big John Hamilton (settler), Chuck Roberson (Comanche), Dan Borzage, Bill Henry (gambler), Chuck Hayward, Edward Brophy.
A cynical sheriff and a cavalry officer ride into Comanche territory to ransom white captives.
1962 The Man Who Shot Liberty Valance (Ford Productions- Paramount). 122 minutes. April 10 (?). (Preview: Feb. 2, Riverside, Cal.) Director: John Ford. Producer: Willis Goldbeck. Scenarists: Goldbeck, James Warner Bellah, from story (1949) by Dorothy M. Johnson. Photography: William H. Clothier. Art directors: Hal Pereira, Eddie Imazu. Set decorators: Sam Comer, Darrell Silvera. Costumes: Edith Head. Makeup: Wally Westmore. Music: Cyril J. Mockridge; theme from Young Mr. Lincoln, by Alfred Newman. Editor: Otho Levering. Sound: Phil Mitchell. Assistant director: Wingate Smith. Filmed: September 5-November 7. With James Stewart (Ransom Stoddard), John Wayne (Tom Doniphon), Vera Miles (Hallie Ericson Stoddard), Lee Marvin (Liberty Valance), Edmond O’Brien (Dutton Peabody), Andy Devine (Link Appleyard), Ken Murray (Doc Willoughby), John Carradine (Starbuckle), Jeanette Nolan (Nora Ericson), John Qualen (Peter Ericson), Willis Bouchey (Jason Tully), Carleton Young (Maxwell Scott), Woody Strode (Pompey), Denver Pyle (Amos Carruthers), Strother Martin (Floyd), Lee Van Cleef (Reese), Robert F. Simon (Handy Strong), 0. Z. Whitehead (Ben Carruthers), Paul Birch (Mayor Winder), Joseph Hoover (Hasbrouck), Jack Pennick (Jack, barman), Bob Morgan (rough rider), Anna Lee (passenger), Ted Mapes (Highpockets), Slim Hightower (shotgun), Charles Seel (president, election council), Shug Fisher (Kaintuck, drunk), Earle Hodgins (Clue Domfries), Stuart Holmes, Dorothy Phillips, Buddy Roosevelt, Gertrude Astor, Eva Novak, Slim Talbot, Leonard Baker, Larry Finley (Bax X men), Dan Borzage, Ralph Volkie (townsmen), Charles Morton, Mike Edward Jaurequi (drummers), Jack Williams, Charles Haywood, Chuck Roberson, Maro Artgea (henchemen), Monty Montana (politician on horseback), Bill Henry (credited, but not appearing, as a poker player), Frank Baker (uncredited, replacing Henry), John B. Whiteford, Helen Gibson, Maj. Sam Harris, Jack Kenny.
A senator returns to Shinbone for a pauper’s funeral and tells the true story of his youth.
1962 Flashing Spikes (Avasta Productions-Revue-MCA; episode for the Alcoa Premiere TV series). 53 minutes. Telecast: October 4, ABC. 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 McCarthy, Martin C. Bradfield. Music: Johnny Williams, Stanley Wilson. Costumes: Vincent Dee. Makeup: Jack Baroon. Editors: Richard Belding, Tony Martinelli. Titles: Saul Bass. Sound: Earl Crain. Sound editor: David J. O’Connell. Assistant director: George Bisk. Technical consultant: Cy Malis. Series host: Fred Astaire. With James Stewart (Slim Conway), Jack Warden (commissioner), Pat Wayne (Bill Riley), Edgar Buchanan (Crab Holcomb), Tige Andrews (Gaby Lasalle), Carleton Young (Rex Short), Willis Bouchey (mayor), Don Drysdale (Gomer), Stephanie Hill (Mary Riley), Charles Seel (judge), Bing Russell (Hogan), Harry Carey, Jr. (man in dugout), Vin Scully (announcer), Walter Reed (2nd reporter), Sally Hughes (nurse), Larry Blake (Rrst reporter), Charles Morton (umpire), Cy Malis (the bit man), Bill Henry (commissioner’s assistant), John Wayne (billed as Michael Morrison)(umpire in Korea), Art Passarella (umpire), Vern Stephens, Ralph Volkie, Earl Gilpin, Bud Harden, Whitey Campbell (baseball players).
