Young Mr. Lincoln (1939)

Hailing from a year laden with numerous American classics, Young Mr. Lincoln is undoubtedly overlooked in deference to other titles like Gone with the Wind and The Wizard of Oz. Even John Ford's own Stagecoach starring John Wayne overshadowed this autobiographical work headed by Henry Fonda. Then the next year they came out with The Grapes of Wrath and that title garnered praise for both. But again it seems like most have forgotten about Young Mr. Lincoln.

It really is a shame, because this feels like a quintessential Ford film and Henry Fonda gives an iconic turn as one of the great historical giants of all time. Except instead of focusing on his major accomplishments, trials, or fatal death, this story contents itself with a simpler story. The focus is the fledgling law career of Abraham Lincoln, who back in 1857 is only a lanky country boy with a hankering for learning. He sees tragedy at a young age when people pass away around him and yet out of those formative years rises a man who is wise beyond his years, because he understands his fellow man and cares deeply about justice.

Lincoln is hardly a lawyer of any repute and he seems hardly a political figure compared to the likes of the great Stephen Douglas, but the people respect him because he wins them with his common sense and homespun witticisms. Aside from his ubiquitous top hat, he willingly judges pie eating contests, and play the Jew's harp with feet reclined at his desk.  One of his dear admirers in the young socialite Mary Todd who takes an immense liking to him. He's the kind of figure that the elite and common folk alike can truly respect.

So when two brother's are accused of murdering another man after a fight one night, it is Mr. Lincoln who avoids a lynching and appeals to the morals of the locals. He in turn promises the mother of the boys that he will do his very best to win their freedom and he does all he can to gain her trust.

When the trial begins he carefully picks the jury and faces off against a venerable prosecutor with much greater experience than himself. The mother of the accused saw the squabble, but she cannot bear to implicate her sons. Lincoln pleads on her behalf.  It also looks like the key witness and friend of the deceased man will put a seal on the case, but young Mr. Lincoln is not done yet.

Thus, the film ends and Lincoln is most certainly on the rise, but we get to imagine his future knowingly on our own because none of that length of the story is told. In that way it's rather interesting to juxtapose Ford's film with Spielberg's more recent biography Lincoln, starring Daniel Day-Lewis. They represent different generations of film making, because the latter film takes a monumental moment in history, the passing of the 13th amendment, and places a magnifying glass to it. Focusing on all the individuals involved and it is certainly going for an amount of period realism, starting with the impressive performance by Day-Lewis as our 16th president.

Young Mr. Lincoln is a lot simpler, because it does not need to focus on the highlights. It takes as great of an interest in Abe's origin story so to speak. On his part Henry Fonda, plays the role wonderfully using his mannerisms and plain speaking delivery to give a homey quality to Lincoln. He's believable, but in a different way than Day-Lewis. It's not better or worse necessarily, just different. That being said, Young Mr. Lincoln deserves a place among the exulted classics of that legendary year of 1939. Hopefully it will continue to receive the respect that it deserves, because it a moving and surprisingly very funny film. Probably in the way Abraham Lincoln was.

4.5/5 Stars

They Were Expendable (1945)

There's nothing very intriguing about a film entitled They Were Expendable. In essence we already know what the conclusion of the film is, however it is important to understand when this John Ford World War II docudrama was coming out. In 1945 the Nazis and Japanese had finally been quelled and the Allies could look back at the sacrifices that had been made.

One such example was in the Philippines after Pearl Harbor. Despite, being undermanned and without much support, the brave men in the navy wreaked havoc against the enemy trying to hold onto their strongholds as long as possible before being forced to evacuate. It is far from a glamorous moment in the war, because the war seemed to favor Japan and our forces were made to flee. However, in those moments of distress and tragedy, bravery seemed to flourish and our resolve only greatened. General Douglas MacArthur summed up the sentiments of every man when he promised, "I shall return."

That being John Ford's They Were Expendable is not always easy to follow, it can feel slow and deliberate, however it exudes a gritty realism that is hard not to appreciate. It certainly is patriotic, but it does not often over sentimentalize war with high drama. We see it for what it often is. It means smoke, explosions, ship wrecks, death. It means breaking apart friends, crews, and men and women who care about each other.

Part of that realism is probably helped by Ford's work filming a documentary of the Battle of Midway and lead Robert Montgomery who plays Lt. Brickley also fought on a P.T. boat during the war. Although he was not ever in the military, John Wayne always has a knack for reflecting American ideals of grit and determination. That's why he was made for westerns as well as war films. This time around playing the fiery but loyal Lt. Rusty Ryna. Donna Reed on her part has a rather small role, and yet it is an integral part, because she represents the brave nurses who support the military. She is the lifter of morale, the girl next door, all these ideals that fit this pretty young lady from Iowa. It's hard to know if she's just playing herself or not.

