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JOHN FORD

series edited and designed by Ian Cameron

JOHNFORDPETERBQGDANQVICH

UNIVERSITY OF CALIFORNIA PRESS

University of Caltfm-nia Press For 'l‘uep¢u- 'l'I|at-ll"a!k:Berkeley and La: Angeles

University of Calijbrnia Press. Ltd.Landon, England

" lmtii.‘ .Haga:inu Lin|ih:ti I 967lVcrv rliaplvrs ' Pt-14-r Bngtialunirli I 978 Th’: uaruzr im1i:.\' (Part 5) was rst rasaarrhcd by

Pally Platl. France: Dual transcribed the i"IL'T'tiimc. and tln: manuscript was lypad by MaeWtiud: who has since updated Ihc inmuation anFard's carver u-itlt new malarial from The Amer-ican Film Institute Catalog and from jose/allMcBride.

“.4 Meeting at Mnumncut l'allq\"' originallyappeared in Pieces of Time (Esquin:-.~lrb0rHausa. I 973) and is irtrlmlvd far tln: rst tinn: inthis exparidcd :.'diIitm. Santa of tln: material usedin the Intruductim|—though mnsitlarably ra-u'ritlen—1l.-as publi:/lad in Esquire as “Thexluttmm of julm Ford" (.~l/ml, I964) and waslater re/zrinted in Ilia! rm: in Pieces of Time.Part 4 appears»! originally as “'I'a/as rr Mr.Fara" in New York Magazine (October. I973)..-Ill this malaria! is um] u-illt Ilia kind pcrmissionuf tlu: publixlicrs. My Iltanks ga tn all I/lv.‘ people.rind in jnlm Ford, and his mfa. Mary. and hisdauglilar. Barbara.

‘P.B.

ISBN: 0-520-03498-8Library of Cungrcss Catalog Card Number:77-77522

Printed in tltc Criitud Stale: of xlmcrica

Stills by caurtissy Q/' Miltnn Lilbariski (uf tltaLarrjv I:'dmum1: Baokslto/1. Hallyzmud). julmKnbal. K21-irt Brmcnlmv, The Natimial Filmxi rcltira, Calumbia, A i¢.'!ru< Ga!i11q\'r1-lHa_w.'r,RI\'O Radio. Rcpubliv. 'I'u-uttictlt Cantury-l"a.\".United .-lrlists. Urtizwrsal. Oliz-e Carey. Gum: l"rar1tispim:a: Fun1(::an|rz) zcitlt joint ll"a_\'ne onRinggald, Wanter Bros. tltv island qf Kauai for Donovan's Reef.

CONTENTSINTRODUCTION:A MEETING ATMONUMENT VALLEY 2

1 MY NAME’S JOHN FORD.I MAKE WESTERNS. 6

2 POET AND COMEDIAN 20

3 A JOB OF WORK 36

4 TAPS 109

5 FORD’S CAREERFILMOGRAPHY 113

INTRODUCTION:A MEETINGATMONUMENT VALLEY'lhe moming after I arrived on the (,'I1,.§\~mm' idea. but ]ohn Ford had for years been among.-lulumn location in Monument \'alle_\' (accom- my most cherished directors and l was verypanied by Polly l’latt). the unit publicity man anxious both to meet him and to watch him atmet us for breakfast to ask—it seems he hadn't work. so after much badgering from my end.been notilied—what was my assignment for the editor. Ilarold Hayes. capitulated.) Well.Iisqiltre. “john Ford." I said. said the bedraggled p.r. man. we could watchHe tumed ashen. “Oh. no." from the sidelines for awhile but I wasn't to"Yes." I said. speak to .\lr Ford or even come under his gaze.“Uh. no. no." he said again. and looked around .-\t the moment. agreeing to that seemed the

nervously as though to make sure we hadn't only way to even set foot on the set. so I did.been overheard. I asked what was the matter For two days. \\'ith the unit publicist hoveringand. shakily. he tried to explain that .\lr Ford at my elbow e\'ery moment. I followed the rulesnever granted interviews. hated reporters. he'd set down. .\lr Ford would. on frequentshunned publicity. loathed talking about his occasions. pull out a handkerchief and chewmovies and was simply unapprnachable by on it. which the publicist nervously informedanyone. I got the rather clear impression that me was a sign of his displeasure and irritation.this aging and by now almost haggard fellow I only discovered sometime later that this waswould rather be swallowed up by the earth than nonsense since .\‘lr Ford. if he is not smokingrisk even the thought of mentioning to .\lr Ford or chewing a cigar. is air:-t1_\-.\" chewing on athat I was anywhere within a thousand-mile handkerchief—it is not a signal of anythingradius. except probably that he's trying to cut downI countered by saying that his employer. on smoking.

Warner Bros. had just paid for our trip from On the rst Sunday aftemoon-the only dayNew York to Arizona and that they'd been they didn't shoot—I accidentally came uponfully informed of my assignment when they ]ack Garfein (the director). who was thereissued the tickets. (Actually. it had taken more visiting his then wife. Carroll Baker; they werepressure on Iisquire to agree to the article than going riding. Garfein and I had a mutual friend.Wamers; they weren't terribly interested in the the late Gene Archer. who was with The i\'eu-

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York Time: then, and I used this as an excuse For the next week or so, Mr Ford was moreto introduce myself. When he asked what on than cooperative with me on the set; he was,earth I was doing there, l told him. in his own gruff way, actively friendly. It was“Does ]ack Ford know you're here?" he said. often cold on the location and Polly took to“No, that's my problem,“ and I told him the wearing an lndian blanket wrapped around

situation. her, prompting Ford to name her “Teepee-“Oh, for God's sake,“ he said, “that's ridic- That-Walks." l was sporting a British suede hat

ulous. Hc’d love to see you. l'll tell him you're which he evidently disliked, so one day hehere.” yelled “Wardrobe” and instructed them to give

me a cavalry hat. He then ned it on me himself,About four hours later, a jeep came roaring afilusffng ll]? b"l'"’"°°P¢l"5lYl° "mll ‘ll Pleaxd

down from the hill where Ford and the stars h"“- Thais tfncr“ ‘hm Gmdam" ihmg Y°""'°bunked (the rest of the company stayed below been “"¢3""E-in trailets, one of which we‘d been allotted), and Now, this attentiun he was laviahing nn us

l heard Ray Kellogg, the second-unit direetor, was not making the producer happy, mainly lloudly yelling out what I nally gured out was guess because there had arrived on the locationa rough approximation of my name. l ran over. a writer and a photographer from Life. whom“Ynu Ma¢Danabii¢h_>" Ford quite blithely either ignored or insulted."Yup," He used to refer to the writer as “that guy from“The Old Man‘d like you to join him for Lijli, Death and Forltute.“ Eventually, producer

dinnai-_airuui-id six, O_|(,_>“ Smith (whom l‘d also made the tactical error"()_K_!" of not interviewing) must have decided some-Everyone was already seated when we arrived ‘hing had 1° b¢ dime 5° I “'35 i"l°"‘"°d~ wllh

but whoever was on Mr Ford's right (l was too much trembling and stammering by the pub-usigi-gd to fgmgmbgf) was mgygd so |_ha| I licist, that we would have to leave-tomorrow;could sit there. He nodded a pleasant hello. our trailer. went the excuse. had to be used forpronounced my name correctly and said, arriving members of the company Since I'd“$|;ybian?" told Wamers originally l would need at least

I said yes as casually as possible but I was [W9 Wgcks lo Em ‘he Pic“ righl ami "WY hadinipiassaii Au my lira paapia nan always agreed, l was not a little upset and annoyed toassumed um nan-ii; was Russian oi» Pniisn ni» be thrown out after barely a week. l asked ifCzech of Hungarian; ggmgljmqg [hgy guossad Mr Ford was aware of this request and got anYugnsiav, bu; no nna had gvgf pinnqd ii dnwn evasive answer to the effect that Mr Smith had

precisely on the rst try. At this point, the eo_ sent down the order. Finally l had a reason toproduce, at inc mm, ana Barnard snnih (of talk to the producer. which I did, with smallwhom there will be more shortly). made some elleet l-le smoothly explained the supposedremark to the director having to do with busi- problem of space, at the same time getting inness. Ford scowled at him silently fora moment, §¢\'¢l’3l b°W§ fol’ hi5 "E°"ll’lh\1li°Il§" I0 ll1¢

then tumed to me: “There's a word for what he P\'°d"¢1l°l1-iust said.“ That evening. as he was heading in for dinner,l leaned in. "Yes?" l told Mr Ford we would have to be leaving“Gm~no," Ford said. The word is the Serbian tomorrow and thanked him for his patience.

equivalent for "shit." “Where ya goin‘?" he asked. l explained the

l 4

space problems we'd been informed of and away with relief. Ford called after him. “But,that I didn‘t want to impose on his hospitality listen. if there‘s any trouble, they can just useor make any waves. “Oh, c'mon in and let's my room, you know.“ Smith waved back with aeat.“ he said and we did that. Shortly after we pained grin. Ford's expression tumed nally towere seated. the producer arrived. Ford called a scowl and he leaned over to me. “Stay as longhim over politely. “Listen, Bemie." he said as you want." he said.very reasonably. “you give Bogdanovich here Over the years. since the article was pub<m_y room and I'll double up with someone Iished. my relations with Mr Ford weren'tdown below." always as amitrable or easy; it was impossibleThe producer tumed an odd color. “Oh, no. to be his friend or his admirer and not get some

jack. we can't do that.“ of that waspish Irish tongue or a touch of what“N0. that's all right.“ said Ford. still very Iames Cagney has referred tu as "malice." But

evenly. “you just give ‘em my room if there's he is one of the great men of the movies andnot enough space and I'll double up." among the few really fascinating people I have“Jack. don’! be—I mean, that’s ridiculous— met. That article. this book (which cannibalizes

we—\\'e can—we can work something else out." some of this same material) and the feature-“Oh. can you, Bernie? You think you can length documentary I made about his career

nd some space for them?" taken separately or together do not begin to du“Sure. I can. lack. don‘! worry about it." iustice to who he was or to what he achieved.“Oh. thanks. Bemie.“ The producer started

Still an page 3: Ford and Bngdanovich whileBagrlanvviclt was sltooling Directed by JohnFord.

5

1MY NAME’SJOHN FORD.I MAKEWESTERNS.‘Take everything _vnu't.'e heard,‘ says ]nm¢.t in the leather hatband—and he chewed on aStewart, ‘everything you've ever heard . . . and short, unlit cigar.rnultiply it about a hundred rimes—and you still The prop man came over and handed him awan‘! have a picture of john Ford.‘ cup of coffee, which he sipped, stating silently‘He'll be comin' over that rise any second through the windshield. Borzage played ‘She

now,’ Danny Borzage said, and he looked up Wore A Yellow Ribbon’. William Clothierthe road again. He was a bearded, youthful old (cinematographer) and Frank Beetson (ward-man dressed in the yellow and blue ofa trooper robe) got out of the car and stood next to thein the U.S. Cavalry, i878, and he was playing director's window; they were joined by Wingate‘Greensleeves‘ on his accordion. It was a little Smith (rst assistant director) and Ford’s son,past 8:30 in the moming in Monument Valley, Patrick, who was in charge of the cavalry on thethe sun was warm but the wind was chilling. picture. A muted conference went on at theMost of the huge Cheyenne Autumn company window. Borzage was playing ‘The Wild Colon~were preparing for the rst scenes of the day. ial Boy’ as the group broke up, one by one, tobut a couple stood around listening to the ac- carry out instructions; Beetson opened the carcordion. ‘I always play for 'im when he—' door.‘Here he comes, Danny!’ A white jeep-station Ford got out and stood looking around for a

wagon had just appeared over the rise. Borzage moment, one hand holding the cup, the otherwalked quickly to the side of the road; as the on the backside of his hip. He was thin, almostcar came nearer, he began to play ‘Bringing in frail, but as he started toward the camera histhe Sheaves,’ and he kept playing it as the car movement was iaunty, both arms swinging, hiscame to a slow stop about thirty feet from him body moving slightly from side to side—andand a hush fell over the company. suddenly you knew where John Wayne got hisjohn Ford sat in the front seat, peering out walk.

of the window through thick glasses, his left People moved out of the way as he ap-eye covered with a black patch. He wore an old proached. He had a stern Yankee face, almostbroad-brimmed felt hat pulled low over the leftside of his face—there was a tiny orange feather Still: Mtmtalban in Cheyenne Autumn.6

mean, with a small growth of white stubble on mruer did shout those eight pages.‘his hollowed cheeks; his eyes were pale blue. For the rst shot, Ford placed some of theHe was wearing a faded tan campaign jacket mounted Indians in shadow and some in light;and a pair of loose>tting khakis; there was an Sal Mineo (as a young Cheyenne) was to throworange scarf tied around his neck, and the laces down his rie in anger, leap to his horse and rideof his dark blue sneakers were untied. Borzage o'. Ford stood alone, mbbing his hands to-played ‘We Will Gather at the River‘. Ford gether; the gold signet ring he wore on his leftpassed a Navajo and moved his right hand in a hand had a deep groove across the initialskind of half salute. ‘Yat'hey, shi'kis,' he said, caused by the thousands of kitchen matches heand the man answered, ‘Yat’hey.' had struck on it. There was a lot of noise going‘ll"e were makittg a picture,’ rays cameraman on. ‘Wingate!’ Ford called out. ‘What is this?

joseph LaShelIe, ‘and the head af the studio rent Strike? Mutiny?‘his assistattl dorm to the set to tell Ford he was a Smith spoke through a bullhorn. ‘All right.daybcltittdscltedttle."Oh,".taidFard,1.'er_vpuIite, I.et’s keep it down now. Please!’ Ford was“u-ell, haw many pages evattld you figure rue shaot looking over the Indians. ‘Manymules is nota day?" “Abaut eight, I guess," the guy mid. wearing his blanket in this scene,’ he said to the“ll"'auld you hand me the script,” Ford raid, and script supervisor, ‘he's carrying it in his hand.’the guy handed it to him. He couttted aut eight There was a slight but distinct Maine accent inpages that hadn't beet: xlmt yet, ripped them mu, his speech. ‘All right, has anybody else got aand handed them Ia the guy. “ You can tellyour reason why we can‘t do this? If not, let's go.‘buss u'e’re back on schedule note," he said. And he During a rehearsal of the dialogue, Ford

8

spotted one of the young Navajos in the back-ground grinning into the camera. He calledhim aside, made him bend down over his knee,and spanked him. The company laughed; theyoung man backed off, giggling, and Fordmade a mock gesture as though to sock him.The camera rolled. Mineo ran to his horse-

it shied and his jump missed; angrily he grabbedthe reins and leap! on the horse, whipped it androde away, followed by several warriors. ‘Thatis we/I,’ said Ford. ‘Print it.‘ Mineo rode backand asked if he could try it again. Ford staredat him for a moment. ‘D'ya wanna do it againwith an empty camera, Sol?’ Mineo grinned.‘I thought it was sloppy,‘ he said. ‘You werevery angry,' Ford explained, ‘and you missed.I liked it. Completely in character. l don't trim!it to look perfect-—like a circus.‘ Mineo dis-mounted, and started away. Ford called after

Plmmgmph: Dan!|_\' Btirzugc and acmrditm mtThe Wings of Eagles, with ll"a_\-rte and Band.

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Still: Sal Mitten as Red Shirt in Chcycnnc would oftctt go off to his boat and not come backAuIumn—‘ I dun‘! tvottt it to loo/e perfect '. until after the picture was cut; lie did that on

Young Mr Lincoln—he had tltis marvelloushim. ‘But you can do it again with an empty picture and he was so sure it was right that hajustcamera, Sol.‘ took o. I think he considered all the cutters and‘He knew exactly what he wanted to say,‘ says musicians and sound eects cutters as necessary

director Robert Parrish, who began as a child evils. On one picture-—-it was the last day ofactor for Ford, and later worked as an editor on shooting—he said ta us, “Look, the picture s

several of his lms. ‘He very seldom shot more nished now. I know you're going to try to lousethan one take; he used very little lm, and was it up—yau‘re going to put in too much music, oralways under schedule or under budget. So, by and over-cut it or under-rut it or sontething—but trylarge, the t‘ rt that an editor would get almost had not to spoil this for me because I think it's a goodto go into the picture. After the shooting, he picture." And he went of to his boat.‘

9

Monument Valley lies within the Navajo dies, Pat.‘ I-Ie turned to Johnson and HarryIndian Reservation which straddles the Arizona‘ (Dobe) Carey, Jr. ‘When Dick yells, you twoUtah state line. Its red buttes and mesas were advance to within six feet of him. Get the idea?‘caused by erosion and were named by the The two nodded. ‘Huh?’Indians for their shapes—the Mittens, the Big ‘Yes, sir!’ they said together.Hogan, Three Sisters—though the shadows ‘O.K.’ Ford rubbed his hands together.change their appearance hour by hour. Iohn ‘Come at a fast trot, Dick. It’s fairly early on inFord has shot all, or part, of nine movies there: the story-—the horses are still fresh.’Stagecoach, My Darling Clementine, Fart After the establishing shot, Ford moved inApache, She ll’/are A Yellow Ribbon, Wagon for a closer angle on the four riders. JohnsonMaster, Rio Grande, The Searchers, Sergeant held a red and white guidon; his horse shied.Rutledge, Cheyenne Autumn. In Hollywood they ‘Let ’im be nervous,’ Ford said and pushed thecall it Ford Country; it has become so identi- horse’s rump. ‘Now, Dick, you look up thated with him that other directors feel it would canyon—‘ (he began to improvise the dialogue)be plagiarism to make a picture there. ‘—“Plumtree!“ you say. “Don‘t like the looksThe location today was a stretch of sandy of it. Take a look up that canyon." Ben, you

ground enclosed on two sides by sheer walls of hold o' a second.‘ The script supervisor wasred rock, a narrow canyon at one end. Wingate taking it down as fast as he could. ‘Dick says,Smith called through his bullhorn: ‘Dick Wid- “Jones, you go with him." ‘ Ford paused.mark, Pat Wayne, Dobe Carey, Ben Johnson! ‘ "Jones!" ’ Another pause. ‘ “JONES!” ‘ HeCome to the camera!’ They rode up. pointed to Carey: ‘You say, "Name's Smitli,Ford pointed. ‘When you get out there, sir." ‘ Back to Widmark: ‘ “Oh. Well, go with

Dick,’ he said, ‘you yell out, “Troop. Haaalt!" him!" ’Pat, you wait till the echo dies, then you yell, Ford held his cigar from underneath and“Troop. I-Iaaalt!" ' (The second ‘haaalt' was in jerked his hat down further. ‘When he calls outa lower key than the rst.) He put his cigar back “Jones” the second time, Dobe,‘ he said, ‘youin his mouth. \X/idmark and Wayne tried itonce. ‘O.K. Remember to wait till the echo Still: Alum: lln: Sanjmzn in Cheyenne Autumn.

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look around behind you. You're rl1inkin' who .S'n'II.- Miku Masurlci in lhc Victor rlh-Laglmthe hell's Jonas? Thcn "JONES!" Point ro rnlc, :11‘!/1 ll"I'Jmurk, in Chcycnnc Autumn.yourself. “Nam;-‘s Smilh, sir.“ Ben, lake a lunklike ya hare like hull to ridc up rhcrc—risc up lryin‘ to srcal the scone from old Bun there.‘in your slirrups.‘ Carey nodded again and apologimd.Th: camera rolled and Widmark called for Third rake: ‘Tho name's Smith. Sir-' Then!

Ioncs the third limo. ‘My name's Smirh. sir!‘ was a pause.said.Can:y. ‘Ahcmf said Ford. On lhl.‘ fourth take, rho‘ “.\‘a1m"_r Smuh, sir!" ' Ford inlcrruplcd. lincs wcnr smuurhly, juhnsun dug rho guidon

‘Don‘r uy ro pad your pan.‘ inm rh-: din and rhc two gallopod otf rewardCarey nodded nervously. ‘Yrs, sir.’ The the canyon. ‘That's cl-all!‘ Ford called our.

seC0nd lakc: '1\1_\' name's Smith, sir!‘ ‘I pla_\'|:d nlusiv in my rmun ct'='ry nigh! up‘Your namc’s rm! SmiIh!' Ford ycllcd. ‘Slop I/rare on Iocatiml,‘ Sal/\1im'usr1_\'.r. ‘Usually mm:

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I.-inda jazz or _mtm:thittg——prutt_v laud. One night building, a part of Guulding‘s Lodge, which isFord comes in and ask: ttm ruhy I can‘! play that set on the lowest rim of Rock Door Mesa. Theresttta little quieter. “ll"',.-1!, you rec, sir," I mid, was a little dinner bell attached to the porch“this kind nfmttsit" has ta be ftlaycd at that 1-olttme, and it was never rung until the direttor hadntltcrzt.-isc one cart‘! dvriru mtttp/clt.‘ satisfacttatt taken his place at the head of the third table/mm it." Thu Old Man jttxt Inukrd at me and from the dnnr.mole nut his Imtft:-—and he npcttcd it and luid it He wore a navy blue jacket tonight, khakidown on the tabla. “Can _\'utt play it a little pants and his pajama top, the collar half up,rafter?“ he mid. “l’ut-tir-1-can-plu_\--it-z'cr_\-- with a shapeless sweater uver it. N0 hat—hisu'r_\'-1-cr_\'-soft!" Tltm he pi:/er up the ktttfc and hair was white and whispy. He tuok his bone-rlnscr it. Ht: ttml.\' his /wad, "That's rt-hat I handled jack knife nut and banged it downthought," he _<u_\-r and gum nut." next to him. ‘l'm h:|wngry,' he said.Fnrd and the cast ate dinner in a small adobe Shortly after everyone had arrived and the

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food was being served, Bernard Smith (the co- told him. The co-producer said he would payproducer) mentioned something about the it later.day's shooting. ‘Pat Wayne!‘ Ford called out. ‘The other day,‘ said Miss Baker, ‘Mr Ford‘Sit!‘ was telling me something about The Long‘Where's the bowl?‘ Wayne rose to get a Voyage Harm, and he stopped, paid his fty

little wooden bowl (lled with several dollars cents and then nished the story.‘and quite a bit of loose change) from the piano Gilbert Roland gestured for something attop. the far end nf the table. ‘Wait a minute, Luis,‘‘There's a fty-cent penalty,‘ Carmll Baker Ford said (Roland's real name IS Luis Antonin

explained, ‘for talking shop or about Mt Ford's Alonso), ‘you know you‘re not supposed tomovies at the table.‘‘How much does he owe now?‘ said Ford, St|'lIs.- The lmlianx ambmli Ihe (Ia-t'aIr_v: ‘ /1‘That last one makes two dollars, sir.’ Wayne Ilard-rimeti d|'m;mr ::‘lm rm-er rvlicarxed action‘.

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paint. There's only three things you point at—‘ Stills: Homeless Indians itt Cheyenne Autumn.Ford paused as Victor jory passed a plate toRoland. ‘Let me get the billing right—you may can slipper’), the director remained for a while,point at producers, privies, and French pastry.‘ smoking a cigar he had rst cut in half with his‘Ford rvas always a mp hater by religion, by knife, and talking with the actors. ‘Second-class

belief,‘ Parrish retnetttbers. ‘He had a big streak citizens,‘ he said, ‘that's what we are.’ I-lcof contempt for any kind of attthurity, any kind drummed the palms of his hands on the table.of paternal inttettct: an Itint—alI the producers, ‘In the old days, actors weren't even allowedall the maney—they tt-are the enemy. On The to be buricd in Holy Gr0und.lmean, y’know—Informer, mt the rst day of shtmting, he got the "Take-your-linen-off-the-hedges, the actorsentire cast and crew together in the middle of the are coming to town!" ’

set, and ht: brought ttttt tht: pradttcer. “Nowget a He rose and came up behind his son, whoguad look at this gtty," Ford said and he took hold was still seated at the next table, and started to0/ the man's chin. “This is Clt Reid. Hc is the inspect the top of his head. ‘Who is thisl?’pradttnrr. Lank at hint nose because yntt will not Then, with mock surprise, ‘Oh!’ and he startedsee hint again on this set tttttil the pietttre is for the door.‘l'rn going to call Mother,‘ he said.nished." And that was trtte—ute never saw hint Pat got up and they left together.agaitt—he just disappeared.’ ‘I tell ya,’ says Harry Goulding, wltn used toAfter dinner, which had been spent playing Own Ill! L045? I-" M°"""""" V4111)’: ‘"1 I'll

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‘ -~ ' ‘ \‘ »-" - -' --' _ . .._.mblue. They'd been hit pretty bad by the Depression and down at the bank are small trees and weedsan‘, by Gad, if an lndiarfd walked into our stare and piles of silver driftwood. The water is thean‘ put a dollar an the counter, why Mrs Gould- colour of clay.ing an‘ l’d afainted. ll"ell, Mr Ford came here Playing the Cheyenne, Navajo men andto make Stagecoach, and gave a scar: a jobs to women on horseback and pulling travois werethe Nat-ajos and a lrttla lives teas saved. Then, assembled at the river's edge; among them werejust after hc’d ttislml shaotin' She Wore A several stuntmen dressed and made-up asYellow Ribbon here, tee had a blizzard that left Indians. On the cliff above, and several hun-the Valley cmvred rt-ilh ‘bout tr:-elm‘ feet a snozv. dred yards hack from the edge, was the Cavalry.Army planes dropped fond in. 'l‘ltan/cs to that, Lee and Frank Bradley, Navajo interpretersan’ the trva lmndred rlnnzsand dollars or so he’d who had worked on eleven other Ford lms,left behind, tt'hy,atmtl|t'r tragt'd_\' teas pnwertted. WEN shouting iI‘lSt\’UCli0l'lS I0 lh lndiniAn’ in ‘b3 he heard his friends was gonna have through bullhorns. Wingate Smith was yellingloo little t'eat, an‘ there he rt-as again mal-‘in’ orders.Cheyenne Autumn. He‘: beet: talten inm the Ford collared one of the wranglers. ‘Can

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l\atajn tribe, _\-on Ienort-. 'l'ln:_\' have a special Carroll go in the river with the wagon?‘name for ‘int. the t\'a1't1jtts. t\'atani .\',.-:. That's ‘Well, where I went in-’his name. only his. Natani 1\'e:. It nteans the ‘Don‘t give me the story of your life,‘ FordTall Soldier.‘ threw his cigar away, ‘just answer the question.‘Twenty-ve miles from the Lodge ows the The man said that she could.

Sm Juan River. Red cliffs rise high above it, Ford nodded sharply. ‘Good.’ He pulled a

l5

long \\'hite handkerchief from his back pocket. reached the other side, others were still movingBeetson was there to hand him a hullhorn; he across the gray river, their horses leaping upspoke through it. ‘Okay, Lee. Frank. Start and down. The only sounds were of horsesyour people across.' He chewed on one corner whinnying and of the movement of bodiesof the handkerchief, the bulk of which hung through water. ‘That is tuell! Now get thosedown over his chest. ‘Easy!‘ The interpreters people outa there—dry 'em o'—get ‘em somerelayed the instructions and slowly the Navaios co'ee or something—‘moved into the water. Ford called to Chuck ‘I was very careful,‘ says Stezt-art, ‘I reallyHayward (stuntman), who was halfway across tt-atched my step on The Man Who Shot Libertythe river. ‘All right, hold ‘em there, Chuck! Valance. Besides, lte wasgitiin‘ it to Duke WayneThat's rt-ell!‘ The Navaios were spread out all the time. And tee were in tlte last two weeks ofthrough the water, holding in place. ‘Fill up shooting and hardly a murmur. Then one daythose empty spaces and get those travois up we‘re shooting the funeral scene . . . coin there,there!‘ Then Ford gave some instructions to and Woody Strode was in his old-age makeup,’the Cavalry, at which the camera was pointed. Stewart says, re/erring to the Negro artor who‘Okay, we're rolling,‘ said Ford. has been itt several Ford lms. ‘He had coveralls‘Speed,’ said the camera operator, Eddie on and a hat. Ford came truer to me, he nodded

Garvin. at ll"ondy. “W/hat d'ya think of l\"tn1dy's cos-‘All right. Dirk!‘ The Cavalry rode forward tttnte?" I paused and than I said, “ll"aall, s‘o

at a steady clip. ‘All right. Lee! Frank! Start little Uncle Remus, isn't it?" Nose . . . noootvu-hy‘em moving!‘ The tribe moved slowly through . . . tvlty I . . . I wished I could‘z'e just taken thosethe water below. Widmark raised his arm. teords attd just . . . just . . .‘ Stert-art's hand is‘Troooop. Haaalt!' Pat Wayne echoed him (in under his chin attd teith ltis trembling fingers In:a slightly lower register). The Cavalry stopped gestures putting the rt-ords back until nal!_\' alland Widmark looked downwards at the Indians. his ngers are in his mouth. ‘He just looked atThe camera slowly followed his look; it panned me . . . just looked and I ktterr rvhat rt-as . . . Ifrom the troops across the barren, rocky slopes, knew . . . He says, “And rt-hat's st-rong withdown and around to the Navaios; some had Uncle Retttus?" Isaid, “l\"lt_v, tmtltittg." He says,“I put tltat costume mgether—that‘s just what I

intended!" “Lis!t.'tt, Boss," I said-—"ll"ood\',Dill?!-‘s 81-‘~‘Tylwd_\', e‘n|on over here." An‘ et'er_\'-body comes or-er. “Look at l\'*'oad_\'," he says."Look at his costume," he says. "Looks likeUnrle Remus, doesn't it?" “Yes, Boss, yes,Coach, yes, sir,‘ they said—likt: a lvunch a parrots.“One of the players,“ he goes on. “One of theplayers scents to lta-tv: sottte ol1juet|'mt! Om: of theplayers here doesn't setrttt to like Uncle RetttuslAs a matter of/act, I'm not at all sure he et-enlikes Negroes!" ‘ Stewart shakes his head. ‘ll"a_vnesaid to me later, “Ya thought _va 't't':.'t't: gonnamake it through all right, didn't _vou?" ‘A group of twenty or thirty Cheyenne war-

I6

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riors were to come over a sandy hill. charging Slillr: Cheyenne Autumn; It;/t— Cizrru/I Bakerdown toward the Cavalry and the Camera. Ford xvi!/i Nanombu ‘ Momrbcam ’ Marlon.attended to the stuntmen‘s costumes individu-ally and gave instructions to Hayward, who ‘All right, Chuck!‘ Ford called through the

l was to lead the ambush. Two men from Life bullhorn, and a score of horsemen came gallop-Magazine, a photographer and a writer, were ing over the hill, whooping and ring theirvisiting the set. ries; the Cavalry at the bottom red back. TheAfter half an hour of preparation, Ford sat shots reverberated loudly in the valley as the

next to the camera, crossed his legs and lifted riders swooped down the hill, dust ying, andthe bullhorn. The camera was trained on the thundered by the camera so closely that Ford‘slop of the hill where nothing was visible yet. bullhnrn was knocked from his hand. He did‘Okay. We're rolling,‘ he said. not move. An Indian had fallen o' his horse‘Speed!’ said Garvin. and lay midway down the hill. The camera

l7

panned the Indians o'into the distance. "l'hat’s said loudly. The girl moved away quickly.well!’ ‘Pat!’ Ford called her. She turned. ‘Could ISeveral people ran out to see if the Navajo please have a cup of coffee? Since you're up . . .‘

was hurt, but he was walking gingerly away She laughed and went to get it for him. Hebefore they got to him. Another group clus- turned to Miss Baker. ‘Carroll, you wanna looktered near Ford, and one man, displaying the at my leg?’ Helifted the trouser leg again. ‘Theycrushed bullhom, shook his head. ‘We damn told me l should get somebody to take a looknear went home early today,’ he said. Nearby, at it.‘ He turned to Dolores Del Rio. ‘Dolores,another technician \vas pointing out how close you wanna look at my leg?‘the horse's hooves had come to hitting Ford. Later, Ford was telling the others about the‘lt wouldn't dare,’ said his partner. Navajo medicine man. ‘The original one \\'as aThe director had got up from his chair, and fella named Fat—this fella we have now is

he turned to the company. ‘Tomorrow we'll do just one of his disciples. l used to tell Harryit with lm,’ he announced. ‘That was for Lt]: Goulding and get anything I ordered. Thunder-Magazine!‘ clouds . . . One night l said to Harry, “Tell‘I told Mr. Ford I st-attted tu wear my hair ‘im we need snow. Need the Valley covered

down/or Cheyenne Autumn,‘ says Mix: Baker. with snow.“ Next moming, I stepped outa my‘Like the teonten in Ingmar Bergman’: lms. He room. A thin layer of snow covered the Valley.‘said, “Ingrid Bergman?“ "No," I said. “Ingmar A Navajo with a lined face and hair braidedBergman." “ll"lm’s lie?" I mid, “Bergman, you with red cloth came up. ‘This is the nezv medi-know, the great Su'edi:h director." Ht: let it gn cine man.‘ '\'at'hey‘, he said to the Navajo.and I sate t to change the ttthjerl. But as I was ‘Yat'hey.'leatiirtg, he mid, “Oh, Ingmar Bergrnan—you Ford raised his arm and waved at the sky.mean the fella that called mt: the greater! director ‘Niione.' He nodded his head and the manin the tunrld." ‘ smiled. ‘Ah‘sheh‘eh,' Ford waved again.‘Goddamn that hoss did hit me,‘ Ford said ‘Nijune.' The Navajo nodded, and moved

at lunch, and rolled up one trouser leg; there away. ‘There’s no word for eecy clouds inwas a bruise. He turned to the Lt/e reporter. Navajo, so it's a little diicult. The rst time‘In your story—you say it was broken.’ The he did it, he got ‘em just right.’ He paused.waitress who served the lunches on location ‘But they were in the wrong place!‘asked him if he wanted another cup of coffee. ‘I was I’rc.tidt:nt of the Directors Guild in the‘I'm sick and tired of answering questions!‘ he 50‘:,' my: joseph L. Mattkizwicz, ‘during the

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M£Car!hy Era, and a faction of lhe Guild, would be his faIhn'r’s farewell In the \ll/cstcrn.headed by Di:M|1Iu, lricd I0 ma/cc i! manda!or_\' ‘Hell! Why, he'll he mal<in' Westerns a couple/av c1'er_\' nimilwr m sign £1 Iu_\'aI1_\' aurh. I was in a years after hc‘s dead.’ Pal kicked his hursc andEuropa 2."In:u lhe lhing JIGYHJ, but as XHUYI as lhc_\' it started forward; he look lhc pipe from hisrwli/ied mu, I mi! ward lhul, ax I’n-sidiml, I u-ax mouth. ‘He loves these cowboys and Indians1':ryn||u:h ugairm arlyl/ling like Ilml. ll"uIl, pra!!_\' and this \'allcy.' Hc mdc MT m join the Cavalry.10011, lhssi: /ll!/i: i!cm.\' abnul rm: xlarlcd up[u.'arin_uin Ihc gussip l-nlmmu. “I.m'1 I! a pity ubnul junMnr|k|'c:vir:? ll"c didn'! L'mm' he was a pinlm.“In Ilmsc days, you Lvlozu, an mxmuallmz §L'LL\

almost as gnod as u prnrcn furl. ll"i:ll, ll! ri:uIl_\'go! seria||s—l began In n'uli:u my carver ml: mlIhe block. T/!c_\' culled u Imwing n] lhc cnlrr:Guild, nally, and I /lure burl: fur 1!. Thu cr|!|n~m:n|bi:rs/ii/‘r .<lm:u'd up. I! was harnm'ing—DeMilh"x grnufr made spvccI|ax—fm1r lmurs 11

rum nu. .~lm1 all during (his, I zczzx ::'<md.:ring.and I '\‘!|r.".‘L‘ quili: a /crv nlhcrx mar: :mndrrin;,',what juhn Fwd Ilmuglu. H: :1-as /mid of rhvGrand Old lllim nf Illa Guild and /mvpli: muld I‘:inlimced by him. Bu! In‘ juxl ml I/run: mi lhuaislz m:ar|'r1_i_' h|.\' ba.n:l‘al/ cup and mun/»w:rx, didl|'Imy u z;-nrd. 'l'In:n uflcr Dcillillc had mudu hx~big spcccll, Illun‘ Ira: sf/01:: fur a rm1!!Ir.‘!|! andFnrd miml hi; hand. ll"c had a mm! num-gvnplzcr I/n:rc In lake I! ull dmzn and u:'i:r_\'bmI_\.‘had I0 idunlify I/h.'!I!S:.'['Z cs fur the record. Sn Fordnond up. “.\l_\' nmm".v ]v/In I~'nr.i." he said. “III|i1kall'l‘sn'rn.v." Hu /vmiscd l)c.\I1l1i:‘s picturesand Dnllills AIS 11 d|'n.\-mr. "I dun’! Ihink 11121:‘:an_\'0m' in I/ii: mum," he mid, "iv/In krmrvx nmrcnboul ::'Im! rho <‘|lIl:,'T|L‘dIl /mlvlic u-arm I/muCeril B. DuA|iIl':—zmd In n'r!uiuI_\' Immvs ImzvI0 §|'i'£ i! In llmn.“ Than he /uukvd rig/1! atDeilillllv, u-/in ram across lliv hall /mm /rim. "Bu!/don‘! like you, C. B.," hi: mid. “And I dun‘!like fl‘/I41! _\'nu':v: been silying /run‘ mnighl. X02." Innrre 141‘ gin‘ 70:.’ a Told nf rm|_/idcm;i:—und Ic!'xnllgn lmmc and gal mmc sin‘/L“ .~lnd !ha!'.i i'L‘IIzI!1),‘), 1,1" Sli//s: ll"irm-r in (:l"lL')'l.“I"|C Aulumn—lhuPa! Ford can}: by nn huncback, a p|p¢ in Caz'alr_\- (Id!) and Ricardo Mnnlulban and

his mouth. his ha: pullcd down from and hack. G1‘/5"! R"/""11 (bl-‘lf=') "F /~17!/I-‘ llnnlf 4"”, D"/IThor: had hccn a rumour that Chuymm: Autumn K1")?-

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2 POETANDCOMEDIANAt one point in our interview, Mr Ford was lt is part of Ford's genius that he can alsotalking about a cut sequence from Young Mr convey the man's larger signicance. At theLincoln, and he described Lincoln as a shabby end ul the lilni. Liiiculn walks up 3! hill ailunegure, riding into town on a mule, stopping to in the midst of a thunderstorm—a simplegaze at a theatre poster. ‘This poor ape,‘ he poetic vision ofthe young man's destiny. Whatsaid, ‘wishing he had enough money to see makes it so moving (apart from its beauty) is“Hamlet".’ Reading over the edited version of that we kllllf.‘ what the image means, hut thisthe interview, it was one of the few things Ford person we have come to care about does not.asked me to change; he said he didn't much Lincoln appears briey in The Priwner oflike ‘the idea of calling Mr Lincoln a poor Shark Island (made before the other lm), andape.’ Seeing it in print, one might understand again Ford is able to present the man on twohis reservation—but when he said it, there was levels. The Civil War has just ended and a bandsuch an extraordinary sense of intimacy in his has come to play for the President; what songtone (and as much affection as there was in a would he like to hear? He asks them to playreference to john Wayne as ‘this big oaf'), that ‘Dixie'. (As an example of the inter-relation-somehow it was no longer a director speaking 5l1iPS in Ford's work, we have the scene inof a great President, but a man talking about Young Mr Lincoln, wherein he unknowinglya friend. plays ‘Dixie‘, calling it a ‘catchy’ tune.) Shortly‘Spig' Wead and Johnny Buckley were close afterwards, he is assassinated,and Ford creates

friends in Ford's life, yet his lms about them a memorable image: the haunting shot of’The ll”ings o/Eagle: and Tliev Wu: Exoendable) Lincoln's head slumped to the side seems toare no more personal than his picture of Lin- become a still frame, and a thin curtain, likecoln. In fact, this is the very thing that makes the veil of history, is drawn over it. As AndrewYoung Mr Lincoln such a great movie: Ford's Sarris has said, Ford's work is ‘a double visionrapport with Lincoln brings him to life, makes of an event in all its vital immediacy and alsous understand and admire the man-—not someremote gure in hi.~ztorv whom we are supposed 8"”-'CP¢Y°"“°A“F‘-‘m“—¢“'l S‘h"'z(Edw“"d(0 |-¢v¢r¢_ ' G. Robinson) and his ‘oldfriend'.20

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in its ultimate memory-image on the horizon Slill: Heriry Fnmiu us Young Mr Lincoln.of history.‘ (Film Culture, No. 28, Spring 1963.)Asked which American directors most appeal Sarris again: ‘No American director has ranged

to him, Orson Welles answered, ‘. . . the old so far across the landscape of the Americanmasters. By which I mean John Ford, John past, the worlds of Lincoln, Lee, Twain,Ford and John Ford . . . With Ford at his best, O'Neill, the three great wars, the Western andyou feel that the movie has lived and breathed trans-Atlantic migrations, the horseless Indiansin a real world . . .’ (Playboy, March I967). It of the Mohawk Valley and the Sioux andwould be instructive (in fact schools might do Comanche cavalries of the West, the Irish andwell making it a regular course) to run F0rd’s Spanish incursions, and the delicately balancedlms about the United States in historical politics of polyglot cities and border states.‘chronology—because he has told the American (Film Culture, No. 25, Summer t96z). Whatsaga in human terms and made it come alive. Ford can do better than any lm-maker in the22

world is create an epic canvas and still people before the war (How Green ll’/ax My Valley)it with characters of equal size and importance told of the disintegration of a family and an—no matter how lowly they may be. entire way of life (\vhich, in essence, is also theIt is not the concentration on Americana, theme of Mather Alachree, Fnur Sam, The

however, that gives his work its unity, but the Grape: of Wrath, even Tobacco Rand as he toldsingular poetic vision with which he sees all it), one cannot say that his post-war work waslife. His most frequently recurring theme is a reaction to what he had seen abroad—thoughdefeat, failure: the tragedy of it, but also the it is true that through the late forties, the ftiespeculiar glory inherent in it. It is signicant and sixties his lms became increasingly mel-that the rst lm he made after his experience ancholy. (And better. Too many critics neatlyof World V/ar II (Th:.'_v ll’/ere Expendable)should centre around one of America's worst Still: llw/umilv nf How Green Was My Valley:defeats—the Philippines. Since his last lm Crisp (left), Mt-Dm¢'aIl, Anna Lac.

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categorize his thirties pictures, T/It.’ III/0TIIte‘r always welcome but where he will always b=and Stagecoach, as his best, while any one of a in °\"$ld"—35 the d°°Y §l°WlY ¢l°5°5 °n him-score of later lms is superior, not only in I was fortunate to see a dozen of Ford's earlyexecution but in depth of expression.) F0! lms 092°-193$) ndi Kh°\-‘Z11 "105! °fFart Apache, then, is the story of a last stand, them were assignments, there was in even the

just as She Ware A Yellow Ribbon tells of an 1°35! °f 111°"! $°m¢!hlnB ‘h°l'°"Bhl)' 11557 '°maging soldier's nal mission before an enforced an evocative, eeting image of a city street re-retirement. The heroes of The Lang Gray Line ecled in 3 $h°P Wlndw (in R1./8)’ I/ll COP) 1°and The Wings Df Eagle: never succeeded in SCVCI‘3l Sl\OlS in LighInitl' that have about ll"lCl’l1the ways they had wanted to, The aid Mayor‘; the same sense of futility that was to distinguishcampaign for re-election in The Lag] Hurmh the look of Tubacca Road; from the horse raceends in defeat and death. Even My Darling in Hangman’: House which forecasts (andCletnentine, in which Wyatt Earp has been bettcrs) the one in The Quiet Matt (there is alsotriumphant, ends with the reminder that a man an underground meeting place in the lmhas lost two ofhis three brothers. The Matt ll"ltn idcnllul [0 ‘"19 in The 1'!/°"""), 1° 3 '\°l'l'l=1'"Shut Liberty Valance is as much the story of One in Pilgrimage as beautiful as any he has done:person's sacrice for another as .‘ l\"mm-n is, a mother, having heard of her son’: death inand both are tinged with an aching bittemess. the war, sits at her desk, expressionless, piecing(Sacrice as a variation of Ford's central theme together a photograph of the boy she had oncecan be found in many of his lms, among them, tom in anger. There is the boastful, blustcringThe Outcast: of Poker Flat, Marked Men and Irishman in Seas Betteath—whom McLaglenits remake, Three Gad/athers, The W/allop, was later to personify in a half-dozen lms-Desperate Trails, Hearts of Oak, _t Bad A-lcn, Ind, 11'1"!‘-|8l‘l llwm ll, Ih Ph0l0Bl'Pl‘lY-Men Without Women.) In ]ust Pal: (1920), though Gr-ifth‘s inu-At the end of Hangman’: House (1918), ence is apparent, Ford has already developed

Citizen Hogan (Victor McLaglen), an exiled his own signature (without the sometimesIrish patriot who has risked his life by return— owery Grifth ourishes). The plot may being to Ireland and helping a young couple, lled with devices and melodrama, but here ismust nevertheless leave his country again; he the same naturalness in the playing, the sameis still an outlaw there. The boy he has helped understanding of simple people and attentionthanks him and the girl gives him a kiss; they to detail that was to distinguish his later work;walk o into the night mist, but the camera here is Ford’s Montana town, with its picketlingers on Hogan. He is looking after them, and fences and distant camp res, the back-litfor the rst time in the lm we realize that he clouds of dust, the unerring eye for composi-loves the girl; he loves Ireland too, and must tion, and the same dynamic sense of the movies‘leave them both now—probably forever. The narrative power.lm ends on that shot of McLaglen gazing This last was most apparent in the magni»wistfully into the dark, anticipating the nal cent landrush sequence in _t Bat! Mm 11926),moment of The Searcher.t—made almost thirty a lm unjustly overshadowed by The Ironyears later—in which Ethan (john Wayne), Horse, which he had made two years earlierwho has spent ten years of his life searching fora little girl kidnapped by Indians, walks slowly Still: The Wines of Eask-s—IIw “wry of <1 vimaway from her family's home—whete he is ftlwld-' Y"/"1 “"".\"l¢‘ 4" ‘ SW5’ ' “'1‘"J-24

NAVY SCHNEIDER CUPMWWWTHE WINNERll‘

and which was more successful critically. The I)’lIngr|.l]7/1.‘ Fun! <kr:t-e/|'m; by t'arm:n1) mi Thelatet picture, however, is better in many ways lrun Horse—I|I's_lirr! irmrrialimiul .r|1ct1'xx.and more personal to Ford. Here (in embryoform) are several of his trademarks: the fancy- lms at least partially available), he had alreadydressed sheri, the drunken newspaper editor, directed over thirty-ve features (plus almostthe good bad men (who sacrice themselves a dozen two-reelers). More than most directorsin the end), and, as always, the Fordian images can do in a lifetime (especially today), he hadof riders on the horizon, striking long shots of accomplished in less than eight years. Many ofwagons and men, vivid contrasts of darkness these pictures may have been primitive in storyand light. and characters, but all reports of the time (seeThe great problem in studying Ford is that lmography) indicate they were visually dis-

over half his work cannot be seen. By the time tinctive from the beginning. (His rst feature,he made The Irzm Ham: (the earliest of his Slraighl Shooting, made in I917, turned up at

26

the Montreal Festival two years ago, and Still: Earle Fn.\'t' (centre) in Upstream (I927),impressed those who saw it with its unmistak- one of Fm-d’: many Fox asrignmems.ably Fotdian look.) Although plot synopses arealways deceptive (in favour of a picture some- on the stories) that his Universal period (i9t7-times, but more often against it), a look at the t92t) was more interesting and personal thanearly stories leads one to believe that several his work at Fox during the remainder of thelms would be of considerably more than iust silent era. During those rst ve years withhistorical interest. Hell Bent, Rider: of Ven- Harry Carey, he was able to write his owngeance, The Outcatts 0/ Poker Flat, Marked scripts, and, although almost all the picturesMen, Desperate Trai'!t—these and at least a were westerns, he had considerable freedomdozenothers must be seen before any real evrlu- within the form. At Fox, however, he was

l ,ation can be made of Ford s early work. handed a great many assignments for which heHowever, it is possible to surmise (still oz sed admits having had little or no affection (though,

27

as he also says, he enjoy: making pictures, often (And one should remember that Ford remainsdespite the scenarios). Rarely did he have the not only the most honoured American lm-opportunity to do projects of his own choosing. maker—with six Academy Awards and fourand it is interesting that when he did they were New York Film Critics‘ A\\'ards—but also a

not onlyhis bestlms (which one would expect), director whose work has consistently madebut also his most successful: The Ivan Horse, money for the studios which nanced it.) He»' Bad .\I,.'u, Four Sam. knows, however. that in Hollywood you don'tCertainly the Fox period had more value to win prestige or prizes making westerns. As he

his career than his days at Universal. Quite once tuldarcporter: ‘Every rime I start to makeapart from what it may have done for his work a western, they say, “There goes senile old—broadening his scale, perhaps, and his scope John Ford out West again".' (Cosnmpolimn,—it increased his power in the industry, which March 1964).is not unimportant in an art ruled by box Oice. Clearly, it has plagued him all his life, and

Still»: I~]vrJ'.\' rtzlt-nlttml ¢l1'Il_.\Il‘>\’. Lt-j1— The With the coming tit sound (and his rst lmslnl\\rl'm‘r- .'l[m:t'—~ The l~'ugiti\'e. away from Fox since 1921), Fnrd‘s career

alternated between projects he wanted to doit is signicant that not one ofhis Oscars—a|-id (Salute, Mm llT'i|/min ll"nmuz, Up the Ri-t-er.only one Critics‘ A\\'ard—was for a western. Arrorusniirlt) and assignments (Born Reckless,‘They have kept the industry going,‘ Ford has The Brat, The ll"nrld Mares On). But the keysaid, but he knnws that the industry also looks to his work in the thirties lies in a personaldown on them. Nonetheless, one feels that the struggle (no doubt unconscious) between twoleast of his Harry Carey westerns would have very different kinds of lm, huth of whichmore interest today than such higher budgeted interested him deeply: the dramas, like T/11Fox specials as I\'erirttcI.-y Pride (banal, though Last Palm! or Tim lnfnnrwr, and the lighternot unappealing), Honduran Blind. Thank Ynu. pictures of American life, such as the WillU[)_YlI’t‘dI!I. or 'I'/in l~\1c.' nu I/It‘ Iitn'r.mni I‘/inn". R()g¢r5 trilogy ([933-35), Criticg, gf c(1u|'§g"

29

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were far more impressed with the calculated S!|'lI_v.- ll"i'Il Rngcrx (ubm-u, al lqf!) as Judgeartistry of The Informer than with the artless- l’riest;C/mrlvs l\"ir|ui'ngur in 1/1,: xami: mic‘ :ri!I|ncss of judge Priex! or Stcambuar Round the Rtiwll Sin:/u-on, in The Sun Shim-5 Bright.Bend, but as Ford's career has evolved into the’l'Kl¢5 and '$lXil=5~ ll hi b\‘C°m¢ l""L‘5i"El}' seems to have more uf his heart in it titanclear that the latter lms are closer to his real the exqusite pictoriulism of 'I'h¢ I-'1|g[1|';-p

character, and, essentially, deeper works of art. (1947). In fact, the hold, \'lg0tuu$ strokesThis intriguing duality continued into the of The St-unlit-rs, or the seeming simplicity

forties, during which Ford would make a very of Wagon Alum-r require mute artistryconsciously artistic The Lang Voyage Home one than the direction of The lnfamier—a lm thatyear, andafar less studied (and more emotional) For-d feels today ‘lacks humgur—which is myHaw Green It/as My Valley the next. The stir- forte’.ring imagery of his cavalry trilogy (1948-50) And Welles has said, ‘John Ford is a poet.30

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Acomedian.‘iCaliivrxdutiniumut65.)In Ford's stock company'—and one lm of his cannotbest lms. these two sides of his personality really be looked at as separate from the rest.are mixed: it is, after all, the mingling ofcomedy What Ma Joad says of her life (in The Grape: ofInd pathos in The Sun Shines Bright (an in> Wrath) is true also of Ford's work: ‘. . . it’s allformal remake of the Will Rogers picture, one ow, likeastream, little eddies, little water-judgz Priest) that gives the lm its remarkable falls, but the river it goes right on.’ Ranse andsense of humanity, just as the abrupt switches Hallie Stoddard (James Stewart and Verafrom comedy to tragedy in The Wings 0/ Eagles Miles) retum to Shinbone for the funeral ofgive it such an extraordinary feeling of truth. Tom Doniphon (John Wayne) at the start ofEvery Ford movie is lled with r|:verbera- The Man ll’/ho She! Liberty Valance, and

tions from another—which makes his use of Hallie visits the ruins of Doniphon’s ranch-lhe same players from year to year, decade to house, where she picks a cactus rose, a wilddecade, so much more than iusr building ‘a ower symbolizing Doniphon’s Old West,

31

which is as dead as he is. A haunting musical whether consciously or not—he felt at last thattheme is heard during this scene, and when it ned. And herein lies a personal duality inone realizes it is the same music Ford used after Ford, the artist. He seems to Operate on instinct.the death of Ann Rutledge in Young Mr Lin- (Certainly the making of a lm is second-coln, its meaning in Liberty Valance is height- nature to him—he never plans a sequence outened. For Ann Rutledge was the lost love of on paper, knowing exactly how each shot willLincoln's youth, just as Tom Doniphon is cut with the next, and, at a glance, where hisHallie’s. camera should be.) This is an image of himselfAsk Ford about this, and he‘ll tell you he he likes to encourage. Though he genuinely

just used the tune because it’s among his does not like to be interviewed and becomesfavourites, that's all. But one can't help wonder-ing, if he likes it so much, why he Waited Photograph: Furd diruclirzg Stagecoach, histwenty-three years to use it again, unless— m mmid rt'c.v!cr!|—' really “ B011Ia—de—_m|:/".'