At a hearing, columnist Short charges rookie sensation Riley took a bribe from blacklisted Slim Conway to throw a series game. In flashback, Conway recounts a semipro game in which, midst myriad wondrous cameos, a riot nearly breaks out over Conway, and Conway is spiked by Riley—who, however, apologizes. So Conway gets old pal Lasalle to give Riley a tryout; but Riley is drafted and has to go to Korea first. Then, at spring training, Conway intervenes to prevent a fight when Short insults Riley’s wife. Barred from the Series stadium, he listens in the parking lot, where Short sees him hand Riley an envelope, presumably a bribe. Actually, it was a brochure of Conway’s fishing place. Riley is cleared, and it turns out Conway was framed, years ago.
First rate Ford.
1962 How the West Was Won (Cinerama-Metro-Goldwyn-Mayer). Technicolor / Cinerama/Ultra Panavision. 162 minutes. November. Directors: John Ford (“The Civil War”), George Marshall (“The Railroad”), Henry Hathaway (“The Rivers,” “The Plains,” “The Outlaws”). Producer: Bernard Smith. Scenarist: James R. Webb, suggested by series in Life. Art directors: George W. Davis, William Ferrari, Addison Hehr. Set decorators: Henry Grace, Don Greenwood, Jr., Jack Mills. Music: Alfred Newman, Ken Darby. Editor: Harold F. Kress. Sound: Franklin E. Milton. Costumes: Walter Plunkett. Cinerama supervisors: Thomas Conroy, Walter Gibbons Fly. Historical consultant: David Miller. Special effects: A. Arnold Gillespie, Robert R. Hoag. Color consultant: Charles K. Hagedon. Narrator: Spencer Tracy.
Ford sequence (“The Civil War”): 25 minutes, 13 seconds. Photography: Joseph La Shelle, Harold Wellman. Assistant director: Wingate Smith. With George Peppard (Zeb Rawlings), Carroll Baker (Eve Prescott Rawlings), Russ Tamblyn (Confederate deserter), Claude Johnson (Jeremiah Rawlings), Andy Devine (Cpl. Peterson), Willis Bouchey (surgeon). Henry (Harry) Morgan (Gen. U. S. Grant), John Wayne (Gen. Sherman), Raymond Massey (Abraham Lincoln).
A farm boy leaves home to go to war.
War footage from Raintree County (Edward Dmytryk, 1957).
† 1963 McLintock! (Batjac-United Artists). Technicolor. 127 minutes. November 13. Director: Andrew V. McLaglen. Producer: Michael Wayne. Scenarist: James Edward Grant. Photography: William H. Clothier. With John Wayne, Maureen O’Hara.
Ford directed a few shots with O’Hara and Wayne.
1963 Donovan’s Reef (Ford Productions-Paramount). Technicolor. 109 minutes. July. Director-producer: John Ford. Scenarists: Frank Nugent, James Edward Grant, (and uncredited) James Michener, from story by Edmond Beloin, adapted by James Michener. Photography: William Clothier. Art directors: Hal Pereira, Eddie Imazu. Set decorators: Sam Comer, Darrell Silvera. Costumes: Edith Head. Music: Cyril J. Mockridge, Leo Shuken, Jack Hayes. Music direction: Irvin Talbot. Editor: Otho Lovering. Sound: Hugo Grenzbach. Wardrobe: Edith Head. Assistant director: Wingate Smith. Special effects: Paul K. Lerpae, Farciot Edouart. Color consultant: Richard Mneller. Filmed: July 23-late September, 1962, on Kauai, Hawaii. With John Wayne (Michael Patrick “Guns” Donovan), Lee Marvin (Thomas Aloysius “Boats” Gilhooley), Elizabeth Alien (Amelia Sarah Dedham), Jack Warden (Dr. William Dedham), Cesar Bomero (Marquis André de Lage), Dorothy Lamour (Miss Lafleur), Jacqueline Malouf (Leiani Dedham), Mike Mazurki (Sgt. Menkowicz), Marcel Dalio (Fr. Cluzeot), Jon Fong (Mister Eu), Cheryline Lee (Sally Dedham), Tim Stafford (Luki Dedham), Carmen Estrabeau (Sister Gabrielle), Yvonne Peattie (Sister Matthew), Ralph Volkie (James), Frank Baker (Captain Martin), June Y. Kim, Midori (servants), Edgar Buchanan (Boston notary), Pat Wayne (navy lieutenant), Dan Ford, John Stafford (children), Charles Seel (Grand Uncle Sedley Atterbury), Chuck Roberson (Festus), Mae Marsh, Maj. Sam Harris (members of family council), King Lockwood (lawyer), Dick Foran (Australian singer), Cliff Lyons (officer), Alissa Wayne (native girl by pool), and Ford’s ketch, Araner.