At times it's hard to follow the film, because it often seems to jump or skip events. Maybe it happens in an attempt to cover more story or maybe Ford did not want to hold his viewer's hand, I'm not sure. I do know that I am far less of an informed viewer about this time period or this moment in World War II history. It often seems like most of the limelight is given to mainland Europe and not the Pacific.

However, as much as I was drawing connections and finding similarities, this film is far from McHale's Navy. The story is far more somber, more real and at times depressing to watch. It's the kind of film that could only be made after we had won. It affirms our American resolve and honors those who paid the ultimate sacrifice. That and the film's beautiful low lighting make it worth watching. The cinematography makes numerous scenes far more interesting by layering characters in darkness and accentuating the shadows in a hospital corridor for instance. Rather than making everything feel stylized, it only helps to augment the realism that makes They Were Expendable a worthy testament to WWII.

3.5/5 Stars

The Best Films of John Ford

1. The Searchers
2. Stagecoach
3. The Grapes of Wrath
4. The Quiet Man
5. The Man Who Shot Liberty Valance
6. How Green was My Valley
7. My Darling Clementine
8. Young Mr. Lincoln
9. The Long Voyage Home
10. The Informer
11. Fort Apache
12. She Wore a Yellow Ribbon
13. They Were Expendable
14. Wagon Master
15. Mister Roberts
16. 3 Bad Men
17. The Whole Town's Talking
18. Sergeant Rutledge
19. Rio Grande
20. 3 Godfathers
21. The Horse Soldiers
22. Steamboat 'Round the Bend
23. The Long Gray Line
24. How The West Was Won

She Wore a Yellow Ribbon (1948)

"Never apologize. It's a sign of weakness."

She Wore a Yellow Ribbon can probably be considered lighter fare than the Searchers or Liberty Valance, but it is still worth a watch for Ford or Wayne fans.The 2nd installment of John Ford's cavalry trilogy, this film was shot in Monument Valley in color and features a 41 year old John Wayne playing a 60 year old captain on the verge of retirement. However, before he is done he must diffuse the aggression of the Native Americans due to the aftermath of the Little Big Horn. At base and on the the trail he must deal with two young bucks (James Agar and Harry Carey Jr.) and the stuck up girl (Joanne Dru) they are fighting over. However, he also has some very capable men in his company, two of which are played by Victor McClaigen and Ben Johnson. With his retirement imminent he salvages his last mission before riding off as a civilian towards California. Except they are not quite done with him yet.

Here Wayne takes on a more fatherly role and does a good job dispelling his knowledge and know how as the experienced Nathan Cuttings Brittles. As usual John Ford does not disappoint and there is some brilliant scenery whether it is Monument Valley in the rain or the shine. Next are Fort Apache (1948) and then Rio Grande (1950)!

4/5 Stars

The Man Who Shot Liberty Valance (1962) - Updated

Nothing's too good for the Man Who Shot Liberty Valance!!! But who is he exactly? How did it happen? Where is he now?

The Man Who Shot Liberty Valance is perhaps one of the moodiest and most atmospheric westerns of all time. In a sense it is almost like a Noir Western with its often stark cinematography (especially during the climatic moments) and it is told through a long flashback that encapsulates nearly the entire narrative. Both qualities are typical film-noir.

John Ford had numerous classic westerns but this one is possibly one of the darkest in tone. The film has a typically great John Ford cast (like My Darling Clementine or The Searchers). Of course it would not be one of his westerns without John Wayne, then add James Stewart, Vera Miles, and of course Lee Marvin. Then the secondary cast is rounded out by such great character actors as Edmund O'Brien, Andy Devine, Woody Strode, Strother Martin, Lee Van Cleef, John Carradine, and Denver Pyle among others.

This film is also steeped in politics. It becomes more obvious the more you watch that there is this underlining conflict between democracy and a different system of representation. Could this be a critique of Communism also packed into a western? Probably.

One of the moments that really stood out this time around was the flashback within the flashback when Doniphan revealed his point of view to Stoddard. He was in fact the man who shot Liberty Valance. We knew it at heart but finally we have the proof and all of sudden his behavior seems justified and he becomes the tragic hero of the film.

It is an unjust ending and yet it plays out the way it was meant to, maybe not the way it should have. The lawyer got the girl, the fame, and the spot in Congress, because he is a hero for something he did not actually accomplish. Tom instead is the one who fades into the past. It struck me that this is one of the few films I can remember where Wayne actually dies, the other would be the Shootist. Except here he is dead before the story has even began. The legend of John Wayne himself lends nicely to this legendary man in the film who we only know through the recollections of others. As the newsman noted, when the legend becomes fact you print the legend.