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Still: Hmry Fonda ax Young Mr Lincoln, But the truth, I think, lics elsewhere. Welles‘rrilh Paulilu: Moon: ax Ann Rullcdgc description is profound: ‘A poet. A comedian.’

Both facets of the Ford personality are instinc-bored discussing his lms, he will go out of his tual, but ‘comedian’ implies a certain consciousway to discourage the conception that he is a showmanship and this is very clear in his work.man who consciously tries to create something He is neither unaware of his eects nor are anyof value or that his work has any continuity of them unintentional. But—likc poets andwhatever. If Ford can convince you that he's comedians-—he neither likes to explain a joke‘I hard-nosed director’ who just takes a script nor theorize about a ballad. He simply createsand does it, he is content. them.

33

F0i‘d’$ Wfils iii<¢ hi5 Pfsllliilyi i5 lléd personality is most clearly reected in hiswith ambiguities. ‘When the legend becomes westerns: to follow their mood since 1950, forfact,‘ says a newspaper editor near the end of example, is to see a key progression. HavingLiberty Valance, ‘print the legend.‘ And this in reached the height of optimism in Wagona lm that has just exposed a legend: Stoddard, Matter, that most inspiring story of pioneerfamous as ‘the man who shot Liberty Valance‘, spirit, Ford completed his cavalry trilogy (inhas nally told the truth: it was Doniphon who the 53mg ygaf) with Rig Gmnde, 3 lm thatactually killed the notorious outlaw. ‘Print the mingled feelings of loss (the Civil War-—thelegend.‘ Ford prints the fact. In Fart Apache, burning of the Shenandoah Valley) with theCol Thursday (Henry Fonda) underestimates gloried charges of the Apache wars. His nexthis Indian opponent and arrogantly leads his westem, made six years later, showed themen into a massacre. But, at the end, the news- beginning of a change: an epic story, lled withpapers—with the help of those Army men who comedy and drama, The Searcher: nonethelessWilneiscd I116 5P¢¢!h¢iP—1‘¢ Wliiih lh¢ birth ends on a tragic note as the man of the Westof a legend, creating a noble leader who died goes o' alone. The Horse Soldiers, Sergeantwith his men. Yet Ford has just shown us the Rutledge and Two Rode Together are increas-facts: Thursday was wrong; his men died in ingly bitter in spirit, until with The Man W"Itovain. On the other hand—and here is a further Shot Liberty Valance (his most important lmlevel of meaning—-Ford is saying that the of the sixties), he seems to be making his nalCavalry, in fact the country, lives on despite statement on the western. (The subsequentthe errors of any one leader; and if printing a ‘Wild West‘ interlude in Cheyenne Autumn isfalsehood will help the morale of the Cavalry treated as farce——the Wyatt Earp he gloriedor the nation—then print the legend. in My Darling Clementine has become a wilyBut Ford, never dogmatic, has also shown us joker.) Doniphon, the epitome of the Old West,

the truth—iust as his Catholicism does not dies without his boots on, without his gun, andstop him from making 7 Women, in which receives a pauper's funeral, but the man of thethe heroine is an agnostic who gives up her life New West, the man of books, has ridden to suc-for a group of Christian missionaries, the leader cess on the achievements of the rst, who wasof whom is a far from appealing religious fana- discarded, forgotten. It is perhaps the mostli¢- 3"‘ {hen F°l’d'§ Symlialhihi have always mournful, tragic lm Ford has made. There isbeen with the outsider, the dispossessed. The nothing wrong with the New West—it washomeless Indians of Cheyenne Autumn are not ingvitablg; ygt 35 they ride hack East, Stoddardfar removed from the wandering Oakics of and Hallie look out of their train window at the77" Gm?" 9/ Wm'h- Passing western landscape and Hallie com-Ill his desire H0! 1° hc !YP¢d 'W¢5i¢l'h dil’=<?* ments on how untamed it used to be, and how

tor’ (it is revealing that he waited ten years it has changed, almost into a garden. Buth¢f°l'¢ making his fil Sud Wsls 5148'?" one feels that Ford's love, like Hallie's, re-=0B¢l1)= F0"-i hi5 huh Vfsiiie Khl'°\18h his mains with the wildness of the cactus rose.career, and many of his nest pictures are farremoved from that genre: They Were Expend- Still: The Man Who Shot Liberty Valance—able, The Quiet Man, The Lang Gray Line, The Tutti Doniplton gin‘: Hallie a cactus rose-Wing: of Eagles, The Last Hurrah. Yet he has Stewart, Srmde, Vern Miler, Wayne, Qualen,made more of them than anything else, and his ]eane|te Nolan.34

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3 A JOBOFWORK[The following is an edited version of an inter- panies, my brother went to New York and be-view with Mr Ford tape recorded at his home came stage manager for some company thatin Bel Air, California, over a period of seven was going to do a Broadway show; having adays in the Summer and Fall of 1966.] very retentive memory, he also understudied

four or ve parts. The night of the opening,Did your parent: nieer in Ireland? the fellow who was playing one ofthe importantNo, they lived in the same village and never roles—a comedy part—got drunk or broke hismet there. Of course a village encompasses leg or something—l think the former. So myquite a bit of ground—the post (!mC¢ is rhe brother Frank stepped into the part and madevillage and there might be a few houses and a a hit ofit. But the name on the bill was ‘Ford'—pub—but the hills would be part of the village so from then on that was his name—he couldtoo, and my father lived at one end of this area "WC? 8“ rid 01' ii; l'"~‘i!h¢l' Could I-1 “'35and my mother at the other. They might have always called Ford. A few years later, a fellowseen one another in church, but they met in came t1P m m'~' and Said» ‘rd likk‘ I0 haw 3 iobAmerica. —I'm a pretty good actor.’ I said, ‘You're aMy father came over rst—to get into the 200d IYPE-\\’h3!'§ Y°"l' "3m¥‘?’ H9 535d, 'Fl’3l'\|<

Civil War. He was only fteen but he was a Feeney.' I said, ‘That's very funny—that‘s myhuge man, and he already had four brothers brother's real name.’ He Said, ‘I kl'\0W—I'min the war—one on the Confederate side who the original Francis Ford—the one that gotwas killed, two on the Union side, and one who dru—l mean, broke his leg the night yourwas on both sides—he got m-0 pensions. But brother took the part!’ l thought it was such aby the time my father arrived, the war was over. funny gag, I gave him a good part. He changedl asked him, ‘Which side was you going to his name to something else and worked forght for, Daddo?‘ He said, ‘Oh, it didn't make years. l think he's passed away now.no difference—eilher side.‘ Isittrue1ha|_\‘nupIq\'cd1h:leading mle in 5|."L‘urull\"'h_\' did you and _\-nur brnllrer Fram:i.< lake the In-0-reelers?name Ford? I played the lead in a picturel? With my looks?After having worked around in stock com> Good God! Well, I know I did a lot of stunts-36

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catching the speeding train on horseback, time, they gave him a hig partv on the onlyyumplng a horse off the cliff, that sort of thing. closed stage on the lot. I was a prop boy thenlused to do most of my brother's stunts—we and doubled as a bartender. The party lastedlooked alike and were built alike. Got about most of the night, and I slept under the bar soS15 a week. I could be on time for work in the morning.How did _\'0u_/in! gt’! a cliancc in d|'n:c1? But when I reported, neither the director norWell, I was quite young at the time. I had any of the actors were there—they‘d been upworked as a labourer, prop man, assistant direc- all night. Some of the cowboy extras were theretor. Then, when Carl Laemmle visited the and nobody else. Isadore Bernstein, who wasUniversal Studios from New York for the rst the General Manager then and a very wonder-

ful person, got very upset when he saw thePhomgnzp/1; Fun! (_.veah:J, njglu) Slmnling the situation. ‘The Boss is coming,’ he said- ‘We'veb€lSt.‘1]1lt.‘!|Cv.'/L77‘ Lightnin‘ (I935). got to do something.‘ I said, ‘\\'/hat?’ ‘Any-

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thing,‘ he said. So when Mr Laemmle and his Slill: Hunjv (itmjt-. rt-ilh .\'etu (z't'rh"r (i-mire)party came, I told the cowboys to go down to .m.l .llr.\'. 'I}m'u_\"uml in Three Mounted Menthe end of the street and ride back toward the (I91-v).camera fast, yelling like hell. Laemmle seemed Bernstein. So we burned the street down. Theyto like that, so Mr Bernstein said, ‘Try and do came riding back and forth—it was more like asomething else.‘ ‘Well,' I said, ‘all I can do is pogrom than a Western. Months later, Mrhave ‘em ride back.‘ He says, ‘Well, do that.‘ Laemmle said, ‘Give Jack Ford the iob—heSo I told the cowboys, ‘When I re a shot, I yells good.‘want several of you guys to fall o' your horses.‘ Wcll, they needed somebody to direct aNow there were a lot of pretty girls in Mr cheap picture oi’ no consequence with HarryLaemmle‘s party, so when I red a shot, every Carey, whose contract was running out. I knewdamn cowboy fell off his horse—sho\ving off, Harry very well and admired him; I told himyou see. ‘Can’! you do something else?’ said this idea I had and he said, ‘That's good, let's38

do it. I said, ‘Well, we haven't a typewriter,‘Ind he said, ‘Oh, hell, we don't need that, wecan make it up as we go along.‘ So we went outand made it, and it turned out to be their bestpicture that year.We kept on making pictures even after

Harry's contract ran out, until nally he andhis wife, Ollie, went hack to New York for a

visit. It seems everyone in the company oicewas very friendly and pretty soon Ollie foundout that Harry was the leading star of Univer-sal! And his contract had run out. Well, he'd 1 "been getting S75 a week—now he signed up ‘Jagain at $1,250. I‘d been getting S50 a weekas an assistant director, but when I starteddirecting it went down to $35—don’t ask mewhy; when Harry signed his new contract, Istarted getting S75 a week—which was bigdough in those days.What! were the early 'zi.'es!enis teilli Can'_\' like?They weren‘t shoot-‘em-ups, they were char-acter stories. Carey was a great actor, and wedidn’t dress him up like the cowboys you seeon 'I'V—all dulled up. There were numerousWestern stars around that time—Mix and Hartand Buck ]ones—and they had several actorsIt Universal whom they were grooming to beWestern leading men; now we knew we weregoing to be through anyway in a couple ofweeks, and so we decided to kid them a littlebh_no, kid ‘he WeS,em__bu, the leading men Still: Harry Carey as ‘ Imriest gumbler ' john_md make Carey son of a bum’ a Saddle Oakliiirsi in The Outcasts of Poker Flat (I919).tramp, instead ofa great bold gun-ghting hero.Allthis was fty percent Carey and fty percent hat?’ He’d say, ‘Oh, hell, there are millions ofme. He always wore a dirty blue shirt and an ‘em around here—l can always borrow one.‘old vest, patched overalls, very seldom carried He became one of the big stars.1 gun—and he didn't own a hat. On each lf we had a gunght, we'd talk it over withpicture, the cowboys would line up and he'd someone who'd been an old lawman—likego down the line and nally pick one of their Pardner ]ones—and he'd tell us how it wouldhats and wear that; it would please the owner have happened. In those days we didn't havebecause it meant he worked all through that any tricks—if you had to have a glass shutout ofpicture. I used to say to Harry, ‘Why don't you somebody‘s hand, Pardner would actuallygo downtown, spend some dough and buy a shoot itout—witharie.(lt‘s hanging up down-

39

stairs—he left it to me.) Pardner was the one 011! t0 the lntratin; We'd Show ll" ii 8°! difkwho rode the wild horse in front of Queen and then we'd camp out in sleeping bass WeVictoria when the Buffalo Bill Show went to W5‘ 5l3Y¢d me" ml “mid nished 31° PlclufeLondon; this wasahorse that couldn't be ridden and then we rode back. We used to run ourand Pardner rode it. He was also the lawman 11151138 in ll“? n¢B3tiV¢ in lhie d3Y5» 5° Y0"who killed the Apache Kid. He used to tell us Couldn't tell a damn thing about them.that none of those fellows—Wild Bill Hickok, Who were your early inuences?Wyatt Earp—had been great shots with a pistol. Well, my brother Frank. He was a great‘I'm not a great shot with a pistol,‘ Pardner ¢tn¢l’m3—th¢\‘¢'5 t10Khin8 !h¢Y'\’¢ d0it'l8said, ‘I never knew one. The idea was to over- l°d3Y—3" “"55 ‘M1185 mi" 3" 5"PP°5¢d 1° beawe the man, get as close as you could. If you 50 n¢W—th8I hc l'ldn'l dnne; h W35 Willy 3had a real ght on your hands, you used a rie.‘ 8004 iftiili 3 W°nd¢tT\1| mlliii-‘In, I ht!" Of 8Pardner used to say, ‘If a man reached to draw 80°‘! 3¢K°l’i 3 200d di\"¢°(°l’—]°hnY °f alla gun from his holster, he'd be dead beffe he trades—and master of all; he iust couldn’t con-got it out.’ Just for an experiment, we put up a eentrate on one thing too long. But he was thetarget at twenty<ve paces, and we all gm-[ed only inuence I ever had, working in pictures. Ishooting at it with Colt ‘45s. None of us hit it. ¢=l'!alnlY had "9 desk" *0 8° mm Pl¢“"'¢5 °'(We all used to pull the trigger umil Qne qf the have anything to do with them. Still haven’t.lawmen walked through and told us to squeeze H0!" did if /"PP?" F/I9"?it.) Pardner couldn't hit the ceiling with a pistol, Hungry-but then he‘d take a rie and put a dime up there D0 you feel you were inuenced by Grtith in thetwenty—ve yards away and hit it. So we tried to early lm:-’do it the real way it had been in the West: none Oh, D- W, Gtiith inuenced all of us. If itof this so-called quick-draw stuff, nobody wore weren't for Grifth, we'd probably still be in theashy clothes and we didrrr have dame hall infantile phase of motion pictures. He started itscenes with the girls in short dresses. As Pardner all—he invented the Cl0SC-Up and a lot of thingssaid, ‘ln Tombstone, we never saw anything "°b°dY had 31°‘-‘Eh! °f d°l"8 b¢f°l'°- Grimmlike that.‘ was the one who made it an art—if you can callDid you also deglanmrize Tom Mix and Hoot it an at‘!—but at least he made it somethingGibsatt rt-Itsrt you rt-or/eed zttith them later? W0l’lhWl1i|€-Well, Tom had an imagc—he was the well» Didyvu know Itim it-ell?dressed co\\'boy—and that's all he could do. I I knew l1lm—"°l lmlm3!°lY- I W35 3 Emil ad-toncd him down a little bit. But we did the mirer of his and just a kid at the time, but hesame thing with Hoot as we did with Harry. W35 l/"Y friendly Wlih "1"; Y0" know, l1B'd P3!Only Hoot had a hat. n-ie on the shoulder, and once when I got redHutu did you make the lms in those early days? fl'°m Unlvsal as 3 5¢¢°"d 3555""! Pl'°P "13",Well, with Carey, he and I usually wrote our I rode with the Klansm-:n in The Birth of Aown scripts, We nally got a writer who'd rake Nation. l was the one with the glasses. I wasit down in shorthand and tap it out for the riding with one hand holding the hood up so lcre\v—s0 they would have some idea of what we Could see because the damn thing kept slippingwere doing—beeause we certainly didn't know.The two-reelers were made in about ve days, Still: Ford’: original Three Godl'athers—Harr_ysix at the most. We all used to ride our horses Carey, ll”irttfred Westauer in Marked Men.40

ovcrmyglasses. But we were quite friendly,and Valentino; hed been a captain in the Italianas he got older, we became more friendly. Army, but he wanted to be an actor. ValentinoDu yau rmimiber any 0/ your early lms tuilh became famous and got rid of him right away,particular/midrms? so Mario used to work with me a lot, playingWell, it's a long time ago and to me, you make a bits. I'd have him do gamhlers—he was sopicture and that‘s it—-go on to something else, handsome, you know, all dressed up, dealingforgetabout it. But I can remember some funny the cards. On one picture, he was the leader ofthings that happened. Fur example, there was a a posse chasing Carey. We were out on locationfellow named Mario (iaraiceitvlin culled him- and it was a very tough ride, so we got theself Marin (Iarillo-he eztme over here with stuntmen ready to do the shot. Mario came over

i 41

to me and he said, ‘I am l0usy.' I said, ‘No. Plmtograph: The recurring gure 0/ Lim:0In—What‘s the matter?‘ He says, ‘l stink.’ ‘N0, Fnrd direct: judge Bull in The Iron Horse.Mario—-why? What's the matter?’ He points atthe stuntman who \\-as dressed up like him. hill and slid his horse down, rode up the next‘Then who is that man playing my part?‘ I said, hill and slid the horse d0wn—it was Mario. He‘Oh, that's your double.‘ ‘Double? he says. left the others far behind. Turned out he was‘Yes, he's going to ride for you.‘ ‘He's gonna the leader of a famous ltalian riding team. Ofride for me?‘ I said, ‘Yes.' ‘Why?' ‘Well.' I said, course, we couldn't use the shot, but we did it‘he's a cowboy, he's used tn this.‘ ‘Ohhh,' he again and let him do his own riding.says, ‘he rides for me—-that's rm.-.‘ l said. ‘Yes.’ No\\'.years later, my family and I were takingWell, anyway, we gut the shot ready and when a trip to Italy, and as we were coming intoI said ‘Action.‘ my God, out dashed mu gam- Gibraltar an announcement was madg thathlers! Well, one ofthem \\'as superb—he hit that lunch would be three quarters of an hour late,42

7because His Excellency, the Italian Ambassador an actor. Barbara was quite put out about theto Spain, the Duke of so-and-so, the Count of whole damn thing. ‘Oh my gosh,’ she said, ‘aso-and-so, Marquis of so-and-so, the Grand duke—! He's one of Daddy's extra men.‘ FromBaili‘ of the Holy Orders and all that sort of then on, the nobility ceased to impress her.thing, was coming on board to travel with us as How did you move from shorts to features?far as Naples. I'd read late and slept till noon, Well,wemadeave-reel picture[Stra|1ght Shant-when my daughter, Barbara, came knocking at ing] and they were very upset about it—wantedthe door. ‘Hurry up,‘ she said, ‘there's a duke to cut it down to two—and Mr Laemmle hap-mming on board.’ I said, ‘Well, let him.’ ‘No, pened to l'\ll'l it. When it was over and they toldtn,’ the says, ‘it's a real duke.’ I said, ‘Well, him it was going to be cut down to two reels, heIhat do you want me to do—stop him?’ ‘Look,’ said, ‘Why?’ Well, they said, it was only sup-e lays, ‘I haven't been to Europe before and posed to be a two-reeler. And Laemmle said, ‘IfI'm trying to see it through their eyes, so either I order a suit of clothes and the fellow gives meyou get out of bed, or I'll tell Mom about you an extra pair of pants free, what am I going toping down to second class and sneaking those do—throw them back in his face?’thinks.’ I said, ‘I‘ll be right out.’ So we went uptn deck, and all the officers were in white uni- BUCKING BROADWAY (t9t7)for-ms with medals, the band was there, and the It was quite novel at the time—instead of ridingvelvet ropes, you know, so that he could make to the rescue through Western scenery—theyhis entrance. Pretty soon, a British Admiral's rode down Broadway at full tilt, weaving in andbarge sailed up—all polished and everything, out. We went to downtown Los Angeles andying the British and Italian ags—and out rode the cowboys down the streets with astepped the handsomest man I've ever seen. camera car ahead of them. And not a horseBoy, he was good looking—jet black hair with slipped.these white wings on the sides, and beautifullydressed in a very elegant dark gray suit, with a THE FIGHTING BROTHERS (t9t9)sort of peculiar looking briefcase attached to his Harry went back East on one of those iunkets,wrist by a silver chain. He came aboard and so I picked up Hoot Gibson and some of thetook the salute—we were in the front row—and cowboys and we did a two-reeler. We only hadas he was walking by, he stopped suddenly, and two days to do it in, so they never dismounted-looked at me. ‘Jack!’ he yelled. ‘How's that the whole thing is on horseback, fast as hell.soonafabeech Harry Carey?’ And I said, ‘Fine, The head of the studio loved it.Mario, I guess—but he's dead.‘ ‘What? HarryCarey dead?‘ ‘Yeah.’ ‘Oh, that's too bad. No- MARKED MEN (1919)body told me. And how about that old sonnafa- Wasn't it called Three Godfather: then?beech Adolphe Meniou?‘ ‘Adolphe's all right.‘ They changed it to Marked Men for release.‘Well, that's good,‘ he says, ‘let's have a drink.’ They would, the bastards. I remember thatSo instead of going through all the protocol, he picture very well. That's sort of my favourite.ducked under the rope, took my arrn—my wife Of the early lms?couldn't say a word about my taking a drink— I think so. I liked the story—that's why I askedand we went down and knocked over three or to remake it years later [in 1948]. When theyfour whiskies. That was Mario Carillo. He IILIL! originally bought it, the head of the studioall these titles, you see, but he'd wanted to be hired a guy to write the script—very pompous

43

fellow,beautifully dressed, white vest, had a lot volved in the chase, so Tom put on his clothes.of ideas—and he started work on a Friday. The We shot at such a distance, you couldn't tell. Itman who ran the studio—r|ot the executive but was very funny—l chased Tom, Tom chasedthe guy who had charge of making the pictures me, I chased myself.—said to us, ‘You're going to start shootingMonday.’ I said, ‘We haven't got the script— THE IRON HORSE (1924)the writer just started.’ He said, ‘The hell with In general, how closely did you work with writersthe script—you're all sitting around on your on the silentlms?asses drawing a salary—Monday, you start.‘ So We never worked very closely with them. Forwe packed up and went out to the desert. We example, Iohn Russell wrote the original Iranhad one copy of the story—handled it like Horse and it was really just a simple little story.radium—and made up the picture as we went We went up to Nevada to do it, and when wealong. I think we worked three and a half weeks, got up there, it was twenty below zero. All theandfaur weeks after we got bark this writer they actors and extras arrived wearing summerhad hired came in with the script. The most clothes; it was great fun—all these boys got upbeautiful thing you've ever seen—bound in in white knickers—we had a hell of a time. Imorocco leather and on the top of it in small wish I had time some day to write the story ofletters it said Three Godfather: and, in big the making of The Iran Horse, because moreletters, the writer's name. Inside. it was beauti- strange things happened. We put the women infully typed: on the right was the scenario— circus cars, and the men had to make their owndialogue. scenes cut up—and on the left were little homes out of the set. (Later, I remember,the directions. ‘Now, Mr Director, I don't we were out in the middle of a desert in Mexicowant this, I don't want that.‘ Beautiful. But it and this little guy named Solly came up towasn't Three Godfathers. Had nothing to do with George Schneiderman, the photographer, ait. The executive producer passed it around the wonderful guy to work with, and he says,studio, saying, ‘This is the way scripts should ‘Where’s the hotel?’ And George says, ‘Hotel?be,‘ and meanwhile the damn picture was al- You're standing on it.') But the point is we hadready shipped. They signed the guy up at to spend more and more money and eventually$1,000 a week and he never wrote anything this simple little story came out as a so-calledagain. We found out later he was an insurance ‘epic’, the biggest picture Fox had ever made.agent, had never written a word——iust put Of course, if they had known what was going tosomething over on them. happen, they never would’ve let us make it.

Was there quite a lot added to the picture afteryouNORTH OF HUDSON BAY (t9z4) nished it?We had a sequence of shooting the rapids up in Not quite a lot. But they had this girl whom theyY°5=l'!‘lil=- C°min8 fmm Mains I KMW B ""14! were paying a lot of money, and Sol Wurtzel [abvul C3l'\0¢§- and fl"? ‘ml!’ mh" El-‘Y WI!" Could Fox executive] said there weren't enough close-\I5¢ OM W35 T0!" Milt, W110 W85 bl‘°"8hl "P ups of her. So they got some other director whonear a river in Pennsylvania and could handle a put her up against a wall, and she simpered. Itcanoe well; but we were the only two $0 I had had nothing to do with the pictui-e—the lightingW PIQY 111° h¢3VY—P\" °" hi5 fl" C03! and 1131- didn’t match, not even the costume matched.and go down the river with Tom chasing me.Thcrc was Supposed w be somebody ¢l§= in- Siill: George 0’Bri'eii (left) in The Iron Horse.44

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They stuck in about twelve of these close-ups, the exterior as he goes out. You've got to exposebut of course it mined the picture for me. just enough so the audience doesn't notice it.Was it therst time that sort of thing happened to Did you rehearse the actor: in the silent days?you? You didn't have time for that—all you couldMmhmm. Wasn't the last though. tell an actor was where to move, and you couldHow did you work with carneramen—S:hneider- talk to him during the scene—which was aman, for instance? great help. I wish we could now. Sometimes aWell, I like to have the shadows black and the woman would like a little music—thought itsunlight white. And I like to put some shadows would help her—so I had Danny Borzage playinto the light. We would talk it over, and I'd say his accordion softly. Everyone did that in those‘Right here, George,’ and he'd say ‘Fine—l’ll days. It sounds fatuous now, but it reallymove a little to the right.’ I'd say, ‘Go ahead.’ helped.We worked together—I never had an argumentwith a photographer. KENTUCKY PRIDE (1925)Even in the early lms, you often liked to shoot We went to Kentucky to do a little story aboutfrom a dark interior to a bright exterior in the horse racing, and we put a lot of comedy into it.same shot. There was one little lly—iust a beautiful thingYes—it’s quite diicult for a cameraman—he —and she had a terric crush on me. She'dhas to split his exposure. Usually what you do leave the herd and run over and play with me-if a person, for example, walks out of a dark take my cap, run away with it and look at me-tent into sunlight, you very gently expose for then she'd corne back and drop it, and when I'd46

7

Stills: 3 Bad Men. Above, smnding—FranIe the screen. He had nothing to do in that pictureCampeau, Tom Sarusclii, O'Brien, ]lJcDonaId. —but he had such a presence—like Barrymore

had, but Walthall was a much better actor.reach down to get the cap, she'd pick it upagain and run away. The fellow who owned her 3 BAD MEN (r926)said, ‘Why don’t you name her—she’s crazy That was the rst picture I ever made inabout you.‘ So I named her Mary Ford, and she ]acks0n Hole. Jack Stone and I wrote the scriptwent out and won her rst three races easy, together, and a lot of it was based on things thatthen broke down—broke a tendon in her leg or had really happened. The villain, played by Lousomething—and they put her to stud. I’m not a Tellegen, was taken from an actual character—horse racing fan, but I know her get has been a man who had been a real dude. There was afamous. I always remember her—she just loved land rush in the picture, and several of theme—very unusual for a horse; l‘d be directing people in the company had been in the actualthe actors or something and she'd come and rush—Duke Lee, quite a few of the boys—stand by my chair. Or we'd be leaving—the they'd been kids and rode with their parents~—sorest ofthe herd would be halfa mile away—and I talked to them about it. For example, theshe'd walk along the fence, following the cars, incident of snatching the baby from under theas far as she could go. wheels of a wagon actually happened. And theHow was Henry B. ll’/allhall m work with? newspapennan who rode along with his press—Oh, great. He was one of the greatest actors of printing the news all through the event—thatall time—a personality that just leaped out from really happened. We did a hell of a land rush;

47

it was on level ground and they whipped the yourself doing another picture. ‘What‘s thehorses up—hundreds of wagons—y0u could name of it?‘ yuu’d say. ‘We don't know,‘ they’dpick them up cheap then—going at full tilt; it say, ‘but be down there at seven o’clock.’ Youwas really fast. We did the whole sequence in didn’t know what the hell you were doing, youtwo days. They cut bits of it into several other never got a week's rest to prepare anything, andpictures—I see it on TV all the time. you never knew who the hell was in it—-they had

the cast all laid out for you—then occasionallyMOTHER MACHREE (t927) you'd slip your own people in—like J. FarrellI had a lot of fun with that, but you didn't McDonald—and they‘d steal the picture. Onechuos»: these things—they were thrown at you morning, I walked on the set at seven o’clock—and you did the best you could with them. Inthose days, you'd go to bed at night, and nextmorning you'd have an early call and you'd nd Still: Preparing for the land rurh—-3 Bad Men.

, ‘1..

48

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a lot of actors there I didn‘t know—and this Slill: Eurlv Fu.\-u /rlays Humlcl in Upstream.fellow had a scene in which he was supposed tokiss the girl. So we started to do it and I said to Well, Four Sons. I read the story by Wylie inthe guy, ‘Ifyuu‘re supposed to kiss her, I mean. some magazine, and had them buy it. Strangelykiss her. Kiss her on the lips. Hold her.‘ And the enough, it became one of the biggest moneyactor said, ‘But Mr Ford—this is supposed tn makers ever made. It still holds the attendancebe my daughter!’ ‘0h!‘ I said. ‘Has anybody got record at the Roxy, which was one of the biggestthe script around here—lemme see the—' After theatres in the world. Of course, other picturesthat I usually tried to read the scripts. have outgrussed it because the admission

prices were much lower in those days—a quar~FOUR SQNS (X925) ter instead of two dollars. I like that pictureDid you chaos: any rvf the .i|lbjL‘ClS far the Fox VCYY much-nlents? john Wayne was the second or third assistant

49

prop man on that lm, and I remember we had posedly we didn't know anything about soundone very dramatic scene in which the mother —and they got a lot of stage directors in fromhad just received notice that one of her sons had New York. It was a comedy situation: theydied, and she had to break down and cry. It was threw these guys on to the set to make soundautumn, the leaves were falling, the woman pictures—we had schedules of three or foursitting on a bench in the foreground—a very weeks in those days—and after eight weeks,beautiful scene. We did it two or three times these fellows had about a half reel of picture,and nally we were getting the perfect take and the slu' was terrible. They had to hire uswhen suddenly in the background comes all back, only now we wouldn't return unlessWayne, sweeping the leaves up. After a m0- we got more money. So they increased ourment, he stopped and looked up with horror. salary, and we all came back and said to theI-Ic saw the camera going, dropped the broom actors, ‘What are you supposed to say? Well,and started running for the gate. We were just my it.’ And it was perfectly all right, therelaughing so damn hard—I said, ‘Go get him, was nothing to learn—in silent pictures webring him back.‘ Fortunately, they nally always had the actors speak the lines they werecaught up with him and he came back so sheep- supposed to say anyway because there were toofaced. I said, ‘All right, it was just an accident.‘ many lip readers in the audience.We were all laughing so much we couldn’t workthe rest of the day. It was so funny—beautiful THE BLACK WATCH (1929)scene and this big uaf comes in sweeping the The back-lighting of the battle scenes in Theleaves up. He still remembers it. Black Watch was very eectitve.

Well, we never had very many people so I triedNAPOLEON‘S BARBER U928) that way to make it look as though I had more.Hon: did you happen to make your first talkie, That was another picture they Changed afterNapo|eon‘s Barber? I'd gone. Wineld Sheehan was in charge ofBecause they told me to. It was just a three- production then, and he said there weren'treeler—a story about Napoleon stopping on his enough love scenes in it. He thought Lumsdenway to Waterloo to get a shave. Of course, he Hare was a great British actor—he wasn't, butwouldn‘t have gone into a barber shop for it— he impressed Sheehan—so he got Hare tobut anyway, he did in this thing. It was the rst direct some love scenes between McLaglen andtime anyone ever went outside with a sound Myrna Loy. And they were really horrible-system. They said it couldn't be done, and I long, talky things, had nothing to do with thesaid, ‘Why the hell can’! it be done?’ They said, story—and completely screwed it up. I wanted‘Well, you can't because—' and they gave me a to vomit when I saw them.lot of Master’s Degree talk, so I said, ‘Well, let'stry it.‘ We had ]osephine‘s coach coming across SALUTE (i929)a bridge and the sound men said, ‘That’ll never The superintendent of Annapolis was from thedo—it's too loud.’ But it was perfect—the same island l’m from in Maine—I’eak‘s Islandsound of the horses and the wheels—perfect. —he and my father were great pals; so we wentHow did you feel about snmtd at the time? back there to shoot and they let us do whateverI didn't feel anything about it—it was just a job we wanted, turned everything over to us. Weof work. Actually, when sound came in we were put up lights and shot the actual Commence-all red. They bought ‘up our contracts—sup— ment Ball; after the Ball, we did our close-ups.50

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The Admirals’ daughters were all in the Still: The I?r|'!|'sI1pr|'.tm|ars in The Black \\-'a|ch.picture—y0u know, ten bucks a day—and wehad a lot of fun. man—\\'c all liked him—and then he'd go backWe brought the entire USC football team to college. Probably that's why l chose him to

back there with us; Ward Bond and Wayne play this part—l knew him so well. And I waswere on it—they were both perfectly natural, so still laughing about him walking into that scenewhen l needed a couple of fellows to speak some raking up the leaves.lines, I picked them out and they ended up withparts. Wayne used to work for me during the MEN WITHOUT WOMEN ([930)summertime—lab0urer, third or fourth prop That was the rst submarine picture ever made

5l

W high—and I said, ‘Let's go ahead and do it—what the hell—it's not going to hurt the sub-marine.‘ I asked the stuntman to dive over-board and he refused: ‘The water's too rough.’So john \\'a_\‘ne. who \\'-as playing a hit. says.‘I'll duuhlc thcm all.‘ And he put on dilliercnlclothes and dove overboard. ]. Farrell McDonaldhad been on the wagon for years hut he'd slippedover to Tijuana and uh. came hack drunltct thana iidtilcfs hitch. and nobody would speak tu him;so I. Farrell came staggering uut on the top deckand looked down, ‘\\'hat'rc you doing?‘ he .~a_\‘.~.

I said. ‘I'm suppttsttl to he shoutingf He .~a_\'.~.

‘The camera going?" I said. ‘Yc\.' llc said. ‘I don'twant unyunv: doubling me!‘ and he did a beautiful

5'5”-' Mm Wilhm-ll W/°m¢" "‘"PPld 5" 4 dive—f0rry i'eet—hit the water, swam out there-"‘b"""""- —he must have been sixty years old at the time.actually using a real sub. It was a very eective He came bug soberpicture—for those days; these guys are trappedin a submarine and eventually rescued, but one BORN RECKLESS (I )

. . 930mm has ‘O snylbehm?_°n§h°f [tog méngx It wasn't a good storyiomething about gang-The submarine eaves rom ang an, an we . . .

had a lot of Chinese atmosphere—the longest “HF-Md m the mmldl: of the pmurc’ ‘hey 3°bar in the world and so on. I think it was the 9“ (O W“; S‘; we mi‘ in ' c°:‘e.dy Zaseblau sameFrst picture Dudley Nichgls andhl did IOQCKQCI. mysfnszn thtilrlizlgaze gm!) 3:: £5: )2:From then on, we worke toge er as muc as . .possible and I wmkcd dosely with him could do was to try and get some comedy into ll., .

He had never written a script before, but he wasvery good, and he had the same idea I had about UP Tl-IE RIVER (I930)paucity of dialogue. Sheehan wanted to do a great picture about aThe picture was full of humour despite the prison break, so he had some woman write the

tragedy of it. There was one Blue Jacket we had story and it was just a bunch of iunk. Then hewho'd bought a big Chinese vase—and all went away for a while, and day by day Billthrough the picture he keeps talking about how Collier, who was a great character comedian, andhe's going to bring it back to his Mom. We had I rewrote the script. There was so much oppor-a scene in which the rickshaw went over back- tunity for humour in it that eventually it tumedwards on him—he did a back tumble—-and still out to be a comedy—all about what went onhad a hold of the vase. Even when he goes inside a prison; we had them playing baseballthrough the escape hatch, he's still carrying this against Sing-Sing, and these two fellows brokething, meaning to bring it back to his mother. back in so they'd be in time for the big game.It's been copied a lot since. We did it in two weeks; it was Tracy's andWhile we were shooting the rescue scene, a Bogart’s rst picture—-they were great—iust

terric storm came up—the waves were very went right in, natural. Sheehan refused to go to52

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the preview, but just at that time all the exhibi- SEAS BENEATH (t93t)tors were out here for one of their meetings, and That was a war story about a Q ship—somethey all went to see it, and they fell out of their good stu in it—but at the last moment, thechairs. One guy actually did fall out of his chair head of the studio put a girl who’d never acted—they had to bring him to. A very funny before in as the lead because he thought shepicture—for those days. I kept ducking the spoke a few words of Gern-tan—which shewoman who wrote the original script, but she didn't. We had a scene, I remember, in whichwent to another studio on the success of Up the the German submarine slips up alongsideRiver and got three times her salary per script. another submarine to refuel, and this girl comesThey tried to remake it some years later—well . . . out on to the bridge chewing gum! Right in the

oz camera. So we had to go to all the trouble of0.8 - l -H seas doing it over again. She just couldn’t act. ButPhat raph: Seated ml the mast, ]ae August(I!/I)’ Ford’ Gmrge mm "H g we did the actual refueling at sea. That stu'Beneat

'\42

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was good and so was the battle stu", but the Stills: Abm-v—I\’nnuItl (Inlmun, _7nhn Qua/en,story was bad; it was just a lut of hard work, and Adele l\"a!.nm in Arrowsmith L/‘)3/); n'gl|1—you couldn't do anything \vith that girl. Then the ‘ Gold Star Mn!/:er.\" ' begin their Pilgrimagelater they cut the hell uut of it.Seas Beneath marIt.t the n! appearance II! u about the great things he‘d done as a youngmlltie nflhu! bt1a.\'!/|1/ Irixh character uf_\'tmrx :4-Im man, such as the time he lifted a heavy hnuldetrear later [h.‘I’,\‘m1|:/l|.‘J by l\IcI.ugler|; is he based my up out of the water, or how he swam Galwayrmnemre_\'m4'1-e l\'!|t1:t'n? Bay. Of course, he was a damn liar, but helsuppose the character IS a enmpusite of several would entertain us kids. He was always stup-peuple. My father, for instance. H-: would tell ping runaway horses—in fact it was his great54

7

yen; in was all horses and buggies in those days it. l \vas going to stop it, and then l said, ‘Theand, like a bullghter, he stopped a horse and hell with it, let ‘em go, nobody's gonna getgrabbed it—he was a big, powerful man—and hurt.‘ Pulling hair and slugging one another-yanked this horse to its knees. there was no faking about it. Very funny.

THE BRAT (1931) DR BULL (1933)That was just one of those damn !hIngS they Did you intprovisz a Ia! rvith Will Rogers mt Drhanded you, but we had a ght between these Bull?two \vomen—and it turned into a real one— Well, no writer could write for Will Rogers, sothey hated each othcr’s guts and really went at l’d say to him, ‘This is the script but this is nor

55

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you—the words will be false coming from you. Pliumgrizpli: Ford, ll"ill Rogers an Dr Bull.just learn the sense of it, and say it in your own SriIl:I\’ar/off, /\IcLag/:.'rl. ll". Ford irt,Thc Lostwords.’ Some of the lines he‘d speak from the Patrol.scl?“ lam mos‘ cf Eh" lime‘ h'_=ld make Pp his lot of fun working for Bill. jmigr Priest turnedown’ he d slop mild M pm§’k,p'ck llp the" Fun out very well too, it was very funny; Sn.-amboat;:€vn[h;l1!‘;,;':;o:'|:i[“:L": gglffuglljsd 1:2“: Round the Blend should have been a great picturejust get in front of the camera and get the sense but at that "mg “my ha-d 3 Change of Studio andof the scene in his own inimitable way. Dr Bull 2:2, Tjnilrl C1‘:-wpl:;‘till-:0;;llinl:>ku:i1lh$:was a downbeat story, hut Bill managed to get cm.,m,dy mm ’a lot of humour into it—and it became a hell ofagood picture. It was one of Bill's favourites. We THE LOST PATROL (t93.4)did three pictures together and it was always a It was a character study—you gut ln know tne

57l_

life story of each ofthe men. We shot it at Yuma plane with a big cigar in his mouth and he says,in two weeks. When you're shooting in the ‘Did you see us come in?‘ l said, ‘You son-of-a-desert, ifyou track up the sand, you can't retake bitch, you‘ve cost us halfa day's work.‘ He says,—you'vc got to move to another location. I had ‘Why? I thought I'd give you a kick.’ I said,a shot of the British cavalry coming in to rescue ‘You sure as hell did!"the lone surviyor—we had a lovely location, it When you're Shooting on the desert, youwas about 5:30 in the afternoon and there were start work at 6:30, work until tt:o0 and then gothese long shadows oi‘ the horses lined up—it to the camp. which is nearby. and have lunch-was very beautiful. Suddenly a plane swooped if anybody wants lunch; then you'd get in thedo\vn over them and the horses scattered, made shade and start work again at 2:30, because untila mess ofthe sand. I was furious. There was no then it would be so hot—| to, sometimes tzopoint in trying to get another location and get degrees—a man couldn't stand it. Well, thethe men back in their places, because the light producer got me aside and he said, ‘Look, l‘vewould be gone—it \vas too late. When we got to been guring it out. I know you stop work fromthe aireld, which was close by, it turned out to t 1:00 to 2:30. Eleven, twelve, one, two,‘ he says,have been the producer's plane. This was his ‘multiply that by seyen—how many hours haverst picture; he'd been an exhibitor, and the you got?‘ I said, ‘I'm no good at arithmetic.’ Hehead of the studio was a friend of his so he asked says, ‘Seven times three and one-half-—well.me, ‘Do you mind taking him as a producer?‘ around 2t hours. That's three or four daysand 1 said, ‘No, he's all right, I like him, he‘s work.‘ I said, ‘But you can't work in the heat.‘kind of a nice guy.‘ Now he steps out of the ‘]ack,‘ he said, ‘it‘s great. I've never felt so good

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in my life.’ He just dropped out of the sky, youknow, and he's still smoking a cigar. ‘For once,‘he says, ‘work till twelve and take half an hourfor lunch. Look at all the time you'll save—you'llbe out of here quicker.‘ I said, ‘We're doing allright the way we are. I‘m not going to have a lotof sick people on my hands—sunstroke andeverything else.‘ ‘But this air is great,‘ he says,and he goes out there bare-headed—walkingaround and shaking hands—really the big shot.‘I feel great,‘ he says, ‘getting away, you know.‘About an hour later, I wanted to talk to him:‘Where's Mr. So-and-so?‘ They looked at me.I said, ‘Yes, where is he?‘ They said, ‘Sorry, butthey just took him to the hospital with sun-stroke.‘ l went down to the hospital in Yuma tosee him; God. he was the sickest man I've ever

Stills: The \X-‘hole Town's Talking (I935):Edward G. Rnbinsmi as killer (lefl, reitli ]eanArthur) and as clerk (right, teith the press).

7seen in my life—lying there—pale, with his which I'm not. I can be tough with an executiveeyes back in his head, wanted more doctors, producer and rude to the head ofa studio, andmore nurses. He had to stay there about four ght with them, but never with my people; Idays. think they all love me. I can ght like hell, but

I always lost.THE WORLD MOVES ON (1934)I'd like to forget that. I fought like hell against THE INFORMER (1935)doing it. ‘What does this mean?’ I'd say. ‘Does Ir The Informer one afyour /awurile piclures?it amount to anything?‘ I pleaded and quit and I would say not. I think it lacks humour—whicheverything else, but I was under contract and is my forte. But itwas made under such peculiarnally I had to do it, and I did the best I could, circumstances. Joe Kennedy was the head ofbut I hated the damn thing. It was really a lousy RKO and he wanted me to come over. ‘Can youpieture—it didn't have anything to say—and get something for jack to do,‘ he says. They hadthere was no chance for any comedy. But what a bunch of Westerns and I said, ‘I'm tired ofthe hell, that was called ‘being under contract.‘ them, but I've got a story here written by myYou were getting paid big money and there was cousin, Liam O’Flahetty, called The Iriformer,very little income tax, so you swallowed your and I think it would make a great picture. Andpride and went out there and did it. There were this fellow—I won‘! mention any names, but1 few awfully good things in it-—the battle they're famous ones—comes in ranting to ]oe,scenes—but I argued and fought, and that was ‘Ford's got this bit of iunk here—somethinghow I got the reputation of being a tough guy— about an Irish war that nobody ever heard of.

59

He won't do a Western—' And Joe says, ‘An ‘Well, read it.’ He says, ‘Oh, I never read booksIrish story? That ought to he good, why don't --I just don’! have time to.‘ I said, ‘What doyou let him doit? Will it cost much?‘ I said, ‘No, you mean “don't have time to?" What do youit's u cheap little story.‘ So he said to the other do in the afternoon? Now you just go to a bar,fellows, ‘Well, let him do that and in the mean- sit in the corner, npen the hook and read it.‘ Buttime you can nd a Western fur him.‘ he never did.Justaroundthattime,pruducers were coming Now the studio was pretty sore about the

in, and they handed the story to another famous whole thing and after we'd been working a weekname, who didn't want to have anything to dowith it; they went through four producers, andnally we picked the same guy we had on Tin: Sn'Il.<.- The Informerll</_l5)—l'it'mr 4\lt'Lt1gIt.‘nL011 Ptztml. I said, ‘You‘re the producer of this tbulnts) :1-ilh pm.<!i!tm:.\' in a tielemi seqttericething.’ He said, ‘Gee, what is it about?’ I said, and (right) ::t'tl| ll"u!lavt- Ford.