A comedy of manners—and racism— on a South Pacific isle.
1964 Cheyenne Autumn (Ford-Smith Productions-Warner Brothers). Technicolor/Panavision 70. 159 minutes. October. Director: John Ford. Producer: Bernard Smith. Scenarists: James R. Webb and (uncredited) Patrick Ford, from book by Mari Sandoz (1953). Photography: 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. Special effects: Raplph Webb. Wardrobe: Ann Peck. Makeup: Norman Pringle. Associate director: Ray Kellogg. Assistant directors: Wingate Smith, Russ Saunders. Technical consultant: David H. Miller. Filmed: October 1-January; exteriors in Monument Valley; Moab, Utah; Gunnison, Colorado. With Richard Widmark (Capt. Thomas Archer), Carroll Baker (Deborah Wright), James Stewart (Wyatt Earp), Edward G. Robinson (Secretary of the Interior Carl Schurz), Karl Malden (Capt. Wessels), Sal Mineo (Red Shirt), Dolores Del Rio (Spanish woman), Ricardo Montalban (Little Wolf), Gilbert Roland (Dull Knife), Arthur Kennedy (Doc Holliday), Patrick Wayne (2nd Lt. Scott), Elizabeth Alien (Guinevere Plantagenet), John Carradine (Maj. Jeff Blair), Victor Jory (Tall Tree), Mike Mazurki (Top Sgt. Stanislaw Wichowsky), George O’Brien (Maj. Braden), Willian Henry (infantry captain), Sean McClory (Dr. O’Carberry), Judson Pratt (Mayor “Dog” Kelly), Carmen D’Antonio (Pawnee woman), Ken Curtis (Homer), Walter Baldwin (Jeremy Wright), James Flavin (sergeant of the guard), Charles Seel (newspaper publisher), Stephanie Epper, Mary Statler, Jean Epper, Donna Hall (entertainers), Shug Fisher (Skinny), Nancy Hsueh (Little Bird), Chuck Roberson (platoon sergeant), Harry Carey, Jr. (Trooper Smith), Ben Johnson (Trooper Plumtree), Jimmy O’Hara, Chuck Hayward, Dan Borzage, Dean Smith, Dan Carr, David H. Miller, James O’Hara, Ted Mapes, John McKee (troopers), Lee Bradley, Frank Bradley (Cheyenne), Walter Reed (Lt. Peterson), Willis Bouchey (colonel), Carleton Young (aide to Carl Schurz), Denver Pyle (Senator Henry), Bing Russell (telegrapher), John Qualen (Svenson), Maj. Sam Harris (townsman), Nanomba “Moonbeam” Morton (Running Deer), Philo NcCullough, Louisa Montana. Narrators: Spencer Tracy, Richard Widmark. Working title: “The Long Flight.”
Two-hundred-eighty-five Cheyenne flee a reservation to go back home.
† l965 Young Cassidy (Sextant Films—Metro-Coldwyn-Mayer). Technicolor. 110 minutes. March. Directors: Jack Cardiff, John Ford. “A John Ford Film.” Producers: Robert D. Graft, Robert Emmett Ginna. Associate producer: Michael Killanin. Scenarist: John Whiting, from autobiography Mirror in My House (1956), by Sean O’Casey. Photography: Ted Scaife. Art director: Michael Stringer. Costumes: Margaret Furse. Makeup: Ernest Gasser. Music: Sean O’Riada. Music director: Marcus Dods. Editor: Anne V. Coates. Production manager: Teddy Joseph. Assistant director: John Quested. Titles: Maurice Binder. Casting: Miriam Brickman. Technical consultant (for teaching Rod Taylor a Dublin accent): Jack McGowan. Camera: Jack Atchelor. Filmed in Ireland in July. With Rod Taylor (Sean Cassidy), Maggie Smith (Nora), Julie Christie (Daisy Battles), Flora Bobson (Mrs. Cassidy), Sian Phillips (Ella), Michael Bedgrave (William Butler Yeats), Dame Edith Evans (Lady Gregory), Jack McGowan (Archie), T. P. McKenna (Tom), Julie Ross (Sara), Robin Sumner (Michael), Philip O’Flynn (Mick Mullen), Pauline Delaney (Bessie Ballynoy), Arthur O’Sullivan (foreman), Tom Irwin (constable), John Cowley (barman), William Foley (publisher’s clerk), John Franklyn (bank teller), Harry Brogan (Murphy), Ann Dalton (neighbor), James Fitzgerlad (Charlie Ballynoy), Martin Crosbie, Donal Donnelly (undertaker’s men), Fred Johnson (taxi driver), Eddie Gordon (Capt. White), Chris Curran (man in Phoenix Park), Harold Goldblatt (director of Abbey Theatre), Ronald Ibbs (theatre employee), May Craig, May Cluskey (women in the hall), Tom Irwin, Shivaun O’Casey (Lady Gregory’s maid), and members of the Abbey Theatre.