4.5/5 Stars

Rio Grande (1950)

The last installment of John Ford's Calvary Trilogy. Not the best of him or Wayne for that matter but it is still a worthwhile film. First there is the tension in the paring between Wayne and Maureen O'Harra as they quarrel about what to do about their young son who is a member of Wayne's unit. There is a supporting cast including the likes of Victor McLaglen, Ben Johnson, Harey Carey Jr., and Calude Jarman Jr.

While watching it I was just thinking how Ford has so many great looking films in both color and black and white. This one uses the latter as well as a Monument Valley backdrop to perfection. It just looks so beautiful in every shot and Maureen O'Hara does not hurt the eyes either for that matter.

Soon after Ford would pair again with a few of his stars to make another little film. Anyone for The Quiet Man?

3.5/5 Stars

The Man Who Shot Liberty Valance (1962)

Starring both John Wayne and Jimmy Stewart, with Lee Marvin, Vera Miles, and direction by John Ford, this is certainly a moody western. Stewart, now a successful politician returns to a small town with his wife to pay his respects to an old friend. In the ensuing flashback he retells his story beginning as a young lawyer who had a run in with Liberty Valance (Marvin). After he got well he strove to bring justice and education to the land. Despite their differences, Stewart finds a friend in Wayne who has his eye on Miles. However, everything eventually goes awry when Stewart agrees to face Valance out in the street. He appears to be a goner because he is wounded, but miraculously a shot hits Valance and he falls dead. Stewart now a hero gets the girl and agrees to represent the town. Wayne fades into the background also a hero. The supporting cast includes Woody Strode, Edmond O'Brien, Andy Devine, and John Carradine. With two great icons and a great director, this western is certainly a classic. Although it did not end up making it into the film, Gene Pitney's western ballad deserves to be acknowledged nonetheless.

4.5/5 Stars

The Quiet Man (1952)

Starring John Wayne and Maureen O'Hara with director John Ford, the film follows an ex-American boxer as he returns to his roots in Ireland. Soon he is befriended by the proper yet kindly folk in the quaint town. Also, a beautiful red-haired girl catches his eye one day. Fireworks start between the American and the proud brother, so he will not condone the courtship or marriage of his sister. Finally, Wayne does gain his wife but she is unhappy without her dowry and she believes her husband is a coward since he will not fight for it. Little does she know the past he tried to escape, but once he gets it off his chest, he does fight. Through the exciting event both men grow fond of each other and the town gets a kick out of the entertainment. O'Hara and the rest of the cast including Barry Fitzgerlad are wonderful as the Irish folk, all playing off the Quiet Man.

5/5 Stars

How Green Was My Valley (1941)

Starring a cast including Roddy McDowell, Walter Pidgeon, Maureen O'Hara, and Donald Crisp, with director John Ford, the film is told from the eyes of a young boy (McDowell) from a Welsh mining family. Huw has five older brothers, an older sister, and two strong but goodhearted parents. As times get tougher, he sees one brother get married and two others leave for America. Huw faces his own struggles recuperating from an injury and surviving his schooling. Along the way he is aided by the kindly preacher (Pidgeon). However, soon he sees his family torn apart even more when his sister is unhappily married off, a brother is killed, and two others lose their jobs. Then, finally when his sister returns, the town folk start a scandal, and Mr. Morgan becomes trapped in the mine. It does end on a good not and the family stays resilient. This film is full of adversity but more importantly it has warmth and good people. The camera work is excellent and the Welsh singing is memorable.

                                                          4.5/5 Stars

The Searchers (1956)

One of John Wayne and John Ford's best westerns respectively, The Searchers follows an ex-Confederate soldier (Wayne) as he looks for his niece Debbie, who was taken by Indians when they killed her parents. Now Wayne and a young man played by Jefferey Hunter must look for her and bring Debbie home. With an almost obsessive desire, Wayne's character Ethan Edwards vows to find her. Along the way the old vet and young man have conflicting personalities that get in the way. Even when they finally find her, she has become more Indian than white and Edwards seems bent on killing her much to Hunter's horror. In the end, the gruff but courageous searcher shows his true colors.

A great western, and simply a wonderful film, The Searchers has a lot to offer with great action, Monument Valley scenery and of course John Wayne . The supporting cast is good as well, including Vera Miles, Natalie Wood, Ward Bond, John Qualen, Hank Worden, and Ken Curtis.

There are some pivotal scenes in this film that I think really get to the core of what it is about and Ford constructs a multitude of scenes which are simply a joy to observe as they unfold. One turning point has to be when the two Searchers look over a few white girls that the cavalry recovered from the Comanche. One of the girls gives off a childish screech which causes Ethan to turn around and Ford's camera closes in on his scowling face half covered by shadow. Here is a proud man who would not surrender during the end of the Civil War. Here is a man full of prejudice and vengeance. Here is a man who shows glimpses of kindness and here is a man who knows pain. It is complicated because he heads out after Debbie seemingly in an act of love. But soon it seems that it has become his vendetta and Ethan has become bent on revenge. It takes his final confrontation with Debbie to reveal the true depth of his character.