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Joe Kennedy sold the company and they Slt)p- when they showed it in New Yurk, it gut raveped the picture. Then they considered: ‘Well, reviews. New suddenly all these pruducerswe've got so-and-so much muney in it and it's came back and tried tu get their names put unnot costing much‘ (it cost :1 little uver $200,000 it: ‘Produced by—‘ But by then the prints had—we made it in under three weeks) ‘we've gut been made, and so it went out without theirthese people under contract’; su nally they names on it and they were furious. l was prettydecided, ‘Oh, go ahead.‘ But they wouldn't let sure about the whole thing myself.me work on the lut—they sent me antross the But I enjoyed making it. \X'/e were luuking atstreet to a dusty uld stage, which was great the rushes and l asked the pruducer, ‘Did youbecause l was alone and they didn't bother me. see when Wally Ford was shnt and went out theThey wouldn’t build us any real sets tht:ugh— windutv?‘ He said, ‘Oh, yes.‘ l said, ‘Could youthe city of Dublin was just painted canvas. hear the scratching uf his nails on the window-We went ahead and did the picture, and sill as he went down? He says, ‘Oh, yes—hut

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we can rub thal out of the sound mack.‘ I said.‘Oh, Gud—“\Vc can rub that out uf the soundtrack!" '—hy nuw he “'35 gutting all the lcrms;very dramatic ul-cl uf this guy having hccnshot, scralching along lhc winduwsil] \\'lIl‘l hisngcrnails—\\'u actually did il—and he says‘we can ruh il uff the sound lraCk.'Il"r|.< Ilia Irial scuric ml/I i\lcI.agluu unpmi-isvd.’Yes, thc whole thing wa> uxlumpurancuus,

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

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made right on the set. I said. ‘Victor, interrupt bit, throw him a few lines, intcrnipt him.’ lt—say, “You’re a liar, you're a liar"—you know, went pretty well.interrupt whenever you want to. There are nolines in the script I can give you, but just realize THE ‘:1-OUAGH AND THE STARS (1937)‘hey'vc gm you, and try lo he your way om of After I_d finished the picture, another studioit.’ Preston Foster's a pretty good actor and I had smdr Why mi!“ ‘ P'c'“'°_wh°f= 3 ma“told him, ‘Help Victor all you can, ad lib a little “Pd w°m_‘“ 3" minlcd? The mam ‘hm! 3b°“‘

pictures is love or sex. Here you've got a nunStills: Mary of Scotland. Lef!—1Hary Stuart and womm maffigd 31 (he Sm-1_wh0's gm".EM! Iv her rnartyrdnm. Ccd in that?’ So after I left, he sent In assistant

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"W dim" lhi"B_dL‘5"'°Y¢d um \‘/h°1\‘ 5l°l'Y— l'icInr .\lt'I.a_~_'Ivu. uml (Itjf!) I:nrJlI1'm.'!|'r|_t' Ilmtl.which is about a man and his wife. Of course,when it got to Ireland they refused to show it make him a sergeant or something?‘ I said,unless they showed the original, and the same ‘Great? He loved Shirley [Temple] and Shirleything hapyened in England—they showed my loved him, and pretty soon this grew into a bigversion over there. part. But according to the little bit that was in

the story, he had to be killed. It's bad drama.WEE WILLIE WINKIE (1937) killing o'a loveable character in the middle ofaThere was nothing for McLaglen to do in that picture, but that‘s what the story called for--script, but the studio said, ‘Can you use him— there was no way to carry him on. One day itOb

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was pretty cloudy—it had been raining—but the THE HURRICANE (1937)clouds were so nice, and they had that occasional Did Goldwyn inter/are with you on The Hurri-strcak of light. Ordinarily, we would have cane?knocked o' for the day, but I had a great It‘s a funny thing, Sam Goldwyn never inter-cameraman, Artie Miller, and I said, ‘We've got fered with anybody. As a matter of fact, he veryto do something with the weather, with these seldom visited the set. But when they ran Theclouds.’ I said, ‘We‘ve got everybody here— Hurricane for him, he said, ‘It isn't personalizedlet's bury Victor!’ And Artie said, ‘That's a enough‘—an expression I didn't quite under-swell idea. I'll open up the exposure a bit— stand but when I gured it out, I agreed withwe'll get a good e'ect.' So we put in the funeral. him. Our time and budget had run out, you see,Stillx: The Hurricane rvillt C. /l|tbn:_\' Smith, and I hid ill“ do!" W113! W35 in lh 5Cl'iPI- 5°Mary Astor, Ru_\-nmnd .-‘\la.r.n:_v and (right) afl’ h¢ Said U13!) I We"! bdi and W0l'k¢d vc1)¢,n,,],_\v La,,,,,,,,-_ or six days and put in some closer shots.

68

?FOUR MEN AND A PRAYER (1938) helped me on it. I had a lot of fun with thatYvusumedlu hauzatnngue-in-the-cheek attitude picture and, of course, all the comedy in itabout all that Britislt sn-upper-lip busineu in wasn’t in the script; we put it in as we wentFour Mcn and a Prayer. along.Oh, I don't know—-I just didn't like the story,or anything else about it, so it was a job of work. STAGECOACH (t939)Iltidded them slightly. I still like that picture. It was really Battle-dr

stnf, and I imagine the writer, Ernie I-Iaycox, gotSUBMARINE PATROL (I938) his idea from there and turned it into a WesternHaving been a Blue ]acket—though I wasn’t in story which he called ‘Stage to Lordsburg.'the submarine eet—I had a lot of sympathy for How did you nd Mnnunum! Valley?them, I knew what they went through. The I knew about it. I had travelled up there once,head of the eet was an old pal of mine and he driving through Arizona on my way to Santa

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Fe, New Mexico. You mean going right to left instead of left toSomeone said you mad: a star of juhn Wayne by right? I did that because it was getting late andnut letting him talk much. Do you agree? if I had stayed on the correct side, the horsesNo, that isn’t true at all—he had a lot to say, would have been back-lit, and I couldn't showplenty of lines. But what he said meant somc- their speed in back light. So I went around tothing. He didn't do any soliloquies or make any the other side where the light was shining onspeeches. the horses. It didn't matter a damn in this case.In the "'1! ‘hm!’ ‘You bmfu. a T"“' by Shanmlg "To show a gure going from left to right on thethe horse: from the wrong Sldt in several sha!s— sum“, ‘he Cam": mus‘ remain on ‘ha! guwswhy? tight-hand side; by moving the camera to the left-

_ _ . hand side—although in [net the gure may still beStills: rhe firs! in Monmnenl VaI!ey—Stage- going in [he um: dmmon as b¢f°,¢_h¢ Wm

coach, tcizh (right) ]ulm Wayne and Claire appear on the screen to have changed direction andT,em,-_ be going from right to left.

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I usually break the conventional rules—some- the idea of the picture was to give the feelingtimes deliberately. that even as a young man you could sense thereFrank Nugent was once talking to me about was going to be something great about this man.

that lm and he said, ‘Only one thing I can’! I had read a good deal about Lincoln, and weunderstand about it, ]ack—in the chase, why tried to get some comedy into it too, but every-didn't the Indians iust shoot the horses pulling thing in the picture was true. Lamar Trotti wasthe stagecoach?‘ And 1 said, ‘In actual fact a good writer and we wrote it together.that's probably what did happen, Frank, but They cut some nice things out of it. Forif they had, it would have been the end of the example, I had a lovely scene in which Lincolnpicture, wouldn't it?‘ rode into town on a mule, passed by a theatre

and stopped to see what was playing, and it wasYOUNG MR LINCOLN (X939) the Booth Family doing Hamlet; we had aEverybody knows Lincoln was a great man, but typical old-fashioned poster up. Here was this

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poor shabby country lawyer wishing he hadenough money to go sec Hamlet when a veryhandsome young boy with dark hair—youknew he was a member of the Booth Family-fresh, snobbish kid, all beautifully dressed-just walked out to the edge of the plank walk andlooked at Lincoln. He looked at this funny, in-congruous man in a tall hat riding a mule, andyou knew lherc was some connection there.They cut ll oul—1oo bad.

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

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The thunderstorm at the and very much gave one cinch to work in, if you've any eye at all fora sense of Lincoln’: future. colour or composition. But black and while isThat was another one of those things we had to pretty tough—you've got to know your iob andmake up on the spot. There was a real thunder- be very careful to lay your shadows properlystorm, so I said, ‘Let's have him walk away, and and get the perspective right. In colour—there itthen we’ll dissolve into the statue at the Lincoln is; but it can go awfully wrong and throw a

Memorial.’ picture off. There are certain pictures, like TheQuiet Man, that call for colour—not a blatant

DRUMS ALONG THE MOHAWK (I939) kind—but a soft, misty colour. For a goodWhat was it like working with colour for the rst d"l’Tl3ii¢ 5193'» lhl-18h» I much Pia" "J Wfk(ne? in black and white; you'll probably say l‘m old>There was no change really. It's much easier fshidi bl" black and whim is "31 Ph°">-than black and white for the cameraman; it’s a B"PhY-

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THE GRAPES OF WRATH u9.;o)l!"I|aI allruclcdynu In The Grapes of Wrath.’S1|'II.\': The jirs! in mIn|1r—I"‘nm/:1 \/cf! um]ubmw) in Drums Alnng tho Mohawk. Rig!!!-Fomla am! ]nIm Qua/cu in The Grapes of \\"r;1!h.

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l just liked it. that's all. I'd rcud the btmk—it SlilI.\: 'I'/n']m1J.\'——I’lt lR|1.\'.\'cl/ Siut[1_\"m|). Urtulcwas a good stnr_\‘—.1nd Darryl Zanuck had u ]n/In tFrun/.' Durit-n), 1\lu (Yum: Dam‘://).good script on it. The whole thing appcalcd to Rtlld/IJYII t[)t=rri.< Burt-tlnu) mill. nhmr, :¢-|'tl|me—bcing about simple pcoplc—und thc story Tum lFnntldl.was similar to the famine in Ireland, when thuy thc world. It was a timely story. lt‘s still a goodthrcw the puoplc off thc land and lcft them picturt-—l saw part of it nn TV rt-ccntly.wandering un the roads to sturvu. That may Grcgg Tuland did a greatj\»h0l'pl10tngraph)'have had 5\\'lL‘ll‘lll'1g to do with it—purt of my thcrc—absulutuly nothing but nothing tnIrish tradition—hut I liked thc idca of this photograph. nut um: beautiful thing in thcrc—family going out and trying to nd their way in just shccr good photography. 1 said to him,76

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‘Part of it will be in blackness, but let‘s photo» We purposely kept it in conned spaces—thalgraph it. Let's take a chance and do something was what the story called for. Life on a ship is

different.‘ lt worked out all right. claustrophobic, but you get accustomed to it.Hadyott planned to end with Fonda going up over You make friends and you make enemies, youthe hill? kick about the food, you kick about everything.That was the logical end, but we wanted to see I found that sailors who don‘! kick about thewhat the hell was happening to the mother and food are lousy sailors. We were working on thisfather and the girl; and the mother had a little carrier, making ll"ings of Eagles, and the headsoliloquy which was all right. of the Union came up and said, ‘According to

THE LONG VOYAGE HOME (1940) Still: ()‘Nct'II'.t fat-0ttriIe—The Long VoyageThe Long Voyage Home is tv.’r_v claustrnpltobiu Home (I941!) it-|'tI| ]uIut Qualert, ll"ard Band,fur a story about the sea—':L'a: that your irtterrtiult? ]ac/c Penn|'cL', ]n/m ll"a_\'m:, Tlmntas lltc/tall.

our contract, we travel rst class, regardless of General Mess—where they had steak, french-where we go.‘ I said, ‘I know that.’ He said, fried potatoes and everything else. The next‘You're going out on this battlcship—' I said, night we went up to the Chief's Mess and that‘No, no, we're going out on a carrier.’ He said, was even better. Gradually the crew got wise to‘Whatever it is, you're going on a Navy ship, to it and pretty soon they were all eating in theand my men have got to eat with the o‘icers.' General Mess, where the Government provides‘Well, that’ll be new,‘ I said. ‘The oicers will them with steaks, roasts, chops, bacon and eggsbe delighted.‘ In the Navy, the officers always in the morning. The poor oicers—of coursehave to pay for their own food, you see, so if the every one of them liver for his night to go downUnion men ate with them, it would lessen the and inspect the General Mess and get a goodofcers’ bill. Except, of course, that officers are meal.probably the poorest fed people in the world,

$2520 Tsgyvgagopayo flt::e:I1eu‘i:e:v Slill: Along Tobacco Road (I 9-ll).payment on the house, the new car. But I said,‘Well, there'll be no trouble about that.’ Hesaid, ‘Well, I'm glad of that, because we want totravel rst class.‘Well, we'd worked all morning, out at sea,

and I had a grip—-huge guy, a great eatet—andhe said, ‘I didn't see you at lunch—where wereyou?‘ I said, ‘I was seasick so l went to mycabin, thought I'd lie down a little bit—-I didn'twant anything to eat. I feel all right now.‘ Hesaid, ‘Oh, that's too bad.‘ I said, ‘How was thelunch?‘ He says, ‘Lunch? Terrible! What dothey feed these guys?‘ After dinner that night,around nine o'clock, he came by my cabin.‘Where were you at dinner?’ he says. ‘Well, I'mstill feeling a little seasick and I didn't want togo to dinner,‘ I said. ‘What did you have?‘ Hesays, ‘We had some minced ham! With somekind of lousy sauce over it, about a mouthful oflettuce and a cup of coffee.‘ I said, ‘Did you likeit?‘ He said, ‘I'm wilting—1 can't live on stu'like that.‘ I said, ‘Well, that's too bad—I‘msurry—but you're travelling rst class—that'syour Union.‘ The next night at dinner time, Istarted to sneak out of my cabin and he waswaiting outside. ‘I-Ii,‘ he says, ‘where are yougoing?’ I said, ‘Aren't you going to dinner?’ I-Iesaid, ‘Yes, I'm going to follow you.‘ ‘All right,‘I said, ‘Come along.‘ So I went on down to the

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TOBACCO ROAD (194!) jokes and playing practical jokes, and then he‘dll"'att!d you have changed Tobacco Road even tj gr; and gel righi into his part again.the play Itadrft Itad censorship prablenis?Did the play have censorship problems? Oh, the SEX HYGIENE U941)girl. Well, we suggested that, but I think WE did Darryl Zanuck was a reserve oicer and he saidit nicely. I don't think it oifended anybody. I ,0 mg, ~-I-his would ins, be for ‘he A,.my_bu,enjoyed making the picrur I §=\\' ii °" Wk‘ these kids have got to be taught about these

vl5i°n mccmll’ and °"i°Y°d ll “Balm Pm“ things. It's horrible-—do you mind doing it?‘ SoCharlk G'3P°‘"l" “'35 3 m‘ 3‘7‘°'= and “ l said, ‘Sure, what the hell, I'll do it.‘ And itwonderful guy to work with, always cracking was easy [O makC_wc did 5, in “V0 or ‘hm:

__ days. It really tear horrible; not being for general_-‘> "_ " - release, we could do anything——we had guys out

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

you brtmght the cltarncters back at the md—theway you did later in The Long Gray Line andThe Quiet Man?I believe so. I wanted to reprise the mother'ssong so 1 got the idea of bringing the cast back.In the theatre I always like to see the cast comeout—regardless of whether the guy's playingthe messenger boy or the butler—I like to sechim come out and take his bow. That's prob-ably where l got the idea.Was the family life personal to you?Well, I’rn the youngest cl" thirteen, so l supposethe same things happened to me-1 was a freshyoung kid at the table.ll’/as much of that film made up an the set?Phil Dunne wrote the script and we stuckpretty close to it. There may have been a fewthings added, but that’s what a director is for.You can't just have people stand up and saytheir lines—there has to be a little movement, alittle action, little bits of business and things.

Pttblicit_\- pltutngraphs: Gen: 'l'icrm.'_v, with l\"ardBond, in Tobacco Road.

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THE BATTLE OF MIDWAY (I942) this shot, the narrat0r‘s voice says: ‘This reallyHow much of The Battle of Midway did you happcned.‘—I’.B.]phntagraph yourself?I did all of it—wc only had one camera. THEY WERE EXPENDABLE (I945)The greatest shat in that lm is of the ag being What was in my mind was doing it exactly as itraised in the midst of the battle. had happened. It was strange to do this pictureI photographed that from the tower. It actually about Iohnny Buckley-—I knew him so well. Hehappened—eight o‘clock,time forthe colours to was the most decorated man of the war—ago up, and despite the bombs and everything, wonderful person. He was the fellow in Guan-these kids ran up and raised the ag. [During tanamo who, when Castro cu! the lincs Off,

quickly installed the water system. We were vcryStill: the l\lorganx—Dur|ald Crisp, Sam Allgood close friends and during the war, in the ETO,and tin.-ir Sum in How Green Was My Valley. the Eastern Theatre, I worked with him a lot.

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My district was around Bayeux, practically on stand, and thir concept of the glory in defeat orthe Coast, and it was pretty well populated with noble failure runs through many of your otherthe SS and Gestapo. So instead of dropping an lms.agent in, we took a PT boat, which Johnny We1l,Ithink that's coincidenc:—althoughit’saalways skippered himself—he refused to let me wonderful thing to think about. But I nevergo in unless he skippered the ship. We used to realized that—I mean, it isn't something I'vego back and forth—-we could always slip in done consciously—it may have been subcon-there, if the signals were right—because the scious. But, then, I didn't write the stories.Resistance had told us the Germans never But you chose to do them.thought of guarding this one creek. We'd go in Hmmm. Any war I was in—we always wan. Butthere on one engine, drop an agent o' or pick I like that—I despise these happy endings—withup information, and disappear.They Were Expendable is about a brave last Still: They Were Expendable.

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a kiss at the nish—l've never done that. Ofcourse, rhey were glorious in defeat in theI’hilippincs—lhey kepr on ghting.

MY DARLING CLEMENTINE (I946)I knew Wyatt Earp. In the very early silenidays, a couple of limes a year, he would comeup to visit pals, cowboys he knew in Tomb-stone; a lo! of them were in my company. I

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

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Ythink I was an assistant prop boy then and Iused to give him a chair and a cup of coffee, andhe told me about the ght at the O. K. Corral.So in My Darling Clementine, we did it exactlythe way it had been. They didn't iust walk upthe street and start banging away at each other;it was a clever military manoeuvre.

THE FUGITIVE (1947) ">‘It came out the way I wanted it to—that‘a why 'it’: one of my favourite pictures—to me, it wasperfect. It wasn't popular. The critics got at it,and evidently it had no appeal to the public, but '» 2l was very proud of my work. There are somethings in it that I've seen repeated a milliontimes in other pictures and on television—so atleast it had that effect. It had a lot ofdamn goodphotography—with those black and whiteshadows. We had a good cameraman, GabrielFigueroa, and we'd wait for the light—insteadof the way it is nowadays where regardless ofthe light, you shoot.Did you alter the Graham Greene novel quite abit?Not quite a bit, but you couldn't do the original

Stills: below, Tombstone in My Darling Clerrien-tine; right ,'I'he Fugitive, Dolores Del Rio.

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on lm beause the priest was living with awoman. Even today, you can say s—— andf— on the screen, but you can't have a priestliving with a woman.

FORT APACHE (t948)There is usually a dance in your lm.They're all folk dances and they're part of thestory. I like folk dances; they're very amusingand the cowboys do them very well. Down inArizona, the Mormons are beautiful squaredancers, so we only had to put on a dance andthey'd pitch right in and do it wonderfully

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-or A ‘well. On the other hand, The Grand March inFort Apache is typical of the period—it’s aritual, part of their tradition. I try to make ittrue to life.In Fort Apache, do you feel the men were right inobeying Fonda even though it was obvious he waswrong and they were killed because of his error?Yes—he was the Colonel, and what he says-goes; whether they agree with it or n0t—it stillpertains. In Vieutam today, probably a lot ofguys don't agree with their leader, but they stillgo ahead and do the job.The end of Fort Apache anticipates the newxpapereditor‘: line in Liberty Valance, ‘When the legendbecome: a fact, print the legend.‘ Do you agreewith that?Yes—because I think it's good for the country.We've had a lot of people who were supposedto be great heroes, and you know damn wellthey weren't. But it's good for the country tohave heroes to look up to. Like Custer—a greathero. Well, he wasn't. Not that he was a stupidman—but he did a stupid job that day. Or PatGarrett, who's a great Western hero. He wasn'tanything of the sort—supposed to have shotBilly the l<id—but actually one of his posse did.On the other hand, of course, the legend hasalways had some foundation.

I: the line in Fort Apache, ‘I can‘! sci: lliem any- SI-IE WORE A YELLOW RIBBON (I949)mare—all I run see is the ags,‘ mean! m be lvhicli of your ca'valr_\' picture: are you mas!symbolic? pleased zvilli?More as a slight touch of premonition about hcr I like She Won: A Yellow Ribbon. I tried to copyhusband's death. It was very funny—she said the Remington style there—you can‘! copy himthe line, and another actress said, ‘You misread one hundred percent—hut at least I tried to getthat—you should say, “All I can see arc the in his colour and movement, and I think Iags." ' succeeded partly.

Stills: ‘Prim Illt‘ lvgend'—Fort Apache (left) WHEN WILLIE COMES MARCHINGtrill! Fumla, ll"av\'m:, ()'Brim and (abmw) ll"anl HOME (I950)Band. Bu/n:a—Cnrinm' Culver! and Dan Dailzy I read the story and liked it. It was amusing.in When Willie Comes Marching Hume. Bu! you didn’! Ir_v m make Ilia war xequences

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/mm_\.Wcll, that was my racket for a while, and thcrc\\'asn’t anything funny about it. I wonder whats.0.b. will be the rst to make a comedy aboutVietnam?

WAGON MASTER (x950)I wrote the original story. Along with '1'/n:Fugt'!it':: and Thu Sun S/t|'m:s Bright, I thinkll"ngon Mastsr camc closest to being what I hadwanted to achicvc.THIS IS KOREA (I951)Your doctmmtmry of lln‘ Korean l\"ar was verygrim, especially camparud In Midway nr TheyWere Expendable.

Stills: Thrcc Gudfathcrs rvirh (lop Icfr) l\"ardBond, jam: Darzt-ull; (I011 centre) MildmlNam-ick, ll"a_\'m:, Harry Carey, ]r., PuiroArmcmiarls. Bnltnm lcft—Shc Wore A YellowRibbon Right, top and bn!mm—Wag0n Master.88

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Well, that‘s the way it was. It's just too bad wecouldn‘t photograph the charges of the Chineseat night. But there was nothing glorious aboutit. It was not the last of the chivalrous wars.

THE QUIET MAN (1952)We had a lot of preparation on the script, laidout the story pretty carefully, but in such a waythat if any chance for comedy came up, we

Stills: _7z1!m's Ca_l,1nv_\', Dan I)ailey (I011), in\\'/hat Price Glory? and lhullvcv) Barry Firs-ggyald, O'Hara, ll"u_vnc in The Quiet Man.

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could put it in-—-like Barry Fitzgerald bringingthe crib into their bedroom on the morningafter the wedding night, and seeing the brokenbed. That was just taking advantage of thesituation. Nobody has ever heard what he sayswhen he comes in there, you know—becausethe laugh is too loud. Hundreds of people haveasked me—‘what did he say?‘ I never can gureit out. [‘Impetuous—l-Iomeric . . .'] But thatcondition still exists in Connemara—where mypeople came from—the wife is supposed tocome to her husband with a ‘dot’ or dowry—afew pounds or s0mething—it's a good thing.Then you agree with her feelings in the lm?I iusl thought it was good drama. The onlymistake we made was having him throw themoney on the re—he should have tossed it toone of the fellows and said, ‘Give it to charity‘ ‘J ' 'or sumething— 'I thought it was a great gesture.Yes, well, who would he give it to anyway? Not '1-~ll" Parish Pl'i¢5I_h° has "10" m°"°Y "13" ‘he Plm/agraplt: directirtg The Sun Shines Bright.Lord Mayor of Dublin.

York, and through a president and a board ofTHE SUN SHINES BRIGHT (I953) directors and bankers and everybody else. WhatThe Sun Shines Bright, like Wagon Master, I used to do was try and make a big picture, aseems m be alm you didfor yourself. smash, and then I could palm o'a little one onThat‘s true. I knew they weren't going to be them. You can't do it any more.smash hits—l did them for my own amusement.And it didn't hurt anybody—they didn‘t make THE LONG GRAY LINE (1955)any money, but they always got their initial cost l\”auIdyoit agree that The Long Gray Line is theback. The Sun Shines Bright is my favourite story ofa /ailitnt it-ltn succeeded in rt-n_\'s he couldn'tpicture—I love it. And it's tme to life, it hap- see?pened. Irvin Cobb got everything he wrote That's true, yes. He was a real character—grewfrom real life, and that‘s the best of his Judge up at West Point and knew Eisenhower andPriest stories. Wiedemeier, and all those people—w0nderfulHas it became irtcreast'ngl_v dtirult tn do a picture old guy.for yourself like lltat? Again i!':_\'our theme of ‘the gInr_\- m ¢left:u!.'Oh, you can't anymore-—it‘s impossible. You've Well, I'd hardly use such an academic or poeticgot to go through a series of commands now and title—although it is a good expression. As ayou never know who the hell reads the scripts matter of fact, you may attribute it to me if youany more. You can't get an O.I(. here in Holly» wish-—because I may use it anyway.wood for a script—it‘s got to go back to New How did you like CirtemaScapc?

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-_ Sn'[I.\".' Pclur GTdi’n'S, 'I‘ymm' I’n::-ur Laban‘) in- The Long Grey Linc; Aw (junimv (Hf!) in\§ Mogamho., I hated it. You've ncvcr sccn a palnlcf us: lhal

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- kind of cnmpnsilion—c\'cn m the great murals.it still \~.'asn'l this huge tennis cnurl. Your cycspop back and forth, and it's very diicult to guta close-up.

" — MISTER ROBl£R'l‘S ug55>'* —- A lo! of my stu' was cu! out hy the producur.Leland Hayward, hccausc it wasn't in rhcoriginal play. Then ]0sh Logan, who wrou: theplay, lonkcd an rhc stulhar had been cu! and hesaid, ‘This is funny stuff. for PL-!c‘s 5ak4:,' andinsisted on pulling a lo: of it hack in.

THE SEARCHERS (19561/ h's rhe tragedy of a loner. Hc's rh: man who/ came back from the Clvll War, probably wen:

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lY'aynz's s|'s!:r-in-larv gut: his coalfor him, mean!over into Mexico, hccamc a bandit, probably to cmwe_\' silentlv a past 101': bz!1L'a'!1 tln.-m?fought for Juarez or Maximilian—probably Well, I thought it was pretty obviuus—that hisMaximilian, because ofthc medal. He was just brother's wifc was in lovc with Wayne; youa plain l0m:r—c0uld never really be a part ufthc c0uldn‘t hit it on thc nnsc, but l think it's veryfamily. plain to anyone with any intclligcncc. YouWas that the nteanlng nj Ilu: duar opming an him could tell from the way shc picked up his capeat the start and closing at lhc end? and I think you could tcll from Ward Bond’:

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expression and from his cxit—as though hehadn't noticed anything.The Indians are alrvayx given great digrtily inyour lms.lt‘s probably an unconscious impulse—but theyare a very dignied pe0ple—even when theywere being defeated. Of course, it‘s not verypopular in the United States. The audiencelikes to see Indians gel killed. They don‘! con-sider them as human beings—with a greatSrillxjeffrey Hunter, Vera Miles (la/I) in TheSearchers; ll"qvn2 (righ! and belnw) in TheWings of Eagles.

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

THE WINGS OF EAGLES (1957)The Wings of Eagles is once again the !mgcd_\- ufu man whu rm-er really gn! wlll he wanred.Life disappointed him. Bu! he did devise thebaby carrier: they were not ghting ships, butStills: ‘ Spig ' l\"cad and a lm he r:'r0!:—F0nl‘s Air Mail (I932) will: Ralph Bvllamy,Slim Sunnm'r1-il/u.

supply ships that wticd Pl="°5 w rvplm thc .§'nII.\-: Rising t-r the .\lut\n (I.-/'1); l.<l llurruit°n¢$ 1°51 in ham? 0" ll" big C3"i¢T§» SPIE (tzhn-t‘); Hone Suldiers (right); Sgt. RutledgeWead put that programme over. (bpllmn rig/:1).I didn't want to do the picture because Spig swimming nm|_ng}n in Inc n.ndd|c of ‘he

was a great pal of mine. But I didn't want any- Admirays ma_‘n3| many nannenmione else to make it. l knew him rst when he The nut was |nnsy__| scream“ at lh3|_ I

“'35 deck °:'C‘“'* black §h°°= Wm‘ ll" °ld just wanted to call it The Spig ll"'ead Story, butMississippi—before he went in for ying. I was inc), said ~Snigv is 3 funny name, and pwnh anout of the Navy then and I used to go out and going ‘O wonder wnnts Spin Wcad_

5“ him and 5°m° onhe °lhe' °ic°'5~ Splg was ll/am’! Ward Band playing you in the picture?always interested in writing and I helped him a I didn-l inland n that way, bu‘ he did_ | woke upbit. encouraged him. We did a couple of pic- one morning and my good hm was gong, mywas ‘°$“h°'~ He died in "W a"“§- pipe and everything else; they'd taken all theI tried to tell the story as truthfully as possi- Acukmy Awards and nu‘ ‘hem in ‘he om“ “L

ble, and everything in the picture was true. Theght in the club—throwing the cake—aCtually THE ll-‘\$T HURRAH (W55)happened; I can verify that as an eye witness—- The Last Hurrah again deal: with a defeat.l ducked it. 1 thought it was very funny when What do you call it—‘the glory in defeat‘?they all fell into the pool;that actually happened Right. O.K. I liked that picture very much. It—they ran like hell through the kitchen and all was a good character study. And Tracy was a

landed in the pool. And the plane landing in the wonderful guy to work with.96

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THE HORSE SOLDIERS \I959)I 1l dont thinl-t l ever saw it. But a lot of the

things in it actually happened—such as thechildren from the Military Academy marchingout against the Union soldiers—that happenedseveral times.

SERGEANT RUTLEDGE U960)ll/as the point of Sergeant Rutledge that theNegro‘: harm: runs the Arnty?Yes, that's the point. The Negro suldier, theregular, is very proud. They had always been acavalry outt, but in this last war, they weremechanizcd—they took their horses away, andthey were broken-hearted. They were veryproud of their outt; they had great esprit decorps. I liked that picture. It was the rst timewe had ever shown the Negro as a hero.

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

Harry Cohn, who was stuck with the project When possible do you like ta play :1 scene throughand said, ‘Willyou do this for me?’ I said, ‘Good in one angle, withuuz cutting it up, ax you did inGod, this is a lousy script.‘ He said, ‘I know it, the scene by the river between Stewart and Wid-but we're pledged for it—we‘rc all set—we’vc mark?got Widmark and Stewart signed up.‘ I said, Well, it's better if you can do that, if you get‘O.K., I'll do the damn thing.‘ And I didn‘t close enough so the audience can see the facesenjoy it. I just tried to make Stewart’s character clearly. Certain directors go by xed rules—theyas humorous as possible.Hi: morality was a little ambigunus. Still: Riclmrd ll"idmurIt and janws Stewart inIsn’t all our morality a little ambiguous? the scam: by the ri-tier from Two Rode Together.

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vsay you must haveaclose-up of everything. But Yes, it was the same; we bought it from Alwe've got this big screen: instead of putting a Newman. I love it—one of my favourite tuneslot of poclt-marked faces on it—big horrible —one I can hum. Generally, I hate music inhead, eye—I iust don't like it—if I can play a pictui-es—a little bit now and then, at the endscene in a two-shot, where you can see both or the start—but something like the Annfaces very well, I prefer it that way. You see Rutledge theme belongs. I don't like to see apeople instead of just faces. Of course, nowa- man alone in the desert, dying of thirst, withdays in pictures, you never even get a chance to the Philadelphia Orchestra behind him.look at anyone's face. I watched something theother night with Sophia Loren in it; well, she'sa nice woman to look at—but she was alwayshidden by somebody or her face would just ‘

peek out. Here she was playing the lead, andthe camera panned away from her all the timeand you never did get a good look at Sophia.That's new direction. It's a funny thing, thesekids get out here from New York, stage direc-tors, and the rst thing they do when they gethere, they forget the story, forget the people,forget the characters, forget the dialogue andthey concentrate on this new, wonderful toy,the camera.You never cover n scene from many angler.No—because the actors get tired, they get jadedand lose the spontaneity—so that they're justmouthing words. But if you get the rst orsecond take, there's a sparkle, an uncertaintyabout it; they're not sure of their lines, and itgives you a sense of nervousness and suspense.D0 you also avoid shooting a lot of coverage so 7 7 —

that producers won’! have the material to re-edit? S"-IL. I Maybe Fm gemng Old" ,__sIewan,No, I've always done that—because lm is very Vzm M,-In in The Mm who Sh“ Libertyexpensive and I hate to waste it—I was brought valance_up that way. It's not so they can't change it,because they ean—and do—take it back to New OM/"1-I ""1! N01" 1J'"'P4'h.V I-" I-ib¢"Y Vl"York and cut up the most dramatic scenes. '3 Wilh 1°/"I Wily"! ""4 I/I¢ Old Wm-

Well, Wayne actually played the lead; JimmyTHE MAN WHO SHOT LIBERTY Stewart had most of the scenes, but Wayne wasVALANCE (I951) the central character, the motivation for theToward the Hm of Liberty Valance, when Vera whole thing. Idon't know—I liked them both-Miles came: to Wayne‘: burned-out house, im't 1 think [my were both good characters and 1

1'" "ml" 1'" Am‘ R'"l¢dEP "1""? f"°"| Y0‘-"18 rather liked the story, that's all. I'm a hard-Mr I-invvln? nosed director; 1 get a script—if I like it, rn do

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-9".”-‘»' ‘ P"'"T I/'1' L1-‘.-‘ZWHI '—Thk' Man Wlw Possibly—l don‘! know-—I’mnola psychologist.Shot Lihcriy Valance—ll"u‘\-nu and Stewart Maybe I'm getting older.will: (alvm-c) lI"nnd_\- Srrndu, Vera Miles and(righr) :1-irh Ednmnd ()'Brim. DQNOVAN’S REEF (1953)ii. Or if I say, ‘Oh, this is all righi'—l‘ll do ii. Is Ihe life pictured in Donovan's Reef a kind youIf I don‘! like ll, I’ll turn ll down. might have likedfor _\-aursul/PBy Ihe and ofllu: picrzlrr, Ilmugh, 1'! scurried u'r_\' No, not at all, I wouldn't like lo live on anclear rim! Vera Miles was slill in Im.-e with Wqvrie. island. I like to go to Honolulu for a couple ofWell, we meant it that way. weeks on leave, but after that, lhC island closesYour picmrz nf the lI"¢:1 has become increasingly in on me. Of course, I know guys who’ve donemd over rhe _\'2arx—Iike lhe difference in mood, exactly that, and are slill in the South Seas-/or e.\‘ampIc,bem-zen Wagon Masler and Libcrly own old sea saloons, and doing very well—Valance. thirty or forty Navy children, ve or six Navy100

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wives. But it's not the life for mc.Was Ihal mnmtlll rl-Iran Mac Marsh blows theman's cigar ash n rim table snnlellling you addedan the sat?Yes, well, the writer knew nothing abou! Boston, hand I certainly do know Bosmn and lhO5n

, Mpeople. Half ofthcm are half-mined and half ofKhcm are bright, but !h|:re's always a couple of

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- ,‘f;}"”-1 .-5} I‘ Ainstead of the picture. You have to hold onto Stills: abmuz: lling a mass gran‘ after theyour chair. l didn't care for it. Battle of Shiloh in How the West \¥’as Won;

rt'gItI—I)t1d;{t‘ City ittterltuie in CheyenneCHEYENNE AUTUMN (1964) Autumn-l had wanted to make it for a long time. I've Was Cheyenne Autumn changed considerablykilled more lndians than Custer, Beecher and from the way you had planned it?Chivington put together, and people in Europe Yes.always want to know about the Indians. There Could you my some of the things that wereare two sides to every story, but I wanted to changed?show their point ofview for a Change. Let's face No, I don't remember. But there were thingsit, we've treated them very hadly—it's a blot on even before we started shooting. Carroll Bakerour shield; \\'e‘ve cheated and robbed, killed, ts a wonderful girl and a wonderful actress-murdered, massacred and everything else, but l‘m very fond of her—but I wanted to do itthey kill one white man and, God, outcome the right: the woman who did go with the Indianstroops. was a middle-aged spinster who nally droppedD0 you ntaku it a practice ntrver to rehearse an out because she couldn't take it any more. Butactmn seqtwttcc? you couldn’t do that—you had to have a young,You can't—it looks phone)‘. You can never tell beautiful girl.what will happen—one man's liable to fall, the ll’/as the score the one you wanted?horse is liable to fall. No, l‘m an old hard-nosed No, I thought it was a bad score and there wasdirector who never rehearsed action. too much of it—didn't need it. just like in TheI04

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Searclierx: with that music they should have placing an actual intermission in the middle ofbeen Cossacks instead of Indians. it. In subsequent engagements of the lm, theD|'d_\'nu inlcnd the Dodge City seqtwnce as a kind point of the sequence was obliterated when thenf in!:rmi.ts|'mi, as u-ell as a .valin't- mlnmenl on entire second half showing ‘the Battle of Dodge‘the Battle of l)udge C|'t_\"? City‘ (which had followed the studio’s inter-Yes. It actually happened that way. They were mission) \\-as deleted.—l‘.B.]a load of easterners—nut many cowboys there-and they went out thinking they were going tu YOUNG CASSIDY (1955)pick up u scalp ur something, Someone red 3 Hutu /l0d_\'0l4 plarttmd lo end Young Cassidy?shot, and they all ran like hell. [In initial en— W0“, fl’ lhs‘ P18)’ W35 UV", and if"?! Maggi‘!gagemenrs, the studio ruined the effect of this Smith had left—\\'hile he was standing there in'intermissi0n‘—a comedy sequence in the midst the rain outside the theatre—l wanted Julicof an otherwise tragic stury—by arbitrarily Christie, by now a streetwalker, to come uver tol06

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7 WOMEN (1966)Did you have a I0! of interference on 7 Women?

- \. Yes.,.3;,-,.,h' Was it re-cut after you nished with it?>;__‘,_';f': I presume so, I don’t know-—I never saw it.=_~_~; When I left, it was cut beautifully. I think it was

"-*'4I' a good story. And it was a good switch for me,to turn around and make a picture all aboutwomen. It didn't do well here, but it was lsensation in Europe. I thought it was a hell of agood picture.Why does Bancroft sacrifice herselffor the others?I think that's a rather naive question, Peter. Shewas a doctor—her object in life was to savepeople. She was a woman who had no religion,but she got in with this bunch of ktoks andstarted acting like a human being.Hos it been more dticult recently ta get n goodscript?Well, there's no such thing as a good scriptreally. Scripts are dialogue, and I don’t like allthat talk. I’ve always tried to get things acrossvisually. I don't like to do books or plays. Iprefer to take a short story and expand it, ratherthan take a novel and try to condense. But it hasbecome more difcult to get a good story.How have you usually worked a writer?I spend the afternoon with him and work out asequence; we talk and argue back and forth—he

Stills: Young Cassidy—‘ I only did . . . mrm: suggests something, I suggest something. That.Yt't.'!lt'S bmumi ]ul|',.- and Rod Taylor.’ night or the next morning, he knocks it out on

his typewriter, blocks it out, and we sec whetherwe were right or wrong. I usually like to have

him and say, ‘Oh, Scan, l loved it—it was awriteron the set—I always did with Nichols-wonderful—you ought to be proud uf yourself. but you can‘! any more—the companies won'tGod bless you.’ It took this poor little tart to pay the expense.appreciate what he’d done. And shi: walks away, Do you have them put in the shots, or just thedisappears in the rain, leaving him there. The basic sequence?producers told me why it shouldn‘t be done Oh, just the sequencc—l ask them to dump thethat way, but I argued with them, and they cutting up—and just put down what happenspromised to do it after I got sick and left. But and dialogue, They don’: say, ‘scene so-and-so,they didn't. It would have kicked the damn camera moves in, zooms in, pans—‘ None ofstory up. that stuff, because it’s none of their business.

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How long after yau started making picture: did always had was an eye for composition—I don'tyou come to feel that rvha! you were doing was know where I got it—and that's all I did have.surnclhing iniparlant? As a kid, I thought I was going to be an artist;Well, that's a presumption I can‘t accept. 1 I used to sketch and paint a great deal and lnever felt that way about it. I've always enjoyed think, for a kid, I did pretty good worl<—at leastmaking pictures—it’s been my whole life. I like I received a lot of compliments about it. But lthe people I'm around—l don’t mean the higher have never thought about what I was doing ineChel0n5—I mean the actors, the actresses, the terms ofart,or ‘this is grcat’,or ‘world-shaking’,grips, the electricians. l like those people. I like or anything like that. To me, it was always a jobto be on the set and, regardless of what the of work—which I cnioycd inunensely—andstory is, I like to work in picturcs—it’s fun. that’s it.Harry Carey tutored me in the early years,

sort of brought me along, and the only thing I Still: 7 Wumc-n—‘ A hell ofa guad piislurv.’

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l knew he was dying and that if l didn‘t drive l have ever seen at the Oscars—though a few ofdown to see him before leaving for Rome to the more politically minded protested the Nixonmake the new picture there was a good chance presence by not coming. ]ane Fonda, I believe,he would be gone before we retumed. lt was the even picketed. But then. that was her mainmiddle of June, l973. About six months earlier occupation those days, as well as her privilege.the Fords had sold their house in Bel Air and though one might wish she would stop mixingmoved to one in Palm Desen. l don't believe politics with art quite so ferociously. Nixonit was really something they were anxious to do, was honoring a great artist that night—the rstbut economic considerations prevailed. After time a lilm personality had been so recognizedall‘ ]acl< hadn't made a picture since l965— —and he was present not as one particularthough for at least six of those years he had president one did not admire or respect. butbeen most capable of one—and conditions rather as the highest elected representative ofweren't getting any better. I had phoned him the nation acknowledging the achievement ofa few times since the move and spoke with him a lifetime—an opus that includes not only Missbriey the night the American Film Institute Fonda's father‘s best lms, but some of thegave the director their rst Life Achievement nest pictures anyone‘s ever been in. So sheAward and President Nixon presented him with shouldn't have picketed. In fact. it would havethe Medal of Freedom. which is the highest been elegant to come—a signicant sign, indeed.civilian honor our country can bestow. that despite the presence of a politician sheHighlights of that evening were subsequently detested, the attention being paid to a major

seen on a television special which managed only artist in her own chosen eld was more impor-to emphasize the least attractive and most com- tant. But no doubt there were reservations toomercial aspects of the affair. But that's another about john Ford's own politics. As if it matteredstory—the vulgarity of the acn.ia| evening itself really what a humanist poet of Ford‘s dimensionwas far outweighed, if you were there, by the and depth thought about the issues of our day.sheer fascination of it. There was hardly a face His best movies—and there are many of them-in the crowd you couldn't recognize—more are for all our days. They are the size of legendsstars and directors and producers came out than and possess the soul of myth. Orson Welles said

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ll Ohm "]"hl'l F°\'d k"°W5 “/hill the "rib l5 —most of the times I had seen him during themade of-" ten years t knew him, he had been in bed—itl wanted the whole town there that night was his own particular oice—but it was a shock

because l knew it would be the last time they to see him this time. Then: was physically socould see him and the last time he could see little of him left. Like some horrible parasite.them. So, what the hell, pull out all the stops! the cancer seemed to have shmnk him by half.The Marine Band and the television schmaltz He looked not 78 but ll0. Hawks, by compar-and all the junk. it was jack Ford's last hurrah. ison—and he is only a year younger—looked a

The funny thing is-and this is only a feeling youthful 50.of mine—l do not believe nally that In: cared A11 ga-ca; diracmrs a,-a g,-ea! am"; hr“ And"TY l""<?h~ C¢"3l"l)' he madc dam" 5"" 1° E" no one more than Ford. l came into the room a

through the evening all right—a great effort, flash too early and caught him hurriedly gettingf°l' he “'35 almad)’ "9'!’ in by ‘hell; he mildc 31¢ his cigar lighted so as to strike a pose of casual3PPl'°P"l3'° 5P¢°Ch and [hf Pl'°P¢" 5ig“5 Ur ease—as though nothing in the world was wrong.¢h‘l°!i°l\- He 5h°0l< hi5 head ill di§h¢ll¢T Bl lh¢ just an aftemoon visit with a couple of friends.h°ll°l§ bflllg Paid lo him and CW" bl'll5h¢d And that's how he behaved; whenever you askedaway a tear. But l could Swear the tear was not haw ha (eh, Lhc answer W35 ah,-aya_ "1>,-myIll"? and '1" W5‘ Of ll il-l5l 3 83113"! P'3l'f°l’- well," with no melodrama, no false bravery.l‘l18h¢¢- He W85 I00 much of 3 Shwmall I0 ll There was never any talk of fatal illness or painhis audience down—and he had staged scenes _ahd his daughter Barbara told me hc did not°r ‘M5 "u" cm)‘-‘Eh “"155 in hi5 |lTl5 1° know even ask for the pain-killing pills until less thanh°‘" [he lead 5h°"ld P°rf°""- 0"? ¢°"ld =lW3Y§ two weeks before he succumbed. The chat wasimagine Ford showing Tyrone Power how to shun and rypi¢a| of many (“ham wa had had_P13)’ '-he I35‘ §¢q"'="C¢ Pf T/"~' L""£ Gm)’ Lille‘ except that it was so awful to see him as he looked85 W¢ll =5 giving John Wayne Some ldei for then, trying so valiantly not to let us notice. Hethe end Of 5/It-‘ “"1111-’ J 33"/014' Rihhtl-hul kidded me. as he always did, for making every"°"" "10" 5hal’P|Y ‘hall i" {he W3)’ lack h¢h3\'°d sentence of mine a question. Hawks, who isthat night under the lights. Still, he had staged \_|§u3l]y n1()§[ fcgefvgd and ram-aia¢d_ Cami; anlh¢§¢ lhlllB5 $0 mllCh b¢l1¢l' hlm§flf—"ldE lhfm like a college boy before his favorite professorso moving on the sereen—how could anyone -it was touching, his grace and charm. (I re-C°"1P°‘° Wllh [he m"5""'§ °“'" °"°€3ll°" hf lhll member l asked him once if he'd been inuencedglory in defeat, the pathos of the last stand? He by Ford in making his rst Westem. Red Rm-r.kmw he W35 dYl"§ and lhal "°"° 9f ‘hi5 T93"? and he said he didn't know how anyone couldmattered; he had created what he could, and all maha a western whhaai haihg ihhuehacd bythe rest was show- lf he can hear me now, per— john Ford. The funny [hing is that many peoplehaps he is cursing my words, but there must be to this day think that Ford directed Red Rim.a private laugh behind the profanity, because since it is a famous Westem and john WayneMl’ Ffd hid the devil in him, lhak God for is in it. And whenever someone mistakenlylh8l- complimented Ford on Red River, he wouldOn the way to the new Ford home in Palm say, quite casually, “Thank you very much.“

Desert, I picked up Howard Hawks in Palm Hawks himself delighted in telling that story.Springs; he wanted to come along, though he “Your ve minutes are up," Ford said, andhad already been several times. Jack was in bed that meant it was time to go. We left. From

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Still." John Fort! in Mmtturtenl Valley for lhe with him. and when l heard his voice l knewIast tinm, during pmdttction of Directed hy he didn‘t have long-he sounded sn frail. If youJohn Ford. had seen or heard him on the set. in cuntrol of

600 actors and technicians. it would have hrukenyour heart. “Pretty well." he said again. hut

Rome. I called him several times. The conn:r- with considerable effort. Hawks saw him onsations were short and friendly. but he sounded 'l'u|:sda_v. On \Y'edncsda_\* Ford said he \\'antedweaker each time. He died on a Friday. The tn see "Duke." and Thursday \Y'a_\'ne ew downMonday of that week was the last time I spoke and spent a while with him.

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“Come for the deathwatch, Duke?" Ford said. TV featured several clips. In Yugoslavia, there“Hell, no, ]ack,“ Wayne said. “You're the was a two-hour television tribute. The funeral

anchor—you‘ll bury us all." in Hollywood Was well attended but, one heard, t

“Oh, well," said Ford, “maybe I'll stick could well have used john Ford's touch. Hearound a while longer then." knew how to bury the dead. There wasn't evenLike the old man in The Quiet Man who a band to play “Shall We Gather at the River."

leaped from his deathbed at the prospect of a When Hawks went to see him that last Tues-good ght, Ford seemed revived by Wayne’s day they talked for a couple of hours—mainlypresence. They shared a drink or two and some about a picture Hawks was planning. When hememories. On Friday he didn't speak for a long went out to speak to Mary, Ford's wife of 52while. Suddenly he said, “Would someone years, and Barbara, he told them, “Don't everplease get me a cigar,” and they did. He didn't treat that man like a mental invalid-he justsay anything more. Six hours later he was dead. gave me some great ideas." Before leaving,

Hawks went back to the bedroom.The New York Times ohituary—like most “That you, Howard? I thought you left,"

obituaries anyway—emphasized all the wrong said Ford, pulling on a cigar.things, called him important for all the wrong “Just came hack to say goodbye, Jack."reasons. Typically again, the man who had “Goodbye. Howard."most vividly and memorably chronicled the Hawks started out of the room. "Howard,"American saga on the screen was more ttingly Ford called after him.remembered in Europe. The major Italian “Yes, Jack?"papers gave his death more space than had “l mean really goodbye, Howard." he said.either The Tintes of Los Angeles or New York. “Really goodbye, Jack?"One headline called him “The creator of the “Really goodbye.“Westem," which, as such things go, was more They shook hands, and Hawks left. As longatcurate and appropriate than singling out The as there are movies, how do you say goodbyeInfnnner as his masterpiece, as New York's to John Ford—rest, though l pray he does, inpaper of record had done. Italian and British peace.