Young Sean O’Casey in Dublin: his romances, his mother’s death, his first production.
Ford prepared script, cast, and locations, but fell sick after two weeks’ shooting, which included the scene with Daisy Battles (but the close-ups were added later by Cardiff); the opening scene when Cassidy becomes a laborer; the inn scene with the three sons and football players; some scenes with Mrs. Cassidy; a scene with Bod Taylor and the tree in bloom after his mother’s death—about ten minutes in total. The script seems poor, but Ford scripts rely for sense on his direction. The key Nora-Cassidy relationship lacks motivation, and boring monotonality has replaced Ford’s intense changefulness. Only the inn scene has spontaneity and economy.
1965 7 Women (Ford-Smith Productions-Metro-Goldwyn-Mayer). Metrocolor / anamorphic Panavision. 86 minutes. November. Director: John Ford. Producer: Bernard Smith. Scenarists: Janet Green, John McCormick, from story “Chinese Finale,” by Norah Lofts. Photography: Joseph LaShelle. Art directors: George W. Davis, Eddie Imazu. Set directors: Henry Grace, Jack Mills. Costumes: Walter Plunkett. Music: Elmer Bernstein. Editor: Otho S. Lovering. Assistant director: Wingate Smith. Production manager: Rex Bailey. Special effects :J. McMillan Johnson. Filmed in February—April. With Anne Bancroft (Dr. D. R. Cartwright), Margaret Leighton (Agatha Andrews), Flora Robson (Miss Binns), Sue Lyon (Emma Clark), Mildred Dunnock (Jane Argent), Betty Field (Florrie Pether), Anna Lee (Mrs. Russell), Eddie Albert (Charles Pether), Mike Mazurki (Tunga Khan), Woody Strode (Lean Warrior), Jane Chang (Miss Ling), Hans William Lee (Kim), H. W. Gim (coolie), Irene Tsu (Chinese girl).
1935 China: women missionaries encounter plague and bandits.
Anne Bancroft replaced Patricia Neal when the latter became ill after three days’ shooting. Prints released for television include additional scenes.
† l972 Vietnam! Vietnam! (Ford Production-USIA). Eastmancolor. 58 minutes. September 1971. Director: Sherman Beck. Executive producer: John Ford. Producer: Bruce Herschensohn. Scenario: Thomas Duggan, Ford. Editor: Leon Selditz. Location photography: Vietnam, October-December 1968. Narrator: Charlton Heston.
Although Ford went to Vietnam, he did not participate in production, nor does the zoom work, rack-focusing, or light texture suggest Ford. But subsequently Ford supervised the editing and rewrote the scenario. Although longer and costlier ($252,751) than any other USIA production, its interpretation of the war had become embarrassing by the time of its release, and, after a few overseas showings in U. S. Information Agency libraries and cultural offices, it was withdrawn from circulation.
Its prologue is a montage of stills of some fifty 1960s headliners (Koufax, the Beatles, the pill, etc.), ending with Vietnam. Part 1 explores the country’s background, culture, and the war. Shots of refugees, mutilated children, burnt bodies of babies, sobbing women, mass graves. “To those in command of North Vietnam and the Vietcong the pursuit was a united Vietnam under Hanoi with a Communist government. To those in South Vietnam the pursuit was to be left alone.” POW wives describe their efforts for information; the ussr’s involvement is shown; American “End the War” demonstrators parade with North Vietnamese flags. In Part 2, cameos of a couple of dozen people debate the war: Rush, Reagan, Johnson, McCarthy, U. S. soldiers, Fulbright, Sam Brown, hippies, a Hungarian freedom Bghter. Vietnamese parade at night with 7-Up—can torches, people singing hymns. “The flames were still bright on December 31, 1969, but if that fire would be a permanent light of freedom or would be extinguished was not to be known within the decade.”
