John Ford Made Westerns: Filming the Legend in the Sound Era by Gaylyn & Matthew Bernstein (editors) Studlar, Illus. with
By Gaylyn & Matthew Bernstein (editors) Studlar, Illus. with photos
Clean views on essentially the most influential motion pictures of John Ford.The Western is arguably the preferred and enduring shape in cinematic heritage, and the said grasp of that style used to be John Ford. His Westerns, together with The Searchers, Stagecoach, and the fellow Who Shot Liberty Valance, have had a big impact on modern U.S. motion pictures, from famous person Wars to Taxi Driver.In John Ford Made Westerns, 9 significant essays through favorite students of Hollywood movie situate the sound-era Westerns of John Ford inside modern serious contexts and regard them from clean views. those variety from reading Ford's relation to different artwork kinds (most particularly literature, portray, and tune) to exploring the improvement of the director's acceptance as a director of Westerns. whereas giving realization to movie kind and constitution, the amount additionally treats the ways that those much-loved motion pictures interact with notions of masculinity and gender roles, capitalism and group, in addition to racial, sexual, and nationwide identity.Contributors contain Charles Ramirez Berg, Matthew Bernstein, Edward Buscombe, Joan Dagle, Barry Keith supply, Kathryn Kalinak, Peter Lehman, Charles J. Maland, Gaylyn Studlar, and Robin Wood.ContentsPart IIntroduction, Gaylyn Studlar & Matthew Bernstein "'Shall We assemble on the River?': The overdue movies of John Ford," Robin wooden "Sacred tasks, Poetic Passions: John Ford and factor of Femininity within the Western," Gaylyn Studlar"The Margin as heart: The Multicultural Dynamics of John Ford's Westerns," Charles Ramirez Berg "Linear styles and Ethnic Encounters within the Ford Western," Joan Dagle "How the West Wasn't gained: the Repression of Capitalism in John Ford's Westerns," Peter Lehman "Painting the Legend: Frederic Remington and the Western," Edward Buscombe "'The Sound of Many Voices': tune in John Ford's Westerns," Kathryn Kalinak "John Ford and James Fenimore Cooper: Rode Together," Barry Keith supply "From Aesthete to Pappy: The Evolution of John Ford's Public Reputation," Charles J. MalandPart II -- DossierEmanuel Eisenberg, "John Ford: combating Irish," New Theater, April 1936Frank S. Nugent, "Hollywood's favourite Rebel," Saturday night publish, July 23, 1949John Ford, "John Wayne -- My Pal," Hollywood, no. 237 (March 17, 1951), translated from the Italian through Gloria MontiBill Libby, "The outdated Wrangler Rides Again," Cosmopolitan, March 1964"About John Ford," motion 8.8 (Nov.-Dec. 1973)
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3 (Fall 1971), pp. 8–23. Reprinted by permission. 24 | ROBIN WOOD toward stylization. The sense of community is certainly there in Liberty Valance—in the restaurant, the schoolroom scene, the political meeting—but it is sketched rather than lovingly created. It is not that there is an absence of detail; what is lacking in the later film and present in the earlier is something much less tangible, something perhaps only describable in loose terms such as “aura” but palpably there in Clementine. One sees this, I think, if one asks where in Liberty Valance there is an equivalent of the Sunday-morning sequence where Earp and Clementine join and dignify the dance on the newly dedicated floor of the unbuilt church.
Deborah’s ineffectuality is the more disappointing in that there are signs near the beginning of the film that she was partly meant to embody values that would effectively challenge those invested in the cavalry, and especially the Fordian nostalgia: she tells Widmark in the schoolhouse scene that he thinks only about the past, but she thinks of the future. Nothing in the film really fulfills the promise of radical questioning implicit in that moment. Centrally revealing in the film is the incident involving Sergeant Wichowsky (Mike Mazurki) and his decision not to reenlist.
Hawks is scarcely more successful than Ford in creating a convincing Indian life on the screen, but the implicit attitude is radically different from Ford’s. When Ford’s heroes move out into the wilderness, they carry the frontier with them, extending it, establishing civilization. ). Most striking of all, perhaps, is the famous scene of the finger amputation, one of Hawks’s favorite examples of his fondness for using violence or pain as material for robust humor. Jim (Kirk Douglas) knows the Indian superstition that you can’t enter heaven if you don’t die physically complete; and so, riotously drunk on whisky, he crawls in the dust around the campfire with his friends, searching for the severed finger which has been casually tossed aside.