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5 FORD’S CAREERFILMOGRAPHY/-II”) /I/I!|t1g'!J[l/|\' not him;-ilrtl /mm )<‘l"t‘!J/ /-1.1-molt /-iihlirli.-.1 Director: Francis Ford. Writer: ‘The Master Pen‘llVlr\ .a|ig'vttr1|mI M .1 mu: Jml .»/ um tI|/iIr1t|.aI|rtn |;.tt!|t'ml (pseudonym for F. Ford and Grace Cunard). Serial/I-wt /mrJi.m.I S|'II7tt'J Jllt/I .n rli. itl”t‘4'IllVVl .-/ tlir .|i‘i|Jt'!I|\‘ composed of I5 Chapters (2 reels each), one releasedi-/ -\’|lHt1!l I'ItI|m't .|m uml .\’.i.~u..-s. .m.I, ]Ml'lItIlIJV/\. the every Tuesday beginning April I4. With GraceHIVIIYJI /if--1 .v/ l'mrt-nal .\'mJ|.u ; Cunard (Lucille Level, Francis Ford (Hugo Loubeque),

Harry Ratrenbury, Ernest Shields, E. M. Keller, Harryjohn Ford was born Sean Aloysius O'Fceney (the Sghumm, Eddie Bo1_qr|d_"lB|i¢iZ=d 599115118 OT 0'F¢=l1\I) “H F¢bl’""Y L 1395 in Universal's rst serial, an intemational spy-chase-CW"? Elillbh» Maine; he was the thirteenth (and list) triangle melodrama, which Ford remernbers havingchild of Sean O'Feeney and the former Barbara Curran, wurlted on as prop man. Probably he also played bitswho had come to America from Galway, lreland. in the various chapters, did stunts (he of.en doubled hisHe died l Palm lle~en. tlilitl-rnia tin August H. 1071. While brother) and functioned as an all-around assistant.he was sllii a bah)". the lamtly nnwetl tn Purtlzmd. .\Lune.where hi~ lather uwncd J \-li\I\lT\. ~umntt'r\ were ~pent tin l9l4 Lucile, the Wairrrir (Universal).lkrtkk bland (when he grit older. he plavetl .1 lot .»| '~urnn\er Director: lack Ford. Author: Bide Dudley (from theha~ehall'). lhs lather ti»--k him to Ireland \c\'er.|l llfI\t\, 1| New Yorlt Evening World.) A series of four two-mler ‘came with us one-:.' he uni 'lt w.|~ a very easy trip reelers: I) She Win: n Pri.-.e and Ha: Hn Trouble: (infrom Pi-nland. \\'e ctught the hint nght there and ll lantletl which Lucile is given a winning rale ticket, the prizein (ialwa\'. and then ll was only .1 few mile» t\\'er the hill tt\ for Which[u|1|5 out to bean ape—rhatgetsloose;shootir|gwhere m_\' people lived.‘ "The Irish" was ~pt»ken around the March 7-17); 2) Exuggemtion Gctr Her in All Kind: ofhuu~e. and th.tt'\ where he picked ll up ‘Forgotten ll all Tumble (in whicha false rumor is spread that Lucile hashv r\nw' inherited $500,000, and half the town chases after her;After graduating from Portland High School in l9lJ, shooting March l9—April 3); J) She Gels Mixed Up in

he came directly to Hollywood to get a job with his A Regular ‘Kid KaIami!_v' (in which she is baby-older (by thirteen years) brother, Francis, who had attendant at an annual convention, and causes chaos bytaken the name Ford and was a contract director- mixing up the babies;shooting April 3-I0); 4) Her Nearwriter-actor at Universal Studios. Jack Ford (as he Pmparal (in which Lucile and her friends ransaclt thecalled himself) is listed in a l9l6 issue of the Marian city dump in search ofa letter from an old millionaire,Pirmre Nm-r Studio Directory as an assistant director, thought to contain a marriage proposal; shooting Aprilbut he says his screen career began as a laborer and then 20-Z8).as a third assistant prop man. This series was found among the records at Universal,

without cast lists or any information other thanthat printed above (and a complete synopsis of each

l9l-1 Lucille Lot'e—The Girl of Mystery (Universal- story). Noindication could be found thereor elsewhereGold Seal). that any of these four shorts have ever been released.

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Ford himself says he has no memory of them, and it it l9l5 The Hidden City (Universal-l0l Bison).extremely early for him to have been directing (in fact, Director: Francis Ford. Writer: Grace Cunard.if it weren't for the start and completion dates, one Shooting: January 23-February 8. 2 reels. Released:would be sure they were unlmed projects). However, March 27. With Francis Ford (Lt. Johns), lack Fordthere was a re at Universal in l9l4, and quite a few (his brother), Grace Cunard (Princess of the Hiddennegatives were lost—perhaps this series was among City), Eddie Polo (Poleau, her Minister).them. (A couple of two-reelers based on the sung A deierél melodrama about a mythical undergroundcharacters were made at the studio in I916.) Thoug city in n ‘a.they remain a mystery, we include them nevertheless, iffor no other reason than as an example of the unbelieva- l9l5 The Doorway of Destrurtian (Universal-l0lbly poor state of lm history and records (after all it Bison).was only fty years ago.) I Director: Francis Ford. Writer: _Grace Cunard.The pictures that follow are probably only a sampling Assistant dig-ectolr: _la;klFor%. ASi‘lOl0:l;l§ I;bi;‘ti%ry 26-

of the number Ford must have worked on between l9l4 March 4. ree s. e ease : pri . it rand:and I917, when he started directing. Not only are the Ford (Col. Patrick Feeney), Iack For<!izd(his dbrolaier,records incomplete but he was often not billed as an Frank) Howard Daniels (his brother war ), inaactor, and it was nix the custom to credit any behind- Cunard (Ceeiligi reLean, this sweetheart), Harryscene work other than directors producers (in thoie Schumm (Gen. e ean her ather).days usually another word for dii-ectors), writers, and, When the Sepoy Retiellion breaks out, the Britishrarely, photographers. However, it is a representative send the lrish Regiment on a suicide mission to breakgroup and should give a fair idea of the kind oftrainiog through the gates of a besieged city. Col. Feeneyhe received. The vigor he was to bring to his pictures is leads his men to victory (on the fourth assault) by wavingreected in the incredible energy required to work the ag of Ireland. Placing the colors above the gat_es,almost 52 weeks a year actually making movies. he cries out to the British, ‘March in ye dirty devils,

the lrish RC§i'l¢;ll lzséaid a car-pet for you!‘ (Workingl9l4 The Mystrrmui Rose (Universal-Gold Seal). title: The Flag a O tin.)Director: Francis Ford. Writer: Grace Cunard. Shoot-ing: August 7—l5. 2 reels. Released: November 24. - U < IWith Francis Ford (Detective Phil Kelley). Grace ai='h£d.n“geCI:l:I)f'iSlI Grace Cunard.Clwlf (1-Id)’ RIm=$)- llik F°l’d ('3"“' F““°Y1 h" from story by Emerson Hough. Assistant director:“°°mp“c°)' Hnry schumm (die D'A"5 gm)’ Wilbur lack Ford. Exteriors lmed in Bisbee, California.High’ ,(-Hi‘? Wu“! B°“)’ Edd" Bmd (yccn Kc“ Serial composed of 22 Chapters (2 reels each), releasedKen“ 5. a“'§m“.)‘ . weekly, beginning Iune 21. With Grace CunardOne in ‘a series of modern detective plays‘ (each - - - -

featuring the wily Lady Rales and Detective Kelley), §,K;“yA2n-wk i:n:,“] F(:dF£S:’u';af"d;4r::‘)' Elia“oo in u r ac ry rrywhich 1-. l-ord and Cunard turned out intei-inittently Schu‘mmI Em“! Shidds, can Lummle (‘ningthrough l9l6. himself in the lst and last episodes).

A search for the two halves ofa eoin which has on it1915 The Birth of ll Nation (Th: Clansnian) (Epoch the map to a priceless treasure.Producing Corporation).Directohscenarist: D. W. Griith. l2 reels. Released: l9l6 The Lumber Yard Gang (Universal-Rea).February I. Among the cast ofthousands,asa member Director: Francis Ford. Writer: Grace Cunard.Bf lh¢ Kl! KIHX Klhi lack Ford. Shooting November 26-29, I915. 933 feet. Released:

February I5. With Francis Ford (Detective Phill9l$ Three Budillen and A Girl (Universal-l0l Bison). Kelley), Elise Maison (Cecil McLean), Iack Ford (herDirector: Francis Ford. Writer: Grace Cunard. bmriui», I-lad of the Lumber Yard Gang), WilliamShwtins December Z3-29, l9l4. 2 reels. Released: wmtt (Chief of Detectives), Danny Bowen (Chief ofFebruary 20. With Francis Ford (Joe), Grace Cunard Pgligg),(the girl), Ildt F0“! (Jim). Mlir I’Il=<>lIs\-\§ (5ht!Y)i A detective story, lled with ‘hot’ encounters betweenLewis Short (The Sheri’), F. J. Denccke (his assistant). ggnggtgyg ind PQ"cQ_Three good men are mistaken for three bad men and

iailed; freed eventually (without their guns), they capture |9|6 Chit-km-H;¢yr¢d]i'm (Universal-Reit).lhe real outlaws bare-handed. Director-writer: Francis Ford. Shooting Novemberll4

l0—l7, l9l5. 936 feet. Released: April 27. With remembers what wan probably his /st lm as ‘just a bunehFrancis Ford (Jim Hardison), Mary Ford, Jo Ford (his of stunts.’sisters), lobn A. Ford (his father), Abbie Ford (hismother), Cecil McLean (Jib), Phil Kelley (her father), I917 The Trail of Hate (Universal-l0l Bison).Pat Ford (The Mate), Jaclt Ford, Eddie Ford (the Director-writer: Francis Ford. 2 reels. Released:roughneclt crew). April 2B. With Jaclt Ford (the lieutenant), LouiseJim is thought to be a coward, but during a mutiny, Granville (the girl), Dulre Wome (the captain), Jaclthe proves his bravery. (Working title: Chicken-Hearted Lawton.Bill.) This lm is sometimes attributed to Jaclt, but accor-

ding to Motion Picture News (4.28. I7), it was directedl9l6 Peg O‘ The Ring (Universal). by Francis; the plot has similarities to the latter'sDirectors: Francis Ford, Jacques Iaccard. Writer: Lucille Love serial: A young Army lieutenant rescues aGrace Cunard. Photographers: Harry Gant, Abel girl from outlaws and marries her; later, in the Philip-Vallet. Serial composed of l5 Chapters (2 reels each, pines, she runs off with a captain who has always hatedexcept no. l which was 3), one released weekly beginning the lieutenant. When the two are captured by Moros,May I. With Grace Cunard (Peg; Peg'S mother), the lieutenant saves them both, but refuses to forgiveFrancis Ford (Dr Lund, Jr.), Mark Fenton (Dr Lund, the girl.Sr.). lack Ford (his accomplice), Pete Gerald (Flip),Jean Hathaway (Mrs Lund), lrving Lippner (Marcus, l9I7 THE SCRAPPER (Universal-l0l Bison).the Hindoo), Eddie Boland (his pal), Ruth Stonehouse, Director-writer: Jack Ford. Photographer: Ben Rey-Charles Munn, G. Raymond Nye, Eddie Polo. nolds. 2 reels. Released: June 9. With Jack FordMelodrama set against a circus background, about a (Buck, the serapper), Louise Granville (Helen Dawson),girl who is subject to strange spells because her mother Duke Worne (Jerry Martin, a parasite), Martha Hayes,had been clawed by a lion. Jean Hathaway.l9l6 The Band|'t's Wager (Universal-Big U). Bored with the ranch, Buck‘: girl goes oil’ to the eityDirector: Francis Ford. Writer: Grace Cunard. I ind 811$ iHV°|V¢4 (i"I10¢="llY) in I bI0lh¢l- Whenreel, Released; Nnygmbgg 5, with Fungi; Ford Buck brings a herd of cattle to town, a streetwallter(The Bandit), Grace Cunard (Nan Jefferson), Jaclt lures him to the house just in time for him to save hisFord. girl from Martin.A westemer teaches his Eastern sister caution by

pretending to be a notorious masked bandit. I917 THE SOUL HERDER (Universal-l0l Bison).Director: Jaclt Ford. Writer: George Hively. Photo-lt is possible that Jack Ford worked on some of the l6 grapher: Ben Reynolds. 3 reels. Released: August 7.chapters of Francis‘ l9l6—l7 serial The Purple Mark, With Harry Carey (Cheyenne Harry), Jean Hersholtthough no evidence could be found to prove it. (the Minister), Elizabeth James (his daughter),Molly Malone, Fritzi Ridgeway, Duke Lee, VesterI917 THE TORNADO (Universal-l0l Bison). Pegg, Bill Gettinger, Hoot Gibson.Director-writer: Jack Ford. 2 reels. Released: March Harry is thrown out of town and on his way acrossJ. With Jack Ford (Jack Dayton, ‘No-gun man‘), the desert meets 2 minister and his family; when theJean Hathaway (his lrish mother), John Du‘y (Slick, man is killed in an lndian raid, Harry takes care ol hishis panner), Pete Gerald (Pendleton, banker of Rock little daughter, later puts on the minister's frock,River), Elsie Thomton (his daughter Bess), Duke and reforms a town. The rst nj Ford's 26 pierurrrWorne (Lesparre, chief of the Cayote Gang). with Harry Carry, and the one he himull like: ta eonridnLesparre and his gang raid Rock River, rob the his rrt at a dtrrcmr. lt tvnr alm Hnnt G|'b.tart‘r rstsaloon and the bank, and kidnap Bess. Pendleton appearance in n Ford lm. ll"ar/ting title: The Sltyoffers a $5,000 reward for her sale return, and Jack Pilot; reirrued at a trun-ruler in I922.goes off unarmed to the rescue. (Moving PictureWorld (3,! I7): ‘In his hand-to-hand struggle in the l9l7 CHEYENNE'S PAL (Universal-Star Featutette).cabin and the jump from the cabin roof to the back of Director: Jack Ford. Scenarist: Charles J. Wilson, Jr.,his horse, Jack Ford qualies as a rough-riding expert from story by Ford. Photographer: Friend F. Baker.. . . As a climax the hero leaps from his running Shooting May 20-23. 2 reels. Released: August IJ.horse onto a moving train!') He uses the reward With Harry Carey (Cheyenne Harry), Jim Coreymoney to bring his mother over from Ireland. Ford (Noisy Jim), Gertrude Aster (dancehall girl), Vester

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Pill, Steve Pimento, Bill Gettinger, Hoot Gibson, Ed (Kent), Mrs Townsend (Harry's mother), Bill GettingerJones (cowboys), Pete Carey (Cactus, the horse). (sheriif), Hoot Gibson.Very reluctantly, and only because he's broke, Harry Kent lures Harry back to crime and together they

sells his horse, Cactus, to an English quartermaster. pull a stage hold-up, during which Kent kills theWhen he overhears that the shipment of horses is being driver. A posse catches them and as they're about tosent to Franee—probably to their death-—he gets a job be hanged, a telegram arrives saying Harry's mother ison the boat and that night iumps ship with Cactus. He coming for a visit; the sheriff allows him to pretend he's

is caught, but the captain lets Harry keep his horse and an honest citizen until she leaves. Back in iail again,work o‘ the money he owes. (Working titles: Cactus Harry is reprieved when one of the stage passengers

My Pal, A Dumb Friend.) testies it was Kent who red the fatal shot. Rmiade asUnder Sentence (I920) by Ford's brother, Edward.

l9l7 STRAIGHT SHOOTING (Buttery-Universal).Director: Jack Ford. Writer: George Hively. Photo- I917 BUCKING BROADWAY (Buttery-Universal).grapher: George Scott. 5 reels. Released: August 27. Director: Jack Ford. Producer: Harry Carey. Writer:With Harry Carey (Cheyenne Harry), Molly Malone George Hively. Photographer: John W. Brown.(Joan Sims), Duke Lee (‘Thunder‘ Flint), Vester Pegg 5 reels. Released: December 24. With Harry Carey(‘Placer' Fremont), Hoot Gibson (Danny Mor§l)- (Cheyenne Harry). Molly Malone (Helen Clayton),George Berrell (Sweetwater Sims), Ted Brooks (Ted L. M. Wells (Ben Clayton, her father), Vester Pegg

Sims), Milt Brown (Black-Eyed Pete). (Thomton, a cattle buyer).Ford's rst feature. Harry is hired by cattlemen to Similar in plot to Thr Scrapper: Helen runs o‘ with

help them ght their war against the homesteaders, but Thornton on the day her engagement to Harry was tohe ioins forces with the settlers when he nds out the have been announced. Following them to the city,cattlemen are terroriling women and children. (Work- and with the aid of a lady crook, Harry nds Helen,ing titles: The Cattle War,]aan 0/ the Cattle Country; already disillusioned; his friends ride in to help him,re issued as a two-reeler, Straight Shaotin‘, in January, and after a brawl along the rooftops, they win out overI925.) Thomton and his gang. ‘Jack Ferd again demnnrtratet

hir happy faculty fur getting all outdaan into the tunes.‘mt THE stactuar MAN (Buttery-Universal). (Mvvinx Picmn World. I2 21.17)-Director: Jack Ford. Writer: George Hively. Photo-grapher: Ben Reynolds. 5 reels. Released: October I. l9l8 THE PHANTOM RIDERS (Universal»Special).With Harry Carey (Cheyenne Harry), Morris Foster Directorzjaek Ford. Producer:Harry Carey. Scenar-(Beauford), Elizabeth Jones (his child), Vester Pegg ist: George Hively, from story by Henry MeRae.(Sheriff), Elizabeth Sterling (his sister, Molly), Bill Photographer: John W. Brown. Shooting SeptemberGettinger (foreman), Steve Clemente (Pedro, stage 8e27, I917. 5 reels. Released: January 28. Withdriver). Hwt Gibwm Harry Carey (Cheyenne Harry), Molly Malone (Molly)The rst part of the plot anticipates Marlred Men Buck Conncrs (her father), Veslcr Pegg (Leader of the

(Three Gad/ath:1:): Fleeing the law, Harry nds his ‘Phantom Riders’), Bill Gettinger (Dave Bland), Jimfriend Beauford‘s little girl—who has survived a stage- Corey (foreman).coach accident but is dying of thirst—and takes her Bland has fenced off the Government grazing landback to town though he knows he'll be caught as a called Paradise Creek, and with his ‘unknown' maskedresult; there are other complications involving Beauford riders he terrorizes any homesteader who questions hisand Molly, who are secretly married, and Harry helps rights. Together with the Forest Rangers, Harryto clear them up. Moving Picture World (l0.~'l3.'l7): defeats Bland and wins Molly, whose father Bland‘. . . a gmevau: lat 0/ picturesque scenes, ooded with murdered. (Working title: The Rnrge War.)California surt-thine . . .' (Working titles: The RoundUp, Up A1013!!! ll-l l9l8 WILD WOMEN (Universal-Special).

Directonjack Ford. Producer:Harry Carey. Writer:I917 A MARKED MAN (Buttery-Universal). George Hively. Photographer: John W. Brown. 5

Dirllri iii! F°'d- 5"""i5!7 c'=°l'B¢ Hively, from reels. Released: February Z5. With Harry Careystory by Ford. Photographer: John W. Brown. S (Cheyenne Harry), Molly Malone (The Princess),reels. Released: October 29. With Harry Carey Manha Maddox (The Queen), Vester Pegg, Ed Jones,

(Ch=v=nn= H-rrv). Molly Malone (Melly Young), 12. Van Beaver, W. Taylor.Harry Rattenbury (her father, a rancher), Vester Pegg After winning the rodeo, Harry and his pals get drunkll6

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on Honolulu cocktails and pass out. They are shang- June 29. With Harry Carey (Cheyenne Harry), Nevahaied. but when re breaks out on the ship, they end Gerber (Bess Thurston. his girl), Duke Lee (Cimarronup stranded on a South Seas lsland, ruled over by a Bill, his pal), Vester Pegg (lack Thurston), josephvery possessive Queen. She takes a strong liking to Harris (Beau,an outlaw),M.K.Wilson, Steve Clemente.I-larry (anticipating perhaps the fat lndian girl's attach- Harry passes up a chance to capture Beau's outlawinent to Jelf Hunter in The Searelierr), but he much gang because Bess's brother is one of them, but sheprefers the Princess, and just as he has won her love— mistakes his act for cowardice. Beau kidnaps Bess,he wakes up with a terrible hangover. and Harry tracks them to the desert where he and Beau

shoot it out; both are wounded and all but one of theirI918 THlEVES' GOLD (Universal-Special Feature). horses are killed. Harry sends Bess o' for help andDirector: Jack Ford. Scenarist: George Hively, from the two men set out on foot together. Beau diesstory, ‘Back to the Right Trail,’ by Frederick R. during a sand storm, but Harry is rescued. ‘. . . jewBechdolt. Photographer: john W. Brown. 5 reels. directors . . . put such rmtinrml punch in their picturesReleased: March I8. With Harry Carey (Cheyenne or dues this Mr Ford.‘ (Motion Picture News, 6,29, I8).Ha'Y)- Molly Malone (Alice Norris), L. M. Wells(Savage), Vestet Pegg (Simmons, an outlaw), john I918 A WOMAN'S FOOL (Universal-Special Attrac-Cook (Larkin, stage driver), Harry Tenbroolt, M. K. tion).Wilson, Martha Maddox. Director: Jack Ford. Scenarist: George Hively, fromRestless. Harry leaves the Savage Ranch and falls in novel, Lin McLean, by Owen Wister. Photographer:

with Simmons. During their getaway after a gold Ben Reynolds. 60 minutes. Released: August I2.robbery, Harry stops a runaway stagecoach, saves the With Harry Carey (Lin McLean), Betty Schade (Katie),passenger, Alice Norris, but is caught by the law. Roy Clark (Billy), Molly Malone (Jessie).After Savage gets him released. Harry and Alice fall Katie, Lin‘s girl, runs or!‘ with a travelling salesmanin love, but she nds out about his past and leaves him. who turns out to he her husband. Lin nds her son,ln a showdown in the desert, Harry kills Simmons Billy, whom she deserted. adopts him, and eventuallyafter being wounded. and it's Alice who nds him marries Jessie, the new station agent. After comingunconscious. saves his life and forgives him. back and trying to wreck their marriage, Katie kills

herself, and Billy brings Lin and ]essie back together.l9|ll THE SCARLET DROP (Universal-Special).Director: jack Ford. Scenarist: George Hively, from I915 THREE MOUNTED MEN (Universal-Specialttory by Ford. Photographer: Ben Reynolds. 5 Attraction).reels. Released: April 22. With Harry Carey (‘I(ain- Director: jack Ford. Writer: Eugene B. Lewis.tuck‘ Harry Ridge), Molly Malone (Molly Calvert), Photographer: John W. Brown. 6 reels. Released:Vestet Pegg (Capt. Marley Calvert), M. K. Wilson October 7. With Harry Carey (Cheyenne Harry), Ioe(Graham Lyons), Betty Sehade, Martha Maddox, Harris (Buck Masters), Neva Gerber (Lola Masters),Steve Clemente. Harry Qrtcr (the warden's son). Mrs. Anna Townsend.When Ft. Sumpter is red upon, Kaintuck tries to The warden‘: son is being black-mailed by Buckjoin the Union Army, but Calvert rejects him as ‘white Masters and promises Harry a pardon if he can gettrash.‘ Swearing vengeance, he joins Quantrill's Masters arrested again. On the outside, Harry hearsRaiders, and when he comes upon Calvert's sister, of Buck's plan to rob I stage, alerts the law, and MastersMolly, he kidnaps her. But the two fall in love, and is caught. But when he discovers that his girl friend

Kl51‘""¢k l'¢l\"§ 71" l° ¢l"\P, where he is wounded Lola is Buck's sister, Harry and his brothers ride afterdefending her against Lyons (a blackmailer who found the posse and help Masters to escape.out her mother was Negro), whom he kills in the ght.Hwins thr story. Calvert hides him in the mic. where Some lmographies erroneously list Jack Ford in thehis presence is betrayed to the nicers hunting him by a can or F|'3nci§ Ford‘; 1913-19 m-5|], The silmidrop of blood that leaks through the ceiling. Even- Myttery, and also as co-director of The Craving (l9l9;rually he escapes back to Molly. (Working title: Hill working title, Delirium). ‘That was made by myBUB‘-) brother Francis,’ Ford says about the latter, and Univer-

sal's records bear him out.l9I8 HELL BENT (Universal-Special Attraction).Director: Jack Ford. Writers: Ford, Harry Carey. 1919 R()PE[)(Univg|»g;|.5p¢;;igl),Photographer: Ben Reynolds. 5,700 feet. Released: Director: Jack Ford. Writer: Eugene B. Lewis.

ll7

Photographer: John W. Brown. 6 reels. Released: from story, ‘The Trail of the Billy-D00,’ by WilliamJanuary I3. With Harry Carey (Cheyenne Harry), Wallace Cook. Shooting began February I8. 2 reels.Neva Gerber (Aileen Judson Brown), Molly McConnell Released: April I2. With Pete Morrison (Jode(Mrs Judson Brown), J. Farrell McDonald (butler), McWilliams), Duke Lee (Pa Owens), Magda LaneArthur Shirley (Ferdie Van Duzen). (Peg Owens), Ed Jones (Stumpy, the cook), lack WoodsAs a ioke, Harry's cowhands place an advertisement (Dutch), Harley Chan1bers(Fritz), Hoot Gibson (Chub),

in an Eastem paper asking for a wife for their boss. Jack Walters (Andy), Otto Myers (Swede), Jim MooreMrs Brown. a bankrupt society woman, forces her (Two-Homs, an lndian).daughter Aileen to answer it, but when Harry Comes Jode loves Peg so he gets Stumpy to write a loveEast—the two fall in love and marry. Harry isn't very letter for him, which Stumpy does~—copying it fromsuccessful in society, and besides Mrs Brown would ‘Lothario‘s Compendium.‘ While Jude is asleep, themuch prefer to be getting alimony cheques, so after other cowboys find the letter and tack it lo the bunk~Aileen has a child, Mrs Brown manages to break up the house door where Two-Horns nds it. Admiring themarriage. Back zit the ranch again. Harry gets a wire ‘paper-talk,‘ he takes it down to show everyone he

from the butler telling him to come back and take a meets. Jode rides o‘ to stop him, but before he can.look around, which he docs—along with his cowboys— the letter gets to Peg—and has the intended eect.and they straighten things out. The /im appearance (Working title: The Love Lmer.)0/]. Farrell .‘\1cDonaId in u Find lm; he was la act in

‘H9 THE RUSTLERS (Un' r l).aver twenty nrht.-rx. I W‘ 5*

Director: Jack Ford. Writer: George Hively. Photo-m9 THE FIGHTING BROTHERS(Universal). g,,p,,c,, ],,,,,, w_ g,,,,.~,,_ shryuling February 28-Director: Jack Ford. Scenarist: George Hively, from Much g_ 2 m‘.|§_ Rulcascdz Apr“ KL Wm, II:‘cstory by George C. Hull. Photographer: John W- Morrison (Ben Clayburn), Helen Gibson (PostmisttessBrown. Shooting February 845. 2 reels. Released: Ne" Wyndham)’ Jack Woods (shiff Buck pnlcy)‘March l. With Pete Morrison (Sheriff Pete Larkin), Hm, Gibson (his dcpmy)‘H00! Gibih (1-°r\I\i= l-IIkin)t Y\'¢t!¢ Mil¢l\¢|l (C0I\- Disguised as a peaceful sheepman, Claybum isCl\ilI)t lids WQOJS (Bin CYI\\‘l¢)'), Dlllw 1-" (slim) actually a Government Ranger sent to Point Rock toWhen Sheri‘ Larkin‘s brother is falsely accused ofa nd KM hide,-5 of 3 band of ,,,,;|¢,-§_ WM“ hq is

l'l'lutd=t. l-lflin Hill <l0'=§ his i0\>-""§l5 ll"! 5°}! and himself accused of being one of them, Nell saves himilk“ him !° l‘Ii§°11~ Bu!» his duly 50!“, ll" ihi from a lynch mob and together they round up the realtakes oil‘ his badge and helps his brother to escape. outlaws. (Working title: Et-en Money.)(Working title: Hit Buddy.)

. . WI‘) BARE FISTS (Universal-Special).A9J3Ic':°nfIGHT FOR LOVE (unlvcrubspccml Director: Jack Ford. Scenarist: Eugene B. Lewis,

. ' . . from sto b Bernard McConville. Photographer:|P,:'°“°'- bk?" $°“§, %"“‘f' %“5°".' B;‘lmL;“'." John wiyattiwh. Shooting began July 20, ma.Cir-2-Quip. Uh-JO 3 ' 'c.'“n‘ 6 *““l°" R It 5.500 feet. Released: May 5. With Harry CareyM "Eggs wish He" €5'°“'ch Y“ 5'“ cu“ ' (Cheyenne Harry), Molly McConnell (his mother)H"? Bl‘ M1‘. h ‘l"YN f"é<b ‘Yf('“" M“'Y)-If‘ Joseph Girard (his father), Howard tztttttttit (his

M‘";’,§ “ A‘; "),;A 5" §'h"( ‘“‘ °D‘“’F' :1 hthtittt, Bud), Betty Schade (Conchita), vetttt Pegg" “mm ( gui C miga ’ H fawn)‘ J‘ Fair: (Lopez) Joe Harris (Boone Travis), Anna Mae WalthallMeDonaldv(The_ Priest), Princess Neola Mae (Little (Ruby ;dancc hlngm)F'“'“)' Cm“ B" 1"“ ‘5‘?"" D°")' Harry's father is killed itt = gunght, the his l'l’\Dll'ltl’The N°nhW“‘. M°““"“ "C ‘kn "pry rm ‘M makes him swear he'll never again use his gun, and

ml"d'.r or ‘P lmhm boy‘. and ‘he only “mess ‘O me rely only on his bare sts. But when his little brothercum‘. '5 ' pn“‘—“ih° cm "C" wh" h: “W ixclu“ ‘he is branded on the chest by cattle rustlers, Harry breaks'".““"'"'.B‘“°" M"""°" "" ‘°“"““‘ ‘° ""“- w."‘“ his promise. (Working title: Tm Man we/tit w'¢t.iatt'tMichael kidnaps Kate, Harry follows them to a river Shhide-out, the itt the ensuing struggle, Michael out ""‘")over a clitf. Dying, he confesses once more-—but this l9l9 GUN LAW (Universal).time to the law. (Working title: Hell‘: Neclt.) Director: Jack Ford. Writer; H. Tipton Steek.

Photographer: John W. Brown. Shooting March ll»l9l9 BY lNDl-AN POST (UnlV'=l’5il)~ Zl. 2 reels. Released: May l0. With Pete MorrisonDirector: Jack Ford. Scenarist: H. Tipton Steek (Dick Allen), Hoot Gibson (Bart Stevens, alias Smoke

H8

TGlll1lL‘n\, Helen Gibson (Letty), jack Woods (Cayuse Jones (Bud Coburnir Richard Cumming (§h=ti'Yates), Ono Myers, Ed Ioncs, H. Chambers (Yates :;ol\:'nln2z:hL:c‘::lf gitatn lflldalevn COb\It)r lid‘

3 Cl'5 I CH , I XL‘ U OH.gaggici-et Serviceman Allen takes a iob at Bart Stevens’ Ail" Iv" Y¢‘=l'5 in iiilr Bud ¢0"'I¢5 bid‘ h0"'l¢ 1°mine in order to nd evidence proving that Stevens is nd ti“ tow" 8°"? '¢l\'i|il¢‘*1 ""4 ¢|f)‘r' ind his dlulil’I mug] fobbgy Called smoke (Jul-ilen. He docs—but running around with a bootlegger who plans to take herby then he is in love with the man's sister—and to make avi'=l'—lWl not as his wife» The Old outlaw has mthings harder, Stevens saves his life. The recovery of kidnap his daughter and get wounded before he canthe untouched mail bags eases his decision. (Working save her from hersel (keissued in December, I913;title: The Poile'r Prey.) remade as a feature in I936.)l9l‘) THE OUTCASTS OF POKER FLATI'll‘) THE GUN PACKER (Universal). (Universal-Special).Director: jack Ford. Scenarist: Karl R. Coolidge, 1)i|-e-qr"; jnekw Ford, Producer: “A. Powers.ltvm SW?!‘ 5!’ Fwd 3'“! HWY)‘ c°'|\')'- Pl\°l°B"Ph\'\'i sC¢hBflS(I»H. Tiptori Sleek, from stories, The Outcast!john W. Brown. Shooting began March '15- Z l'¢¢l§- oi’ Poker Flat‘ and ‘The Luck of Roaring Camp, byReleased: May 2-I. With Ed Jones (Sandy Mcl.ough- Bret Harte. Photographer: John W. Brown. 6 reels.linl. Pete Morrison (‘Pearl Handle‘ Wiley), Magda LIM Released: July 6. With Harry Carey (Square Shootin'(Rose Mel.0ushlin)r l¢l< Wwdi (Pvwi 5mith)r Hoot Lanyon; John Oalthurst), Cullen Landis (Billy Lanyon;Gibson (outlaw leader), lick W='|l\‘t§ (Brown), Dllll 13¢" Tommy Oakhurst), Gloria Hope (Ruth Watson; Sophy),(Buck Landersl, Howard Enstertill (Bobby l\l¢1-iiuehlini J. Farrell McDonald, Charles H. Malles, VICKOI’ Potel,With the help of a reformed gunman (and a gang of joe Harris, Duke R. Lee, Vester Pegg.outlaws recruited as a nal recourse), the sheepmen win The story is framed with a prologue and epilogue intheir water rights from the cattle barons of Rirnrock which Carey reads the Harte book to his son: JohnValley. (Working title: Oiil ll'[t-omlllg ll"a_v; reissued in Oalthurst, ‘the honest g}ambler,' is lonely, sonheadloptsA , |¢)14_) an infant boy who w cn he grows up, a s in ovc

ugustwith the 5;lt1‘lc,gil'l dakhurst loves. The gambler givesWI‘) RIDERS OF VENGIZANCE(Universal-Special). her up for his adopted son. Photrigvlayz '. . . mart-cloutDirector: jack Ford. Producer: P. A. Powers. n't'cr laeiillimr aurl ribraIurrl_t- iiimlllpamble phala-Wriiers: Ford, Hart)‘ Carey. Photographg: gal}? W. 5""I"I_\' . .‘b g;~in_riImCi'rL 19.17 Hg; in 515,2.1:i'n'H¢4»Brown. 6 reels. Released: June ‘J. ’it arry rr‘JI'l‘L‘!|l'l_\', y mll'_v u min: an alep . etemml.Carey (Cheyenne Hnrryl. Seena Owen (the Girl). Joe IIIIK] THE ACE 0|: THE 5ADD|__E (U,-m.¢,5a|_Hartlif‘ (Shelli? Jhurstnn): Fagfiilla Special). Director: jack Ford. Producer: P. A. Powers.<5‘:‘»;\{§r'{1“‘§m;_‘; §m“"f>s‘ch';‘\‘i; “§'t_*m_r pug M K Scenarist: George Hively. from story by B. J. Jackson.gglsgn ‘ ’ 3 ’ ’ ' ' Photographer: john W. Brown. Exteriors lmed inHarry's family has a lot of enemies in Mesquite, and Q?‘3'12::;“‘g:;f>'"(C:cf:'l:c R§::§°“;{":§“"°'§-n his wedding day, as he and his new wife are coming . . ,. - , . 3 C "5 n '° I h h_b “dim dam Harrdisa Joe Harris (Sheri Two-Gun Hildebrand of Yuccagm" f Bf‘ ‘h ‘mu an ‘he gimefgmuf coonry). Duke R. Lee (Sheri)? Faulkner or Plnlrenon'“ "Q" if" ‘Z ‘"2" :1 _; hf rm_nPc Mm mung ‘ht County), Peggy Pearce (Madeline Faulkner, his2"" a:;_“ -rhlirswnrs 51' (Harry belie": daughter), jack Walters (Inky Q'DIy)r Vcster Peg;Trlihrston wastthe leader of in: ang that killed his (“""‘*’.'")- .2" R“>'* "°‘""‘ E'“‘"‘“ (‘M °"“d'°"li_ “ . . B , . so ‘King Fisher‘ ]ones(‘Hon'|e Sweet‘ Holmes), Williamwife), and considers harming her, but cant, l'u. falls in carmrigh! <,H“mpy, Andaman)love with her. Later, Harry and Thurston arc trapiped Harry lo Pinkcnon munky (lo hclp again“by Apaches and he discovers the man is innocent, he Y . k d . J d h -.. . . d f ll ' ltries desperately to save him for the girl they both love, wnzcazigzzce “#1) h3n"';0Zn?; loagiitltpbut Thurston dies. ’guns. So at the end, after he and his pals rope hiscabin and drag it over the county line, Harry lends o'191° THE L551‘ QUTLAW <'J""'="=l>; the night riders by throwing lighted sticks or dynamiteDirector: Jack Ford. Scenarist: H. Tipton Steek, n lhcm_ (Wmkingmk:AM“,/l,““_)from story by Es-elync Murray Campbell. Photo-

grapher: John W. Brown. Shooting April 8-I2. l9l9 THE RIDER OF THE LAW (Universal-2 reels. Released: June I4. With Ed ‘King Fisher’ Special). Director: jack Ford. Producer: P. A. Powersll9

Scenarist: H. Tipton Steclt, from story, ‘Jim of the freedom in order to save the ‘child, but only one of themRangers,’ by G. P. Lancaster. Photographer: John survives the |oumey._ Ford tfauavnte onwrq his earlyW. Brown. 5 reels. Released: November 3. With lmx. The rst vnrtdll 0/ thu rrary was made in l9_I6

Harry Carey (Jim Kyneton), Gloria Hope (Betty, lus at a feature called The Three Godfathers, alto ttarrirqgirl), Vester Pegg (Nick Kyneton), Theodore Brooks Harry Carey, and diverted by Edward ]. LetTt||t.(The Kid), Joe Harris (Buck Soutar), Jack Woods Subsequently, If was made in I929 (Hell s Heroes, dtreeted(Jack West), Duke R. Lee (Capt. Graham Salute), by William Wyler), I936 (Three Godfat‘hers, dntered by

Claire Anderson (Roseen), Jennie Lee (mother). Richard Bnlulau.-ski), and I948 (Ferd: own remake).Texas Ranger Jim Kyneton has to arrest his‘foster Working title: The Trail of Shadows.

brother, Nick, and his friends, but they escape with the I920 THE PRINCE OF AVENUE A (univunbhelp of Roseen, a girl Jim once rciected. The Ranger Spam)‘w=h== I" “T "1"" "MP1 N‘¢*- ‘"h° kl"! "“‘“'" Director: Jack Ford. Scenatist:Charles]. Wilson, 11.,rather than face the shame. Exhibitors Trade Review: from Sm“, by Chm“ and Funk Due)“ |>h°,o_‘- - < dill-Y!-It )'i"E Wlletr, fallirg men, both good and 3,-;pher:John W.Brown. Steels. Released:Februarybad, bath torts nfu-omen anda lat 0/scenery . . .' Z3‘ with Jim" ]_ tcemkmln Jim. Cube" (Bury

0'Conner Ma Warren Ma Tom kins Harma A GUN FlGHTlN' GENTLEMAN (Universal- N,,,,,,,up)(’EdB,f",,,,,,,), cm‘, D1,, (mfy oanncfy),5P=¢ll|)- Richard Cummings (Patrick O'Conner), FrederikDirector: Jack Ford. Producer: P. A. Powers. vmom (wmhm -I-ompkim), Mnk Fmmn (puhScenarist: Hal Hoadley, from story by Ford and Harry O.-rook), Game vmdgip (Reuie vlmkip),C‘"Y- Ph°‘°3"Ph°“ ]°h“ w' B"°“m‘ 5 "'1" Johnny Cooke (butler), Lydia Yeamans Titus (house-Released: November J0. With Harry Carey (Cheyenne keep"). Gem.“ Fi,h"_Harry). 1- Barney 5l1="'Y (.l°l"\ M'""l“)- K"hl"“ Ford's rst non-westem: Boss Patrick O'ConnerO'Conner (Helen Merritt), Lydia Yeamans Titus (her Wm" wmilm 1-ompkim I, undid." for mlynn bu,aunt), Harry von Meter (Earl oflollywell), Duke R. Lee when olen“,-, 5°“, Bury. 5, ,h,.,,,,,n 0,“ of [ht(Buck Regan). 10¢ Harri! (3=yl0\ll')i .l°h"")' c°°l‘¢ (‘M Tompkins house for boorish behaviour towards their°ld 5h"lmI Tm B"°°k‘ uh‘ .Y°“"3““.)" daughter, Mary, O‘Conner gets furious. TompkinsH'“'Y 5°“ ‘° Chl‘='3° ‘° ‘mp "‘"‘ P'ck"'““l' “"5 becomes worried about his political future, so he and

John Merritt from stealing his property, but Merritt's Muy lo ,0 0-Conn"-, hm," m lpololiu mg ‘hefamily laughs at his crude manners, and refuses to listen mmm" m be Bury.‘ plnnu u the Gnnd B-"_to his case. He steals the Merritt pay-roll and then The“, 5,33" Inn“, 0-(;°,,,,¢,.', "ch Pomicll ,,,,||_returns it, but that doesn't get him anywhere—so he inmh, bu, bu, B-y "kn an Ion" and hi, C,-,,wg_steals Mertitt‘s daughter, and they fall in love. Polhhu ‘hem on-I "V" ‘he dly Ind win, ‘he :m_Exhibitors Trade Review: '. . . the kind af picture thatHarry Carey and ]acIt Find can do better ragether than I920 THE GIRL IN No. 29 (Universal-Special).any other actor and director in the world.’ Director: Jack Ford. Scenarist: Philip J. Hum, from

story, ‘The Girl in the Mirror,’ by Elizabeth Jordan.I919 MARKED MEN (Universal-Special). Photographer: John W. Brown. 5 reels. Released:Director: Jack Ford. Producer: P. A. Powers. April 1. With Frank Mayo (Laurie Devon), HarryScenarist: H. Tipton Steclt, from story, ‘The Three Hilliard (Rodney Bangs), Claire Anderson (DorisGodfathers,‘ by Peter B. Kyne. Photographer: John Williams), Elinor Fair (Barbara Devon), Bull MontanaW. Brown. Editors: Frank Lawrence, Frank Atkinson. (Abdullah the Strangler), Ray Ripley (Ransome Shaw),$ reels. Released: December 2|. With Harry Carey Robert Bolder (Jacob Epstein).(Cheyenne Harry), J. Farrell McDonald (Tom ‘Placer’ Devon has written one hit play but can't seem to getMcGraw), Joe Harris (Tom Gibbons), Winifred West- back to work. Through his window one day, he seesover (Ruby Merrill), Ted Brooks (Tony Garcia), a girl in the apartment across the street putting a revolverCharles Lemoyne (Sheriff Pete Cushing), David Kirby to her head—he reaches her iust in time. When she is(Warden ‘Bruiser’ Kelly). kidnapped to a Long lsland mansion, Devon gives chaseHarry and his two friends break iail, separate and meet and rescues her, killing one of the criminals. While he

again in a mining ea|np;his friends talk him into another is recounting the adventure to his friends, the man hebank robbery and this time they are chased out into the shot walks into the room: Devon's sister and friendsMoiave Desert, where they come upon a dying mother staged the whole thing. Finally he has something toand her baby. The three decide to give up their write about, and the new play becomes a hit. ThisI20

plat bears it xrraug rrrrrnblanu In Allan Du-an‘: Manhattan With Buck Jones (Him), Helen Ferguson (Mary Bruce,Madness (l9|6), tehirh, in timi, was mi doubt inrpirrd the school teacher), George E. Stone (Bill), Duke R.by the Jlllfl/ll‘ play and not-cl, Seven Keys to Baldpate Lee (sherilf), William Buckley (Han-cy (hhill), Edwin(lm twrsiarit in I917, I925, I930, I935, I947). Booth Tilton (Dr Stone), Eunice Murdock Moor:(Mrs Stone), Burt Apling (brakeman), Slim Padgett,1930 H]-rC“|N' [>051-5 (U,,;,,,_.,5a|_5p,_.d||)_ Pedro Leone (outlaws), lda Tenbrook (maid). John J.Director: Jack Ford. Scenarist: George C. Hull, lrorri C°°k= ("'ld°')-storybyHarold M.Schumate. Photographerzlieniatnin Th‘ 5l°'Y °_r ‘hf !°“'n l0ll1‘t (‘lust ti-arching peopleKy 5 c |s_ Rd “M. Au us! ;9_ Wm, punk work makes Bim tired‘) and how his friendship with aine r e e g

Mayo (Jefferson Todd), Beatrice Burnham (Ophelia 13-y¢ar~old boy(who|umped olfthetrain goingthrough' ' h h' . F d'r rt! lm ateqv fromBereton),IoeHarris(R:ioulCastiga),].FarrellMcDonald ‘°“’") '5 “'5” “'1 °' , .(I0: Alabattt)i Mark Fenton (Col. Carl Bereton)- U"'-"”‘mI" ‘Bmk ]‘”'“ M" "'>"5"” _' " ‘l "' '” '3Di nu Godowsk (ocwmon), Duke R_ LC: (COIL s_uJJt'riI_\'Jiscrrt't'rr-JBurk rim-in.it'!irr.'((ienrgc .\chnetdt:r1nan‘\K 7 Ylaincy). C. E. Anderson (steamboat captain), M. '"“l"“"" “‘“hl“"d']Biddulph (Mai. Gray).The Civil War turns a Southern gentleman named I921 THE BIG PUNCH (Fox-20th Century Brand).Todd into a Mississippi riverboat gambler. When he Director: lack Ford. Scenarists: Ford. lules Furth-wins Col. Bereton‘s last possession—his four prized man. from story Fighting Rack by Furthman.race horses—the colonel commits suicide, leaving a l'h0lttgrapht'r: Jack B. Good. 5 rt't:l.\. Rele:1\t:tl: laltuary )0.penniless daughter. Feeling responsible for her With Buck Jones (Buck). Barbara Redford (Hope Standish).father's death, Todd takes her into his care and, later, George Siegmann (Flash .\te(imw). Jack Curtis (Jed. Buck'sagainst thc background of a land rush, he saves her brother). Jennie Lee (Btick'\ mother). Iack .\lcDttnald. .~\lfrom a badman. Vt-r_\~ similar in plat ia Ihe Booth Frrrnoni (]ed'~ friend»). Edgar Jones (sl-ienll). lrene Hunt1.../ii".igrwi-rim,» Leon |l"i'lmn PIil_\', Cameo Kirby, (dance hall gain. Eleanor (Filmore ($Ill\';\llt\l1 .-\rmy girl).which had alrmdyltcerirriudrintnujilntin l9l4 (tiiprrt-ixrd Sent to prison on a bum rap, Buck is involved in ab_\-CecilB.DeAli'lIe),andtt'lii':Ii Fordltiniiel/tea: ta renialzr daring jail break. Free again, he rescues a Salvationin I923. Army girl from a lecherous saloon owner, becomes aminister in her Army and reforms the scorng town.Ford has no memory of having worked in any capacityon his brother Francis‘ I920 serial, The i’6I_\-.tter_\- a/ I3, I921 THE FREEZE OUT (Universal-Special).not of having shot footage (‘l Itriate I didn't’) for the Directorzlaclt Ford. Writer: George C. Hull. Photo-Maiirice Tourneur production, T/ie Great Redeetrier, grapher: Harry C. Fowler. 4,-300 feet. Released:made the same year; both lms are tentatively listed in April 9. With Harry Carey (Ohio, The Stranger),at least one Ford linography, but no other evidence Helen Ferguson (Zoe Whipplcl, Joe Harris (Headlightcan be found to support these credits. Whipple), Charles Lemoyne (Denver Red), J. FarrellMcDonald (Bobtail McGuire). Lydia \'t.-atrians TitusI920 Under Sentence (Universal). (Mrs McGuire).Director: Edward l-‘eeney. Scenarist: George Hively, WhenTheStranger ndsthetou-n'sonlygambling hallfrom story by Jack Ford. Shooting started April I2. to be crooked.he decidestu open his own. Zoe talks toZ reels. Rvlelstdr ltmv ll’. With Bob Andstsvn, him about reforming the vice-ridden community, and,Elh=| Riltihiii .l¢"5¢ L'="- .l- Fafmll M¢D°"ildi C3? though he pretends to ignore her, his gambling hallA"t|t'!§0n. lack Woods. opens as a school for the children.A remake of Ford‘: 1917 feature. A Alarked Alan,directed by jack‘: brother, who later was to spell his I911 THE WALLOP(Universal-Special).name 0'Fearna and work as an assistant ditcclot on Director: Jack Ford. Scenarist: George C. Hull, frommany of Ford's pictures. story, ‘The Girl He Left Behind Him,‘ by EugeneManlove Rhodes. Photographer: Harry (I. Fowler.On July 1. I920, Ford married Mary McBtyd= Smith. 5 reels. Released: May 7. With Harry Carey (JohnWesley Pringle), ]0e Harris (Barela), Charles LemoyncI910 JUST PALS (Fox~10th Century Bt=ttdJ- (Matt Lisnet). 1. Farrell McDonald (N£’LlL‘€.\ Rl\'L'r].i“lgl'\UI1l'lEDitwvtl Jack Ft>rd- Swwrist: Paul Schueld, from Golden (Stella \'0tltis). am Gettingcr (Christopher Fo_\‘).story by John McDermott. Photographer: George Noble Iohnson (Espinol), C. l-I. .-\nt|crwn (Applegate). MarkSchneidertnan. S reels. Released: November I4. Fenion (Major Vorhis).

l2l

While watching a ‘Handsome Harry‘ movie, Pringlc surprise, they discover there it gold on the land, Mollyrecognizes an old girlfriend sitting next to him. (The retums, and she and Sandy fall in love. Francispicture is so bad they walk out.) He realizes that he Ford‘:/irttuppearunee irtalrntt/h|'.tbYt1!h:r't. Workingstill loves her, but the girl loves someone else—a young title: Let'.~ (in.man who gets in trouble with a crooked sheriff and hidesin the mountains. Pringle rides out and captures the '9" SURE FIRE (Univctbs - |

youth ‘for the reward,’ but then hel s him esca e from -" , 4 Pu“ )' _

the sheriff so that the boy can retun to the glirl they Dunno? Jack Fwd’ s"€‘um' G‘.-mBc.(" Hun’ [mmMm hm: (“wkin ll“ .1.’ ” J T I story, Bransford of Rainbow Ridge, by Eugene

" F ‘ ‘~ " "'""‘“' “‘ -' Manlove Rhodes. Photographer: Virgil 0. Millet.5 reels. Released: November S. With Hoot Gibson

l9Zl DESPERATE TRAILS (Universal»Special). (]e' Bransford), Molly Malone (Marian Homan),Director: Jack Ford. Scenarist: Elliott I. Clawson, Reeves 'Breezy' Eason, ]r. (SonnY)i Harry Carterfrom story, ‘Christmas Eve at Pilot Butte,‘ by Courtney (Rufus Coulter), Murdock MacQuarrie (Maior Parker),Riley Cooper. Photographers: Harry C. Fowler, Fritzi Brunette (Elinor Parker), George Fisher (BurtRobert DeGrasse. Shooting Match l4—Apl'il ll. Rawlings), Charles Newton (Leo Ballinger)i lick Woods5 reels. Released: July 9. With Harry Carey (Bart (Brazos Bart), lack Walters (Overland Kid). Ioe HarrisCarson), Irene Rich (Mrs Walker), George E. Stone (Romero), Steve Clemente (Gomez). Mary Philbin.(Danny Boy). Helen Field (Carrie), Barbara La Mart A wife's lover steals the husband's money. By

(Lady Lou), George Siegmann (Sheriff Price), Charles accident, ]e' is coining out of the house iust as the

lnsley (Dr Higgins), Ed Coxen (Walter A. Walker). husband retums to discover the theft. and thinking himWhen Carson's girlfriend leaves him, he turns to the the robber, he starts after Jeff. ln the meantime,

Widow Walker, realizing that he had always loved her; bandits kill the lover and they steal the money. Finally,he even goes ID iail for something he didn't do just to Je. who can't pay his ttwttzttss besttttsv h¢‘s I00 bttsyprotect her brother. But in prison, he nds out the running from the husband, catches the bandits, returnstruth: Walter was imt her brother, he was her husband. the money, pays his mortgage, and gets the girl. TheOn Christmas Eve he escapes from jail to track the man husband never does nd out about the lover.down. Motion Picture News remte: ‘. . . the closingreel: show the slate change of teamtii in the iraeltlets foretli Fm lhc nu“ "'1 Ya": Fwd W" 1° W°l'k ¢XC|u5i\'=lY (0!another nice piece rt] camera work and direction.‘ Ford FOX-rununbzrr the lm with affection (under it: tt-orkirg title,Christmas Eve at Pilot Butte), became his son, Patrick l92l JACKIE (Fox).Rnpn, was lmrti durirg the shouting (ort April 3). It Director: Iack Ford. Scenarist: Dorothy Yost, from

war alto the rrt time he had worked to turh an extent with story by Countess Helena Barcynska (pseudonym fornight time photography, and, he Ieels, it turned mt! well. Mar8“Ukc Flaunt‘ H¢l"\= l=\’\‘t§ EVtt§)- Pl’t°t°-On several ot'mt|'uiis he hat spoken of wanting to remake B\’IPl\¢l'I Ct¢°YB¢ 5‘7h=id¢""lll- 5 l’E¢l5- Rsliidlthl picture. November Z7. With Shirley Mason (jackie), William

Scott (Mervyn Caner), Harry Caner (Bill Bowman),

mi ACTION (Universal-Special). fj‘°;5éw'i~c (5‘;‘i';:u()B‘““Y)t Em‘ B‘"‘*"‘°" <M"“‘>-< . - , o .