1976 Chesty (James Ellsworth Productions). 28 minutes. (Long version: 47 minutes.) April 4. Director: John Ford. Producer: James Ellsworth. Writer: Jay Simms. Photography: Brick Marquard. Music: Jack Marshall. Editor-associate producer: Leon Selditz. Assistant to producer: Charles C. Townsend. Filmed August 1968-April 1970. First public showing at Filmex, Los Angeles. Unreleased. Host: John Wayne.
A documentary about Lt. Gen. Lewis “Chesty” Puller, USMC. Made for TV, but never sold or released. Originally sixty minutes, but shortened to encourage sale. Ford is said to have preferred the shorter version.
Unrealized Projects (among many)
1918 The Untamed.
1919 The Sheriff of Wasco
1921 The Man of God
1926 Corncob Kelly’s Romance, story by Peter B. Kyne.
1928 Blockade, story by Berthold Viertel.
1928 Captain Lash. A Mississippi riverboat story to star Victor McLaglen.
1928 Frozen Justice, an Alaskan saga which Murnau lost to Ford and neither made.
1932 The Warrior’s Husband. To have starred Katharine Hepburn. Filmed by Walter Lang in 1933 with Elissa Landi.
1932 The Heir to the Hoorah.
1937 I’ll Give a Million. Remake of Darò un millione (Camerini, 1935). Filmed by Walter Lang in 1938.
1938 Grand Illusion. Remake of La Grande illusion (Renoir, 1937).
1940 Four Sons. A remake. Filmed in 1940 by Archie Mayo.
1941 The African Queen.
1943 The Last Outlaw. A remake of Ford’s 1919 two-reeler and Cabanne’s 1936 feature, to star Harry Carey, for Republic Pictures.
1946 The Ghost and Mrs. Muir. To have starred Katharine Hepburn. Filmed in 1947 by Joseph Mankiewicz.
1947 The Family. A White Russian family exiled to China after the revolution, from Nina Federova’s 1940 novel, with John Wayne and Ethel Barrymore, for Argosy.
1947 Revenge. For Argosy.
1947 Janitzio. To be made in Mexico, after The Fugitive, by Argosy.
1948 The Alamo. For Republic.
1948 Mrs. Mike Meets Murder. For Argosy.
1952 Famine, story by Liam O’Flaherty, for Four Provinces in Ireland.
1952 Demi-Gods, story by James Stephen, for Four Provinces in Ireland.
1952 Seven Pillars of Wisdom, by T.E. Lawrence.
1952 Two-Headed Spy, to be filmed in Germany with Kirk Douglas; at Douglas’s initiation. Filmed in 1958 in England by Andre de Toth with Jack Hawkins.
1952 “Ghost Story,” an episode for The Rising of the Moon, with Katharine Hepburn.
1956 The Judge and the Hangman, a mystery, to be filmed in Munich and ski country in the Alps, with Spencer Tracy or John Wayne.
1956 Drama of lnish, aka Is Life Worth Living, story by Lennox Robinson, for Four Provinces, in Ireland, with Katharine Hepburn.
1956 The Valiant Virginians, by James Warner Bellah, to be made for C. V. Whitney, at first as a trilogy of three features, then as a single film; with John Wayne.
1960 The White Company, by Sir Arthur Conan Doyle. A youth goes to fight in France during the Hundred Years War. John Wayne, Laurence Olivier, Alee Guinness, Susan Hampshire. Negotiations were carried on for nearly ten years and filming almost took place in Spain, for Samuel Bronston Productions, but Doyle’s estate demanded colossally unreasonable sums for the literary rights: $100,000 plus 25 percent of producer’s net at one point; $200,000 flat at another. Ford was still talking about doing it in the 1970s.
1962 A Scout for Custer, by Willis Goldbeck and John Ford. The story, both comic and tragic, of General Custer’s younger brother Tom’s stubborn and repeated attempts to bring common sense into the general’s reckless campaigning. A story of gallant failure of a man who was brave without conviction in what he was attempting.