Undoubtedly this is one of the preeminent American westerns but I think you could also call it a social commentary on racial prejudice. Furthermore, The Searchers influence ranges from the plight of Luke Skywalker in Star Wars to the music of Buddy Holly (That'll be the Day). I think fittingly enough the film ends with Wayne framed in the doorway, walking off into the distance. After all he is a searcher and you cannot expect a man like that to stay put.

5/5 Stars

My Darling Clementine (1946)

Directed by John Ford and starring a cast including Henry Fonda, Linda Darnell, Victor Mature, Walter Brennan, and Ward Bond, the film retells the story of the gunfight at the O.K. Coral. Wyatt Earp (Fonda) is herding cattle with his brothers near the town of Tombstone. However, his youngest brother is killed and the cattle are stolen. From that point on Earp becomes Marshall and encounters a gruff old man with his sons, a fiery song girl, the complex Doc Holiday, and Doc's former lover Clementine. As Marshall, Earp has his share of conflicts but the town slowly begins to improve under his supervision. However, the Clanton's lash out and thus starts the legendary gunfight at the O.K. Coral. This is a classic western, with a host of good characters, memorable scenery, and Henry Fonda in a solid leading performance as the larger-than-life Earp. Although this may not one of my favorites in the genre, John Ford proved once again that he knew how to make a classic western.

4/5 Stars

The Grapes of Wrath (1940)

I must admit this film directed by John Ford and starring Henry Fonda, surprised me in a positive way. This movie seemed like it could potentially be another Citizen Kane  (a movie so inflated with praised that it becomes a letdown when actually viewed). However, The Grapes of Wrath  in fact has a fairly good story adapted loosely from John Steinbeck's novel. You come out of it feeling the strength of the Joads as well as the inhumanity they face traveling from the Dust Bowl in Oklahoma to California. Still, there is hope that they will endure it all in the end. Fonda gives a solid performance as the plain-speaking, young man Tom Joad. Jane Darwell also gives a very moving performance as his Ma . Some may say this movie has its slow parts but it also has some very good moments that reflect genuine humanity.

4/5 Stars

Stagecoach (1939)

Directed by John Ford and starring a young John Wayne, this classic western opens with various people boarding a stagecoach for various reasons. The passengers include a drunken doctor, a prostitute, a soft-spoken whiskey salesman, a gambling southern gentleman, an impatient banker, and the wife of a cavalry officer. Driving up top is Buck and the Marshall rides with his eyes open for the wanted Ringo Kid (Wayne) and the threat of Apaches. Despite their differences and the imminent danger, these people are forced to push on toward their destination together. They face unexpected challenges including hostile Apaches, but they finally do reach the town of Lordsburg. After the arrival, Ringo must figure out his relationship with Dallas while also facing the foes that are waiting for him. He does what he has to and ultimately his friends show their true colors. This film is a great character study with very good scenery, stunts, and action. As Wayne's first big role, it is easy to see how he became a star after this performance. He was supported nicely by the likes of Claire Trevor, Andy Devine, Thomas Mitchell, and John Carradine. Without them and other like them this classic would lose the character depth that makes it work so well.

5/5 Stars

John Ford: Director of the Month

There have been preeminent directors over the years, but I think John Ford has the distinction of being a legend in his own time and his legacy has continued far after he stopped making films. Ford is the only director to ever win 4 Oscars for best director (The Informer, The Grapes of Wrath, How Green Was my Valley, and The Quiet Man). However, his career is most highly remembered for his collaboration and friendship with John Wayne. He essentially made Wayne a star with Stagecoach (1939). Their work together continued for several more decades, memorably in other westerns such as Fort Apache (1948), 3 Godfathers (1948), She Wore a Yellow Ribbon (1949), Rio Grande (1950), and then of course The Searchers (1956) and The Man Who Shot Liberty Valance (1962). However, Ford also showed a sensitivity in portraying his ancestral homeland in great films such as How Green Was my Valley (1941) and The Quiet Man (1952). Furthermore, Ford had several highly praised films with Henry Fonda including The Grapes of Wrath (1940), My Darling Clementine (1946), and Mister Roberts (1955). I think what makes Ford so brilliant is he had had his trademark genre in westerns and his trademark setting of Monument Valley, but there were many other brilliant aspects to his career. He was definitely a great American filmmaker and yet he was not averse to depicting Ireland as well. I cannot speak for the man specifically but the director John Ford is very impressive.