.P'"cmr' “ck Fun?’ Scma,{m' Harvey Guts’ [mm Jacki a Russian irl in a chca roadshow wants to.

ct 8 P

The Mach‘:““u[ lb: nu: Sm] h) 1' Allin Dunn‘ Ph“mg' be a great dancer and, to escape a lustful theilrc, manager,ra her: ]u ‘. Brown. tee s. Released: Se temhet I2. -

vt"iih Hnut (iilmin (Sandy Brooke). i~'iant~i. Fufd r$tida Water ‘M -M“ ‘° L°“?“.’"' "’h"° ' "°‘"‘5 A"‘°"°"‘ mp‘ h"Manning). J. Farrell .'\\cDtin:lld (-\\tirInt\n Pin.-iii. Buck '""“ h" "“""'°“"uinnm (I'll tan.-i-i. Byrtirt Mumtin (Henry Mcckin). Clara“‘f)*>'li “"]"'="2,"- <1-“|(’_1tt"*t>'1)~:L{tl:t_|t~ l9_22 LITTLE Miss SMILES (FOX).

F. h ,1 - A §'l'l’;l-D?“ *‘"\-Q‘ “"' =_'='>l~)Ld tttit Director: jack Ford. Scenari: Dunithy \'0.\I. lrwrt Lllllt‘'* °' “""*l- "~"'" l~ """\~'* ““‘""l~“'"tt~li t\l~"~lt"ttt .'"It'VlJ by i\\_\’!1 Kelly. adapted by Ytisl and jack §lrumwI.\v:r.When Molly's tthst is killedi three desert httttts buy Pllttlograpller: David Abel. s reels. Relelvcd: januarv is. with

her ranch, and some local outlaws gure there must be Shirley hhwrl (Esther Aimnson). Gaston Gla\\’(Dr. jack

sold on the land. They try to steal it thwttah x\tlrdinn- vttahinni. George wiiiinnn (Papa t\arL\n\4in). Martha Franklin

shin of the sirl. who's ttttdet-ass. so the bums send her (Mama Aaronvtn). Arthur Rankin (Davie .-\ar0n\t\n).o to In Eastern boarding school. Much to their Bahy Blumhelil (Baby Aarnnsnni. Richard Lapnn (Laml22

Aaronson). Alfm! Test: (l.uui~ .-\nrun~un). Sidney D‘.-\lhri>uk mg) THE FACE QN THE BARRQOM FLOOR(‘The Spider’). (Fox),The story of a lewish family in New York's ghetto: Director: lack Ford. Scenarists: Eugene B. Lewis,about the mother's failing eyesight (which is restored), G. Marion Burton. from poem by Hugh Antoine

ihs diishiefs luvs fur the diwwr (which is returned). D‘Arcy. Photographer: George Schneidetman. s,7a1and her brother's involvement in a murder (of which leer. Released: january l. \li'iui Henry B. Walihall (Ruherthr is dw=d)- Stevens. II1 Iil). Ruth cmtuni (Marion \'t\n \'1ee-ii). WalterEmerson (Richard Von Vlcck). Alma Bennett (Liinie). Nurvali\1c(§rcgor (Cro\'i:mur). Michael Dark (Henry Drew). Gus

192: Silver ll"i'nE.t(Fux). “‘:‘\"""“*“""“‘)~ . .Dmnms: Edwin Ci"_wL_ (Th: ma‘ ad‘ Fm n il'llSl)l¢ii§ his story to some workers in_a bar.Prologue). Writer: Paul H. Sloanyei JPhotogr:phZi:T Ebomdlhic gm gt in“ I-hmugh a mlsuri-d:"n:dm8' zisJoseph Ruttenberg. Rubi-rt Kurrle. 8 271 feet. -cg" ‘"9" an “me In pmon on 2 is.‘ C UR’ is. -, - - ’ nnal reprieve through an act of bravery. The Face onReleased. August .7. With (in The Prolngue)- Mary - .' the Barroon-i Floor!‘ Ford wire mid ‘Mv Gad did I dnCarr (Qnna Webb). Lynn Hammond (John Webb), 9. Ch . h dd ’ mi I'M!Knox lunuid iinhn. their child). ]o\eph Mnnlhan (Harrv """ ("' '°"- "P"" " "”“""' "" " ’another sun). Maybeili Carr (Ruth. their darghier). Claude ""4" M‘ mm‘ ml")§[§f§m“;'; “':‘\{“‘lf, "";":'! ""1; ""§l€"; was THREE IUMPS AHEAD (Fox).H ,. \ ‘_ . ' . ~ ,"‘“ ( a -ll‘ "" ('" h‘ Director-writer: Jaclt Ford. Photographer: Daniel B.Sim,‘ (;"'h‘;:“§;“"“"lk",:“'R"““g‘ ‘1“""l-_l°“F"' Clark. 4.554 feet. Released: Mirth zs. With TomHa:sy.hm omasC(| us LB 0); Qfil (('¢°'B°)~ Mix (Steve Clancy), Alma Bennett (Annie Darrell),R ‘" ‘ '!“‘l- '“ ‘ "“ l‘ "*'= '\"~"“*'*l~ Virginia True Boardman (Mrs Darrell), Edward Piel“§‘;L*§'{"" §,“?"“"l' '°'"“‘ *l'“"“' U‘.">'l~ (Taggitt), Joe E. came (Annie's lather) Francis Ford...1:..':. smirz:1.;"";';*:.'""::::;:i'.“:.1I*:.::: gyi-=*'>-GM-,,~-~;,,1»=""W»"M<¢~@~»- . ' ‘ uster at ner rutus).:;':‘h=:(8§u::!il'n;h§h‘b‘I'1‘Si:iess and her eldest runs it iriw A band of outlaws captures Clancy and his uncle andMu‘; u _ gunman“ p‘;_‘“"y ‘Elm’ inf, lhc mnly holds them in a cave,wherc another prisoner is lorced to.Pml°guc.pJu" MN wnyh Z C/y ‘If, '|'c'“""‘d' . Fwd‘ og them. When this old man escapes. Clancy is told

r ' ‘ '"'"-‘ ‘"'~"'""-\"'/'- I0 get him back or they'll um his uncle. Through utrick, Clancy nally manages to recapture the man-1922 THE VILLAGE BLAcK5M|-I-H (F°x)_ only to nd he has to rescue him again—because he has

Director: luck Ford. Scenarist: Paul H. Sloane, from Mk" "\ l°"° ‘mh lh‘ °ld 5"!’ 5 d‘“5h‘"~m by H n y Wad w th Longfellow. Photo-

sroacpher: George, sC|'\l'lti;Cl'ol':\I1L 8 reels. Released: 1923 CAMEO KlRBY(F°l‘)-,Nuvgmha 2‘ with Wmmm wining Um", Hlmmmnt hhdh Director: John Ford. Scenarist: Robert N. Lee, fromwnilh). Virginia Tnie Boardnian (i\l> wife). Virginia Valli Pl" by "WY l~'=°" w"§°" °"f* B°°"‘ T"'“"8‘°"~(Alice Hammond). David Butler (Bill Hammond). Gordon |"‘°'°B"Ph"= G=°'8° 5°""='d°"'“"- 7 ""5-Grilfith (Bill. a\ child). lda Nan McKenzie (Alice. as child). R='=="? (“'"h "M" ?=‘1"="=")= °'"°'=" 1'~ Wm‘George Hackthurm: (Johnnie). Pat Muivre (Johnnie. as child). l°l"' G'“’°" (c‘""°° K"bYl- G°"'"dF °'"“‘°'d <j‘\‘“'°Tullr Manhall (5quire IE/rat llngh.im). 1;-r.-irrrr Rankin (Mn R?"*|=")~ 1"" "“1= (C"1°"=l *“""'-'")- \"'"'="" 5- 11}*_""~‘=Bngham Ralph Ymdskv WM“ R,iBh,,,,)_ Hm; dc |, ((:u|nnel Randall]. Iean r\rthur(:\nn i"l1\)'\iell). Richard luckerGi.l'ql1t.‘[.'\nS0l'I. as Child].-|"f'-‘l|1L‘I\ Ford (Au Marlin). Bessie "*“'>'" -‘\='°")e "'""'P* 5'"=",°P' U"*‘B= "'“Y*‘*"'l- 1”“Low (Ragnar), Miran,‘ "ck" FM‘! (Ro“m"yI as McDonald (larltin Bnice). Eugenie I-'ord_(Mme. Daue/ac).child), Mark Fenton (Dr Brewster), Lon Pun (Gideon K""Y '°"!‘ ' 5’“"°“°“ °'"' 15"“ '“" ‘°. "°"’ ‘"‘ 9"Crane, school teacher), Cordelia Callahan (Aunt Hattie), ml“ who.“ hem! mecca; he mm everylhulg’. phmpng- - - - - b h ld d 'tkn whis tentionsEdd G mm H )_ L I H to return it_, utt _eo man oesn _o inT: -flhcncinl mrcéi-ca and commits suicide. His daughter is the girl Kirbyhis f;n;|yyis dism:Kd__fm_ I mc_by I stud“ ‘mas loves and by the end, she comes to realize Cameo‘:Mud on “cs true character. Moving Picture World (l0lZ7 23):

' ‘Dirzeiar john Ford [this was the rxt lm on which hewar billed ]ahn iriitead ii/]arIr| has been especially sltil/ulOn December I6, I922, the Fords had a daughter, . . . . ,Bub": Nuscnn in /ranting each seen: to artistic advantage. . . .

I23

(Rmade in 1929 by Irving Cummingr.) Brandon, Sr.), Winston Miller (Davy, as child), PeggyCartwright (Miriam, as child), Thomas Durant (lack

I923 NORTH OF HUDSON BAY (Fox). Ganzhorn), Stanhope Wheatcruft (john Hay), FrancesDirector: John Ford. Writer: Jules Furthman. Teazuc (Plkl Dot). Dan Bor12B¢~

Photographer: Daniel B. Clark. 4.973 feet. Released Ford‘: rst amt success, about the me bewvvvn lh=(with tinted sequences): November I9. With Tom Mix Union Pacic and the Central Pacic to lay tracks for the

(Michael Dane, a rancher), Kathleen Key (Estelle first transcontinental railroad, and centering on Davy

.\\ai.'l3\\n.\lJ). Icnnic LN mint-'~ mnlhcf). Frank Ctlmpczlu Br=nd<>n.whv,whil= mwhinx fvrhisf=rh¢r‘smur=!=r¢r,(lmctnln .\la<l\\naltl). l~§\11:ene l'i1|t-ire (la-rt»: lhnc), will wmlncesrhildhwd sweclhearliher father is om: of the\t';|1,ng (_»\,,gu~ ,\\ueRen/re). l~'nink Leigh (]cllr\' tilt-ugh), leaders of the railway enterprise) and becomes a railFred Kuhlcr (:\rmand l.e.\\nir). builder himself. [\'i‘urk|n); llllt\I 'I'/in 'I’r.uu'(.'.:n||m-/mil R.1|I—

On a steamboat heading North, where his brother has no.1. T/Ir‘ Imn ‘I'1.uI.)

struck gold, Mikl: Dane falls in low: with Estelle 1924 HEARTS OF OAK (Fol).MacDBnald.l When‘ hcharriges at thhe Canadian trading Pg,-“roll; 610:3“ F011, "suns,-i;r;‘ ch")? Kényon,post, ane earns I at is rot er as ecn mur ere mm ay y gmgg _ gmg, Q“, n ¢|-; ggfgg

and his partner sentenced to death as the killer. But S¢hngpid¢r|f|;|'|_ 5,335 [¢¢;_ R,-“neg, pqobgp 5,

EsteIle's uncle turns out to be the real murderer and with Hobart Bosworth (Terry Dunnivan, a sea captain),duringachaw heisauicnientallykilled.(\K‘i\rlungutlc: /.mmt;\- Pguline sum (Chrystal), Theodore van Eltz (Ned-zflnuili.) Fairweather), James Gordon (John Owen), Francis

Powe Gran a Du ' ie ma

N23 HOODMAN BI-‘ND (Fox) Dunnizlaid), Friscis Foiiiiivan), Jenn L“ (GnndDirectorzlohn Ford. Scenai-ist:Charles Kenyon,from An 0|‘; 5" “pain 53|;[i¢¢5 his happiness (andI"=>' “Y _"""\' _~*""§" l""~‘ W \F"~"" ““'““< "'“““E- nally his life) for the sake of his two adopted children.fvhvi "“"!=F ~‘~"‘"*"*‘“'““"-,‘~“" ““; "*'_“““" "“‘{'*'"f' Moving Picturc World: -. . . packed it-rm mini-"r rccvletrill? D-1\'\\5v Bali‘! (l“~'1;‘\ fulclttil. highs Hulettcvlpilw a] rlnrlnt at mi, reonder/ul r~im~r of the Arctic land, ne

Iii‘: Ca|ri1.]::*‘:\iv(r\\:l;lI("lirel.Z'irt‘t'l|;. W“ "I U" Nu” b""“"d “""' “'""'°" ' ' "(]nhn Lmden). ‘|"n1t~\» cmk (Mrs. ]uhn |.I\l&'I\), Eddie "Z25 UG"TN1N' (F°*)-<;r-mm (Battling rm-Wm. ]-lcli \nn.-r~ (Bull it-imim D"’°"°'= I°h" F""i- $¢=“='_1=l1 Fnw M1110"-fromA ‘Amman who dam“ ",0 “milks, mums ‘rm pm hy wmeu,~|1 Smllh and hank am-,1. l’hntugrupher:

twenty ye“ (I wnlmy mm now) w "Y and make up ]u\e|\h_ u. August. :\>\|.\lanl .1-r,\_-mt: Edward 0'|=.~imifor his Pm nu 8.050 am. Released: August 11. \\'l||= hr Hunt (‘i.\ghlmn‘

Bill ]\ll'lC.\), Madge Bellamy (Millie). lidvthc Chapman (MulherJones). Walllm i\lcl)nnaltl (john .\lar\'|n). ]. liarrcll .\\\:Don-alt!

lD9ii:ct-:iI]£oi\!:i(i=ro‘rt1‘liogggiaggcéharles Kenyon, from $l1."*‘F“ T‘;r'"v““‘!: l?l':':l (_:‘“““" l'“"{%“":‘ D“\é"“l‘"l{'“h:"lstory by Kenyon and John Russell. Photographers: "“‘:“" l/rm?‘ J “";Tl‘ 1",?‘ ‘ "am [(,‘_ f" ("‘GeorgeSchncidertnan,BurnettGuh‘eY- Titles:Charles mix‘) “c 7‘ “'1 ““ “N l “mm“" )‘ U“ ‘ mu“1>=mum. .\lu.\|c \C\ll'L‘I i.mt- RAPE. .~\,\\|\|an| .1.m.-1-. llslwlfdn"1~'wm. H.335 feet. Releawd (with tinted ~ct|u|:nces]: August _X{§’c'::h'“§'::‘:li:":',"'hd“§‘]‘:?';:n§:$an With (icorge O'Brien 111;“-v Brandon). .\\=u,=t- Bellamv Bi“ (W In mm nmznamcd) “ks "O drif‘ and'- ~ ~ . ’ PP P y

(Mmam M353)’ Iud%:h“les.rid“"d x“ (bnsnng tell stories about all the things he used to be. A pairLincoln) i iam ing ( omas ars ) re r . .

Knhler ‘(Deroux), Cyril Chadwick (Peter femn), 3‘ l‘;:Q‘:f"':}"‘f ":f:w(":’hf";§::::"‘.!G"“Y‘ "“'°“‘ (R“"y)‘ ]‘"‘“ M“"“‘ U“"g‘ H‘"“')’ ialnnin I0 mire throu iicand You Want it- but the

- . P B B Y

Franc“ Plogfm (S"gum€'leil“:rnll, I. farggi-1 foiled through the e'orts of the ]ones's daughter and her

%i;?:°?Tonys>fyii'iir:\:sR°;eis 0:43, jack‘ "°Y"““"' “"4" '“ /""' "‘“" 79"?" ""4"‘" '"0.5m“ (Dinnyx Gem,“ wanna (CDL .Bu-do Bm. [I/lillilffrlfllltf. (Rrwuilv m lvm !~_\- II.~nr_\~ lung.)

Cody),]0hn l'adian(Wil\l BillHickok),CharlcsO'Malley I925 KENTUCKY PRIDE (Fox).(Maior North). Charla Newton (Colin l’. Huntington). Dinxlor: john Ford. Writer: Dorothy‘ You. Phttttigraphcr:

Delbert Mann (Charles Cracker), Chief Big Tree George $Ci\l\CiLlt’I'I‘I\2|‘l.:\!~.\l\llI1l\||t\‘L1hr1 liriwartl (1‘l~'earna.

(Cheyenne Chief), Chief White Spear (Sioux Chief), 6.597 feet. Re-lcami: Sq\lL'ml'\et 6. With Henry B. Walthall

Edward Pie] (old Chinamln), James Gordon (David (Mr Bm|mvnI)- Jr Fmll ~\\¢D='M|d l-'\\il<= Donovan).

124

Gtrlruiiv Ar (Mn Beaumont). Malctilrrt Waite ((ite\‘v Schneiiler-rnan. Awstant dirt-ant: Edward 0‘l~'earna. 5.61-15(‘arwri-B¢1lrSwdd=rd(1\\ntx-nin-anl.\t('iniinnM-tlertanni (mt. Relt:1Lv:i.l (with linlcd .<~..,iii-ni~r~i= .\\:t)' 1. with JanetDonovan). Pmhw lrkwn l\'Irt!Im=i ileiumiintl. and the tiaynrn (Sheila Gnitney). l/.-slie Fcnlnn (Neil Ru“). ] Farrelllttir»i\_ .\\:in 0' W-it. l-air l‘l.i\. Negiilul. lhe l-inn. .\\ur\'ieh. .\\i:l)iinald (Dennis O'Sl\ea). Louis |'a_\'ne (Sir .\lile~ (iallney).(linli-der:iq' am! \'irgini='\ Future. Claire i\leDivwell (Mnlly U'$hea). Willard l.nui~. (MartinA horse tells the story: Ruined (because of gambling Flndl], Andy Clark (lihesty Miirgan). Georgie Hlffh (Bennydebts) when his horse breaks her leg, Beaumont (iimherg). Ely Reyniilih (Pun). ‘l'hiitna.~ Delmar (Michael)-eventually enters her colt, Confederacy, in the big race Brandon llurst (the pruuirer).and she wins; her mother has become a drayhcrse, An nld lrish nobleman is sir considerate of his tenantsbut Beaumont buys her back. regarding rent that his nancial pimtinn nally forces

him to sell part of his stable to an American. whit takes. . the lrishman's young iirckey back with him tn theI925 THE FIGHTING HI:ART (Pox). S wh h b . ltd . hi IDirector: ]ohn Ford. $Cenari5l: Lillie Hayward, rrnni “M3 ""‘ f “_?' " ‘.'fP" ‘ "‘_“ "“"~ ’. ‘" .“‘

()m‘i' li1Ift\1ji‘r\|rIl| by Larry Evan». Phtitiigraphcr: jvveph H. ;“l|:\l0:\cr._t0§'¢ll\h'“r_ ?‘_“" _"f"f§*‘f" |“[“’h "‘_“_". P’?:\u|z\.L-l. 6.978 fut. Releawd (with tinted wquentea): Uqnher to rrl:iri¢.a.d__ L)‘L-l"l[Ll'h|~lk‘ orst tin’:-1.l. with (imrge 01-train (Denny Bolton]. Billie l)t\\'C (tx-re. -~- =""°~ "="‘ MP» “h"" 5 * “'">' ="‘ ‘ ‘Y.\ndersun). J. Farrell i\lcDt\na|tl (Jerry). tiinna .\hu.-r (Helen “'1 5° "°"“' “’ '"i"'*'<\'an Allen]. Viuor Mclzglen (Stiapy \¥’ill|am.\). Bert Wutidmil(Grandfather Bl\|lOn]. jamn Marius (judge -\\:i)‘nard). Lynn |915 3 BAD MEN (Fmt),Cmvan (Chub Morehouse), Harvey Clark (Dennison), Director: John Ford. Scenarists: Ford, john Stone,Hank Mann (his assistant), Francis Ford (the town fool), from the novel, (Iver the Binder, by Herman Whitaker.Francis Powers (John Anderson). Hazel Howell (Oltla- Photographer: George Schncidcnnan. Filmed athoma Kate), Edward Piel (Flash Fogarty). Iadtson Hiile. W_\'oming. and in the .\iti|a\‘c Dewrt. ?4.7lllPhoraplqit said, ‘A prizeghter is swept to Broadway feet. Released (with tinted !I~'\]l|L‘l'\CL‘\)I August JH. With (ii-urge

by ambition; love brings him back IO Main Street. 0'Bl'lCl‘i 0”" °"“““~'>'l. Olive B-irdw lLL‘L‘ <1-ntrnni.Thfgg of the |'|'|p§[ thrilling ght; cvet 5|;|'¢¢||¢d,' ]. Farrell McDonald (Mike (Imtigain). Tum Sanlschi (Bull‘Oh, that rt-as il prize-ghlirg p|'c!un'.' mid Fnni. ‘In Stanley‘). Frank (Iampeau (Spade .-\l|e!1).l.iiu Tellegen (Sherillthose dayr, we made one n month.‘ Victor McLagIen'x Dim H\1l\l¢l')- (i¢"I'SK' H111“ Um‘ ~\ii"‘i‘l¢ ll)‘ "ll"! (Oldrrr appearance inn Fnrdlm. prmpeetnr). Priscilla Bonner (.\liIlie Stanley). Om llarlan

(Zack lnlic). Walter Perry (l’at Mttnalutn). (inicc Litinliin7 (Millie-'.s friend). .-\lcc B. l‘ranct.~ (Rev. Calvin Betmvn]. licurge,',",;jqI§’*’j§MY°',io§§°”};mdm,, Wm Goldm ir\'ing(Gcnet1l Neville). Phyllis Ha\'er(l’r‘-llrte Bc‘aul)').\'t.\lt:l‘

Scenarist: Frances Marion, from play by Winchell "*"1=1=~5"'“’~*"""]"-5mm, and Tom Cu5|,ing_ phumgnphr; Gems: One of Ford s most important sile_nts: ln the DakotaSchneiilerrnan. 75 minutes. Released (with tinted Tcmwry of 187$ I=_thww1d= =mv= Ti" "R Dlkmagqumu); Nowmhu. |_ “rim Gm,“ O-gm" (Kmnh land rush, three bad men rst serve as match-makersjamieson), Jacqueline Logan (Diana Lee, the innihar), for = yvunz wunlv ind lir=r_sw= "P_ lbw I-W5 wAICC Francis (David Lee), J. Farrell hteonnata (Andy), =1" ‘hm from I vvtriivl ih=r-E Ind hi= sins-Cyril Chadwick (Mr joncs), Edith Bostwick (Mrs

§i‘3".°‘é'nX.3§‘Bl.§’r§£‘££i§§§3Z.f'}’§i‘£2;.3;T?i.’.{."i¥ -~».=~ THE Bwr WM <1-M». _ .(Willie Jones). Robert Milasch (Sweet, Sr.), George D'“"'°_¥= J“"" "‘?“'- §°“"“_""‘ L; "- R‘§“>" “°'“Fawcett (lamieson, Sr.), Marion Harlan (Millie Ionts), “°'Y' Th" 1—‘?'4* R"'""_°- bi‘ "*"='_“' B*'“‘%'"°"'~Ma Moo“, Frankie Bacy (gossips, hhntngnphen (ii-urge vsliilllifltlttfflllll. _.~\\»i>tant director:Two vcsirymgn’ "yin; lo “op 3 dcrgymln from i".t!Wll'dl)l‘£‘IlfIla1:vl!rZ\\‘olL‘k'l-Rtfil’1\L'\1(\}'l[hlll'\|lSf|>£'L|llk’!ICL'$)Igetting a pay raise. provoke a scandal that implicates Sfplmh“ 12- "0' "“"Ff_ Q 3"“ l("~“'g"',n"‘__“3'l' 1”"his niece. But the banker's son, whom the clergyman ("T""°" {K"§<‘ Cooper). William ltuwell (Big. 11111‘ Ryan).Momm pmvahuinnonncm Robert l'.aleon_(l'alh|:t Joe). tiai-ni__Bni|¢r (hit-tr oati-ani).

Phillip hm! (Ltrnpy D Any], Ralph hlpperly (5lats Mulligan).arct Livin stnn Marv Rnhan. crrv Madden Bahtme THE SHAMROCK HANDICAP <F==»>- Harry gfcnbrtiolt (Bas(:nm).) in Shun (ti,....;.Director: John Ford. Scenarist: John Stone, from ;(tc(jnh‘.)v '

"°"Y bl’ p" 5' KY"°' Ph°'°3“Ph“i Gem?‘ Rivals as civilians, and both in love with the same girl,I25

‘mg ind"; |_)-A,-cy and Ryan Qonlinug ‘M3; fwd in the story, (imnilniu Bt'"lL' Lrimu (It-1 Li-um. by l. A. R. Wylie.Navy, where only military discipline keeps them in |’l\°lf1B"Ph°‘§I G=°'8¢ 5¢h"='d°""“"- C'“_'l°§ 6- C|‘_"|“-check. The battleship Chlpllin (who wus I130 their Music =rt=nt=I"~ 5- L Rotlwlsl» Th¢m=~ ‘L-"It Mw==r._ byparish priest) shiny decides to let them ght it out ih I-Lmo RaP¢<i L<w Pollrdt Ed-we Mirslrvl V~ Cllwy-_ Tith-the ring, but the match is interrupted by a lubmlt-inc writers: Katherine Hilliker,_l>l. H. Caldwell. Assistant director.attack. After the war, when the same gang of dope WWW 10° "\"""=§- R=|¢1§¢¢ (W"J_\ "\"§I¢ Illdsmugglers kills D'Arcy's brother Ind shoots one hr syndimn-rd wind =fTm~)1 F=l=~=r.v 11 With MyxmlRyan’: pals, the two all a truce to rout the criminals, Minn (Fm! Bllli hm“ "Ill (I"§¢Pl'I B¢\1=)i (-lW|=§and then go right back to ghting each other. Morton (lhl Bfmkli G°°Y!° MR?" ('\"4l"-5 5°"‘|=l-

Francis X. Bushman. Ir. (Franz Bernie), ]une CollyerI921 UPSTREAM (For) (Annabelle Bernie). Albert oi-iii [p0§lman), am Forte (MajorDirector: John F<>rd- 5¢=nrri=== R-ndlll H- Fm, VOII Sluml), Frlllk Rcicher (hendmaster). jack Pehhiciifrom story ‘The Snake's Wife.‘ by Wallace Smith. l’hntug- (]q5gPh'5 A,-M,-gm, f,,¢|,,¢), A,-d,d,,k¢ tmpuid of Ausui;raphen Charles G. Clarke: Assistant director Edward O'Feai-na. (German aw-Q)‘ Hugh‘: Mxk (innkegpeny wgnddl5,510 feet. Relased: Jiiiiiiry 10. With Nuity Nash (Gertie Fmum um“ Hm,.y)_ Ann," -|-0",,“ (M,y,,)’Ki1's)'F1'1= F°*=(B'=**"B'""'% Gm" \‘/"*'=,"ll==* '~°"=!l=l~ Ruth Mix (]ohann's girl), Robert Parrish (child),R'Y"‘°"d ““d"5°d‘ in‘ 5'“ B°'d“)' Lyd“ Y“"“'“ Tm“ Michael Marlt (Von Stomm's orderly), L. J. O'Conner(Miss Brecltenbridge). Emile Chautard (Campbell Manclare)- mubugmc)’ Ferdinand 5chunwm_H:ink‘ cap,’ IBM poncmT=¢ M<""'\='* 5="""Y ‘*>*'=" II "1"" '="")- F'="°*§ F""' Carl B0h€II’\C. COIISIBIII Fr-ihte. Hills Fllfhtfg, Tlbcr \'l1IllI"B&l=\'l-1"“! Km!» Lilli" "/""1 ("M ‘mi 1"“ "/""°“ iaiihy. Stanley Blystonc, Litlll. George Blagni (oicels).(§""h"“')' Hm? Bin" (Gm H°"““)' Ely Rtynnlds The story of a Bavarian mother's four sons—the one(n°“f°°')' who goes to America and the three who remain inA ‘°"“‘*Y"""“ ""°“‘ ' 5'°“P "f '°‘°" l“ ' L°"d°" Euro = and are time iii the i-‘am whim War At the

b°"din5 Mus‘: Bnsinsmm is mos“ m Pl“ .H'mk‘| end lzhe mother ioins her only remaining son and hisin a West End revival, and its success goes to his head; (“uh in ‘he Unkcd Sm“ Fwd.‘ bl-um mum mmhe eondescends to irt with his former sweetheart and The {mu Hone ‘

her husband throws him out on his ear. I9“ HANGM'AN,s HOUSE (FM).|91g MOTHER MAC]-[REE (j=°;)_ Director. john Ford. Soearistsz Marion Ortli, WillardDirector: John Ford. Scenarist: Gertnide Orr, from lY""_1 l\°"=| by 5"" Oiwlld D°!f-BY"*- Id-ll-{Rd bl’ 1'7"“?story by Rid: IDYIIISDI1 Yhiihg. Pllolograyheri Chester LylIn§. l<l=m- I'hnwi=w_Ph<I'» Gwrte 5<=hn=1d=""-1I\~ Edlw M=I_s=\'=lmiihis the lillt-writers: Katherine Hillikzr, H. H. Caldwell. \/_> Clrmyr Till:-wntw Mrlwlm Snort Buy!-=4_ Mrlsw-I555,5“,-,, dg,-mo,-_ Edwud Q'pnm,_ 75 m,,,,,,¢§_ |t,|nq-,1 director: l"hil_l=ord. 7 reels. Released: May ll. Widi Victor(with Iinled 5¢q\.ItlICtS)§ January 22; (with MUSIC Illd §)'Il- M¢l1sl=!\(CI15n H°F")- "OM" Bvrwvh (l=m=_§ O'Brien.eiii-hhiwi Slllld i-rims); Ottlobel 2i. With Belle Bllltll lnrd Chief J\t=n¢¢)- lune Golly“ (1-“mush! 0‘Bn=n).urry(Elltll Metiiigh). Neil Hlmilln (Brian Mcniighi. Philippe Kent tbmmgn M_¢D¢rrm>n)- E=r1= Fm Uohn I>-rev). hnrDe Lacy (Bfiln, as child), Pat SOIIIEISCI (Robert De Mayne (I-eiwm-rr <»l~>n=1l- Jwvh Bum (N=ddy Joe).Puyster), Victor Mchaglen (Terrence O'Dowd), Ted R11! Sloilild (MM M¢D<""""|» 10'1" Way"! (§P'-"11""McNamara (Harpist of Wexford), john MacSweeney II MIR‘ HR)‘.(Irish priest), El-lllli jensen (Rlchel Vin Studdifurd), lrrlrnd; l~hn_s-nt Jirdsq _0 Brim is dyins; hrcwseco|,,,m¢¢ |~|°,,,"d (Edm, (j,,,,i,,5)' |;,|,¢| Clgytgn he thinks it will give her position, he forces his daughter,(Mrs Cutting), William Plait (Pips), Jacques Rolleris Connauxhli l°_ "\l"'Y Pi"=Y- B"! 5|" |°"=5 D¢""°‘§-(Signor Bellini), Rodney Hildebrand (Brian Mel-lugh, exiled ‘Irish patriot named H08" 501"‘ ‘ll=}Y5,-_), Joyce wind (Ednh Culling, ,5 child), Rob," dilemma: risking his life, he returns to lrelnnd to ltillParrish (child). a man _w_ho married then deserted his sister and causedA Madam, X 5,0,-y; |,, ms}, molt“, in Amgfigg (n her suieide—that man is Darcy. There it II him: rate

the turn of the century) gives up her son in the interests I" 1'" "_*"')' 9"" '"{""P¢'"'—"l /¢<!_ lieitni—ih: one inof his future, becomes a housekeeper and raises her Tl" Q11“! Mini ""15 .7415" Wayne (lfl 5"} m 0/ limo!‘m-,p|Qy;,s- ¢|,,,l|,,¢,-_ ye"; hm-, wh:n'[hj§ ‘M and twenty Find lms) at on aim-eriihuriasiie_tpeeiamr it-Imhe, um “H in |°,,¢, the boy -mg hi, mom" ‘fl muy smasher ii pirltrt /enee in Iiir exeirenmit._ The only thatn,m'“¢_ I vanentbn,' inid Fwd, ‘ix 0/ tlie Gaelic emu, with the

people piuring in /mnt of i'i.'l9Z8 FOUR SONS (Fox). I928 NAPOLEON'S BARBER (Fox-Movietone).Director: john Ford. Scenarist: Philip Klein, from Director: john Ford. Scenarist: Arthur Caesar,

l26

from his own play. Photographer: George Schneider- president), J. Farrell McDonald (Angus McGregot),man. Title-writer: Malcolm Stuart Boylan. 32 Dolores Johnson (usherette), Douglas Scott (Wobby),minutes. Released: November 24. With Otto Robert Ryan (porter).Matiescn (Napoleon), Frank Reicher (The Barber), ‘Strong Boy‘ would like to please his girl and makeNatalie Golitzin (Josephine), Helen Ware (Barber's something more of himself than a baggage porter. butwife), Philippe De Lacy (Barber's son), Russell Powell all his c'ons fail and he winds up I locomotive engineer(blacksmith), D'Arcy Corrigan (tailor), Michael Mark iust like her father. When a gang of train robbers(peasant), Buddy Roosevelt.Ervin Rcnarcl,Joe Waddell. tries to steal the jewels of visiting royalty, however,Youcca-Troubetzkoy (French ofcers), Henry Herbert ‘Strong Boy‘ outwits them and nally becomes a hero.(soldier).Ford's rst talkie, about a barber who brags to a |9z9 1-HE BLACK WA-I-¢H (|:°x)_

¢"5‘°m" “"h_" h"d d° ‘° N‘P°l§°"' if ht hm ‘h° Directors: John Ford. (‘staged by’) Lumsden Hare.Ch-"'|¢¢ ind d'5c°V"5 m“ ¢"5l°"\¢l' " N‘P°|¢°"- Scenarists: James Kevin McGuiness, John Stone.from novel. King 11/ lite Klivbrr RI/kt. by Talbot Mundy.

9 "__ C Photographer: Joseph H. August. Song. “Flowers of Delight"ggan ",',Erd_°':w(,§';‘:':Z: hm“ Gm“, Fm, by wiiiiarri Ku-ncll. Editor Alex Trocy. A>5istarit director:Stanley. Photographer: Charles G. Clarke. Editor: Bdwud 0Fm‘m" 93 m'm““' Rdnscd: Mny B‘ Wm‘ vmmml 67 R McLaglen [Capt Donald King) Mvma Loy (Yasmani).Aleii Troey. Assistant director: il Ford. minutes. e- , ‘ ' ' . ,leased (widt music and syndtroniud sound eliects): November Ray D “ax? Giiungaal pill Sgmnmhiliglinlitdmzs. With J. Farrell McDonald (Aloysius Riley). Louise Fazenda ° °="- "i , *"~‘ i -'- °°"‘ "‘5)' " . ‘“"*

rm/.=;>» W »~;=1 My .@-»~»=-~>- I»-.~~ :¢.‘.;“"""“.......»'*""....:;,“":"."...‘:."*:.;2*re.?.m;- 5';-:::*:’.::z° "“ U“ Sm" -)‘ Hm Sdm’ ‘Hm "“"“"'y°')' my wick (Major Tvlynuj, David Torrenue (Maredial), FrancisBevan (Pans tzhdriver), Torn Wilson (Serg=ir\l_)~ °"° "~ .F"" Ford [Ma'or Ma/LG or) (‘laude Kin ttmimi in lndia)(Milnldl uh driver). Mildred Boyd (Caroline), Ferdinand FM .d’s M "8 ', ' 6) J Eh D. h M . '$Cilul'niIhI|»HCllIk (Julius). mi Henderson (Judge Coronelh). R, °" T “ ' “‘d‘5‘ ““" " “H; °““ " Y‘ “"‘"‘)', . - . ' ravers (a iuiai-ii). Joyu§“fr’_.‘s: "°""" "‘"°""""“'l)' M“ D°"'"‘ "“‘°“' R"“°“ A British army ofcer, Capt. King of The amt

. . . . . . Watch. is thought to be a coward when he goes to lndiaKnNew York}! lPl’0hlhll:l’|.h Riley, unlike dhu “"1 immediately after the outbreak of World War l_-nd“h‘¢'"."::" fond“? 8" ° l“d“'a"" "res" '“y,°“'l£ Actually he is on a secret mission to locate and free somelovers ht,‘ gown 5"" lay 2"" 132"‘ y‘$:gn"h'a° captured fellow soldiers. Ferd‘: [int /erimre-length-. . ‘Y talkie ii almnrt destroyed by the |"»r.~»im.wi¢ dialogue8°“ .w G"m.'ny’ "Y folhws‘ and Rlky. '5 sen‘ m teenes that Hare directed. (Reniaile hv Henry Kirq asMunich to bring him baclt—on an embezzling charge. King of ‘ht Khyber Ries. |954_) 'But theres beer over there! And a fr-aulcin named

Lena. It's everything Davy an do to get Riley on the I929 SALUTE. . - . ~ (Fox).:::m::‘:_;‘“‘;‘ LL°":‘5°“ "’"" ;""?- D“’Y ls Director: John Ford. Scenarist: James K. Meuinnss, rim-ii. C ’ n H“ "ms om to c nusmcyu stu b Trislram Tu , John Stone. Photo ra hen J h- , , _ rv y PP" ii P we"‘:f'F" T.'L"'d““’ " ‘,'|"'-‘ """ ""4 "‘""'”’ ""PP'”“' H August Editor Alex Trolley. Title-writer: Wilbur Morse."“ ""'- ” ' "“"‘¢' ' " """"/“""~“""“'~ Jr. Assistant aim“; Edward O'Fearna. R. i.. Hollgh. Filmed

at Annapolis. Maryland, 86 minutes. Releavetl: September I.I929 STRONG BUY (Fox). With George O'Brien (Cadet John Randall), Helm ChandlerDirector: John Ford. Scenarists: James Kevin (Nancy Wayne). $tepin' Fetchit (Smoke Screen), WilliamMcGuiness, Andrew Bennison, John Mcl.ain, from llnvy (Mid-*l\iP"\III i’=\|1 Randi"). Fririlr /\lh=rl»'~r\ (Mid-story by Frederick Hazlett Brennan. Photographer: shipman Albert Edward l’riv=)- Ivy“ C4""P|“" (M=ri°I1Joseph H. August Title-writer: Malcolm Stuart Wi|§0I\)- (Ililt Dentywy (Mal. Gen. 50rI\=I'§)» |-isdm HI"Boylan. 63 minutes. Released (with music and (Rear Admiral Randall). David Butler Wavy Celeb). Rexsynchronized sound effects): Match J. With Victor Bell (Cadet). John Broaden (Midshipman). Ward Bond,Mclzglen (William ‘Strong Boy‘ Bloss), Lentrice Joy John Wayne (football players].(Mary McGregor),ClydeCook(Pete), Slim Summerville Army-Navy rivalry as personied by a We-st Point(Slim), Kent Sanderson (Wilbur Watkins), Tom Wilson cadet with a kiil brother at Annapolis: John (Army)(baggage master), Jack Pennick (baggageman). Eulalie makes a pass at (Navy) Paul‘; girl iusl to get Paul toJensen (The Queen), David Torrance (railroad appreciate her, But Paul dot-sn‘t know that, and tries

I27

to gel even wirh Iuhn in ihe climactic fuorball game, Maurine \K'Ilkin> (and lll'lC\'CL|llfdI Ford. William Collier. Sr.).which ends, lpproprialely, in a lie. Ward Bond": /in! l’hningmpher: jmcph H. .~\ugu.\|. Sci Jmgner: Dunun Crzmer.appearance in a Ford lm. .\lu>|c and lyrm: Joseph .\\e(Iar\hy. ]ame\ F. Hanley. Ward-|930 MEN w|THQUT WOMEN (FM), Yllbff S4\|'\h|e Waehner. l-ldimr: Frank li. llull. :\\\|\l-\l'\l Ji-Direclivr: Inhn Fun]. (‘xlzigcd M") Andrew Bennimn. Smnnriu: fL\‘lu|'\ l-I\.lvmr\l U'l~'rirn.|. \\'ing.ue Smiih ‘P1 nunuu-~ Relcuwilzl)ui.llc\' Nu:hnl\. from smry, 'Sul'\mnrme.' lw Ford. Izimcs K. Uchvher ll. Wilh Spenmr Tral-:\' (SI. Livunl. \ll'arr-zn llymer.\\diuinnv.\~. Phnllvgmpheri loscph H .\u,;u,|. .»\n dll'L'\1\\f2 (nanrwmm Dan» Humrhrey Bug“ (Hwvvl; Claire Luce\K'illi:\m s. mmng. .\lu.~ic: mm Hrunelli. Glen Knighl. (Judy). J--an lav-'=~ Uwil Shawn I-vim (lid-ih l-1 \'mg=l»lidimn mi Wnlhelfax. :\.~\i.\lil1l aim--r. Edvard uwmn. Gwrsr MCFWIIFK: ll=»~\ur1- G=>'h»_rd Pr-mllewn (-\h~m.~l."11~;|ma(=| =.i\'iw; Schuyler E. Grey. 17 minim. Relemed: Morgan w=1|-Q (l'nv.\h\‘). \m|1,=m (.(»1||¢r. Sr. (Pop). RubenIanuary 3|. With Kenneth .\\acKenna (‘Rurke'). Frank li. O'(Iunnnr (guard). l.»u|\c. Maelnnuh (.\\r~ .\\l\\\C)').:\ll\¢r\\on (~i'm¢'). ml Page (‘lland.\umc‘). Pal §l\\'1\u'l'\L‘l lillw llliprnwi _(Mr.~ ]um=m. Inhnny \_¥‘alker (HIrv>'l~(|_|_ |),ghy_ R_N_)_ wan“ 5\¢;ng1 (QM-l), gm," |-3,-W," Noel Franus (Snphic). Mildred \‘ineeni(r\nnic). \ll'i|hur Mack(lcnklns. radio r\pcr:Il(\r). Warren Hymer (Kaufman). ]. Farrell (WhIlR'lI)'l- (i"\‘\|¢*‘> -“""|l!*‘"\\'f§' lK"l‘ -‘\l|l“‘=\ |'f|\'"l°.\'McDonald (u»|¢11.»;. Roy swan ((l\pI. (Larmn). Warner (C>"mhi=l- 1'-mil “r-<* (lhiw Elmurrr Adele W-ml~"rmchmnnd (LL (hmmmd |§"d,_-“-¢|1)_ Hm-y 'fm(,m(,k (Minnie). Rlkfhifd Keene (Dick). lilimhelh and Helen Keaung(\¥'inkler). Ben Hendr|ck~. 11. (r\lurph_v). George Le Gun-rc (May and lime» R-vhm Hurm(S1im1- Jr-hn Kw-w (<I1¢ml» Par

(|>.,||\»~k). Charla Gerard (fnmnundcr \l¢'e\'mnulh. R.N.). (wurhamwl. I--¢ Brwn(l>¢r=\1I>"\*'u-1=n)-inn-erMu, \x»,m_ Rm" p,,,,,,,_ ' gm (Mm). aim and Ell": (slim and Klem). Murgan \K'i11=e=

Fourteen men are rrapped in a submarine; nally, ll‘"~l‘_)‘)» R°|"¢" |‘=1'"*l\'one mm mus‘ S"), behind so (he mm“ can “apt Aervrrxxly ahuui rwn mnvier.~ whuduni reilly mind pri~on-Ford’: rst lm wirh Dudlqv Nlthnll, mpeually mice (hey-Hun bftilk nu! any umc (hey like. (Rl7!|lJL'

mo BORN RECKLESS (Fol). "' “"" 'Y" -"l/"'*’ “"'*"-lDirectors: john Ford, (‘sraged by‘) Andrew Bennison. |93| SEAS BENEATH (Fox),Scenarist: Dudley Nichols, from novel, Loni: Bereni, 1)“-"[0,; John p0,.d_ 5,_-mags‘; Dudley Nichoh,by Donald Henderson Clarke. Phorographerz George {mm “on. by James p,,k¢,_ I,-_ ph(m,g,.,ph¢r; IowphSchneiilcrmnn. An aimnir. lack _$el\ul1/e. .-\~“-am producer: H‘ A,,g,,,,_ Edkor: F,,,,k 5 Hum 99 ,,,;,,.,,¢,_].|me\ K. .\\\'(;l||n|'1:._\\ lzdimr: mun la. Hull. :\~\|~luI1l .1» |1¢1cmd; ],m,,,,y 3o_ Wm, Gm,“ 0-3,5“, (COWl'I."L1(\fI4!‘.\!\A'Ifd 0 mm. in rmnulcsl Releucd: Ma)" ||. mm," Hob Kingsley, USN)_ Mmon Lming (Ann,mm lzdmund i.(»~:¢_ (|(\Il|l\v Berclli). (.;|lhI:l‘I7\I: mm Owen M_ Von 5m,(,,m), Wm“, Hymn. (-Lug~ K,,,;m,,)_(loan sn¢1.:l.n).LL\~ lniq'(BillO'Brien).Alarguerilehurchill wimm C(.,mc,_ 5,_ (-Mug 0-F|,h,,(y)_ John Lode,(l_{'u~a Berem). \Y;\!fer\vl|\‘mcr~(l]ig Shun). Pal Sum;-rv.1 (Duke). (Franz Schimng), wan" c_ -Iudgy Kc“). (chicf Min“,'""""_ """l=“'! ("Ml ’“'“'* “"‘I‘*_‘Y1~ lj""" -'\"‘““"" Costello), Walter McGrail (I0: Cubb). Henry Vicror(trunk Sheldnnl. l'er|ke l¥nnv~(.\la Herein). 1. i~-m‘||_.\\e1>_m1u (Em van smhm Commmhm, U_b(,,( m)_ Mon,(l)l\l|’lCl :\llumey): Paul Puran (l’a Bcrcml. EJJIL‘ (;nm~.-n Mm, (Lolim um Km (LL Micongom G,y1,,,d(ii-1,»), .\m<(- Dnnlm (hngy |\hw:n\-uz). Ben mm <1“; Berg- |,md|m,n (Ensign Dick Cabom N“ pmmmn (.Bu(ch.|'naIn)~ Paul l‘agc(Ri|zy Reilly). live Bruwn(Needle Bcer(irngan). Wain"), Harry -I-cnbmok (winner), 1-any Rayludr l’enn(ck.>\'l'ard 'Bl\ll\.l.(\(\]E|lCf\). Rny ‘Stewart (Dl.\U'lCl (Remy), Hans Fmbcm (Fm: Kampf, second Omar’~“"“‘"“'>' ““"F"‘l- “"“ 1’ ~"""',‘F'“‘“*‘ l="“- . u-nz), Ferdinand Schumann-l-kink (Adolph Bruckcr,A °°"“"*Y"%"=""“ “"°‘“ ‘ '“'“' Y°"‘.§“"!“" “’*‘° " Engineer, u-112), Francis Fm (Trawler Captain),

sen! in ghl in rhe war as a vole-gelling gesture by I Kn" Furbug (Hon-mm) BU. Ha“ (Hamgm) Ha"),polilical-minded judge. The gangsrcr returns anti picks we“ (kvinsky), Maurict’ Murphy (Mkcu 'up where he lei’: o'. ‘Afnly llhvmuanl rm: n /rmnl of A “my ‘bum ‘ht opcnlion of om of ‘ht Q b°as_

2 4‘ _‘ , 1'1" < - -‘Ii’/7.‘;215"}T117’.33$;Z11'f.f‘Z"?'."§lf".§f’..ffZf L'.".‘L'§; "'= ""Y=*"Y *'**P*' "*4 “Y ~“"‘*= ‘° “"°" °"‘ ‘““mu |7!| um m s:m0—-and 1-¢ Kn]! xmrlr smrmg drunk. ""‘"°Y °“‘“‘y ‘“"“““““ ‘*‘“"“‘ ‘h’ Fm‘ w°"d w"'Sn I rm! him home. Next Jar he uus all right.‘ On: NJ] THE BRAT (Fox).rmpzclr Fwd ix ac!||ull\' brulg kind; rh: diulugue runes are Direclur: john Ford. Scenarisrs: Sonya Lcvicn,sn ml] Ihar |'r'r difcull ia bcllrre Ford mull! haw dirund S. N. Behrman. Maude Fulwn. from play by Fulron.zhmi and in the mm: lime mad: a sequent: like the fru- l'huu\grnpher: Inseph H. August. Ediior: Alexwluelirg war interlude. TrulTc)2 Ill minutes. Released: August Z1. WithI930 UP THE RIVER (Fox). Sally O'Neil (The Brat). Alan Dinehar! (MacMillanDirector: john Fnrd. (‘alaged by’) William Collier. jr. Wrircr: Fureuerl. Frank Albcnson (Stephen Forester), Virginial28

Clierrill (Ange-la‘, lune Collver t]anc\, ]. Farrell de la Montte, Lt. Pat Davis (passenger plane pilots).McDonald (Timson, the llutlerl. William Collier Sr. Jim Thorpe rlndian\. Enrico Caruso, ]r., Billy Thorpe.(Judge. Margaret Mann ihiiusekeeper‘. Albert Gran Alene Carroll, ];ick Pennick.(Bishnp‘. Mary Forbes (Mrs l:\\fL'SlL‘fl, Louise Mac- A story of the early days of air mail flying. and thelntush iLena‘. cimllicts between an inciirrigibly reckless piliit and hisAn atfected society novelist picks up a waif in night more suher superior, '.\‘Iini Suniliierr-iIlt' FUIIUII at-er: incourt and takes her home as ‘researe-h‘ for his next book; the rm/ii,‘ Fiml mil. ‘in in‘ /nu Iiim H! iI(‘t‘r.'/llllg the jlunr.his family is scandalized, especially when romantic eom- grit AI lt'.':' lime/ii our 0/ Imu. Tliere rim mute great _/It-mgpl|L'Ili\\nS set in. bi" I’imI .\lim!:—i! ::.ii Ins /int job.‘ It Flt]! aim I"imi'r,/mt [~11-ii/re :.iiIi !:rll”,\' (‘.\'pri_"i ll".-otl, :4"/ion! he mix ml9.l| i-\RROWS.\llTH (Giild\\')'n-United Artisisl. nummr.1l::e li:'¢‘I|!_\'-}|i't' year: later Ill The Wings ofDlfctlurt john Furd. Pmdueer: Samuel Goldwyn. l-Iagles.