1964 Rupert of Hentzau, a project promoted by David Seiznick for Jennifer Jones.
1965 The Miracle of Merriford, aka Trumpets over Merriford. A small English town’s church is damaged during World War II by Americans, who then try to raise money for repairs. A comedy in the vein of The Quiet Man, from a novel by Reginald Arkell. Ford had signed with Metro, Dan Dailey had been cast, and the script by Willis Goldbeck and James Warner Bellah was completed, when Metro shelved the project barely a week before filming was to begin in Utah.
1967 April Morning. A boy’s family during the battles of Lexington and Concord. From novel by Howard Fast. Scripted by Michael Wilson, to have been produced by Samuel Goldwyn, Jr.
1967 OSS. The story of Maj. Gen. William J. “Wild Bill” Donovan and the intelligence agency during World War II. With John Wayne.
1969 Valley Forge. To have been co-produced with Frank Capra.
1970? Comanche Stallion. A stallion, stolen from Apache and believed by them to be a god who will restore their greatness, tramples to death the son of a drunk cavalry officer, who vows to capture and torture it, but fails.
1973 The Josh Clayton Story. About the first black to graduate from West Point. With Fred Williamson. Alternate title: “Appointment with Precedence.”
197? The Life of Ulysses S. Grant.
197? Alias Whispering White.
197? Operation Seventy-three.
197? Our Brother John.
197? Wits and the Woman - The Demon Dragon.
1949 Stagecoach. Dramatization for NBC Theater series. Broadcast: January 9, 1949, NBC. 30 minutes. Series host: George Marshall. Guest screen director host: John Ford. production supervisor: Howard Wylie. Writer: Milton Geiger (from Ford’s film). Musical director: Harry Russell. With John Wayne (Ringo), Claire Trevor (Dallas), Ward Bond (Buck Boone), Barbara Fuller (Lucy Mallory), Peter Leeds (Hatfield), Norman Fields (Sheriff Curley), Keb Carson, Eddie Fields. Narrator: Horace Murphy. Announcers: Frank Barton, Dan Risk.
Available from Radio yesterday (800-243-0987).
1949 Ford Apache. Dramatization for Screen Directors Playhouse series. Broadcast: August 5, 1949, NBC. 25 minutes. Series host: George Marshall. Guest screen director host: John Ford. production supervisor: Howard Wylie. Writer: Milton Geiger (from Ford’s film). Musical director: Harry Russell. With John Wayne (Capt. Kirkby Yorke), Ward Bond, Paul McVey, Lou Merrill, Tony Barrett.
Available from Radio yesterday (800-243-0987).
1950 The Rex Allen and Phillips 66 Show. Radio Western Variety Show. Broadcast 1950. Host: Rex Allen. John Ford and Fred Kennedy did a skit.
1962 The Unreal West. CBC Radio (Toronto). Producer: Jack Vance. Scenarist-narrator: Tony Thomas. Broadcast: July 25. 60 minutes. Interviews with Richard Boone, John Wayne, Olive Stokes Mix (a Cherokee, and Tom Mix’s widow), Randolph Scott, Tom McCoy, Johnny Mack Brown, Yakima Canutt, John Ford.
1957 This Is Your Life. Appeared on Ralph Edwards’s television show devoted to Maureen O’Hara, sitting in audience and waving to her.
1958 “The Western” (Television special from Dave Garraway’s Wide, Wide World series). Telecast: June 8, NBC. 90 minutes. Ford chats with John Wayne in one sequence. In another he directs Chuck Haywood and Chuck Roberson demonstrating horse falls. A rare chance to see what Ford was like on a set in “command mode.” Guest appearances by Gene Autry, John Wayne, Gary Cooper, Delmer Davis, James Arness, Bronco Billy Anderson, James Garner, Ward Bond, Walter Brennan, Gabby Hayes, Jay Silverheels, Maria Schell, Chill Wills.
1966 Entre chien et loup: John Ford (ORTF, Paris: Cinéastes de notre temps series.) 75 minutes. Telecast: June 16. Director: Hubert Knapp. Producers: Janine Bazin, André S. Labarthe. Images: Seymour Cassel, Toni Daval. Editing: Pierre-Michel Rey. Sound: Gérard Bockenmeyer. Commenrary: Jean Narboni. American correspondent: Axel Madsen. Subtitles: Noel Burch. Filmed: August 31, 1965.
Includes 30 minutes of interview.
