My Darling Clementine

Dir: John Ford, 1946. Starring: Henry Fonda, Linda Darnell, Victor Mature, Walter Brennan, Tim Holt, Ward Bond. Westerns.

It’s sometimes hard to write or discuss what made John Ford one of the greatest cinematic artists. He avoided deeper analysis of his films, refused intellectualizing characters and in interviews, not only dodged questions, but made the interviewer feel like a fool for even trying. He famously stood up at a Director’s Guild of America meeting and only introduced himself as “My name's John Ford. I make Westerns,” underplaying his Oscars and Hollywood status. But decades later, reflecting on his work means seeing the master approach art with the humble nature of a craftsman, creating distinct and immense visions that could be described now as “Fordian.”

And without a single iota of hyperbole or exaggeration, My Darling Clementine isn’t only one of the (many) great films by John Ford, but one of the preeminent masterpieces of art of the post-war era. After the war, Westerns seemed to lose their jingoistic American values and abandon the portraits of brave handsome men and the women they love. Stagecoach, directed by John Ford only seven years earlier, is an ensemble film with clear antagonists, a hero who’s the classic “good bad man” trope and a tremendous amount of fun on top of everything, a film which sees endless enthusiasm and optimism for the growing country. My Darling Clementine is far more complicated, with characters who should be villains proving they have a sense of pride and dignity, and societal problems attached to class and love and complex ideas of civilization. Still, Ford hasn’t reached quite the cynical edge and distrust in the world that The Searchers has, but it certainly has that foreboding sense of darkness after America’s victory overseas.

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Posted by:
Mark Ayala
Dec 11, 2014 11:05am

The Grapes Of Wrath

Dir: John Ford, 1940. Starring: Henry Fonda, Jane Darwell, John Carradine, Russell Simpson, Dorris Bowdon. Classics.

When Tom Joad (Henry Fonda) returns to his Oklahoma farm after four years in prison, he learns that nothing is what it was. It’s the 1930s, the depression is on, and his family has lost their farm and home to the bank. So begins an amazing journey for Tom - as he sees the social injustice around him he grows from petty criminal to labor activist. The Grapes of Wrath is a monumental film by a monumental director, John Ford, based on a brilliant book by another monumental figure, John Steinbeck. The truths laid out in the book and film may be just as true today as they were then. Tom leads his family from the dustbowl in search of work and a promise for a better life in California, but all they find are lies, police corruption, and corporate exploitation of desperate workers. It sounds a lot like the plight migrant workers from Mexico and Central America still face in search of the supposed American Dream.

The Grapes Of Wrath almost plays like a post-apocalyptic adventure as Tom, along with his Ma (Jane Darwell), Pa (Russell Simpson), and the preacher, Casey (John Carradine), pack the entire Joad clan into the truck and head west, where the world they encounter is a hostile and burnt out place. They are encouraged by pamphlets to head to California, but they get there to find themselves hoarded like cattle in a police state where their every move is monitored (another piece of futureshock, the dystopian state). Tom, at first naive, then confused, slowly realizes that all the cards are fixed against him and all the little people of the country. By the end, on the run from the cops, he tells his Ma in one of the great speeches in film history, "Wherever there's a fight, so hungry people can eat, I'll be there. Wherever there's a cop beatin' up a guy, I'll be there..." It’s a dark conclusion for the Joad family (and for the American Socialist dream, as WWII and then the Cold War are just around history’s corner).

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Posted by:
Sean Sweeney
Feb 8, 2011 5:33pm

The Informer

Dir: John Ford, 1935. Starring: Victor McLaglen, Heather Angel, Preston Foster. Classics.

One of the most beautifully directed and most gorgeously shot films of the 1930s is this stirring account of an Irishman in Dublin in 1922 who betrays his friend and country by turning informer for the British. Gypo Nolan is a big dumb giant of a man with few options in life. Acting as an agent for the Irish Rebellion he refuses to execute one of the members of the British Occupation and is cut off from the network that sustains the Rebels during hopeless economic times. With a girlfriend named Mary whom he finds reduced to walking the street hoping to keep from starving to death, he takes the only opportunity he is offered—that of informing on his friend Frankie who is wanted by the British. Though Gypo originally plans to use the money he makes from double crossing his friend to take Mary to America he instead throws it around on booze and buying fish and chips for a huge crowd of his fellow Irishmen who cheer him on as a hero. When he is exposed as the one who double crossed Frankie he fingers an innocent man as the true culprit before getting shot by members of the Rebellion for his betrayal.

One of the unusual things about The Informer is the way in which Ford turns the tragic story of Gypo Nolan informing on his friend into an allegory for the betrayal of Christ by Judas, but also making Gypo a kind of Christ figure at the same time. The symbolism is anything but subtle. First the film starts with a Biblical passage about Judas betraying Christ, while the scene of Gypo buying fish and chips for a crowd of revelers is clearly inspired by the story of Jesus and the fishes and loaves. By the time Gypo stumbles into the town church bleeding from a gunshot wound, he raises his arms aloft in a Christ pose in front of a statue of Christ on the cross (in case we weren’t getting the picture—we have multiple examples of a very heavy handed kind of symbolism at work). And yet the film works because of the arresting performances, exquisite cinematography, and, while the symbolism is overbearing at times, Ford’s conflation of Judas and Christ into one character, albeit uneven, is undeniably affecting.

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Posted by:
Jed Leland
Jun 8, 2011 1:55pm
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