Scenarist: Sidney Howard. from novel by SinclairLewis. l'hutogra|'\lii.‘rZ Ray lune. Art director: W12 FLESH (Aletto-Goldwyn-Mayerl.Richard Daiw Mu-i~*r -alfred \'~'wm=n- Editor: Director: lohn Ford. Siienaristsi Leonard Praskins,Hllilh Bennett. IUK minutes. Released: December l. Edgar Allen Woolf and (urmetliiul) William Faulkner, fromWith Ronald Colman (Dr .\lartin Arrowsmithl. Helen story by Edmund (iiiulding. Dialogue: .\liv.ss Hart. Pliutug»"U95 (l-¢<‘\'fl‘- 1\- E. Anson (Prof. Gottliebl. Richard npher. Arthur lidtaon. Editor: William S. (Bray. 95 minutes.Bennett (Sondeliusl. Claude Kin! (DY TllbbS\. Beulah Rcleawd: Dencmber ‘J. With \K'allan: Beer)‘ (|'ii|akai). KarenBondi (Mrs 'l'\\lR'l'\- Myrna I-"F (l<‘.\‘¢\‘ 1-="1)'on\. Morley (Lorai. Ricardo (Inrtez (Nicltyu lean HersholtRussell Hnnwn (Terry Wiiskettl, De Witt Jennings {Mr Herman‘. john Milyzin (live Willard). Vince(Mr Tozeri. John Qualvn (Hi-‘ry Novak). Adele Barnett l\\'aiter\. Herman Bing ivepn. Greta AleyerWatson (MYS N0\'i\k). Lumsden Hare (Sir R07-""1 (Mrs Hermani. Ed Bruphy (Dolanl. Ward Bond, NatFairland). Bert Roach (Bert Tozerl. Charlotte Henry Pendleion.ta wins en-Ii, Clarence Brooks (Oliwr Marrhmdi. A German wrestler comes In America where he isWalter Dwtlil (Ci!!! Cl‘-‘fkl. David Landau. Jim" exploited by unscrupulous raeketeers as well as by theMarcus, Alec B. Francis. Sidney McGrey, Florence girl hglQvg5_Britton. Bobby Watson.An idealistic young doctor ghts against the h)‘p0< mm PILGRIMAGE (Fun

crisies of his colleagues. and nally goes to the tropics Dinner: Juhn Ford’ Sccnarislsi Philip Klein‘ Bury"I "'4" *0 °°""'_1"" P" '}'*"F“h “"3 ‘"“"‘- D"""B Connors. from storv ‘Gold Star Mother.’ be i. A. R.a terrible epidemic. his wife dies. l~nn1‘rntIm an--zy W\.|k,_ Dmguc, ’ Dudm, Nichols’ phdwgmphuz/'0'" F“ "-"“ W2‘: ‘s""' Gnu"-"" b°"°“"‘{ m' I" George Schneiderman. Art director: William Darling.4" "'-' *1" "'°'4~ "' "'=" "KW" ""'»' ""4 ' ""'"" "'1 Alusic: R. H. Bassett. Editor: Louis R. Lueniei."'1' *1 "'1' ""1"" I"“""-' Assistant director: Edward ()'l~‘earna. Dialogue direc-

tor: William Collier. Sr. ‘I0 minutes. Released:I932 AIR MAIL (Universal). ]uly I2. With Henrietta Grosman (Hannah jessop),Di"-'cwr= John F<=rd~ Producer: Carl humrnlc. lr. Heather :\ngel(Su1.anne§, Norman Foster (Iim Jessop),Scenarists: Dali: Van Every. Lt. Commander Frank Marian Nixon (Mary Saundersl. Maurice MurphyW- Wdi T10"! SIBYY bl‘ w"id~ Ph°'°RYlpher: Karl (Gary Worth‘, Lucille Laverne (Mrs Hateld), CharleyFrcund. Special eects: john I’. Fulton. Aerial Grapewin (Dad Saundersl. Hedda Hopper (Mrsstunts: Paul Mantz. 83 minutes. Released: Novcm- Worth‘. Robert Warn-iek (Mai. Albertson). Betty Blytheber J. With Pat O'Brien (Duke Talbot), Ralph (Janet Prescott, Francis Ford (Mayorl. Louise CarterBellamy (Mike Milleri. Gloria Stuart (Ruth Barnes), (Mrs Rogersl, lay Ward (Jim Saunders), Francis RichLillian Bond (Irene Wilkinsi, Russell Hiipton (‘Dizzy' (nursel. Adele Watson (Mrs. $i|1'lt‘l‘lsl.Wilkins), Slim Summerville i'Slim' McCune\, Frank A possessive mother forbids her son's marriage to theAlbertson (Tommy lliiganl, Leslie Fenton (Tony girl he loves and has made pregnant. driving the boyDressell. David Landau L‘l’up‘i, Tum Corrigan (‘Sleepy' into the Army and the First World War, during whichCollins‘. William Daly ("l'ex' Lanel. Hans Furberg he is killed. Years later, still unrelenting toward the(‘Heinie' Kramer). Lew Kelly (drunlurd), Frank Beal, girl and her illegitimate grandchild, she makes a pil-Francis Ford, James Dunlzin. Louise Maelntnsh, grimage alone with a group ofoiher Gold Star MothersKatherine Perry (passengersl. Beth Milton (plane to her son's grave in France. An encounter there withattendant), Edmund Burns (radio announcer). Charles a young man whose experiences with his mother mirror

I29

the woman's own story, maltes her realize her tragic De Francesco, ‘Ave Maria.’ by Charles Gounod. 90mistakes. minutes. Released: _|une27. With Madeleine Oirroll

(Mrs Warbunon. I824; Mary Warburton, I914),I933 DR BULL (Fox). Franchot Tone (Richard Girard, I924 and l9l4),Director: john Ford. Scenarist: Paul Green, from Lumsden Hare (Gabriel Warburton. I824; Sir johnnovel. The Lax! /Mum, by James Gould Cozzens. Warburton, I914). Raul Roulien (Carlos Girard. I824;Dialogue: jane Storm. Photographer: George Henri Girard, I9]-5). Reginald Denny (Erik VonSchneiderman. Music: Samuel Kaylin. 76 minutes. Gerhardt), Siegfried Rumann (Baron Von Gerhardt),Released: Septemberll. WithWillRogers(Dr Bull), l.ouise Dresser {Baroness Von Gerhardt), Stepin'Marian Nixon (May Tripping). Berton Churchill Fetchit (Dixie). Dudley Diggs (Mr ManninB)i Franlt(Herbert Banning). Louise Dresser (Mrs HanninB)i Melton (john Girard. I81-I). Brenda Fowler (MrsHoward Lally (loe Tripping), Rochelle Hudson Girard, I824), Russell Simpson (notary public, I824),(Virginia Banning), Vera Allen (Janet Carmaker), WalterMcGrail(Frenchduelist.lll24),MarcelleCordayTempe Pigolle (Grandma). Elizabeth Patterson (Aunt (Miss Giratd, I824). Charles Bastin (Jacques Girard,Patricia). Ralph Morgan (Dr Verney), Andy Devine I914), Barry Norton (jacques Girard, I929), George(Larry Ward‘. Nora Cecil (Aunt Emily). Patsy O‘Byrne Irving (Charles Girard. |\)l-I), Ferdinand Schumann-(Susan). Eie Ellsler (Aunt Myra). Veda Buckland Heink (Fritz Von Gerhardt). Georgette Rhodes (jeanne(Maryl. Helen Freeman (Helen Upjohn), Robert Girard, l'Jl-1). Claude King(BraithWaite), Ivan SimpsonParrish. (Clumber). Frank Moi-an (Colbert). jack Penniclt.Ford's rst of three mainr lms with Will Rogers, Francis Ford (legionnaires). Turbin Mayer (German

about a doctor in a small (Iunneeticut town. his patients‘ Chamberlain. I914).petty illnesses. and the terrible epidemic that strikesthe The I00-year history (I82-Jellll-J) of a powerfulcommunity. (Working title: Ll].-‘r lI"arrIl Living.) Louisiana dynasty—beginning with the patriarch's will

—which sends sons oi? to manage French, German andI934 THE LOST PATROL (RKO Radio). English branches of the business—and ending after theDirector: Iohn Ford. Executive producer: Merian descendants have recovered from their collapse causedC. Cooper. Associate producer: Cli' Reid. by World War l.Scenarists: Dudley Nichols. Garrett Fort. from story, 19“ JUDGE PRIEST (|_~°,‘)vPatrol, byPhlllp l_\.laeDonald. Photographer: I-l_arold Dirccwr. John Font p'oduCcr: So] wunld‘W‘“5"°m' A" ‘l'“Cm“: Va" N“! pnlghscl s'd"°y Scenarists: Dudley Nichols Lamar Trotti from storiesUllman. Music: Max Steiner. Editor: I'aulWeather- by "Vin 5_ Cobb‘ phologaphcrz 620,3; schncidcpW“: Filmcd 5" ‘ht Y""“ d“‘"- 74 ""i"'“"§- Re‘ man. Music: SamuclKaylin. 80rninutes Released"leased: February I6. With Victor McLaglen (The ocmbu, 5_ Wm, Wm Rogers dud“ Wmiam tniuyiSergeant). Boris Kar|o' (Sanders), Wallace Ford pcsm Hcnn. B_ qhmun (Rev, Ashby Brand) -|-om

<M°"'">~ R"ll*"='d D°""Y (G=°Y!= 9'°“'">- 1~ M- Brown (jeromc Priest), Anita Louise (uni! MayK'="i8=" (Q"i"°=""°")- “i“Y 5"" <""b=" "=l=>- Gillespie) Rochelle Hudson (Virginia Maydew) BertonAlan Hale (Cook), BI‘€Il‘IdDl‘\ Hurst (Bell). Douglai Churchill,(S¢natorH0l1ce K. Maydew) oavidlaiieauWalton (Pearson), Sammy Stein (Abelson). Howard (Bub Gillis), Brenda Fowl" (Mrs éarolinc pcsnW"=°" <"Y")- N"i"= Cllfk (LL "=“'ki"§>- l’="' Hattie McDaniel (Aunt Dilsey). Stepin‘ Fclchit (]ell'"IN" 9°“ M=¢k=Y)~ F""=i§ F°“'- Poindexter), Frank lueimii (Flern Tally), Roger lmhofDuring World War I a British platoon gets lost in the (Billy G,ym,|.)_ Chnlcy Gnpcwin (SE, Jimmy Baby),

M¢wtwt=mi=n Desert Uniwl Arabs nick thvm MT Francis Ford (]\tr0r No. 1:), PaulMcAllister(Doc Lake),one by one, until only the Sergeant is alive when help M," Md-{ugh (Gabby Rives), Hy Meyer (Hermancomes. (Max Steiner wan the Omar /or Best Sean.) ;:,.|d§bu,8)_ Louis Mason (5h,m- Birdsong), Ruben

Parrish.I934 THE WORLD MOVES ON (Fox). I890. A small Kentucky town that hasn't forgotten-Director: John Ford. Producer: Wineld Sheehan. the Civil War. When Gillis is brought to trial for a

Writer: Reginald C. Berkeley. Photographer: George murderous assault. it is the Rev. Brand's testimony.Schneiderman. Art director: William Darling. Set recounting Gillis‘ heroism in the Virginia Regin-ient,thatdecorator: Thomas Little. Costumes: Rita Kaufman nally wins the man's acquittal from a iury of Con-Music: Max Steiner, Louis De Francesco, R. H. federate veterans. Ford teas ta me the same charactersBassett, David Buttolph. Hugo Friedhofer, George and many element: /rum llnr /ilm in Thc Sun ShinesGershwin. Songs: ‘Should She Desire Me Not‘, by Bright (I953).I30

7

l

I935 THE WHOLE TOWN'S TALKING I935 STEAMBOAT ROUND THE BEND (20th(Columbia). Century~Foit).Director: John Ford. Producer: Lester Cowan. Director: John Ford. Producer: Sol M. Wurtzel.Scenarist: Jo Swerling, from novel by W. R. Burnett. Scenarists: Dudley Nichols, Lamar Trotti, from storyDialogue: Robert Riskin. Photographer: Joseph H. by Ben Lucian Bunnan. Photographer: GeorgeAugust. Editor: Viola Lawrence. Assistant director: Schneidertnan. Art director: William Darling. SetWilbur McGaugh. 95 minutes. Released: February decorator: Albert Hogsett. Music director: Samuel22. With Edward G. Robinson (Arthur Ferguson Kaylin. Editor: Alfred De Gaetano. Assistant direc-Jones; ‘Killer’ Mannion), jean Arthur (Miss ‘Bill’ tor: Edward O'Fearria. 80 minutes. Released: Sep-Clark), Wallace Ford (Mr Healy), Arthur Byron (Mr tember 6. With Will Rogers (Dr John Pearly). AnneSpencer), Arthur Hohl (Det. Sgt Michael Boyle), Shirley (Fleety Belle), Eugene Pallette (Sheri RufeDonald Meek (Mr Hoyt), Paul Harvey (J. G.Carpenter), Jeers), John McGuire (Duke), Berton Churchill (TheEdward Brophy (‘Slugs' Martin), J. Farrell McDonald New Moses), Stepin' Fetchit (George Lincoln Washing-(Warden), Etienne Girardot (Mr Seaver), James ton), Francis Ford (Efe), lrvin S. Cobb (Capt. Eli),Donlan (Howe), John Wray (Henchman), Effie Ellsler Roger lmhof (Pappy), Raymond Hatton (Matt Abel),(Aunt Agatha), Robert Emmett O'Connor (Police Lt.), Hobart Bosworth (Chaplain), Louis Mason (boat raceJoseph Sawyer, Francis Ford, Robert Parrish. organizer), Charles B. Middleton (Fleety‘s father), SiA timid little clerk is a dead ringer for a notorious Jenks (a drunk), Jack Pennick (Ringleader of boatgangster. When the latter escapes from iail, the clerk attack).is picked up instead, and thus becomes a celebrity in his Dr John sells a sure-re cure-all medicine along theown right. The gangster decides to rub him out and Mississippi, and somehow acquires an old steamboat,take over his identity, but, needless to say, he fails. which he converts into a oating waxworks museum.Ferd: ‘It war all ri'ght—l never raw it.’ (Working title: When his nephew is convicted ofa murder, John steamsPairpart to Fame). down the river looking for the only eye-witness who an

prove it was self-defence. The big steamboat coma! at theI9” THE INFORMER (RKO Ridi°)_ end is also .1 race to save the buy from hanging. and withDirector: John Ford. Associate producer: curt Reid. '1“ MP 9' was ""°"h°4<>* ("=1 <11" “'=X“""|<§ "id "KSunni“. Dudley Nichols, 1-mm “owl by Linn doctor's highly alcoholic patent medicine). John wins both.o.Fhhcm,' photognphm Joseph H_ Augu“ An (Me u/I"tmI'i 1t.;i- 'th|rI|t'i /um. uni] Rut-r1i'I.|i_t}iIm. (ll'i>rlun_gdimcmrs: van NH, pulglascy chm“ Km“ 5" tttlr-: Steamboat Bill.) During tIi.- thriritihg, I‘tl.\' nrrvgrd withdecorator: Julia Heron. Costumes: Walter Plunkett. “‘"T"' 7"""""‘3 """‘/’~"'."- -’"'/' ‘7"""‘"' "*""'“-Music: Max Steiner. Editor: George Hively. 9|tninutes. Released: May l. With Victor McLaglen(Gypo Nolan), Heather Angel (Mary McPhillip), I936 THE PRlSONER OF SHARK ISLAND (20thPreston Foster (Dan Gallagher), Margot Grahame Century-Fox).(Kattie Madden), Wallace Ford (Frankie McPhillip), Director: John Ford. Producer: Darryl F. Zanuck.Una O'Connor (Mrs Mcl'hillip)r ]~ M~ Kcrrigan Associate producer-scenarist: Nunnally Johnson, from(Terry), Joseph Sawyer (Bartley Muiholland), Neil life of Dr Samuel A. Mudd. Photography: BertFitzgerald (Tommy Conner), Donald Meek (Pat Glennon. Art director: William Darling. Set decora-Mulligan), D'Arcy Corrigan (The Blindman), Leo tor: Thomas Little. Music director: Louis Silvers.McCabe (Donahue), Gaylord Pendleton (Daley). Editor: Jack Murray. Assistant director: EdwardFrancis Ford (‘Judge‘ FlYl’l), Mly Boley (Mrs Betty), O'Fearna. 95 minutes. Released: February I2.Grizelda Harvey (an obedientgirl), Dennis O‘Dea (street With Wamer Baxter (Dr Samuel A. Mudd), Gloriasinger), Jack Mulhall(look-out), Robert Parrish (soldier), Stuart (Mrs l'egBy Mudd), Claude Gillingwater (Col.Clyde Cook, Barlowe Borland, Frank Moran, Arthur Dyer), Arthur Byron (Mr Ericson), O. P. Heggie (Dr.McLaglen. Mclntyre), Harry Carey (Cdt. of Fort Jefferson,Dublin. I922. During the Sinn Fein rebellion, ‘Shark lsland'), Francis Ford (Corporal O'Toole), JohnGypo Nolan tums a friend in to the police because he Carradine (Sgt Rankin), Frank McGlynn, Sr. (Abrahamwants the reward money to go to America. I-‘ord'i Lincoln), Douglas Wood (Gen. Ewing), Joyce Kaygreater: crilical im-cert tn that lime, the /ilm IL'|I!I him bath (Martha Mudd), Fred Kohler, Jr. (Sgt Cooper), Francisthe Academy Att'rrrdandtheNetuYork Fi'ImCritic.t Award McDonald (John Wilkes Booth), John McGuire (Lt.fur Beit Dt're:ti'tm. (Oteurt also went lo MrLagIert, Lovell), Ernest Whitman (Buckland MontmorencyNichol: and Steiner.) ‘Buck’ Tilford), Paul Fix (David Herold). Frank

l3l

Shannon (Holt). Leila Melntyre (Mrs Lincoln), Etta Glass (Chatelard). Neil Fitzgerald (nobleman). PaulMcDaniel (Rosabelle Tilford), Arthur Loft (carpet- McAllister (Du Croehe).baggerl. Paul McVey (Gen. Hunter). Maurice Murphy The reign of Mary. Queen of Scots, her rivalry with(orderly), Jack Pennick (soldier who sends flag messages). Elizabeth of England. her love a'air with Bothwcll, herJ. M. Kerrigan (Judge Maihen), Whitney Bourne. nal martyrdom. ‘ll did t't'v_\- ti-ell." sold Fnnl, ‘thoughRobert Parrish. it rt-as rm badly ll/Kc! I It-ft.‘The true story of Samuel Mudd. the doctor who

treated John Wilkes Booth—unaware that the man had I936 THE PLOUGH AND THE STARS (RKOjust shot President Lineoln—and was tried as an accorn- Radio).plice in the assassination and sentenced to life impri:on- Director: John Ford. Associate producers: Cli' Reid,men! at Ft.]e'erson. His heroism duringayelluw lever Robert Sisk. Scenarist: Dudley Nichols. from playepidemic was instrumental in having his case re-opened. by Sean O'Casey. Photography: Joseph H. August.which resulted in his exoneration. (Ultalriul renluke. Art director: Van Nest Polglase. Music: NathanielHellgate,Jlreclr-tl in I952 byCIiurI:s M. l\"arr¢n.) Shilkret. Roy Webb. Editor: Gerge Hively. '72

minutes. Released: December 26. With BarbaraI936 The Lart Oullutv (RKO Radio). Stanwyck (Mora Clitheroe]. Preston Foster (JackDirector: Christy Cabanne. Scenarists: John 'I'vi'ist, Clitheroe). Barry Fitzgerald (Fluther Good), DennisJack Townley, from story by John Ford and E. Murray O'Dea (The Young Covey). Eileen Crowe (BessieCampbell. Editor: George Hively. 61 minutes. Burgess), Arthur Shields (Padraie Pearse). Erin O'BrienReleased: June I9. With Harry Carey. Hoot Gibson. Moore (Rosie Redmond), Brandon Hurst (Sgt. Tinley).Tom Tyler, Henry B. Walthall. F. J. McCormick (Capt. Brennon). L'na O'ConnerA remake of Ford's I91‘) two-reeler. (Maggie Corgan). Moroni Olsen (Gen. Connnll)').J. M.

Kerrigan (Peter Flynn). Neil Fitzgerald (Lt. Kangon).1936 MARY OF SCOTLAND (RKO Radio» Bonita Granville (Mollser Gogan\. Cyril Mclsaglen

Director: John Ford. Producer: Pandru s. Hcrlllan. <<3i"i><>"1 5*°di1=")- R"l*'=" "mini <b""1="*l- Mm‘- - i i G d fi ' n). M Q inn (second woman):Dd|.Nh1‘|- |.bM || oron(rstvtoma aryu

s°°§'"“ P: “’ ff °’].,5:°',',‘ if’ A§g,,.,a'“:\°,. Lionel Papc (the Englishman). Michael FitzmauriceAn erson. oto ra -: . .

directors: Van Flesii )Polglase,p Carroll Clark. Set (lc-'\_)i 65'1""! p‘"d|““" (lCA)- D°'i5 u“§'\|- D'Arcydecorator: Darrell Silvera. Costumes: Walter l"lun- c°"'5""i W‘5l"Y Ba"?hm Music: Max 5win,_.,_ mm“; Jane Longg The story ofa man and his wife told against the back-Assistant editor: Robert Parrish. Special e'ects: Bivimd <>i the Irish Rsbsllin iii l“3=§i'=t Wi"=k- 19"»Vemon L. Walker. I2] minutes. Released: July 24.With Killllifim‘ Hilrbiilll (Milly SW3"). Fredrie I937 WEE WILLIE WINKIE (10th Century—Fox).Mild! (B0lhW¢|l)r F10l'¢II¢¢ Eldlldgll (E|i1ll1'¥ll\)r Director: John Ford. Producer: Darryl F. Zanuck.D0\-‘B115 Wllwn (Darnley)r Jh Cmdim‘ (DIVM Associateproduccr: Gene Markey. Scenarists: ErnestRizziol. Monte Blue <M¢§SiKc')t l F~‘"vi'iL‘1< (Milly Pascal, Julian Josephson, from story by RudyardScion).RobertBarr=l<Morinn)rG=\'in Miiir(Lvi¢e§i¢r). Kipling. Photography: Arthur Miller. St-t decorator:Ian Keith (James Swirl Moray). Meroni Olsen (John Thomas Little. Music: Louis Silvers. Editor:Kllmllr Dmlilil CYl5P (H"l\ll\’)'lr Willlll 5lI¢|< Walter Thompson. ‘I9 minutes. Released (with(Ruthven). Molly Lamont (Mary Li\'inn§wn). Walter tinted sequences): July so. with Shirley TempleByron (Sir Francis Walsineh=rn), Ralph Forbes (R=n— (Priscilla Williams). Victor McLaglen (5gt MacDu).do|ph).Alan Mowbray (Trockrnorton). Frieda lneseort C_ Aug“). smhh (COL wmiumix lune Lung Gcycc(Mary Beaton). David Torrence (Lindsay). Anita Colby Williams), Mich“-1 What“, (LL *(jQ;,m-' Br;n4t~;),(Mm Fleming). Lionel Helmorv (English nshcrrnatu. Cesar Romero (Rhoda Khan). Constance Collier (Mrs.D0755 U0?“ (his wife), Bobby WIISOH (hi5 §0l1.)- Lllwl Allardyce). Douglas Scott (Mott). Gavin Muir (Capt.Pm (urshleylr lvin 5imti50ii- Murray Kinr-ell. Bibherbeigh).Wil|ie tmnguvtaharnrrieii Dihn).BrandonLawrence Grant, Nigel DeBrulier. Barlowe Borland Hufgl (Bagby), Lionel Pape (Major Allardyce). Clyde(iiidstsl. Alec Craig (Donal). Mary Gordon (nurse), Coolt(Pipe MaiorSneath).LauriBeatty(ElsiAllardyce),Wilfred L\iC=s(L¢Xinzlnn), Lennard Miidis (Maiilan-I). Lionel Bi-aham (Major Gen. Hammondl, Mary ForbesBrandon Hurst (Arian), D'Arcy Corrigan (Kirkcaldy). (Mrs. MacMonachie), Cyril McLaglen (CorporalFrank Balter(Douglas). Cyril McLaglen (Faudoncide), Tummel). Pat Somerset (oicer). Hector SarnoRobert Warwick (Sir Francis Knellys). Earle Foxe (conductor).(Duke of Kent), Wyndham Standing (sergeant), Gaston The adventures of a little girl at an l8*l0's BritishI32

Anny post in Raipore, lndia, where her grandfather Producer: Samuel Goldwyn. Scenarist: Robert E.is Colonel. Besides nding a husband for her widowed Sherwood, from story by N. A. Pogson. Photography:mother, making friends with a tough sergeant and Rudolph Maté. Art director: Richard Day. Music:softening the old colonel‘: overly strict regime, she Alfred Newman. Special effects: _James Basevi.manages to coax a notorious Indian rebel to sign a I00 minutes. Released: April I5. With Gary Cooper,peace treaty. Sigrid Gui-ie, Basil Rathbone, George Barbier, BinnieBarnes, Ernest Truex, Alan Hale, H. B. Warner.|937 THE HURRICANE (gomwyruniud Ami") According to Ford, Mayo_ asked _him to do _someDinner; John Fm.d_ pmduun sum," Goldwyn‘ action scenes for the picture;his workincludesablizaardMwchlg product“ Merrin Hu",m,d_ Sunni": sequence and the scenes of Polo crossing the Himalayas.Dudley Nichols, from novel by Charles Nordho,James Norman Hall, adapted by Oliver H. P. Garrett. I938 FOUR MEN AND A PRAYER (20th Century-Aasociate director: Stuart Heisler. Hurricane Fox).sequence: JameaBasevi. Photography: Bert Glennon, Director: John Ford. Producer: Darryl F. Zanuck.Archie Stout (second-unit). Art directors: Richard Associate producer: Kenneth Macgowan. Scenarists:Day, Alex Golitzen. Set deoontor: Julia Heron. Richard Sherman, Sonya Levicn, Walter Ferris, fromCostumes: Omar Kiam. Music: Alfred Newman. novel by David Garth. Photography: Ernest Palmer.Editor: Lloyd Nosler. Sound recording: Thomas Art directors: Bemard Hetzbrun, Rudolph Sternad.Moulton. Assistant director: Wingate Smith. Ea- Set decorator: Thomas Little. Music: Louis Silvers,terior locations at Samoa. I02 minutes. Released: Ernst Toch. Editor: Louis R. Loeler. 85 rninutes.December 24. With Dorothy Lamour (Marama), Jon Released: April 29. With Loretta Young (LynnHalI(Terangi), Mary Astor (Mrs DeLaage), C. Aubrey Cherrington), Richard Greene (Jeffrey Leigh), GeorgeSmith (Father Paul), Thomas Mitchell (Dr Kersaint), Sanders (Wyatt Leigh), David Niven (ChristopherRaymond Massey (Mr DeLaage), John Carradine Leigh), William Henry (Rodney Leigh), C. Aubrey(guard), Jerome Cowan ((‘Jptain Nagle), Al Kiltume Smith (Col. Loring Leigh), J. Edward Bromberg(Chief Meheir), Kuulei DeClercq (Tita), Layne Tom, (General Torres), Alan Hale (Farnoy), John Carr-adineJr. (Make), Mamo Clark (Hitia), Movita Castenada (Gen. Adolfo Arturo Sebastian), Reginald Denny(Arai), Reri (Reri), Francis Kaai (Tavi), Pauline Steele (Douglas Loveland), Berton Churchill(Martin Cherring-(Mata), Flora Hayes (Mama Rua), Mary Shaw ton), Claude King (Gen. Bryce), John Sutton (Capt.(Mlrunga), Spencer Charters (iudge), Roger Drake Drake), Barry Fitzgerald (Mulcahy). Cecil Cunningham(mptain of the guards), Inez Courtney (girl on boat), (Pyer), Frank Baker (defense attomey), Frank DawsonPaul Strader. (Mullins), Lina Basquette (Ah-Nee), William StackOn a peaceful South Seas Island, a sadistic European (prosecuting attorney), Harry Hayden (Cherrington'sgovernor sends an innocent native to jail for six months. secretary), Winter Hall (judge), Will Stanton (Cockney),Unable to stand the connement, the youth escapes John Spacey, C. Montague Shaw (lawyers), Lionelto join his new bride. When he is caught, the govemor Pape (coroner), Brandon Hurst (jury foreman).extends his sentence, but, instinctively, the native A British ofhcer is unjustly disgraced and thencontinues to break out—and each time his sentence is murdered by gun runners in India. His four sons vowlengthened. During his nal attempt, he kills a vicious n» avenge him and clear hi~ name ‘Hit-y do.guard. but before they can catch him, a terrible hurricane,as though sent by the gods, destroys the island and thehelpless Europeans. Ford: ‘jim Boievi conceived the "[33 SUBMARINE PATROL (mill C¢l'lllIl'Y-F°l)-hurricane ittrl/and actually 4-'4 all the rneellntlirt. While Dlr==5@r= John F<ird- Prvduwr Darryl F. ZIrw9l=-Ill and I were rhoatirte ti, I [ave Stu Him" I second Arsw-Its Pr<><l\rc¢r= G=n= M-rl==y- Scenlnrm RimtdIl|t1—yald never km» what Ute he” would happen— limes, Darrell Wm. lack Y=ll=n, from novsl. TMand I mid, "If the ma] blow: o or a sarong blow: a or Splinter Fleet, by John Milholland. Photography:mrnebody /ails don/n—grt it." And or a matter o_/fart, Arthur Miller. Art directors: William Darling, HansI thinlt he had quite a few than in the picture.‘ (The Peters. Set decorator: Thomas Little. Music director:lm received an Oscar /or tound recording.) Arthur Lange. Editor: Robert Simpson. 95 minutes.Released: November 2!. With Richard GreeneI938 The Adventurer of Marco Polo (Goldwyn~United (Perry Townsend, III), Nancy Kelly (Susan Leeds),Artists).Preston Foster (Lt. John C. Drake), George BancroftDirector: Archie Mayo (and uncredited: John Ford). (Capt. Leeds), Slim Summerville (Ellsworth ‘Spotta'

I33

Ficketts), loan Valerie (Anne), john Carradine Doyle, Wiggie Blowne, Margaret Smith.(McAllison), Warren Hymer (Rocky I-Iaggerty), Henry I884. A group of mists—of one kind or another—-

Armetta (Luigi), Douglas Fowley (Brett), I. Farrell cross the New Mexico Territory in a stagecoach,

McDonald (Quincannon), Dick Hogan (lohnny), Maxie threatened and nally attacked by Apaches. Probably

Rosenbloom (Sgt Joe Duy), Ward Bond (Olaf Ford‘: mnrt famous western, and the rst to he shat in

Swanson), Robert Lowery (Sparks), Charles Tannen Monument Valley. The New Ynrk I-‘t'!m Critic: gave

(Kelly). George E. Stone (Irving), Moroni Olsen (Capt. him their Bert Director award; and Orcavr went to the

Wilson), lack Pennick (Guns McPeck), Elisha Cook, eampomr and to Thamar Mitchell at belt ruppartiug

lr. ('Professor' Pt-art), Harry Sti-ang,(Graii-iger), Charles aetnr. Footage /ram‘ the chase hat been uied in at lean

Trowbridge (Admiral Joseph Mairland), Victor Vareoni two B weslenir: I Killed Geronimo, I950, and Laramie

(chaplain), Murray Alper (sailor), E. E. Clive. Mountains, I952. The lm was remade, abnminably,

A broken-down ship in the Splinter Fleet (whose in I966.)job was searching out enemy submarines in World War I)is whipped into shape by a tough captain. l

I919 YOUNG MR LINCOLN (Cosmopolitan Zolh

mo STAGECOACH w -u " d A " . C?"“"Y'F"‘)" .

Director-producer: Johii P255: Eztslllillfnnplggdl-ICCIZ :,";“""' tn“ F°'d' E"“""" PP°d\fv<r- Darryl l-'. ;i|'||]ck_

wilrerwinger. Scenarist: Dudky Nichols, from story. I A'"“,m,“" Ni’-°‘°‘"‘“' 5°"“"“‘ "‘"'“' T'°“" "‘*"‘Stage to Lotdshurg,' by Ernest Haycox. Photography: Richard DI 'n‘a':|'{ ?'°‘;5_";5‘I;‘ g;:('|""{|‘1|':- A"BrrGl .A ii :Al it Tlbo‘. s - v Y‘ “.". ‘ ""°' "Mdc tqnoitw. rs ngnmih ‘Tune’, rguz wilt? Little. Music: Alfred Nrwnun. hdltor Walter Thompson.

Piizlkettzf Mug: (adapted 'i‘::m lgmhnresrican foil: rxni ;ld“°r' gab“ p”"s"' Io! "“'“"°" ,R‘l““d1tunes of early lllB0‘s): Richard Hageman, W. Franke (xbigailclay) .:i::i';|';))‘u'\I'°:hB';'dYI-Ilin]hL'IdLShkL'G b. ' . .'“"Y -""*“'<>"Editorgl sfiplelrviiiri Oithociovcifitilz’ l?.°:ilti>rs:ul;:ro:tIigY (gin? Flay)‘ id»dc;;C°l.hns (Bk T“"m)' P‘“|'“‘ Mm“Spencer, Walter Reynolds. Assistant director: Wingate ( n In MB)‘ ' d (‘mmwcu (Mm Cm)’ Wm’ 8”“Smith. Filmed in Monument Valley and nriier g°"" P“'g;‘°' c'."()]- 3°"? :4°°*A(1°;';l)F‘£‘:i'?'locations in Arizona UIIII, Califom‘. 91 min t . P'."“" "M" " B‘ . " °," ~ = 3 1°

Released: Match 2. ' wiiii John Wi:ne (The itiinegii $l*!l\J'"\ (gdvn %-y),hJucli:i tt))ic|re:ir)(cgri;;

Kid) Cl' T (D ll , yr (3; 4' H 5 M i urn _ro_nc rep en . oug as, .ar

ri..,.;..."i5/iir.i'.iYi“'<i>.’ fililif i'§....l'>‘I Eli, 'i5.‘.i..’é <§'*="“ B-."-."==>» Rm" '~"?~ <*-"='>» C"--'==(Buck), Donald Meek (Samuel Peacock), Louise Platt II1'5"‘; (h'fc'"“;‘ E‘:§"'d§>-;,‘;:“§" §°"*1f§"a;‘ B‘??-(Lucy Mallory) Tirn Holt (Lt. Bllndiltd) George ’ ° " ‘- ."“ “ a ‘Y "‘ " "Bancroft (Sheri Curly Wilcox), Berton izlnircliill 5d“"'°‘)*R“’""5!“‘P’°“<w°°"“‘!‘)*C'“"“""‘°"(Henry Gatewood), T0111 TyIet(Hank l=linni-ner>, Chris (““""‘°"")- 54"“ M“‘"=" (1°'"' T‘ 5""")rPin Martin (Chris), Elvira Rios (Yakima, nit wife), f:%:’;)"‘t§‘I°;‘“;“ (M€Ag:')él1"=" K‘}"'{d§Mlf[‘* C15‘!-l'=Francis Ford (Billy Pickett), Mirgi Daighton (Mrs '. ' " Y °“‘.’ ‘Y-‘" ' » "W Y."Pickett), Kent Odell (Billy Pickett, ]r.), Yiilrirni Clnu, ("‘."“"‘“")' L°““ M“°" <°‘?"" =l"l<). l=¢'= "°T““°"Chief Big Tree (stuntmen), Harry Tenbrook (telegraph S“'v‘“ Randi" (I“'°")' cl“°““ w'l‘°“'operator) Iack Pennick (lerry, barman), Paul McVey . °n.“' . . .

(Expmis ' AFN)‘ Comclius KR“ (caph whim“), I'll}: earlrylifc of _Abe Lincoln, his tragic love for Annnoun“ Lake (MN Nancy whim"), Louis Mum tit e_gc, is decision to become a lawyer and his rst(Sham), Brenda Fowl" (MN Gewood)’ Wm" trial, in which he defends two brothers on a murder

MeGrail (Capt. Sickel), Jcirepli Rickson(Luke Plummet), °‘“"B° ‘"4 P'°"“ "‘"“ ""'°°°“‘-Vesrer Pegg (Ike Plummet), William Hoer (sergeant),Bryant Washbum (Capt. Simmons), Nora Cecil (Dr I939 DRUMS ALONG THE MOHAWK (20thBoone's housekeeper), Helen Gibson, Dorothy Annleby Century-Fox)glancliiné girlshbuddy Roosevelt, Bill Cody (ranchers), Director: John Ford. Executive producer: Darryl F.hie hire orse (Indian chief), Duke Lee (Sheriff Zanuck. Producer: Raymond Grilfith. Scenarists:

of Lordsburg), Mary Kathleen Walker (Lucy's baby), umar Tmrti. Sonya Levicn and (uncredited) WilliamEd Brady, Steve Clemente, Theodore Larch, Fritzi Faulkner. from novel by Walter D. Iidtnonth. Photography

Brunette, Leonard Trainor. Chris Phillips, Tex Driscoll, (in color)! Bert Glennon, Ray Rennahan. An directors: Richard

Teddy Billings, John Eckert, Al Lee, Jack Mohr, Patsy Day. Mark Lee Kirk. Set decorator. Thomas Little. Music

I34

Alfred Newman. Editor: Ruben Simpson. Sound Kitty Mcl-lugh (Mae), Mae Marsh, Francis Ford, Jacke'ects editor:Robert Parrish. I03 minutes. Released: Penriielt.November 3. With Claudette Colbert (Lana Burst The odyssey of the Joads, a family oi‘ Oakies forcedMartin), Henry Fonda (Gilbert Martin), Edna May oil their land in the dustbowl of the 30's. I-‘uni andOliver (Mrs McKlennan), Eddie Collins (Christian ]une Dariuell receitwtl Osmri and Ford wan the NewReall), John Carradine (Caldwell), Dorris Bowdon Ynrk Film Criticr Ari-ard /i1! his work an thir arid The(Mary Reall), Jessie Ralph (Mrs Weaver), Arthur Long Voyage Home.Shields (Father Rosenkranz). Robert Lowery (JohnWeaver), Roger lmhof (General Nicholas Herkimer), I940 THE LONG VOYAGE HOME (Wanger-UnitedFrancis Ford (Joe Boleo), Ward Bond (Adam l-lartmann), Artists).Kay Linakcr (Mrs Demooth), Russell Simpson (Dr Director: John Ford. Producer: Walter Wanger.Petry), Chief Big Tree (Blue Baelt), Spencer Charters Scenarist: Dudley Nichols, from one-act plays, ‘The(Fisk, innkeeper), Arthur Aysleworth (George), Si Jenks Moon of the Caribbees,' ‘ln the Zone,‘ ‘Bound East for(Jacobs), Jack Penniclt (Amos), Charles Tannen (Robert CardiiT,' ‘The Long Voyage Home,‘ by Eugene O'Neill.Johnson), Paul McVey (Capt. Mark Demooth), Photography: Gregg 'I‘oland. Art director: JamesElizabeth Jones (Mrs Reall), Lionel Pape (General), Basevi. Set decorator: Julia Heron. Music: RichardClarence Wilson (Paymaster), Edwin Maxwell (pastor), Hagen-ian. Editor: Shemian Todd. Sound editor:Clara Blandick (Mrs Borst), Beulah Hall Jones (Daisy), Robert Parrish. Special effects: Ray Binger, R. T.Robert Greig (Mr Borst),Mae Marsh. Layton. I05 minutes. Released: October 8. WithThe experiences ofa young couple in the Mohawk Thomas Mitchell (Aloysius Driscoll), John Wayne

Valley before and during the Revolutionary War. (Ole Olsen), lan Hunter (Thomas Fenwiek, ‘Smiity'),Ford’: rst lm in eolnr. Faotage ured in other lm, Barry Fitzgerald (Cocky), Wilfred Lawson (Captain),M1151)‘ M°hIWk, in I956. Mildred Natwick (Freda), John Qualen (Axel Swanson),

Ward Bond (Yank), Joe Sawyer (Davis), Arthur Shields(Donlteyrna_n), J. M. Kerrigan (Crimp). David Hughes

mo THE GRAPES or WRATH(20th Century-Fox). <5°°"Y)» B'"Y Fm" 0")» CW" Md-=$|=" (Mm)-Direetor: John Ford. Producer: Darryl F. Zanuck. R°b‘" 5' PS“? §P'd‘5Y)i -lick P"""°k (-l°h""YAssociate producer-scenarist: Nunnally Johnson, from B°'3"““)- c_°"5'§""" F""k° (N""¢Y)- C°"5"'"i"novelby John Steinbeck. Photography:Gregg Toland. R°'"=""" (B1! PPIHRJ» D" Bu"-12¢ (Tim "WYAn directors; Rich,“ Diy_ Mark L" Kirk 5" Tenbrook (Max), Douglas Walton (Second Lieutenant),decorator: Thorrias Little. Music: Alfred Newman. R=Ph"l= Omen" (D="shl=r Of I1"-= Tmi>i<=)- C="=wnSong, ‘Red River Valley,‘ played on accordion by Dan M°'=|=§- CI""'='_\ 1!’-‘\n§°"i° (this in ¢==w=)- HwyB°,.,_.g:_ 5x°,nd_uni, dinner om, Brow“ ‘Milo,-_ Rob“, Woods (the Admiral's sailor), Edgar ‘Blue' Washington,Simpwnv Sound. Gm,“ Lc,,n.m_ Rog“ "mm, Sound Lionel Pape, Jane Crowley, Maureen Roden-Ryan.x“ amen Rob“, parish‘ Agisunl dimqm; Edwud Each man on the Glencairn looks forward in his ownO‘Feama. 129 minutes. Released: March I5. wnn Henry Fonda “'=Y W "W ""1 “Y lh= \{~w=s=- but. == always, they nd(Tam Jud), Jam Dimcll (M, lam), John Qmdinc the land as disappointing as the sea and all but one(Quay), Charley Grapewin (Gmmp. load), Dams sign on for another run. O'Neill’: fuearit: amnng theBowdcn (RD§a§h,m), Russ“; simpsun (pa I°ld)_ lrrii made of hit work, and the only one he looked at0. z. Whitehead (Al), John Qualen (Muley), Eddie P"w4'wIl>'-Quillan (Connie), Zele Tilbury (Grandma Joad),Frank Sully (Noah), Frank Darien (Uncle John), l9-4| TOBACCO ROAD (10th Century-Fox).Darryl Hickman (Wineld), Shirley Mills (Ruth Joad), Director: John Ford. Producer: Darryl F. Zanuek.Grant Mitchell (guardian), Ward Bond (policeman), Associate producers: Jack Kirkland, Harry H. Oshrin.Frank Faylen (Tim), Joe Sawyer (accountant), Harry Scenarist: Nunnally Johnson, from play by KirklandTyler (Bert), Charles B. Middleton (conductor), John and novel by Erskine Caldwell. Photography: ArthurArledge (Davis), Hollis Jewell (Muley‘s son), Paul C. Miller. Art directors: Richard Day, James Basevi.Guilfoyle (Floyd), Charles D. Brown (Wilkie), Roger Set decoriitor:Thoi'nas Little. Music: David Euttolph.lmhof (Thomas), William Pawley (Bill), Arthur Aysle- Editor: Barbara McLean. Sound effects editor: Robertworth (father), Charles Tannen (Joe), Selmar Jackson Parrish. 84 minutes. Released: February 20. With(inspector), Eddie C. Waller (proprietor), David Hughes Charley Grapewin (Jeeter Lester), Marjorie Ramheau(Frank), Cli Clark (townsrnan), Adrian Morris (agent), (Sister Bessie), Gene Tiemey (Ellie May Lester),Robert Homans (Spencer), Irving Bacon (conductor), William Tracy (Dude Lester), Elizabeth Patterson

I35

(Ada Lester), Dana Andrews (Dr Tim), Slim Summer- ofces ‘III Pans and London. Among those he tookville (Henry Peabodylr Ward Bond (Luv |]e|'|§L')’l, with him were Greizs l‘<3I=nd- Jvsvrh Walker. BuddGrant Mitchell(Geurge I’ayne),Zeie'l'ilhury (Grandma Schulberg, Carson l(an|n. Daniel Fuchs. ‘ClaudeLester). Russell Simpson (Sheriff), Spencer Charters Dauphin, Robert Parrish. jack l’ennii:lt, Ray Kellogg.(employee). Irving Baez? (Eellerl), HarréhT-F-|er"(auto Harold Wll!:;l'(:T.phl:?‘l:gra:‘Uhb.bDf:f\1.!orD:’\;:c‘ Igoitgrdzsalesman). George (Than er emp oyei: , ar es a ton newsmatjr W_ - ‘ ‘()\l;|yr;r),]aek l’ennielt(Deputy Sheriff), Dorothy Adams and for intelligence assessment. the work of guerrillas.(pa)-M-5 5cc|-¢(;|f)'l_ Ffgnqig Fan] (\‘;|g;|bgnd)_ sabuteurs. Resistance Oulvti. . . . Besides this. thereThe futile lives of a decadent poor-white Georgia ‘WK’ 5P""1i55|B"""'"l5-

family.I942 THE BATTLE OF MIDWAY (U.S. Navy-10th

I941 SEX HYGIENE (Audio ProductionsAU.S. Army). Cum“,-y_pox)_Director: lohn Ford PrOdl1¢t=l'I DBIYYI F~ xii"-\¢k~ Director-photographer: l.t. Commander john Ford.Photographer: George Barnes. Editor: Gene Fowler, ]t- U.S.N.R. Narration written hy Ford. Dudley Nichols.30 minuves. With Charles Trowhridge. james Kevin McGuinness. Additional photography:An Army "wins lm on the denser: of, and Mrs jack McKenlie. Music: Alfred Newmiin. Editors:

to prevent, venereal disease. Ford. Robert Parrish. Z0 minutes. Released (incnlur): September. With the voices of Henry Fonda.