1968 My Name Is John Ford. I make Westerns. (BBC). 30 minutes. Aired August. Director: Jonathan Phillips. Producers: Richard Drewett, Michael Goldsmith. Sound: Dave Skilton. Editor: Michael Goldsmith. Interviewer: Philip Jenkinson (in June 1958).
The entire 65-minute interview has circulated privately.
1973 American Film Institute First Annual Life Achievement Award (CBS). Producer: George Stevens, Jr. Taped March 31, broadcast April 2. President Richard Nixon presented Ford with the Civilian Medal of Honor and promoted him to admiral. John Wayne, Maureen O’Hara, Danny Kaye, Jack Lemmon, and others.
Films about Ford
1971 Directed by John Ford (California Arts Commission-AFI). Color. Director-writer-interviewer: Peter Bogdanovich. Producers: George Stevens, Jr., James R. Silke. Interview photography: Laszlo Kovacs, Gregory Sandor, Brick Marquard, Eric Sherman. Editor: Richard Patterson. Assistant: Mae Woods. Associate producer: David Shepard. Narrator: Orson Welles. 99 minutes. First shown: Thirty-second Venice Film Festival, September 15, Ford present to receive festival award. With Ford, John Wayne, Henry Fonda, James Stewart.
Interviews with actors and brief glimpses of Ford; most of the picture consumes excerpts from twenty-seven Ford films.
1971 The American West of John Ford (Group One-Timex-CBX). Director: Denis Sanders. Executive producer: Bob Banner. Producers: Tom Egan, Britt Lomond, Dan Ford. Writer: David H. Vowell. Photographer: Bob Collins. Editor: Keith OIson. Broadcast December 5. With Ford, John Wayne, James Stewart, Henry Fonda.
According to Bogdanovich, this documentary includes clips from Ford westerns, interviews with Stewart and Fonda at Ford’s home, with Wayne in Monument Valley directing a stunt, and material with Fonda overlooking the old Fox lot in Century City.
1974 John Ford: Memorial Day 1970. Director-writer-editor: Mark Haggard. Producers: Haggard, Paul Magwood, Lowell Peterson. Photographer: Douglas Knapp. Narrator: Linda Strawn. 12 minutes. First shown: April. With John Ford, Walter Pidgeon, Anna Lee, Harry Carey, Jr., Olive Carey, Dan Borzage, Dick Amador, Meta Sterne, George Bagnall, Ray Kellogg, Mary Ford, Wingate Smith.
Members of Ford’s field unit at twenty-fourth Annual Memorial Day Service at the Motion Picture Country Home in Woodland Hills, California.
1989 John Ford’s America. Producer-director-writer: Marino Amoruso. Reminiscenes by Harry Carey, Jr., James Stewart, John Wayne, Henry Fonda. Clips from Ford’s home movies.
1990 John Ford (BBC Omnibus 25-Arts and Entertainment Network). Producer-Director: Andrew Eaton. Writer: Lindsay Anderson. Interviews with John Wayne, Maureen O’Hara, James Stewart, Harry Carey, Jr., Ben Johnson, Roddy McDowall, Charles Fitzsimmons, Lefty Hough, Winston Miller, Andrew McLaglen, Robert Parrish. 100 minutes.
The American telecast, as part of A&E’s “Biography” series, was substantially shortened.
1992 John Ford (Japanese tv NHK’s Family Productions’ “Creative People” series). Producer: Hiroshi Tanami. Consultant: Dan Ford. 45 minutes.
1992 The Making of The Quiet Man. Issued as part of Republic laser discs of The Quiet Man. Written and hosted: Leonard Maltin.
1994 Young Indiana Jones & the Hollywood Follies. (The Family Channel). Telecast: October 14, 1994. 100 minutes (?0. Director: Michael Schultz. Producers: George Lucas, Rick McCallum. Writers: Jonathan Hale, Matthew Jacobs. Photographer: Ross Berryman. Production designer: Ricky Eyres. Costumes: Peggy Farrell Editor: Paul Martin Smith. Music: Laurence Rosenthal. With Sean Patrick (Indiana Jones), Stephen Caffrey (John Ford), Dana Gladstone (Erich von Stroheim), Bill Cusack (Irving Thalberg), Allison Smith.
Fictionalized episode, set around 1919, in which Indiana Jones goes on location to make a silent western with young Jack Ford.
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