I94] HOW GREEN WAS MY VALLEY (20th INK‘ 1)=_rWe|l.D\1nlld Csifhc¢mury_pox)_ meriea's rst war ocumentary ll‘ receive t eDirector; John pm.d_ pmduc“; Dam; p_ 1,.-mck_ Academy Award as suehl. lmed during the actualgcmnisl. phmp Dunn, {mm novel by Richard battle. Although he was wounded in the-_ rst attack.l_1¢“.d|yn_ phomgmphy; Anhu, Mm“ An din,c_ hvrd continued to photograph the events himself.tors: Richard Day, Nathan Juran. Set decorator:Thomas Little. Costumes: Gwen Wakeling. Music: I9-J2 TORPEDO SQUADRON (U.S. Navy).Alfred Newman. Choral effects: Eisteddfod Singers of Director: l.t. Commander john Ford. U.S.N.R.Wales. Editor: Iames B. Clark. Narrator: Rhys 8 minutes in colour.Williams. ll! minutes. Released: December. With Just before the battle of Midway. a photographer inWalter Pidgeon (Mr Grulfydd). Maureen O'Hara Ford's unit took some I6 mm. colour footage of life(Angharad Morgan). Donald Crisp (Mr Morgan), on a PT Boar—Torpedo Squadron It. When all butAnna Lee (Brunwen Morgan). Roddy McDowell (Huw one man in this squadron were killed during the battle.hlorganl. john Loder (lanto Morganl, Sara Allgood Ford had the footage edited and reduced to an R mm.(Mrs Beth Morgan), Barry Fitzgerald (Cyfartha). lm to he seen only by "1" “'""““‘ °‘ "‘° ~‘*'='d boys-Patrielt Knowles (lvor Morgan). The Welsh Singers Prints were deliv:-‘red tg them by persona‘: ‘envoys (Sl;'Cl’|(\ir||li:nl. Mnrtiiri l.iivi-cry (.\\r. ]nna~). Anhur Shields as ]oe August)an the lm was never use or any ot er(Mr Parry), Ann Todd (Ceiwen). Frederick Worloelt purpose.(Dr Richards). Richard Fraser (Davy Morgan). Evan

§i.‘i"€;‘rirr‘£3.2‘?r‘§.“r‘iJ3L'I,3f £”?;’.“.“r‘r‘.‘,Z2§2>r.?‘EIii22§; 3.""r9Eq***H'g"“1g§~;\»>»;, S N R L CEthel Griies (Mrs Nicholas), Marten Lamont (Jestyn 'm“1°rs' ‘L. M" om ‘ ‘ ' ' " ‘J. ‘Im-. . , . . der John l*ord. U.S.N.R. Photography: loland.Evans). Mae Marsh (miners wife). Louis jean Heydt ma? . .

(miner) Denis Hoey (Motschell) Tudor Williams 5““?"“'“"" “""“°'-.]""“ C- "““"“" u-5-M'C-(singer): Cliurd Sc‘/cm‘ Eve Mart‘. Music: .~\lfred Newman. lxdltur: Robert Parrish. Z0 minutes.The slow and tragic disintegration of a Welsh mining A" _'\¢i\1I\Y AWlYd'\l'lX‘lll'lg docurrientary about the

l'amil' (Ind of the Valley iri which the" lived. <0rr.irr b°!"'""$ "T "ml P_l="><"- A¢¢°"*'"B *0 F"-1; P1"for Fisnl, srrr Pirlnre, Damzld Crirp, /in/irrr iimrrr. the 9"" ‘"“'."" “"°"‘ “’.‘ ""5 ““" "‘“ “““"": ""3!irr! rlirlclorr; dI|dFt71'i.f'1f0IIY!}I award/Von! I'll NtteYi1rb r"'="*' ~"“'<“"* *_"=‘~ M §?>‘§~ ‘I h="P}-‘*1 '""\ ='°"B-F,-lm cm.-H’) l was there. hut (rregg was in charge of it.

When he had completed How Green War [My Valley, I9-U WE SAIL AT MIDNIGHT (Crown Film Unit-Ford went on active duty in the Navy. He was U.S. Navy).appointed Chief of the Field Photographic Branch, a Director: Lt. Commander john Ford. U.S.N.R.unit of the O.S.S. (Oice of Strategic Services) with Narration written by Clilford Odets. Music: RichardI36

Y

l

Addiiiscll. 20 minurm. Released: July. Sruhhy Krugcr. Sammy Srcin. Michael Kirby. Blake EdwardsA doaimcniary ahnui ilic hazards of geiiiiig incrcharir ships (hiiai crew). \l'alIau: Ford. Toni Tyler.

ihrough can-ihai mna. Thu imil ("hi7 iliwmmriina iiwi- 'l‘h: siory of ihc man vrliiv pinnccrcd di: \1.\¢ uf lhlt Fl‘i'mn]mscil u//mli1;;\<. I/It rliuonrig ql rvhrrh Fiml §|4Ik’1‘l'|S(‘|l, l\uI. Bnar in cumhai_ rold agaiml ihc hiickgrnund of :\m¢nu'sIXCIAYIAIIPIK iii him. iiiiii I'M‘ /lV!! |'UIl]lIz‘ !L‘(“7r.‘ ilL‘l|(d”_\‘ i-imqi/i-ii-J ii-iiiii dcfcal. iii [ht Phlllpplnls. HWJ lllfil Iiii i.i/mi /iiiiiiby him; in "I01! i-imx. iii: mini-riiil mi; lllflkil mw In iiilim ilm jilni I!) build II Vl.\'VI.‘i|I|r1!I mirvr. ‘Thr I-‘iimi_' /iiv I-'ii~!Jii:/iii IIIIJVI r14! ii mm ii /inirlii-il /iii-iuri~. P/iuingrii/ihic Rmndi !\>‘l£Yd!lL BiinL- /miiigc uxil in Malaya.

I950 (Richard Tlmrp. M-G-M).l9-U T/1: Lin! Oulliirr llfnrzalilxd prniccl].Ford plannnl a rcmakc of Ih: WI9 lwo-rcclcr In be his rst l9~l(> MY D.-\Rl.lNCi CLlir\ll§N'|'lNli (20!!! Gcnlury-Fox).lcarur: when the war was Over; he worked mi Ihc §4.Ti[ll. adding D|rm1ur. lohn Ford. Producer: Samuel (3. Engcl. SCl!l\il'i§l$Icharacters and alrcring lh: aiding. and preliminary negoriariom Engcl. Winmin Milli-r. from iiory by Sam Hellman. basedwcrc cunduqcd Wilh Hcrhc ]. ‘files of Republic Piquris. on hook, “':\'l|'! lzlirpl Fmnliiv illirrxlul, by Stuart N. Lakc.The lm was ro srar Fnrd'.\ old friend. Harry Carry. Phniugraphy: jmcpli l’. i\lai:Di\nald. .\|1 dinuun: lama

Bascvi. Lyle R. Wheeler. Sci dccnmois: 'l1mnne Liirlc.ixrii-i Ill: Wifi Fiiiii iiiii his iiiiiiip iiqiiii iii pfltpifc‘ I iiiiii R“*h:d_C““‘;',"u“‘ hf“? ""““‘~ "'?‘“'°= EFT“ 1-

* gr. inr: mi j .|\cnccr. . .~\i.<iani rncinr::1" ‘ll’ ;‘.":"""’FfF 12:1? "“‘ “"_""' '““ "“‘ ;‘:§’:h“' “Fm Williarn Etkllzfdl. EXIBIIOFS miiiiii iii 'l\lK\Illll‘!ICI\l \'_a||¢_i-.nun crc was lo ic a ~cciinn on an : rriaiiir ,Wit Cflllllilsi aiiii (ht gftalbl pan nf [ht Wfk W2\ iii giiiii; ?&.v;"n"“;§a‘;_) 1:13“"‘."‘“F" "‘_““““"‘ “I "‘“"““‘1‘ “I f“‘ “r ""“ ‘°°"'“1‘ “" (rm JUN! Hl1llidil)'). \niii-i Bmiiiiii mm Man Clilllkllll.clips ihai wuld mrvc in l‘\'ldCI\C¢ lgillllsl ihc ai.ni.~ed. \ll‘h¢ii T. ,. . . . _ ‘. ll'l'I Hll niigii l:iX‘|\). viii: amid miiigiii harp). (jlh)(mn. Duriiivaii was urdcrcd clvmhcrc. Ihc prnicq was drnppcd, Dnwm (Clcmcminc (jatm Man M0whr“ ‘Gnnvmc

~ . Ghlll ~ 1- ii.<;iiiiiwiii~i~ms ‘mu \ll‘ERli EXl‘ENDr\Bl.l;' (i\l¢ll’0—(illld\\')'I\- Rm. 'f{:"h':1B:§§,\:,:;"‘]‘,,:c D_m,| "QM-\\=.v¢rli NltlSOI‘l). Ruhélll Slmpalln (Jr-iiii'siiii|».~<iii). i-‘mini Fllftl'>*'==1*"-I"'*l"*‘""- 1°“ "°"*- '\*“’~‘*='= P"*'"~‘*'" Cm‘ (i>i.i.ii1ii Mlldlcf). 1. Flrfltll i\lClX>1\illd(l\\Il1i hifmlli niiiiREM. S\.‘CtI2Il.\lI Fmiii \l‘. wgaii. riiiiii hiiiiii l’\_\‘ wiiiiiiii L. <;,,,,,, (lgmcg Elfvl, Bcll Hall iiiamii. Aiiiiiii wiidi lhltl“"‘""- ""‘““ll'=P">* 1“"Pl‘ "g -‘"B\*“- A" ‘“"“°“= clerk). Jade pCl'll'llCk.R(\hk' i\til|L'l'(.\lIgL‘\‘\\{lCl'\ \|f|\'Cl'\].LOLIl\Qdnc Gibbons. Malcolm l-1 Brown. Sci dK.'C0l'2l\1f§I lidwiii Made, (F,.4,m,,_\]_ ,\\;L-km» s|'\p\lI (Sam Clanion). Find3- Willix Rllrh 5- H"N- -“\1~I¢ "cm" 5'""“"- L‘4""“= l.ll'!l’\\' (miiii ciaiiiiiii). Hari'\' \N'i\<»¢~ (l.ll|iCl, ciiii1¢< §lC\'¢sl‘""" *1 """» """B‘=* Bilv 5*'<°"d-"'1" '1""\‘°'1 1"“ iiiidiaii iiiiiii~1¢iiiak¢n. wii1i'aiii B. Dl\'ld$l\h (om-iiiiii SiliklllC, Haviii-ii (rrar proiccumi plalcs; by Ruben .'\lonigiimcryl- iwi-ncr). Elflk‘ Fn!4c(g;\mh|£‘f)i.~\ln'll1‘$p¢\‘\l'Han§tr\(g\.\|llri§!)~Assisranr dirccior: Edward O'Farria. I36 minuim. Rclnmli Dam“. Rona“, (“\_md“,nN)_ |.-rank Conn“ (pm|im_ D0“Dcccmbcr Z0. \l'iih Ruben Miiriigiimcry (Ll. john liricklryl. Ran.];\. (“Mn hum u“.Mr)_ MK Mmhvl"'"‘ “"Y"‘““- "“">' R*"“l' "‘"‘“‘ '*““ "-‘- $‘"“>' D“""l' 'nié Sll\l’\' Ur wiaii Ear-p'.\ Tl\1|’\\l|\il dI\'\ iiiii l\I\ mi-l‘** "“" ‘C'°""" ‘“‘"‘"l~ “""‘* ““““ ‘““““ '““‘“"°Y"l' ll(\I‘|!lll|\ Will! lhC'Cl\Il.\|l'Ipl|\'L' l)0C iiiiiiiiilii-. .4 mii.iIii-.l*‘“"1"{"""Y“"‘°"ff‘-"3"" "‘“l"“"' ‘“‘T"““ T"%"“P“‘" i‘AY!I!|rlnTJ!ll\' iJIIr‘ri'il. ii/.-|n.iii 1>ii-iiii I939 FHVIIIICI’ Marshal;‘5""“ ""**“"l- R““‘" *""P“‘"‘ lD‘d- "“'°‘ "l ‘*"|‘Y"‘“' I/Ir‘ 5-lmi‘ bun: iiiiyi hill ll!|l':.‘ [\'¢‘P| Hirfil III I||lIlk‘Il1IlS yiiiiii.mu;*\';§:l-‘ IIIAHI r‘.\‘[k7lII!'l'l\' "I uiiiirigiii ll lhc ox. climii. H157.

5 i i i ' - v

Mildiell (Georg: Crii»). lctl York (Tony Aikcri). Murray.*\lp¢f($|ug .\iaiiaii).ii=riy'i"i=iii»iiiiikiia~.-ii). Iii! Ptllnlik um THE l~'L'Gl'l‘l\’li l-‘\f§l\<)' Pltlllra-RKQ Rldll.lniic Ljliflifl. Cllilllt 'i"iiiii-iiiiiigi li'\dIl1ll'Il Blitkwtll), Dll'L‘L1l\l'I Jiiiii-i Fiiiii. pvdl-lC¢l’\I i=iiiii. l\lL'flI c. (IBUFICI.Rcbcrr Harral (cncral Drvuglas .\lacAriliur). Bruix Kellogg Assnciarc producer: limiliu FCI'€lIldCl. Sccnarisr: Dudley(‘i"iiiii|iiiii). Tiiii .\iiiiiiiid< uiiii. BIOWII). vi-iiiiiii si¢<|¢ Nllllllh. iiiiiii l'll\\‘(|. Thu‘ r.imiiii/iiii.- iruii (07 'r;i.- ,,r7ll‘r.'1(\|0ClUf)i Ami niii~i=i lBCIll'l_\‘]. EVE r\\iICl'I (iiiim). Ptdl Jrl i/ii- (”rYT_\'l. by uiaiiiiii (illitll. iniiiiiigiaphyi (iibfltldc Cfdhi (pl'\t\l)i Trinl LOWC ((;i!\1I‘|¢f'5 giiiiiiiiiin. Figiimia. :\ dil'l'L10fI mrii~ii niim. sq dC€(1IIl(\l'IPadia Tiu-Tiiii lllighlclllh §il'\[lEYl. wiiiiaiii B. l)il\'|dMIl\ .\iaiiii=i Parn. i\\\|SiCI Ririhlld Higciiiaii. Eklilfi Ji¢i<(hurcl manager). Ruben limmm O'(Innn:r (Silver Dollar Murray. Excuiiivc assistant: lack Pcnnick. Dirmiuriall'\I|1CrIdtf).i\\iX 0|l(i“l)'0f Ilfcxlll. mu \ii'i|iimiiii (§gl. miiiai-ii; Altldlf Ftfrtr. I\.\\i.\lilI\l dlH.'Cl0fI iiw iiii-i».Smidi). Inhri Carlyle (Li. jamcsl. Phillip Ahn (nrd:rl)'). l"ilm:d in -l7 days cvn lomrinns in Mexico arid al (Ihuru-Bcny Bl)'IJ1¢(OlL‘tf'.< wifi:).Ki-i-niii .\iayiiaiii(=ii-ii<iii 0|CCl‘l. l'\\l§Cl\ Sllk|l(\.\. Mrrxico ciiy. mi mlulhi RClCI.\¢dI

l37

November 3. With Henry Fonda (The Fugitive), (in colour): Winton C. Hoch, Charles P. Boyle (secondDolores Del Rio (Mexican woman). Pedro Armendariz unit). Art director: James Basevi. Set decorator: Joe(Police Lieutenant). Ward Bond (El Gringo), Leo Kish. Music: Richard Hagcrnan. Editor: JackCarrillo (Chief of Police.) I. Carroll Naish (police spy), Murray. Production manager: Lowell Farrell.Robert Armstrong (Police Sergeant), John Qualen Assistant directors: Wingate Smith. Edward O‘Fearna.(Doctor). Fortunio Bonanova (Governor's cousin). Filmed in 32 days on locations in the Mojave Desert.Chris Pin Martin (organ player), Miguel Inclan lOh minutes. Released: December l. With John(hostage), Fernando Fernandez (singer), Jose I. Ton-ay \X’a_\-ne (Robert Marmaduke Sangster llightower),(a Mexicant. Melchor Ferrer. Pedro Arrnendariz (Pedro Roea Fuerte). llarry Carey.i he ight oi a priest through a police state. paralleled Jr. (William Kearney. ‘The Abilene Kid‘). Ward Bond

with that ofa wanted criminal. (Perley ‘Buck' Sweet). Mildred Natwiclt (mother).I947 The Fmtily (Unrealized proiect). Ford had Charles Halton (Mr Latham‘~. Jane Darwell (Missplanned to film Nina Fcderova's W40 novel (which had F|0Yi¢), Mae Marsh (MKS PI-'Y|'=)‘ Sweet). GUY Kibl7'~'¢won the Atlantic Monthly Prize) with John wl)'l'l¢ Undue). Dorothy Fun! (Ruby Lathamir Ben Johnson-and Ethel Barrymore in the cast. The book deals with Michael Dugam D-in Summm ivatrolmvn). Fred Libbyit family oi‘ White Russians who are exiled to China after (D¢P\1l)' 5|1='fi'1- "Ink w\‘H!'-‘H lD~‘!"">' 5h¢Yim- lickthe Revolution. in an interview at the time. Ford Ptrnnicl (Lem tr-in '-‘""‘l"‘1"l~FYi11'~‘i>|‘Wd(dntnlt)- Rutl-said, 'lt's simply the story of the disintegration of a Clmwd iwumn in Mn‘family Ifwr it "=5 hm‘ \""<>°l=d~' A remake of Ford's .\l.irkcJ Men. dedicated to theI948 FORT APACHE (Argosy Pictures-RKO Radio). stat of that lin who had died the year before: ‘ToDirector: John Ford. Producers: Ford. Merian C. (hr mgmor)’ of Harry Carey-—bright star of the earlyCooper. Scenarist: Frank S. Nugentv from story, wnwm 513-_'

‘Massacre-‘ by James Warn" Bellah-_ Phowwnhyr mo .\iirIirv_7r.~i'rm"g (Argosy l'ii:tures»RKO Radio).5'3“: 5‘°“'~.w'|1l'"' C|“u‘l" i‘*"5""d'“"")- -'\" ‘Hm-1°" Director: Ernest B. Schoedsack. Producers: John Ford.JIM B1\<§'-- 5" <!=wr=R"= IM__K1>'=- ~\\1<i~'= Rim"! Merian c. chhprr. §L‘t'n€ll’l$l£ Ruth Rose.l'rom storyllageman. Second-unit dircor: uni |.__\‘nns. Production l,(.Qm,m.,_ |,h(,u,Fm,h).. J‘R‘,yHum_ A,,dm.m,,,manager: Bernard Mcliveety. Assistant directors: tum“ Basi 9,; mnuxcs‘ R‘.1,_.,§,_.d; ]u|y _\0_ wglhLowell Farrell» lid‘ P""flck- Film“ "' 45 d"Y5 °" Terry Moore. Ben Johnson. Robert Armstrong. Franklocations in Utah and in Monument Valley. I27 Mc|..|ugh_ Rcgis1_0omwy‘minutes. Released: March '2. With John Wayne Fwd; ~| ha‘; naming m do Wm, (Lt(Capt. Kirby York). Henry Fonda (Lt. Col. OwenThursday). Shirley Temple (Philadelphia Thursday). I949 SHE WORE A Yl—Il.l.OW RIBBON (ArgosyJohn Agar (Lt. Michael O'Rourke). Ward Bond (Sgt. Pictures-RKO Radio).Major O'Rourke), George O'Brien (Captain Sam Dtrcetor: John Ford. Producers: Ford. Merian C.Collingwood). Victor McLaglen (Sgt Mulcahy). Pedro Cooper. Associate producer: Lowell Farrell.Armendariz (Sgt Beaufort), Anna Lee (Mrs Colling- Scenarists: Frank S. Nugent. Laurence Stallings. fromwood). Irene Rich (Mrs O'Rourke), Guy Kibbee story, ‘War Party.‘ by James Wamer Bellah. Photo-(Dr Wilkens), Grant Withers (Silas Melcham). Miguel graphy (in colour): Winton C. lrloch. Charles P. Boylelnclan (Cochise). Jack Pennick (Sgt Schattuck), Mae (second-unit). Art director: James Basevi. SetMarsh (Mrs Gates), Diclt Foran (Sgt Qihclnnon), decorator: Joe Kish. Music: Richard Hagen-tan.Frank Ferguson (newspaperman), Francis Ford (bar~ Editor: Jack Murray. Assistant editor: Barbara Ford.tender). Ray Hyke (Gates). Movita Castenada (Guadalupe). Second~unit director: Cli' Lyons. Assistant directors:llank Worden (Southem YCLTUII) llarry Tertbrook (courier). Wingate Smith, Edward 0‘Fearna. Filmed in 3| daysMary Gordon (woman in stagecoach). on locations in Monument Valley. I03 minutes.Th: m in Ford-S (unomchl) Camry Hiram.‘ Released: _October 22. With John Wayne (Capt.

about an arrogant Lt. Ool. who leads his men into an N“h3"_ B""l'§)» ]°‘""'¢ DY" (0|""'")~ ]°h" A8"Apache mugqt (Lt. Flint Cohill). Ben Johnson (Sgt Tyree). Harry

Carey. Jr. (Lt. Pennell). Victor Mcl.aglcn (SgtI948 3 GODl'AlHl:RS (Argosy l’icturcs-Metro-Goldwyiv Quincannon). Mildred Natwick (Mrs Allshard), GeorgeMayer)- O'Brien (Mai. MacAllshard). Arthur Shields (DrDirector: John Ford. Producers: Ford, Merian C. O‘Laughlin), Francis Ford (barman). Harry WoodsCooper. Scenlrists: Laiirence Stllings, Frank S. (Karl Rynders), Chief Big Tree (Pony That Walks),Nugent, from story by Peter B. Kyne. Photography Noble Johnson (Red Shirt). Cli' Lyons (TrooperCli’),I38

Torn Tyler‘ <Qii=yii¢i. Michael uiigiii (l’lOCl\biI.IC\’), (Mai. J- A- White). Whit Bimll (Ln Hlndky). AnnMiekey Simpson (Wagner). Fred Graham (Hench), Coder: (French instructor), Ray Hylte (Mai. Crawford),Frank Mcrath (trumpeter). Don Summers (Jenkins), Gene Collins (Andy), James Flavin (Gen. Brevort),Fred Libby (Colonel Krumrcin), Jaclt Penniclt (Sgt. David McMahon (Col. Ainsley), Charles TrowhridgeMajor), Hilly Jones (courier). Bill Gettinger (oicer). (Gen. Merrill), Kenneth Tobey (Lt. K. Geiger), Mai.Fred Kennedy (Badger). Rudy Bowman (Pvt. Smith), Sam Harris (hospital patient). Alberto Morin, LouisPost Park (oicer). Ray Hylte (McCarthy). Lee Bradley Mercier (Resistance ghters). Paul Harvey (officer),(interpreter). Chief Sky Eagle, Dan White. Iames Waters. Ken Lynch.The sectrnd in the cavalry trilogy, about an ageing Sgt. Kluggs is the rst man in his hometown to enter

captain's last mission before retirement. (Oxar In Hoch the Army in World War ll and he gets stationed—in/in the [1/Iumgm[v![\'.) his hometown. His pleas to go overseas go unanswered.'9" I,- k (mm cm“, _F°x)_ until nallyvhe is sent on a dangerous top secret missionin _\' ry

~ 1 < - . F d behind die lina in Fiance. When he return» only four daysD'"“°' El“ Km“ ("mi ““°'°d“'d Mm °' ) haic mi llld no iiiii believes iii L’\'tY left. (Actually IProducer:DarrylF.Zanuck. Scenarists:PhilipDunne, ' P1Dudley Nichols. from l‘l0\!tl, Qiiiliii-, by Cid Ricltetts '“°" =' ‘M '\""P' “Y 1 N"? "“"i)inn"2..ms:"i:;;..’:.":.*:..?:::°,*;?::.‘:..mi m<>~ mmI02 miUICS. Released: Novcfbtl’. With JEIIIIIC R!d'°>~ _ _Cain‘ Ethel Barrymore’ Em“ War“, William Director: Johny Ford. Producers: Ford. Meria_n C.

-I R d ‘,1 Cooper Associatcproducer Lowellhirrcll Writers"Lundigan. Basi uys a . ' . ' ' 'The story of a Negro girl who passed for white. Funk S‘ Nugcnh plmck Fur‘: phologiphgy ac"

Find: Vprepartd il iii“: IL'l1Yk¢dl1!I(' i1.i_i- DII it bzforzlgnl G"""°"i '*'€"*‘ 5‘°“‘ (‘°°“"_'“““_>- ." "‘“?'fm. 1 /mu imi I 3/101.‘ (()!l,_\' Pi',ii_i-'i return H7 her dB::;:'ma§“‘ ;‘;§;;“?{,;,g§§;

' " ' , ' < I ,Imnie or the beginning Ioaki partrciilnrli Fordwn.) Du“; of wagon Mast":I950 WHEN WILLIE COMES MARCHING 'C""“*'-*'W_'"*'5"'"8-' FY _5““ 1°"“- ""1 “Y,T*‘=HOME (mm Cemun,_Fox)_ Sons ofthe Pioneers. Editor. Jack Muri-ay. AssistantDina“: John Fo,d_ product‘. Fwd Koh|m,“._ editor: Barliara Ford. Second-unit director. ‘(.ll-Sccnuisls. Mary Lws_ Richard Sal‘, from an,‘ Lyons. Assistant direcior._ Wingate Smith. Filmediwhm Lu, Comes Mnching Hommi by Sy Gnmbnm in Monument Valley and in Professor Valley, Utah.Ph h . L T A di . L it RV 86 rniniitcs. Released: April I9. With Ben Johnsonotograp y eo over rt rectors yWheeler, Chester Gore. Set decorators: Thomas (Tnws Bl“‘)'H'"7 (’“y‘g"gs“dy“?wc“5)‘é:“;'l“°Little Bruce MacDonald. Music: Allrcd Newman. D7“ (D"“'“)' Wyd Ban ( Cr ‘$55)’ I csEditoi: James B. Clark. Assistant director: Wingate Kgmpn (unck Sh'l°h Clem)‘ Al“ Muwbuy (D" A‘siiiiiii. az l'l'llIl|.|lL'S. Released: Februarv. With Din l-°F'“'¢Y *i=">- 1"" D=""" <5'=‘" l~_=d°Y="1)i Rm“Ulllty (Bill Klllggs), Cflhl Clive! (YVOIIIIC), Cllttn C'""‘,"<* (l"="'°"Y '_"‘Y“*‘>- R"“'=“ 5""P‘P" ("d‘"‘T d (M F u Wily D H Perkins), Kathleen O Malley (Prudence Perkins), Jamesownsen arge et es), iam emarest ( erman _

Kluitits) lame Lvdon (Charles Fettles) Llovd Corrigan ant“ (lily: C355)’ Fad E"blg (Rccsc Ckuidlgank(Mayor Adams), bvelyn Varden (Liertrudc Kluggs), °'d'f'n( " 5 35)’ 'c "Y _'_"ps°n (Jesse ,33)'Kenny Wmhms (muskim)_ L" Clark (musichrm Francis Ford (Mr. Peachtree), Lli‘ Lyons (Sht:l‘l'40l'ChlIlCSHIll0n(Mf Feltles), Mae MIrSh(MrS Fetllts), CYW" CW)» 9°" 5"'F‘"\=_" <5?“ J'"""'“)i M°‘!""Jack Pennick (S¢I§CIl'il—ll'lSlt\lClDl'), Mickey Simpson cfummdi (ymmg Navaw 3",)’ hm Thwpc (Navllnh(M.l'. Kcrrigan). Fiaiit PCl'Sl!il'|g (MIJOY Bickford), Don <Jw=1< Hlywil <J=d~=*\>~ _ .

Sumrricrs (M.P. Sherve). Gil Htmlin (Ll. cllllllidtl A M°¥"*°" ‘"'8°" """-_B“'**°" “Y ‘“'° Y°‘"_'B '“"“Cwwn)_ Pu" oniz (mun), Luis Mbcmi (barman), traders, Is rnenaceel by Indians and outlaws as it makes_lDl\I| Shlllllik (pilot), Cllfkt G0fd0n, Rbbill Hughes "‘ "Y °"°“ ""= °°"""Y ‘° Um‘ "' ""° '87“-(Marinc ofcers). Cecil Weston (Mrs Barnes), HarryTenbroolt (Joe. taxi driver), Russ Clark (Sgt Wilson), I950 RIO GRANDE (Argosy Pictures—Republic).George Spaulding (]udgeTate), James Eagle (reporter), Director: John Ford. Producers: Ford, Merian C.Harry Strang (sergeant), George Magrill (Chief Petty Cooper. Scenarist: James Kevin McGuinness. fromOicer), Hanlt Worden (choir leader), john McKee story, ‘Mission With No Record,‘ by James Wamer(pilot), Larry Keating (Gen. G. Rceding), Dan Risa Bellah. Photography: Bert Glennon, Archie Smut(Gen. Adams), Robert Einer (Lt. Bagley), Russ Conway (second-unit). Art director: Frank Hotaling. Set

139

decorators: John McCarthy, ]r.. Charles Thompson. James Gleason(Gen.Cokel)').Wally Vemon(Lipinslty),Music: Victor Young. Songs, sung by The Sons of Henry Letondal (Cognac Pete). l-‘red Libby (Lt.the Pioneers: ‘My Gal ls Purple,‘ ‘Foutsore (‘Avalry,' Schmidt). Ray Hyke (Mulcah)'), Paul liix (Gowdy),‘Yellow Stripes,‘ by Stan Jones; ‘Aha, San Antone,‘ James l.ilburn(young soldier). Henry Morgan(Morgan),by Dale Evans; ‘Qttle Call,‘ by Tex Owens; and Dan Borzzrgc (Gilbert). Bill Henry (Holsen). Henry‘Erie Canal,‘ ‘I'll Talte You Home Again. Kathleen,‘ ‘Bomber‘ Kulkovich (company cook). lack Penmclt‘Down by the Glen Side,‘ ‘You're in the Army Now‘. (Ferguson). Ann Codee (nun), Stanley johnson (Lt.Editor: lack Murray. Assistant editor: Barbara Ford. Cunningham). Tom Tyler (Capt. Davis). Olga AndreSecond-unit director: Cli' Lyons. I05 minutes. (Sister Clutilde), Harry Norton (priest). Luis AlberniReleased: November l5. With John Wayne (Lt. Col. (the great uncle). Torhcn Meyer (mayor). Alfred ZeislerKirby Yorlte), Maureen O‘Hnra (Mrs Yorke), Ben (linglish colonel). George Bruggeman (English lieu-Iohnson (Trooper Tyree). Claude ]Irman, ]r. (Trooper tenant). Scott l-‘orhes (Lt. Bennett), Sean McCloryJe‘ Yorke), Hurry Qrey, Ir. (Trooper Daniel Boone), (l.t. Austin). Charles FitzSimmorrs (Capt. Wickham).Chill Wills (Dr Wilkins), ]. Carroll Naish (Gen. Philip Louis Mereier (Bouchard), Micltey Simpson (M.l’.).Sheridan), Victor McLaglen (Sgt Quincannon), Peter Ortiz. Paul Guilfoyle.Grant Withers(Deputy Marshal), Peter Ortiz (Capt. St The adventures oi’ Capt. Flagg and Sgt Quirt in a

Jacques), Steve Pt-ndleton (Capt. Prescott), Klrolyn French village during World War l. A rr~n|ukr' ofGrimes (Margaret Mary), Alberto Morin (lieutenant), Runu! ll"rrIr/r‘r jrmwm l9Ih lm.Stan Jones (sergeant), Fred Kennedy (Heinze), ]ack ‘HZ v - ~

Pennielt. Pat Wayne. Chuck Roberson, The Sons of :)i}¢q3:?E]8;|I€;rA§,'(;3:?g.P'gc::‘the Pioneers (regimental singers): Ken Curtis, Hugh coop,‘ Sunni“; punk S_ Nuscm flfum Sm“. byF"'-K"1F="»U°Y** P°"Y‘“="-5h"B Fiih"-T°"""Y Maurice Walsh. Photographv (in cohlr‘: Winton CBf: I I ,1 1 Hoch. Archie Stout (second-unit). Arr director:“ 0 l c “Va ry, m "57’ '_b9'" a C“ °“:|' h“ W“: Frank Holaling. Set decorators: john McCarthy, ]r.,and son—estr:|nged since the Civil War—who are drawn Charla -nwmpson‘ Music: vino, young’ Snngstogether during an episode in the Apache wars near the .1-he N‘, M lnnisccyr by Richard F;“,m|l),; .O‘l“,a;M='"“" B°"*"- Bay.‘ by Dr Arthur Colahan. Michael Donovan; ‘The

ln test. Iohn Wayne produced and Budd Boetticher ?;':,Q\,:‘~ rI.:.°3|‘-},‘,':,‘,',§]f4':,“,fi..'“i:f,:']‘l»'|5',;L_directed The Bull/ighrrr and the Lady. Ford: ‘l like colonel um» -'Mu§h_Mu§h_Mushr' Edimn Jack

5"“ ""Y "‘"°“-_ Th“ P*"‘"$' W" 19° 1°"B_'"_° "= Murray. Assistant editor: Barbara ‘Ford. Second-“hd ""= "' °°"‘= "1 ""1 h°'P ""11 °'" "- 5° l 41¢ nnit directors (uncredited): John Wayne, Patrick Ford.

"H THIS ls KOREA! <U»$~ N=w~R=vt-t>lt¢>~ $rL'§.§"§.‘. ri'li§§§7"r1$"I.‘li.I.Y1..M§<Ti§lZ§;1»£§§Z§L‘I.TDlmcwn RC“ Adrfunl -l°h“ Fwd’ U'S'N'|_" so ber I4. With John Wayne (Sean Thornton), Maureenminutes. Released (in color): August I0. With the 0-Han (Mary Kim Damh"), Barry Hlzg¢n|d"°'°“ °r l°h“ 1""."d' °"‘°“' _ _ (Michaeleeri Og Flynn). Ward Bond (Father Peter l.unt-rgan)-K;c:°°"'"="l"Y P'""= °f Wh" ll" W" W! ll" "I Vlor .\\i:lJ|;len (Red \li‘|ll Danuhcr). Ataiarru Natwick (Mrs

' Sarah 'l'|llane). Fl'i1l‘|L'l\ Ford (lhln Tobin). liileen (Irovn; (,\\r\|t;53 WHAT PR]CE GLQRY (gm), Ccmury t:ox)_ Eltmbeth l‘1a)1'air). May Craig (woman at mlrt-ad \lZllltl'\].Djmquy; ],,hn [r‘l,m_ pfoduccri $01 (;_ gig-g,_-|_ Arthur §l'\l¢l\|s(Rl!\‘llfCl'IAl Cyril l‘layl'a|r).(§harlt~ Fit/SimmonsSccnarlstsi Phoebe and lltlnry Ephton. from play by (Forbes). Scan M¢Clurv (Owen Glynn). James Lilburnl\lIlxwcll Anderson. Lautcncc Stallings. Photography (Father Pwl), J=¢k Mcuwrvt (F¢t-trey). Ken Curtis(in colorl: Ioscph Macl)ona|d. Art directors: Lyle (Dmttvt Fnhy). Mae Marsh (Father Paul's mother).R. Wheeler. Gcotgc W. Davis. Sct decorators: Harry T~'nbrtmk(vvlic=rtwr).M=i-Sam H=rris(gt-nml>-Thomas Little. Stuart A. Reiss. Music: Alfred In»-rth 0'Dcn truarun. Eti= G°""=tt (railroad con-Newman. Song. ‘My Love. My Life.‘ by jay Living- tlttclut). Kevin Lawless (reman), Pnddy O'Donnellstun. Roy livans. Editor: Dorothy Spcnccr. lll (vttttt‘t).Wvhb Overlandcr (railroad station chief). Hankminutes. Released: August. With james Cagney Worden (trainer in llzshhadtl. Harry ‘l‘_»'ler (Pat Cohen). Don(Capt. Flaggl. CorinneCalvet(Charmaint:). Dan Dailey Hatswell (Guppy). David H. Hughes (constable). Douglas(Sgt Quirt). William Demarcst (Corporal Kiper). Craig Evans (ring physician). jack Roper (boxer). .-\l Murphy (ref-Hill (l.t. Aldrich). Robert Wagner (Lcwisohn). Marisa erec), Patrick Wayne. Antonia Wayne. Melinda Wayne. MichaelPavan (Nicole Bouchard). Casey Adams (Lt. Moore). Wayne (children at raoc). Pat O'Malley. lloh Perry.

l-IO

A retired American-Irish boxer retums to the land and a proper llllffbcd lady both compete for the whiteof hi, people: [ht vim"; Fwd an“ mug‘ hi, *5,“ hunter's attention. A remake 0/ Victor I-'Iorii'ug‘rto," 5,0,-y_' ty-,,V,.,,, and pm f-‘M4 4,4 ,,,_.,m| u,“ /W Red Dust (19,121: ‘I netw saw Ih: original picture,‘nu kw" mu “Wm,” wk,“ F,“ W“, ,-"I. ",4 P,-m," Fard mid. ‘I liked the rcripr mid the rmry. I liked the!rnnhlnIIlI11IxIlI()rctIr.itsrvcllusunt/orilrp/It1!ogrtzph_\'. {=1-er uud 1"! "=1" bu" In I"-11 nu" cl A/ru-u—w IM, THE SUN SHIXES BHGHT ‘R,p,,,,,,c,A jtul 4.4 its <1» t'."wtr.- .tmt~t11t"t The Courtship ofDinor. John t:m.d_ produairs. Ford‘ Mm,“ C_ Eddie's l-ather. l\)h_\, Glum Ford rveleht-r u teem: /minCooper. Scenarist: Laurence Stallings, from stories, M°§3mb° °" T-l'-)‘The Sun Shines Bright,‘ ‘The Mob from Massac.‘ ‘The I953 Honda (Wayne-Fellows—Warner Bros.)Lord Provides.‘ by Irvin S. Cobb. Photography: Director: John Farrow. Producer: Robert Fellows.Archie Stout. Art director: Frank Hotaling. Set Scenarist: James Edward Grant, from novel by Lnuisdecorators: John .\\ctnh_t-. Jr, George .\ltltt. (Iu\lume\: L'Amour. Photography (in color and .1-D): RobertAdele Palmer. Music: Vietor Young. Editor Jack Murray. Burks, Archie Stout. Second-unit director: Clill.~\s.<istant editor: Barbara Ford, Auistant director: Wingatc l.\'t\n~ and (uncredited) John Ford Privductitvn manager:Smith. 90 minutes. Released: May 2. With Charles Andrew Mclaglen. N3 minutm. Released: Demmher. \\'iihWinninger (Judge William Pittman Priest), Arleen John Wayne. Geraldine l'age. Ward Bond, Michael Pate.Whelan (Lucy Lee Lake), John Russell (Ashby Corwin), Jamn Ame».Step|n' Fetehit (]ePoindexter\. Russell Simpson (Dr. Ford: ‘l went down there to visit Duke. so im-l.ewt Lake), Ludwig Stossel (Herman Felsburgl. mediatcly he sent me out to do some trivial second-unitFrancis Ford (Feeney). Paul Hurst (Sgt Jintmy Bagby). stu, a few stunts.‘Mitchell Lewis (Andy Redcliei, Grant Withers (Buck 1955 THE LONG GRAY LJNE (R0,, P,-°du¢|jon5_Ramsey). Milburn Stone (Horace K. Maydewl. Dorothy Columbia)inll" (Lucy's mother). Elzie Emanuel (U.S. Grant Director: lohn Ford. Producer; Robert Arthur.Wtvudfurdh Henry O'Neill (Jody Hlbershamh Slim Scenarist: Edvi-art! Hope, from autobiography. BmtgiiigPitrlwns (5!'~'l’lihB)- Jim“ Kil'l<W0od (Gen. Faireld). Up [he Brett. by Marty Maher with Nardi RcederM=lu'»M4l‘5l'l (Old lid)‘ II liilll» 13"" DlY“‘L‘ll (Amfi Campion. Photography (in color and CinemaScope):Ratchittl, Ernest Whitman (Uncle Pleaiit Wm\dlvYd)t Charles Lawton, Jr. Art director; Ruben Peterson.Trevor Bardette (Rufe. leader of lynch mob}. Hal Setdeeorator: Fr:inl<Tuttle. Musicadapt:ition;GeorgeBaylor (hit son), Eve March (M=1lu- Cramtu. Clarence Duning. Editor: William Lyon. Assistant directors:.\lu\e (Uncle Zack). Jadt Pennick (Beaker). Ken Williants. Wingate Smith,]at:lt Corritsk. J38 minutes. Released:Patrick Wayne. February 9. With Tyrone Power (Martin Maher),SK"-'.7|'4&"¢ P'll‘Il(I*l34): eve-nthougl\it'§ #'l¢¢ll°"lll'|\¢ Maureen O'Hara (Mary O'Donnell), Robert Francis

in the I905 K~'ntud<>' lawn. Judse Billy Prim “ill (limes Sundstrom. ]r.). Donald CYISP tom Martin).d¢l¢"d§ ll" l"1P°P"lil’ 535'! °l I NJ!!!" 3¢¢"5°4 °l "P5, Ward Bond (Capt. Herman J. Koehler). Betsy Palmerand sees that the last wish ofa prostitute is carried out. (Kitty (;;,-rm, mitt Carey (Chif|¢§ Dqigtynj, WilliamI953 MOGAMBO (Metrt»Goldwyn-Mayer) Leslie (Red Sundstrom). Harry Care)‘. Jr. (DwightDirector: John Ford. Producer: Sam Zirnbalist. Eisenhower). Patrick Wayne (Cherub Ut-ertoni, SeanScenarist: John Lee Mahin, from play, ‘Red Dust,‘ McClory (Dinny Maher). Peter Graves (Capt. Rudolphby Wilson Collison. l’hotogr:iplty (tn ettltirt; Robert Heinz), Milburn Stone (Capt. John Pershing), ErinSurtees, Fredrick A. Young. Art director: Alfred O'Brien-Moore(Mrs Koehlerl, Walter D. Ehlers (MikeJungc. Costumes: Helen Rose. Editor: Ftnk Shannon), Don Barclay (Major Thomas). MartinClarke. Second-unit directors: Richard Ross/on. Milner (Jim O‘Carberry)- Chuck Courtney (WhiteyYakima Canutt,]arnes C. Havens. Assistant directors. Larson), Willis Bouchey (doctor), Jack PennicltWingate Smith, Cecil Ford. Exteriors filmed in Africa. (sergeant).H6 minutes. Released: October 9. With Clttrlt Fifty years in the life of Marty Maher—and WestGable (Victor Marswell), Ava Gardner (Eloise Y. Kelly), Paint, I-‘ind’; rst jilni in Ci'm:niuS:n]i¢.Gn== Klv (Linda Notdlvyh Dunlld Sinden (Donald toss Tllli RED. \x'nt't"t~: AND nwr: LINE (us TreasuryNordley)t Philip Stainttin (John Brown Pryce), Eric Dept.-Columbia Pictures).Pohlmnnn (Lwn Bnltehak). Laurence Nnisnuth Dirtvtori John I-'t\rt.l. \K'riler: Edward “tlf\¢. t'tttttt.,,t-.tptt_t~($l=iPv=r). Dennis 0‘Dea (Fh Joseph). Asa 5"" tttt color and Cl|1L’l‘l‘\ISCO|'k.‘)I Charles l.a\\'ton. Jr, Nth-.ttttr=(young native girl), Wagenia Tribe of Belgian Cong!-‘I, Ward Bond. Ill minutm.Slmburu Tribe of Kenya Colony, Bahaya Tribe of This promotional lilm urging .'\mertutn_\ to hut- qvtrtgtTmnnyih, M13“; Tn'b< of punch gqutm-ht Mfg, bonds wa\ made tin the _\cl 0| ‘I‘h.- l.tt/ii; (imv I-lllt‘ (1055)During an Afrimn safari. a broad who's hegit at-nun and features about 7 l'!\lI‘|\.llL\ front that picture. H]

1955 MISTER ROBERTS (Orange Productions- episode for the Fireside Theatre television series).Warner Bros.). Director: John Ford. Producer: William Asher.Directors: John Ford, Mervyn LeRoy. Producer: Scenarist: Laurence Stailings,i'ron'i play by TheophaneLeland Hayward. Scenarists: Frank Nugent, Joshua Lee. Photographer: John MacBurnie. Art director:Logan, from play by Logan, Thomas Heggen, and novel Martin Obzina. Set decorator: James S. Redd.by Heggen. Photography (in color and CinetnaScope): Music supervisor: Stanley Wilson. Supervising editor:Winton C. Hoch. Art director: Art Loci. Set Richard G. Wray. ‘Assistant director: Wingate Smith.decorator: William L. Kuehl. Music: Franz Waxman. Filmed November 7—li. 27 minutes. First broadcast:Editor: Jack Murray. Assistant director: Wingate December 6. With Jane Wyman (Sister Reginl)»Smith. Exteriors lmed in the Pacic. 123 minutes. Betty Lynn (Sister Anne), Soo Yong (Sichi Sao), JimReleased: July 30. With Henry Fonda (Lt. [ig] Hong (Mark Chu), Judy Wong (Tanya), Don SummersRobens), James Cagney (Captain), Jack Lemmon (Ho Kwong), Kurt Katch (King Fat), Pat O'Malley(Ensign Frank Thurlowc Pulver), William Powell (Priest), Frank Baker (bit man).(Doc), Ward Bond (C.P.0. Dowdy). Betsy Palmer (Lt. Two nuns in a Catholic convent in China areAnn Girard), Pt-iil Carey (Mannion), Nick Adams terrorized by a Communist overlord, who accuses them(Reber), Harry Carey, Jr. (Stelanowski), Ken Curtis oi’ having killed native babies; a Chinese boy sacrices(Doian), Frank Alctter(Gcrhart), Fritz Ford (Lidstrom), his life to help them escape. (lntrrertirig parallel withBuck Kartaiian (Mason), William Henry (Lt. Billings), the story of 7 Women, made oi/er ten year: later.)William Hudson (Olson). swbby Kwstr (ichlemmer). I955 ROOKIE OF THE YEAR (Hal Roach Studios;Flirty Tsnbwok (C1wki=). Perry Lopez (Rndriizim). episode for it-ie Semri Director: Ptaytmaie televisionRobert Roark (insigna), Pat Wayne (Booitser), Tige 5;,-i,;)_Ar_\dr¢w_=_ twllsy), litn Mnlmwy (K=nn¢dy)- Denny Director: John Ford. 29 n-iiriutes. First broadcast:Niles (()ilbC|1), i-rancis Conner (Johnson) ,Shug Fisher [)¢¢¢mi,"_ win, P" way,“ (Lyn Gmhug), V,"(<3°¢hr=n)- DIM: B<>"=s= <I<>n=§=y)- Jim Murvhy Miles (Rose Goodhuc), Ward Bond (Larry Goodhue,(TIYIOI). Kilhk 0'MIl|¢Yi Milli’! M\1l'PhYr Mimi alias Buck Garrison), James Gleason (Ed), WillisDoyle, Jeanne Murray-Vanderbilt, Lonnie Pierce Bquqhgy (newspaper edil0r)- lhn WIYM (Mikh I(llrsi), Martin Milner (shore patrol oicer), Gregory 1-q,°n¢;)_Walcott (sliorr Patrolman), JIIIIBS Flvi (M15), lllik When it tums out that the father oi’ baseball's newestP=nnicl= (Man-i= ms:-it). Duke Kahanimnkv <nativ= rookie of the year was himself I champion rookie-who°h1‘l)~ had become an alcoholic—a reporter refuses to write theThe story ofa cargo ship in the Pacic during World ='°'Y Ind "Is "nth 1* 11"" I=v=I1sd-

War ll. Although Henry Fonda had played the title I956 THE SEARCHERS (C. V. Whitney Pictures-role on Broadreay, Warner: wanted cithcr Williani Holden Wamer Bros.).or Marlon Brando /or the picture, on the prerni:c that Director: John Ford. Producers: Merian C. Cooper,Fonda, who had been |IIL'tI_\' from picture: rincc I948 (Fort C. V. Whitney. Scenarist: Frank S. Nugcnt. from novel byApache), was no linger port-er/al at the box oicr. Hmo- Alan LeMay. Associate produer.-r. Patrick Ford. Photographyever, when Ford refused tn do the lm with ariyotte else, (in color and VistaVisio|i): Wititon (I. Hoeh, Alfred GilltsFaiidawaingried/arit. Bitt,havi'ngpla_i'edtherole on stage (second-unit). Art directors: Frank Hoialing, James Basevi.for Il‘!'L'1i|l _\-ears, Fonda had certain xed idea: about Set decorator: Victor Gangeiiti. Music Max Steiner. Title songthe play and there began to cloth with Ford‘: direction— by Stan Jones. Ediion Jadt Murray. Production supervisor-.he added a grr-at deal of ph_i':i'cai comedy in the exterior: Lowell Farrell. Assistant director: Wingate Smith.and enlarged tome o] the ntinor roler. The argument: Filmed in Colorado and in Monument Valley. II9grew until, nally. according to Leland Hayward, a rninutes. Released: May 26. With John Waynemeeting that had been rolled to iron ott! the difference: (Ethan Edwards), lcifrey Hunter (Martin PawleY)r Veradeveloped into an actual it/ight bctii.-ren Ford and Miles (Laurie Jorgensen), Ward Bond (Capt. Rev.Fonda. Shortly afterward: Ford got ill attd LcRi1_\' SamuelClayton), Natalie Wood(DebbieEdwards), Johnritthed the picture (all the exterior: had been that). Qualen (Lars Jotgensen), Olive Carey (Mrs Jorgensen),Ford: ‘I got a gall bladder attack tore-ardr the end of Henry Brandon (Chief Scar), Ken Curtis (Charlierhaoting, but I did Inns! 0] the /nrtiire. A lot of that McCorry). Harry Carey, Jr. (Brad Jorgensen), Antonio/orced cotnrdy i'ti:i'i.lr the ihi/t train‘! rni'tte.' (Lcrnrnan Moreno (Emilio Figueroa), Hank Worden (Moserrrrit-ed the Acadevriy‘: Bert Supporting At-tor Award.) Harper), Lana Wood (Debbie as a child), Walter Coy

(Aaron Edwards), Dorothy Jordan (Martha Edwards),I955 THE BAMBOO CROSS (Levi-man Ltd.~Revue; Pippa Scott (Lucy Edwards), Pat Wayne (Lt. Green-I42

hill), Beulah Arehuletta (Look), Jack Pennick (private), I957 THE GROWLER S'l‘()RY (LES. Navy).Peter Mariiakos (Ftittertnanl, Bill Steele (Nesby), Cli Lyons Director: john Ford. Producer". Mark Armistead. Photography(Oil. Gnenhill), Chuck Roberson (man at wedding)» Mae (iii l6mrn. color): Pacic Fleet Combat (hmcra Group. Editor:Marsh (woman at fort), Dan Barrage (aucordionisi at funeral), Jack Murray. Assistant ediinn Barbara Ford. Namior: DariBilly (hrtledge, Chuck Hayward, Slim Higittovler, Fred Dailey. Shooting: November, I956, in the Pacic. Z9 minutes.Kn-inedy, Frank Mdirath, Dale van Sickle, Henry Wills. Terry With Ward Bond (Qiiiitannon). Ken Curtis (Capt. Howard W.Wilson (stunt men), Away Luna. Billy Yellow, Bob Many Gilmore), and Navy personnel. wives and children.Mules. Exactly Sonnie Betstiie, Feather Hat ]r., Harry Blati Made to publicize the Navy's suhmanne division. this shortHorsey lack Tin Hom, Many Mules Son. Percy Shooting was based on a real World War ll incident, in which a woundedStar, Pete Grey Eyes, Pipe Line Begishe. Smile White Sheep (hptain ordered his ship to submerge during an attack, leaving(Comanches). himself stranded on deck.The ten-year search hy two men for a little girl I957 THE RISING OF THE MOON (Four Province

kidnapped by Comanches. Productions-Warner Bros.).Director: John Ford. Producer: Michael Killanin.

RZEJHIIHE WINGS OF EAGLES (Mum Goldwyn Scenarist: ‘Frank S. Nu_gent, from story, ‘The MaiesryDirector: Joan Ford. Protllaucgz Cherie; Sehnee. =l:=)';yis2‘;~4£ut5‘:mmmmmmmmhmwwmmwmmK sll‘ A di R Si C~~ ra i.r. rt ‘rector: ay 'mm. osturnes:]immyRn: ggzgggézorwgwuglaxikfyoiiiiztymnggtngi: Bourke. Music: Eamonrt O'Gallagher. Editor:S“ deconm“: Edwin B‘ wink’ Keogh Gklwm Michael Gordon. Fllmtii‘ in Ireland. 8| rninutes.cosmmuz wall" Plunhh Music: ICE Akundcn Released: August I0. With (introduction): TyroneEdi : G R - A H I P ul M Power; (The Illa./e.tl\~ 0/ the Late): Noel Purccll_(DanI I ll ,Assigzm §?:m;§"'§inga;" 53:3‘ H6‘ min;':u_ 0 l‘l.'|:‘e)‘)i Cyril Custlck (Inspector Michael Dillon),

. lad iowran (Mickey ].), Eric Gorrnan, Paul F lll§'I:f;.“§;“l;§:",‘~'4‘:_{'ZZ;1 (lieighbvti). Jhhh (‘owley (The Gnlrlbct Man): (.1 .11.-1::Daley (Cinch), ward Bond (John Dad“), Km Cum‘ Wait): Jimmy O'Dra (porter). Tony Quinn (railroad station(Iohn Dale Price), Edmund Lowe (Admiral Moett), F""n' "‘“' F'""" ‘?l““'l“")~ 1- G: D“’l"‘ (B""d)- M'<"==li<=hh=th Tobey (Herbert Allen Hanrd), ]lII'le§ Todd §vi"- "'°}’,"*‘“)' """'.d;‘“‘g’od'B°""{2 Q14“KT -In K“ C kcl k s~ _i er. ureen orter (bamtat . rey uigeymmmmmmmwwmmwmBouehey (Barton), Dorothy Jordan (Rose Brentmann)i 0.0mm“ lMay Am.‘ M‘M‘l'°")' May (“'5 (M3,; '“l")'Peter Ortiz (Lt. Charles Dexter), Louis Jean Heydt onrlgi sl"[IE_"l‘)A€f79)l:l‘1;'clll5hw‘(P‘";l‘l(Dr ]ohn Keye) Tige Andrew (‘Arizo rt>' ) out “’"‘ ‘/'“Y.. - ‘ 'K“‘=_ ? 1 “"€‘ °'=$Borzage (Pete),‘Williarn Trascy (Airnt=or'eTu:i=iie=-), 5€'8°'")- l='l°=" C'°‘" ll"? ""Y{l~ M1""=< GM ll’-(~Harlan Warde (Executive Qlcer), pet. Pennicls (Joe), °G"‘»'l* F""" “"9" ('“"°')' '°“‘"?“’ '*"¥ ‘R-Q-'“‘5~>~Bill Henry (Naval Aide). Alberto Mfl (second 0°"! D°""°"Y(5“" ‘_-"'“">-l°*P"“l?=*l€11'¢T"Y8""4*>~mug"), Mimi Gibson (uh wad)’ Evelyn Rm: Dtllnli Brertlrl, oat-ta Marlowe. DCHIIIS l'ranks (English(Doris Wead), Charles Trowbridge (Admiral Crown), “"‘°"‘)- D°'¢=" M'=“°"- M=""'"_ §'“=¢* Km“ "ml-Mae Marsh (Nurse Crumley), ]anet Lake (nurse), Fred luld ';’°'J'““ll'1Mm‘;'h,l;l'°f“'°'} (‘“3“"")'Graham (oiccr in brawl), Stuart Holmes (producer) ° °"‘" l ' P°“"" °‘ ‘"'"=' ° L°'"‘ ““l' Mn"Olive Carey (Bridy o'FI0lIi|'|), Mai. Sam Harri; M¢D°"=B" ('~R-*- "'="l~ ""5 "*<'"'"¢" 0' "W Mb‘! Thl"(patient), May McEvoy (nurse), William Paul Lowery c°'“l“"Y<(Wead's baby, 'CDl'l'll'l10d0rt'), Chuck Roberson (oicer), “‘f“ """ “°"“' ’" "’*.""“ ‘P ‘ P°“°°"“" "““‘ “Cli‘ Lyons, Veda Ann Borg, Christopher James. "u|.c""m “mm; (2) ' lnm "W5 '“'pp°5¢d. '0 “°l'.r°'The story of 'Spig’ Wead, an ace ier who turned to ' '"_'"““' “°P" l°'. ‘w° l‘°“"‘ (3) 3 ¥°“"5.lml','Am“'mn

screenwriting when an accident left him paralyzed. P'"'°' Sal“ d"""5 ‘M 192' '°b°"'°“' """I" I "'“'I" "weir WVDIQ Air Mail hm: They Were Expendable /or I'"'/"' /'"' ""4 "Ms-1 " "W '"'“"-'Ford and, among arhert, Howard Hawkr‘ Ceiling Zero I953 THE LAST HURRAH (Columbia).(I936), Frank Cobra’: Dirigible (I931), and Georg: Director-producer: john Ford. Scenarist: FrankHill’: Hell Divers (I932), a elip from which i'r shown in Nugent, from novel by Edwin O'Coni-ier. Photo-The Wings of Eagles. grapher: Charles Lawton, Ir. Art director: Robert

H3

Peterson. Set decorator: William Kiernan. Editor: (B¢v- luliih Small), Hermione Bcll (DUHY 5=\Pi"|li),Jack Murray. Assistant directors: Wingate Smith, Donal Donnelly (Feeney), Billie Whitelaw (Christine),Sam Nelson. l2l minutes. Released: November. Malcolm Ranson (Ronnie Gideon). Mavis Ranson (JaneWith Spencer Tracy(Frank Skelngton),JetTrey Hunter Gideon), Francis Crowdy (Fitzhuben), David Aylmer(Adam Cauleld). Dianne Foster (Macve Cauleld), (Manners), Brian Smith (White-Douglas), BarryPat O'Brien (John German), Basil Rathbonc (Norman Keegan (Rilcy, chaucur), Maureen Potter (EthelCass Sr.), Donald Crisp (the Cardinal), James Gleason Sparrow). Henry Longhurst (Rev. Mr Courtney),(Culte Gillcn), Edward Brophy (Ditto Boland), John Charles Maunsell (Walker), Stuart Saunders (ChanceryCarr-adine (Amos Force), Willis Bouchey (Roger Lane policeman), Dervis Ward (Simmo), Joan lngramSugrue), Basil Ruysdael (Bishop Gardner), Ricardo (Lady Bellam)')- Nigel Fitzgerald (lnsp. Cameron),Cortrz (Sam Weinberg), Wallace Force (Charles J. Robert Raglan (Dawson). John Warwick (lnsp. Gillick),Henncssey), Frank Mcliugh (Fcstus Garvey), Anna Lee John Le Mesurier (prosecuting attorney), Pctcr Godscll(Gert Minihan), Jane Darwell (Delia Boylan), Frank (Jimmy), Robert Bruce (defending attorney), AlanAlbertson (Jack Mangan), Charles FitzSimmons (Kevin Rolfe (C.l.D. man at hospital), Derek Prentice (lstMcCluSl<¢)'), Carleton Young (Mr Winslow), Bob employer), Alastair Hunter(1nd employer), Helen GossSweeney (Johnny Degnan), Edmund Lowe (Johnny (woman employer), Susan Richmond (Aunt May),Byrne), William Leslie (Dan Herlihy), Ken Curtis Raymond Rollett (Uncle Dick), Lucy Grilths (cashier),(Monseigneur Killian), O. Z. Whitehead (Nomian Cass Mary Donovan (usherette), O‘l)onovan Shicll, BarrJr.), Arthur Walsh (Frank Slteington Jr.), Helen Allison, Michael O'Du'y (policemen), Diana ChesneyWestcott (Mrs McClusl=ey), Ruth Warren (Ellen (barmaid), David Storm (court clerk), Gordon HarrisDavin), Mimi Doyle (Mamie Bums), Dan Boruge (C.l.D. man).(Pete), James Flavin (Police Captain), William Forrest One day in the life of lnspector Gideon, during which(|)q¢m,-)_ F,-any sully (F5,-¢ Chigf), (rm-|i¢ Sullivgn he deals with a dishonest associate, a mad killer, and(chaueur), Ruth Clitford (nurse). Jack I’cnnick(p0liee- a robhcl'Y—i"d |"‘¢'=iV'=§ "'0 "3515 li'3k¢l5 [mm Iman), Rn-tiara Deacon (Plymouth Club Director), youns bobby who. bvfors rhe d=y is our. becomes hisHarry Tenbrook. Eve March, Bill Henry, James Waters. fiiwrs son-in-lswi Fur-I: ‘I rnnirrd re er‘! -rrwy /vr irNew England Mayor Frank Sl<efnglon's glorious rvhile, :0 I mid I'd like I0 do u Scotland Yard thing and

last campaign for re-election, which ends in defeat. we rvwr our and did ir-‘I959 GIDEON OF SCOTLAND YARD (GlDEON'5 I959 KOREA (U.S. Department of Defense).DAY) (Columbia Brirish Produ¢rions—Colnrnbia)- Director: Rear Admiral John Ford, U.S.N.R. Pro-Director: John Ford. Producer: Michael Killanin. dgcgfgj Ford, Capt. George O'Brien, U.5.N.(Rctd.).Assncisrs vr<>~iii¢¢r= Winssrs $rniih- Scsrisriw Filmed in Color in and around Seoul, Fin, test. 10T. E. B. Clarke, from novel, Gideon‘; Day, by J. J. |ni|1u[|g§_ wiry, ()'5rim_Mlrris (vssiidvrwm for lvhn Cir-=s=y\ Phivwsriphy An orientation lm on Korean history and customs,(tn color, but released in black and white): Frederick made specically for American Occupation personnel.A. Young. Art director: Ken Adam. Music:Douglas Gamley. Editor: Raymond Poolron. Assisr- 1059 THE Hoggg §Q|_[)[ER$ (Mi,-isch (:0,-|-,pmy_ant director: Tom Pcvsncr. Filmed in London. 9| Unitgd Artists),rriinurcsr R=l-irssd: F=bru=iry- Wirh lrdr Hawkins Director: John Ford. Producers-scenarists: ]ohn Leensvsswr Gsvrsc Gidwn). Dianne Foster (Joanna Mahin, Martin Raekin. from novel by Harold Sinclair.D¢l==ld). Ann: Massey (Sally Gideon). Cyril Cusadr Photography (in color): William H. Clothicr. Art(H"b'l" 'Bil’\li¢' 5P""-W‘), Andrew Ray (P~C- 5im0 director: Frank Hotaling. Set decorator: VictorFlmiby-Gr¢r~n).J=m~'s!hyrer(Masnn).RonaldHoward Gangelin. Music: David Buttolph. Song, ‘l Left(Paul Delacld), Howard Marion-Crawford (Chief of My Love,‘ by Stan Jones. Editor: Jack Murray.Scotland Yard). Laurens: Naismirh (Arthur Sayer), Assistant directors: Wingate Smith, Ray Gnsncll, Jr.Derek Bond (Der. Sm Eric Kirby). Grissldi Harvry Filmed in Louisiana and in Mississippi. 119(Mrs Kirby). Frank LlWtOl'l (Det. Sgt Liasvir)iAnn- minules. Released: June. With John WayneLee (Mrs Kate Gideon), John Loder (Ponsford, ‘The (Col. John Marlowe), William Holden (Mai. HankDuh‘), Doreen Madden (Miss C°"rw=y>. Miles Kendall). C0n§!InCe Towers (Hannah Hunter),Malleson (Judge at Old Bailey), Marjorie Rhodes (Mrs Althea Gibson (Lukey), Hoot Gibson (Brown),Saparelli), Michael Shcpley (Sir Rupert Bellamy), Anna l.ee (Mrs Buford), Russell Simpson (ShcriMichael Tnilsshawe (Sgt Golightly), Jack Watling Capt. Henry Goodboy). Stan Jones (Gen. U.S. Grant),l~H

(kirleton Young (Cnl. Jonathan Milesl, Basil Ruysdael I960 SERGEANT RUTLEDGE (Ford Productions-(Commandant. ]e'erson Military Academyt. Willis Warner Bros).Bouehey (Col. Phil Seeordi. Ken Curtis (Wilkie), Director: lohn Ford. Producers: Patrick Ford,0. 2. Whitehead ('Ht\|'\|'1)" Hopkins‘. Judson Pratt (Sgt Willis Goldbeck. Writers: Goldheelt. lames WarnerMalur Kirby‘. Deni-er Pyle (Jagger ]n\. Strother Martin Bellah. Photography lin colon: Bert Glennon. Art(\’irgil\. Hank Worden (Deaeoni. Walter Reed (Union director: Eddie lmazu. Set declvratnr: Frank M.ofeeri. jack Penniek (Sgt Maior Mitchell). Fred Miller. Music: Howard Jackson. Song. ‘CaptainGraham (Union soldier‘. Chuck Hayward (Union Buffalo.’ by Mack David. Jerry Livingston. liditor:captaint. Charles Seel (Newton Station bartender), Jack Murray. Assistant directors: Russ Saunders,Stuart Holmes. Mai. Sam Harris (passengers to Newton Wingate Smith. Filmed in Monument Valley. lllStation‘. Richard Cutting (Gen. Shermanl. Bing minutes. Released: May. With jetfrey Hunter (Lt.Russell. William Forrest. William Leslie. Bill Henry, Tom (‘antrellh Constance Towers l.\lary Beecher),Ron l"l;\gh£‘l'l)'.|);ln Borzage. Fred Kennedy. Woody Strode (Sgt Hraxton Rutledge‘. Billie BurkeIn April. IBM. the L'.S. Cavalry goes on a raid deep (Mrs Cordelia Fosgate‘. luano Hernandez (Sgt

behind the Confederate lines; based on an actual Civil Matthew Luke Skidmnre‘, \li'illis Buuchey ltilvl. OtisWar mission. Fosgatel. Carleton Young ltiapt. Shattuek. Judson

Pratt (Lt. Mulqueenl. Bill Henry ltlapt. Dwyer).Walter Reed (Capt. Mac.-\feeY. Chuek H-.iy\\'ard (Capt.Dickinson). Mae Marsh (Xellie‘. Fred Libby [Chandler

mo Tl-IE cou-tan CRAVEN STORY (Revue Pro- ""°l?'“‘~ T°l’>' R*F"“"'> *‘~““>' “““""*"- l““ 5‘*'“"' - . ' ~» - , ,< ~ (Chris Hubble7.Cllifl.yons.Sam Beecherl.Charles Seel‘p's°"° mm ‘M “"""" T"“" "'°"s'°" (Dr Eekner). lack Pennielt lscrgeanb. Hank \X'ordt-n

Director: john Ford. Producer: Howard Christie. ‘“.‘“'*““- C"""" R""*‘“_““ ‘i"¥.“"~ 5"“ *"“'“"' '~'3""“"Writer: Tony Paulson. Photographer: Benjamin N. “"'"“'°°“ (>F’."°‘““'"‘- P*‘“¥ "'*"", ‘~“'. °“'““*.Kline. r\rr director: Martin Obzina. st-t decorator: A >‘°""§ l!*'"“'"°"‘ "‘ ""‘ ","‘°* “““'"“* “ ~‘“"“°Ralph Sylos. Editors: Marston Fay, David O'Connell. ‘"§““!" ‘f“'““'{ ““'“““‘ “' “P” “"4 "‘"““""5.1 minutes. First l\f0;ldC€lSII May. With Ward (W°'k'"B ""~'= "~'P'""' B""~""-lBond (Mai. Seth Adams). Carleton Youn Colter , , . .

Ct:\\'t'nl. Frank McGrath (Chuck Wo0stei¥),(Terry 116° T/1-"AI-ww (BIlllIl¢*L/nltuid Artists‘.Wilson (Bill Hawks‘. Iohn Carradine (Park), Chuck D"°"“"F"°\l"°~"¢ 1°"" “‘“>'"°- “""“‘" l="““Hayward (Quentin\. Ken Curtis (Kylei. Anna Lee Ed.“'l“d Gum‘ ph.°“'gmphy ('nm|§"ml‘1T°‘M'A9.):(Alarice Craven}. clllr Lyons (Creel). Paul Birch (Sill! “"““'“ H- C‘“"‘.""< 5"“""*"““".t"'“'°‘."“ 91'”G.-,m\_ Anndlc Hay“ (Mu Gram). wmis Bunch“, Lyons (and uncredited: John Fordl. lechnlcalsuper.(1:55: Gum), Ma‘. Marsh (M“' Jess: Gum)‘ Ink visors: jaek l’ennlek. l~'rank Benson.‘ I00 minutes.Pei-lnick(drillsergeant).Hank Worden(Shelley).Charlcs R",|“5"‘|i O°“‘b°"‘ Wm‘ Eh" walinc‘ R.'Ch“.d5“| (M0n)_ Bi“ Henry (Krind|¢)' Chuck Robsun Widmark. Laurence Haryey. Rll;hard_ Boone. l‘KlIIk|¢(luniom Dennis Rush Uamic), Ha"), Tgnbmok Avalon, Patrick Wayne. (.hlll Wills. Linda Cristal. Ken(Shelley's friend). Beulah Blaze. Lon Chane , r., ohn C“"“~ _ .

Wayne (under pseudonym, Michael Morrig. its (lien. .F‘"di I was '".““|y d.°“'“ ‘h“" °" "“':“l'“" “mi DukeShennan). said.“Do you mind going out and getting a shot ofHis experiences at the Battle of Shiloh have left Dr ‘°“'"“"°?" M?“ '. ““‘.- """ 1"‘ “‘"“‘ “'.°"“""“'cnvm - dmnken wreck so [ha he will perform I scenes—guys S\l'll'|1|'|‘Il!‘l§‘ rivers, that sort of thlnl;—but

necessary operation, Adams recounts the story of a ‘hey ‘ww “H cl" °""disgraced alcoholic ofcer who had enough guts tomake himself General of the Union Armies. and Pre- I96] TWO RODE TOGETHER (FOR!-5hP¢l""sident of the United States—Ulysses Simpson Grant. Produetions~Columhia).Footage from the ritw and the molmmin cmm'ng Director: john Ford. Produeer: Stan Shpetner.xeqimicei from Wagon Master—thr lm tr-hich arl'gl'nalI_v SL't:=l|‘ist: Frank Nugent. from novel, ComancheI!lI[Il7l'il I/tc Wagon Trail-l l(Yk‘S—tt'tJI Midi’ III lhlr t‘[I|3t\lt.'. Ce/vtl'i-es, by Will Cook. Photography (in color):Ford: ‘I've aIn~u_t-s wanted to do ll feature on Gratlt— Charles Lawton. Jr. Art director: Robert Peterson.I think it‘: one of the great Anlerican rtav-it-i—(:ut you Set decorator: Iames M. Crowc. Music: Georgecan’: do ir. You can‘! show him at a dnmhmi, gettiyg Duning. Editor: jack Murray. Assistant director:kicked out 0/ the Anny.’ Wingllrc Smith. Filmed in Southwest Texas. I09

I45

minutes. Released: July. With James Stewart the funeral of a pauper and tells an enquiring reporter(Guthrie MeCabe), Richard Widmark (Lt. Jim Gary), the true story of who shot Liberty Valance.Shirley Jones (Marty Purcell), Linda Cristal (Elena de laMadriaga), Andy Devine (Sgt Darius P. Posey), John I961 FLASHING SPIKES (Avist Productions~Mclntire (Mai. Frazer), Paul Birch (Edward Purcell), Revue; episode for the Alcoa Premier: television series).Willis Bouehey (Harry J. Wringle), Henry Brandon Director: John Ford. Associate producer: Frank(Quanah Parker), Harry Carey, Jr. (Ortho Clegg). Ken Baur. Scenarist: Jameson Brewer, from novel byCurtis (Grcely Clegg), Olive Carey (Abby Frazer), Chet Frank O'Rourke. Photographer: William H. Clothier.Douglas (Ward Corbey), Annelle Hayes (Belle Aragon), Art director: Martin Obzina. Set decorators: JohnDavid Kent (Running Wolf), Anna Lee (Mrs Mala- McCarthy, Martin C. Bradeld. Music: Johnnyprop), Jeanette Nolan (Mrs McCandless), John Qualen Williams. Editors: Richard Belding, Tony Martinelli.(Ole Knudsen), Ford Rainey (Henry Clea), Woody Titles: Saul Bass. Series host: Fred Astaire. $3

Strode (Stone Calf), O. Z. Whitehead (Lt. Chase), Cli‘ minutes. First broadcast: October 4. With JamesLyons (William McCandle55), Mag Maggh (Hannah Stewart (Slirn Conway), Jack Warden (Commissioner),Cle§3)i Frank Baker (Capt. Malaptop), Ruth Clitford Pit Wayne (Bill Riley). Edgar Biiehinin (Crib Hel-(woman), Ted Knight (Lt. Upton), Mai. Sam Harris Climb). Tlse Andrews (Gaby Lwille). Clrlewn Yiiiins(post doctor), Jack Penniclt (sergeant), Chuclt Roberson (RH 5h0l’\)i Wlllii B0ll¢h=Y (IIlly0l')i D0" Dl'Y5d*1=(Comanche), Dan Borzage, Bill Henry, Cl-iuek Hayward, (Geiiner). SteP|'lllii¢ Hill (Mry Riley). Charles SeelEdward Brophy. (iudge), Bing Russell (Hogan), Harry Carey, Jr. (manA eynieal sheri‘ and I “"1;-y timromnr 54¢ ingq in dugout), Vin Scully (announcer), Walter Reed (second

Comanche territory to trade for some white children I¢P¢"¢f)i Sllly H"8h=§ (Ill-\l'§=)i 1-iffy Blikll (tilwho were kidnapped years before, reporter), Charles Morton (umpire), Cy Malis (the bit

man), Bill Henry (Commissioner's assistant), JohnWayne (drill sergeant in Korea), Art Passarella (umpire),

LIBERTY VALANCE Vertl Stephens, Ralph Volkie, Earl Gilpin, Bud Harden,Director: John Ford. Producer: Willis Goldbeelt. Wh“,‘y C""lPb‘“ (b'“b“" Pl'¥°_'5)'Scenarists: Goldbeclt, James Wamer Bellah, from story 5"“ h‘“3'"3 iwund ‘he lummg 3'°§md§' an °ldby Dummy M‘ Iohnwm Phomsnphy: winhm H_ ballplayer whose career was nilned by a bribery scandal,Clmhiu An directors. H“ PR6“, Eddk [mum strikes up a friendship with a young rst baseman, who

E" Sm Co helps to clear his nameSetdecorators: Sam Comer,Darr era. stumes: '

Edith Head. Music: Cyril J. Mockridge; rlirine from I962 How The Wm W-is Won (Cinerinii—Meirn—Young Mr Lincoln, by Alfred Newman. Editor: Otho G9|dWYl'l~MiY")~Lovering. Assistant director: Wingate Smith. l22 Dll‘¢¢!°l'$1lDh"F0l‘d(Tl\¢Clvl|WIl‘)rG=°l'Q=MIl‘5hl|lminutes. Released: April. With James Stewart (Ransom (TM Rlilmldli HIIIYY Hlhiwy (The Rlvii 1:“Stoddard), John Wayne (Tom Doniphon), Vera Milo; Plains, The Outlaws). Producer: Bemard ‘SI‘l‘llfi'I~

(l-time Stoddard), Lee Marvin (Liberty vrlriiee), $eeniri=i= Jiines R. Webb. sii3B"‘°d by ieriesni Life-Edmond O'Brien (Dutton Peabody), Andy Devin: Art i‘lireeii=i'== Genrlze W- Dnvii. V/llliiiii Ferrari.(Link Appleyard), Ken Murray (Doc Willoughby),]ohn Addison Hehr. Set decorators: _Henry Grace, Don

Carradine (slirbl-lCkle), Jeanette Nolan (Nora Ericson), Greenwood, Jr-_Ji_ek Mills- Music: Alfred Newman.John Qlllltll (Peter Eritnn), Willis Bouchey (Jason Ken Dirby- Editor: lliinld F» Kie=i~ NiiinwTully), Qrleton Young (Maxwell Scott), Woody Strode Spencer Triey- I62 rriiriiiie§- Releiirdr Ni=_v="\bei~

(Pompey), Denver Pyle (Amos Carruthers), Strother F" U" F'"d "ll"‘_"f¢-' Ph°l0BNPhy (in coloriCln'=_l‘"l\IMin (Floyd), Lee v Cleef (Reese), Robert F. ind Uliri_Piin=viiipn)= Joseph l-ii Sliellei VniiiiiyniSimon (Handy Strong). O. Z. Whitehead (Ben iilrectrir. Wingate Smith. I5 minutes.Vhth John llayne (hen.

Carruthers), Paul Birch (Mayor Winder), Joseph V/lllllm T- Sherman), George Peppard (Zeb Rawlings),

Hoover (Hasbrouck), Jack Penniclt (barman), Anna Lee Cnmil Elk" (EV! Pl’¢5li0ll)i !"|¢I\l'Y (Hil'\'Y) M°l’8"l(passenger), Charles §¢e| (President, Election coiineil), (Gen 11- 5- Grnnili Andy Deifine (C°'P°"l P¢l"*°">»Shllg Fisher (dlk), Earle Hodgins, SIIIII1 Holmes, Riiie Tlilblyn (desrriei). Willie Bniiehey (iiirseein),Dorothy Phillips, Buddy Roosevelt, Gertrude Astor, Clllllk l°il"$°ll Uefellliih Rawlinzil. Rl)'lli<"iil MIN?‘Eva Novalt, Slim Talbot, Monty Montana, Bill l-*hI‘1liilI\ Llil\Tl|lll-Henry, John B. Whiteford, Helen Gibson, Mai. Sam Ford's brief sequenee—the one bright spot in an

Harris. otherwise dreary film (his rst work in Cinerama)—Senator Ransom Stoddard retums to Shinbone for told of the Battle of Shiloh, perhaps the bloodiest

I46

encounter in the Civil War, and of the tragic home- (Top Sergeant Stanislas Wiehowsky)r George O'Briencomings that followed. (Mai Braden), Sean Ms:Clory (Dr O'Carberry),

Iudson Pratt (Mayor ‘Dog' Kelly), Carmen D'AntonioI963 l?ONOVAN'S REEF (Ford Productions-Parr (Pawnee Woman), Ken Curtis (Joe), Walter Baldwinmount . (Jeremy Wright), Shug l‘i.sh- (Sk' ) Nan ‘y H5 hgirector-froducer: Ighn Ford. Scenari;ts:EdFrank (l.ittle Bird), Chuck Ri\bLff‘;o|'i |(nPIiZtoon §L‘l'gISI‘i"l:),ugent, ames Edvi-ar Grant. from story y mund Harry Carey, Jr. (Tro p Sm‘th). B n I hBeloin, adapted by Iarries Miehener. Photography (in (Trooper Plumtree), ]imri',iyD‘Harla (Troo‘i1er).oCiiii:kcolor): William Clothier. Art directors: Hal Pereira, Hayward (Trooper), Lee Bradley (Cheyenne), FrankEddie lmélla. Set dtgzfagoi §amMCotner,cDai;reIll Bradley (Cheyenne), Walter Reed (Lt. Peterson), Willisivera. ostumes: it ea . usic: yri . Bouehey (Colonel), Carleton Y (Aid to CalMockridge. Editor: Otho Lovering. Assistant direc- Schurz), Denver Pyle (Senator 332%"), Iohn Qualerntar: §ing1atePSmith. Filmed on the island ofdKauai in (Svenson), Nanomba ‘Moonbeam' Morton (Running

t e out aeie. I09 minutes. Release : July. Deer), Dan Barrage, D a Sm'th Da 'd H. M‘ll ,With john Wayne (Michael Patrick ‘Guns’ Donovan), Bing Russell (Troopers)? n I , W ‘ erLee Marvin (Thomas Aloysius ‘Boats’ Gilhooley), The tragic ight of 286 Cheyenne men, women andElizabeth Allen (Amelia Sarah Dedham),]aek Warden children. pursued by the Cavalry from a barren(Dr William Dedham). Cesar Romero (Marquis Andre Oklahoma reservation to their native Yellowstone£:..:::::-.':.‘:.:";;':.::..':;*";.§.?"a.‘;:’3::::.{"a:::?," ‘;r";:’ “"°° ""‘" ““"'""= T" ‘W- . e - 1; .

2:;2212::.°:::’.;:1::1s3:.=.;‘;‘2!.:";:;:.§“2r:: $5MDedhaml. (‘Armen Estrabeziu (Sister Gabrielle), Yvonne D5222". lick (hrdm John Fwd (omum "mm. -APeattie(Sister Matthew), I-‘rank Baker (Captain Martin), John FOQ Film-)4 lixoducs. Ruben D_ Gumdstar Bi:ehaéil:nl(Bo;tor; (t€X;otar‘y),UPa: V5715’? r” Robert Emmett Ginna. Associate producer: Michael" “MP 4' " S5 “'5 ""1 "cc 9 ‘Y C" Killanin. Scenarist: john Whiting, from auto-

Lyons <<>m=-~>. M F-“wt >'=-h1- W Ann“ M,‘li.°.‘i1‘§..¥.§lT.“E‘I.Z;.,.¢§tM..§§Lf;.r..'.§.. 'Li§‘.‘§Z;A ¢°"r‘1~' of NM" We "*1" h=“'~‘_ t<!i'¢d I9? 5°""\ Sean 0‘Riada. Editor; Anne v. Coates. Filmed inSeas lsland now spend most of their time raising hell. |,.‘.hnd_ no minuwi Rcluscdz Much‘ Wm‘ Rod

Taylor (Sean Cassidy) Maggie Smith (Nora) Juliel964 CHEYENNE AUTUMN (Ford—Smith Produc- Christie (Daisy Battles): Flora Robson (Mrs Calssidy),tions—Warner Brus.). Sian Phillips (Ella), Michael Redgrave (William ButlerDirector: john Ford. Producer: Bernard Smith. Yeats), Dame Edith Evans (Lady Gregory), jackScenarist: Iames R. Webb, from book by Mari Sandoz. MaeGowran (Archie), T. P. McKenna (Tom), ]uliePhotography (in color and Panavision): William Ross (Sara), Robin Sumner (Michael), Philip O'FlynnClothier. Art director: Richard Day. Set decorator: (Mick Mullen), Pauline Delaney (Bessie Ballynoy),Darrell Silvera. Associate director: Ray Kellogg. Arthur Oullivan (foreman), Tom Flnvin (constable),Music: Alex North. Editor: Otho Lovering. Sound John Cow ey (barman), William oley (publisher'seditor; Francis E.Stahl. Assistant directors: Wingate clerk), John Franklyn (bank teer), Harry BroganSmith, Russ Saunders. Filmed in Monument Valley- (Murphy), Iames Fitzgerald (Charlie Ballynoy). DonalMoab, Utah; Gunnison, Colorado. I59 minutes: Donnelly (undertaker‘s man), Harold GoldblattReleased: October. With Richard Widmark (Capt. (Director of Abbey Theatre), Ronald lbbs (theatreThomas Archer), Carroll Baker (Deborah Wright), employee), May Craig, May Clusltey (women in thejames Stewart (Wyatt F1151). Edward G. Robinson, hall),Torn lrwin,Shivaun 0‘(‘Asey,and mi.-mbersofthc(Secretary of the Interior Carl Schurz), Karl Malden Abbey Theatre.glapts. Wessels), Sal hl4{ineod(Red Shin), Doliire; [l)rel Ford prepgredhthis lm about Sean ?'Ca;ey's earl);io( panish Woman) icar oMontalban (Litt e o ) years and w en e became ill (short y a ter t e start o

Gilbert Roland (Duli Knife), Arthur Kennedy (Dot; production), the producers announced that Iaclt (krdiHollidayh Patrick Wayne (Ind Lieut. Scott), Elizabeth would follow Ford's design for the rest of the shooting.Allen (Guinevere Plantagenet), john (‘Arradine (Mai. Ford: ‘I only did a few day's worlt—some scenes]eiT Blair), Victor Jory (Tall Tree), Mike Mazurlti between ]ulie [Christie] and Rod Taylor.‘

l47

I966 7 WOMEN (Fwd-Smith Productions-Maw Furesxrneh.n.h1=;e-rueheml\t'i|1iam].(~w1|.| ni|1')t>»hh\-ah.G0l=l-'yn-J\l=>'~'r)- W€L\ ii» have bwn played prtvhably by Illhll \"l}'l'l\’.D‘ 1 h .l'd~:B~ s'h. . . _, .

$:.'::::;;. 1.2.." ,...::* :~.::......::."“.*.... :'::.;,. 1%»-71 =_ .....chim_§c Fink‘. by Norah Lens‘ Phcmgnph), (in he.-h an-pr‘t\duc.‘ed Wllh l~_r_ank (Jpi, Ihe li/me" (-al1!|]\il!l_\'.

01°], ‘H, him“ 1 h Iashcuc A" di“,umS_ irum the iumnus not-cl; lite jiuli (.I.z\-/rm .\nin'. about the

Ecorzz‘ W““‘Bms ‘Bani: ma,“ ‘Sci dcwmmj black whller. l\\ have \l&lr‘r|:d Fru! wi|1nm~eh. Thar: were =11

' '- " ‘ ’. ‘h‘hl~'i! -h hlstHenry Grace jack Mills. Costumes: Walter Plunkclt. |"“'““ m “ " M gm“ “ “mm“'" m “ 3 3-HT“Music: Elmer Bemstein. Editor: Olho S. Lovcring. "““""r “cm "°“1'“d'A“i‘“'" ‘“"~“'°'= W*"B=“ 5'“*"‘~ 37 "‘*““'“< 1971 ”In\‘IriI I~\' 11¢". I‘iVVJ ¢t'=1m»rh1= am (:Ul'I1l'Ili\\llIf\-

'&:1."::.:.;.§“"";.'z- .‘i.”.::.“ ;‘.";r.§“':.':.‘;,‘“h.E;~..E. Am-~=~' _ ' _ Direq r-\¥'nter-lnt~r\'iewer: Peter Bigdanuv ‘h. l’r\du"er:;¢\shwnM_i§s_=1‘;hB Anne;-we), vl-Aura‘ Robgon (i§_*'|§; (?curg:§1C\'cn.\.]r..‘a1'\s| lama R.si|kefthien-ill» P|1nl:\§r;[\h;‘""">_- ' “ \""“>¢ <l="~ 'B~'"1- "FY 1° (In mlur): Laszlo the-=.\ Grcgur§'Sandnr.Br1&'|< Matquanl.Eg:"'l'" |'rf‘:‘}:"3; '31‘: 1:?‘ (ML? (¥"‘*°";~<§::)'°$:,‘::i'; liric Shcrmatl. Editor: Richard |’attt't$4\tt. .-\\§isl:\nl tn Director:if BS L‘ Cl’ ‘ I Q lllf I Ung , ' rt ‘d . Q :

senile <1-we War=i»r>.1===¢ Ct“-is (Miss Lina» Hm 2“... wen‘... J?T.T.‘§....lT 55$? ..i...I.-'..; i1§§i“'\-...‘.Z-"T~§i'.I.W'"_'="\ 1-F" (K"")» H- W- 6"" (C°°"°)- ""1" T5“ F5li\'al.Sq!l. 15. =1 which Hm: 1-"hm v\‘1\1h|:n:l(\ reu:|\'e the

(C:"":§ §"1>é Fmti\'al‘.s highest award. With 1e-hh 1-1»h1.]hhh we,-he. Henryn . ,, a octor sacrt ccs use to save t e tves 0 Funda. llma Stewart.

= stwv of missiwnarivi h¢ld Hvtivs by = Chins“ Filmed lI1lCl'\'icW.\ Wllh actttr\ Whti had Wtttkt'd Wllh Fordu-arlurd. (.'|I|nr Baum»/1 h']vIat'nI I’.alm|.i .\'euI telm rt.“ mken mg Wm, mg din-qr‘, him,¢|y M M“m|m,:m y,||L.)._ mluqmn).

wile/I-~v I/Iv-'---I-1.“ w/1/~~'I~w») talking Ihtllll his whrk. IHICNPIZIMXI Wllh C|i[\.\ (rum 21 hrhis picturca. (1-\\-ailable ah lb mm. through t=ahh~. the.)

,L'NRli.~\l.IZli|) I RO]li(ITS l97l The .'lm¢‘I'It'uV| ll"rsI ll/147/"I I-ur-I (Gruup One-T|mex-l%5—b(~i The M|r.n'Ii- nl .\l--n1{imI (unwalized prutea). CBS].Ford was signed by MGM to make this lm version of Direuur: Denn Sands. lixemtn-e Pmdueer; Bub Banner.

Reginald Atkcll's novel about a small English town in Producers: Tum Egan. Britt Lttmwtd. Dan I-‘turd. Writer:World War H, whose church is damaged by American David H. Vuwell. |'l’|ulttgr1phL'tI Bub Lkillins. lidttnr: Keithforces moving in their equipment. The bulk of thc Olson. Fm! hr(\adx1~t: Deuemher 5. With Itthn Fntd. IuhnStory dealt with the conicts between American and \K'ayne. lama Stewart. Henrv 1~’nni1a

British temperameni, as two G.l.‘s (one of whom was Dowmentary included clip Imrn Fuld \K‘e~tem~ (19174

tn have been played by Dan Dailey) try to raise the 1962); the dire-nor l|\peaR\I with jhhn Wayne l Mnnumemmoney to pay {pr repairs. The script, by Willis Valley where he direued a stunt; interview limtage with ]ame\Goldbeck and James Warner Bellah. was turned down Stewart and Henry Fnnda was shot at 1-'eird‘~ hnmc in Bel Air.by the studio and the project was shelved. According and additional material with Fonda was \hnt ave-rltmking the

to Ford, it was to have been a lm in the same vein as old Fox Int in (lenrury City.ThrQnie1 Mrm; he was very pleased with the screenplay. I972 l.k_m|m_, '.mMm_, (UYS‘I'__\~)_

1%7_,,,, Ar", _"‘,,,,,,,‘, “,,,m,,m,,_ A g.m.,,|,|,). by “Mm, Dlftllfi Sherman Beck. lixemlive Producer: Jhn |~e-hi. Pm-

wahhh. lu have heeh [\|'\Id\1L‘I:d by Samuel (ioldwyn. Jr. *'"*" 5"" ""*'"=">*‘P‘"- 5" '"'"""‘>-t~'<»h1= 'lt\ the hhry er I blacksmith -ha hl.\ ramily iu.\t heire T'_w"t=h wmP1w'¢\1> t:-\'m""er\I dw-mmli" »\"=~ "Mrthe Revoluttunary War. The Banle hr Lcxingmn Ind Cuncttrd L"-*""’""*1“"11 hv in lhs "1m—“'~"" hm "W e!“ II“! "W Pml-1"" um Tlte-.~l1nmmu Film Inslllulr‘ I-‘ml ,-1"»-1...! l.i/.- .~k/t|n'e'—ha\1t.|ll_\ ttk the slu‘ nl 1| lather and hh sun. There have been ,,,‘.,,, _.|n._"J ‘C551very few picture abuut the Amman RC\'\I|\.\ll\\l'\—| think 11,-“1,,m,; (;¢,,,g,_- 5“-\-L-M1,‘b=¢="=¢ =~1m'§ =r= =Fr=i-1 of ~\'¢=rins these wins But Prtsidcl NIXON =1» ap;\'urcdtu[\ri.\ett1 Ford the tin-ilnhlhs P“°Pl° in the ~'~wntr>'—m0§t nf lh'=m—didn'r so w Medal ht Hltlltlf. ]uhn \t‘hyi-re. 1\\lUt|:¢1'\ O'Hara. mhiw Kayeall that truul-ile—so in this picture, the lead doesn‘t have and many nthen perfomied lnr the evening. taped nn'.\\archto weir a WI:-' 31 Ill'l\.| lint \ht\\A'I‘| (I11 tc|c\'|\ittt\ on April z.

I967-68 0..\'..s'. (llftillllttl). The qury of the Wnrld War 11 um /aux 1-mm.‘ .He'mm1uI ')|l_\' lvm.i11lt||lgtI‘|£T lgenq‘. and of Ihc l'l‘lIll'\ Whtl was il.\ chief (and uam1hr»\t'rii=r.uaim». Mark Haggard. Producers: Haggard.

I48

Paul Magwnod. Lnwcll l'|:lcrt~'0n. l’hnlu|:r4phcr: Duuglm SELECTED BlBl.lOGR.~\l’ll\'Krupp. Namlor. Linda Slmwn. I2 mmum. Fm: \huwn: April.With jnhn Ford. Waller Pidgcon. Ann: Lcc. Harry (hwy. ]r.. (lahlch du (ilnénu. In .\‘pvc|.:I Inlm Iiml (Nu. IN}. I966)-Ol|\'c Carcy. Dan Borzagv. Dick :\mm!or_ Mela Slcrnc. George lmogmphy. interview. lwo :|ruclc~; In mu: Nu. 45 (MarchBagnall. Ra)‘ Kellogg. Mary Ford. Wingzn: Smith. 1955). an inlcrvucw.D\\C\.\‘\CI\lIll'_\’ fczrura lhC rncmhcn uf ]0hn l~'on!‘~ Fncld

Pholn Uni! an lhc 2-hh :\|‘muz| .\\cm0fiil Dz)‘ Scr\'icc\ al lhc Film> in Review. in March 1%} mun-. "H1-: l"|lm~ uf jnhnMolion Piclurc (Juunuy Hum: in Woodland H|ll~. (klnfornnz. Ford.‘ I lmngraphyz In ]unc—]ulv 1'46-I |\~uc. 'F<~n! un Ford.‘ma <:/11:5"/"r (lama |z||»\--mn Pmdumunq. ""“‘" “" “ l “LA ‘*""""‘“"“'Dnrcaurz Iuhn I-‘urd. Pnvduccr: jamm Elhwonh. Wm:-r: lay . . ..§imIn\ I’hnIngnph)': Brick Marqumrd. Music: Jun .\\zr.\h:|ll. nE"‘I",;‘_"\f; Jig‘!Ed|l\'l'-:\\~0ClilIL’ rm-.1-M-r; I1.-on mun». '\\\i\lI||1l n» |'n\d\.lCL'r: _. . Y ‘ .' . . ' l. '

‘ I11.-<.-1;“ nf\XriI|1. Hnw (awn \x=~ .\1_»- \a1|¢_».Charla (I. TnWn\cnd. ZN minutes. Fm! .~hown: .-\pnl -I(I-'|lmcx. l.n~ :\n|;clc~). llu~|: _juhn \\".|_\-nc. K‘) _h T ll. ‘I F J“. ml W5“Lllvcumcnury mu. 1.1. (ventral l.L‘\\'I\ ~<.n~y ml.-1. "“" " “‘ /‘ ‘" "' '“' '“'S.\\(I. dun ul h|~ humc m Suluda. \'|rg|nu. mcludm \'|~1|~ Mcxndc‘ Juqvh and \“lmmghm_ ‘“";hm:l_ /M” Hm’

~ Md 1»lniluu: and um .\1=m.¢ Barracks in \K'1sl\ingn\n. n.<:.. 1k . . .well l\ rwlm from l‘nrd\ nwn "r/"1 I; Kama.’ john \v=ym-'~ .:“'""' t‘"'??" ‘" ‘f“' “"?"“§“' M“ J" '“, ‘_"“ >"'“' “cnmmcnliry Wis \hU| Ml mp “-1 l-r Rin Luhn in '11..“-_ _E;“f“f.::"'f|’l‘§f'.?f§“"“‘"‘“ ““" "M" “"‘““‘ ""'“""Allll. Shnuung hcgan m August. woe. and W15 nishrd “ " "

in ‘rm->.m li April re. I970. The nriginal so minute mm." . . . .

w» mm-u for puuihlc lclcvlsinn sale; Ford n via m have :“““‘l‘“"_"/""" "I"! "““_""""“‘" '"“‘"""‘l "“""“"“'I‘Mm“, "K ‘mm um. rcpnnlul m um uvlunu m mm)

Pf|:.\cnr:c .1-1 Cméma. m 111/!!! Iiml lulu‘ (N... 2|. ms).Iilmngr4|vl\_\' and four aniclm.

Sims. .-\ndrrvr. 'I'ln' juhn Mm! .\Im~n- .\I_\-nun‘ (Indian:Universal)‘ I’r:s.\. 1976].

Sequence. in issuc No. H (I952). an lnlcrvxcw.

Thcaln: An». in Iln/I\~mInJ lxsur (.-\ugu~l WEI). complex:.~c|.-mrin uf ‘The lnfnrmcr‘.

‘ Wonlcn. V-'|Il1am Patrick. .'|n lnJu.\ In I/ll‘ I-'|Ivm n/jnhn Iml[Sight and Suuml Supplcmcm. Index Series >10. 11. 194a).

I49

MOVIE PAPERBACKSedited and designed by Ian Cameron

A series designed to illi the need tor authoritative and readable books onimportant directors. Each volume has well over a hundred stills, closely inte-grated with the text, plus a iuil iilmography.

“Excellent illustrated series . . . it would he hard to iind more valuable analyses oi these key directors.important to anyone who cares about the cinema." —London Sunday Tlmas

|.u|s BUNUEL Raymond DurgnatOn its original appearance, this volume was described by Library Joumai as an “imaginative and analyticalstudy. . . . Durgnat eloquently explores the ambiguities and complexities oi Bunuei‘s themes and symbols . . .a splendidly conceived and executed critique oi a lllm maker who is both poet and moraiist, Freudian andMarxist. humanist and cynic." Now it has been augmented with iour new chapters and additional illustrations.The best available introduction to Bunuel‘s work.

JOHN FORD Peter BogdanovichThis new version oi Bogdanovich's marathon interview book. covering Ford's iiity-year career. includes acharming account oi how Ford received Bogdanovich when they iirst met. on location in Monument Valley,and an eleglac last chapter. The iilmography is the most complete ever compiled tor Ford. and has been

extensively revised. An essential book on a great master.

FRANJU Raymond Durgnat“Fran|u's career is covered in perceptive detail, emphasizing his visual prediiectlons. his deliberate use oisurrealist Imagery and his moody personality. One oi the best volumes in the series, with a completeiilmography, substantial bibliography. and a plethora oi revealing stills." —FIIm News

STROHEIM Joel Finler"Solid and inionnative. summarising the plots oi his iilms. seeable and unseeable, and oi his writings, as wellas indicating the salient points oi his directorial style and creative personality." —Naw Society

LAUREL AND HARDY Charles BarrThe iirst serious criticial appreciation in English oi the work oi this proiiilc comedy team, this study analyzestheir stylistic devices and establishes them among the greats oi screen comedy.

UNIVERSITY OF CALIFORNIA PRES$ISBN 0-520-03498-8