The John Ford Film Collection (2006) [ReUp]

WHV celebrates on of the true masters of American cinema with the release of The John Ford Collection. Four-time Academy Award's-Winning director John Ford is perhaps best known for his Westerns and collaborations with John Wayne, however, this Ford collection runs the gamut of genres and shows the diversity and genius of John Ford at his most impressive. Featured here will be the DVD debuts of five classic titles - all will be exclusive to the five-disc boxed set.

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I have to be honest, when I think of director John Ford, I think about the films he made with John Wayne. I do think his best films were made with Wayne, but Ford's career was ripe with well crafted movies without The Duke, such as the ones found in this collection. Warner's John Ford Film Collection offers up five of Ford's pictures made from 1934 to 1964, so quite a large portion of his career. I'd rank Cheyenne Autumn and The Lost Patrol as my personal favorites of those offered here, but each film is worth a look. Some have extras, some don't, but for fans of Ford's work, this release is recommended.

DVD Authority

A World War I British Army patrol is crossing the Mesopotomian desert when their commanding officer, the only one who knows their destination is killed by the bullet of unseen bandits. The patrol's sergeant keeps them heading north on the assumption that they will hit their brigade. They stop for the night at an oasis and awake the next morning to find their horses stolen, their sentry dead, the oasis surrounded and survival difficult.

IMDB

The Lost Patrol has an official literary source but sounds a lot like a foreign-legion remake of Men Without Women, a story of sailors trapped in a disabled submarine. One of them is even a Bible-quoting madman. The submarine movie was the first collaboration between Ford and writer Dudley Nichols, a teaming which would produce a number of classic films.

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The John Ford Film Collection (2006) [ReUp]

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The Lost Patrol was a hit in 1935 but now plays rather stiffly. As in a bad play, the men take turns telling their life stories, which is a sure giveaway as to who will be killed next. Everyone talks too loudly, as if told that their voices are too light on the soundtrack; although most of the acting is acceptable, favorite Boris Karloff overplays and comes off as a real ham. That's not typical for him at all.

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More tiresome is the story's reliance on fiendish, demonized Arabs as villains; they're kept off camera and symbolize a remorseless enemy, a fate that cannot be avoided. Victor McLaglen's character makes a short list of things he likes and killing Arabs is near the top. It's too bad that none of the soldiers think to change their habits – they keep standing and sticking their heads up to be shot, when it's obvious that somebody with a good rifle is watching them at all times.

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Audiences probably accepted The Lost Patrol's dramatics because of its straight storyline and unsentimental logic. The kill-off is relentless and noble characters are slain right along with the troublesome or foolhardy. Near the end, the deranged Karloff character drags a cross up a sand dune, as if to banish the Arabs with the Power of the Lord. The awkward symbolic gesture doesn't add up to much.

DVDtalk

Based on Liam O'Flaherty's novel about the Irish Sinn Fein Rebellion of 1922, it tells the story of a hard-drinking Dublin man (McLaglen) who informs on a friend (a member of the Irish Republican Army) in order to collect a 20-pound reward. When his "friend" is killed during capture, he goes on a drinking spree instead of using the money, as planned, for passage to America. Director Ford allowed McLaglen to improvise his lines during the trial scene in order to enhance the realism, leading to excruciating suspense. Wonderful score.

IMDB

This wasn't John Ford's first 30s attempt at screen art. His 1933 Pilgrimage was a moody downer about the grief of a mother who sends her boy to war to get him away from an "unworthy" girlfriend. Until WW2 he'd be repeatedly pulled back to non-escapist artsy filmmaking, often with very liberal themes. His social conscience would eventually work its way into his westerns, but with only an exception or two (most notably 1947's The Fugitive) Ford's post-war producers did their best to steer him away from downbeat material.

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The Informer is a very Catholic story that makes strong use of church iconography. The "troubles" of rebellious Ireland in 1922 are presented as a mix of religious and political grief. The story is an obvious parallel of the betrayal of Christ. Gypo's body forms a silhouetted cross behind the main titles, contemptuous English soldiers pay Gypo his blood money and the mother of his victim is presented as a suffering, forgiving Madonna. Gypo is almost an absolute sinner – a coward, a bully, an alcoholic. He's vain, stupid and infantile, but also a brute innocent. His actions alienate him from the rest of humanity. When he's found out, all he has left is the redemptive mercy of his faith. He calls out not to God but to Frankie, his only friend who he betrayed.

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If it were not for the expressive visuals of Ford and cameraman Joe August, The Informer would play like the parody clip that opens Preston Sturges' Sullivan's Travels, where Labor and Capital struggle atop a speeding train, only to plunge to a mutual doom in an icy river. The fog and lights make it look as if the street characters Gypo meets are already living in purgatory, or perhaps a Catholic limbo. With his girl starving, Gypo is mesmerized by the dream of a voyage to America, which might as well be heaven. This is an entirely different Ireland than the fairytale Lucky Charms landscape of Ford's later The Quiet Man.

Big sections of The Informer might as well be a silent movie. Double-exposures of wanted posters remind Gypo of his dark deed. The first person Gypo meets after his dastardly act is a blind man, a sure sign of conscience in an expressionist film – the witness who sees nothing. Of course, we'd not want to do without Max Steiner's wonderful score. It tracks the action closely and rises to one of the first "heavenly finishes," the kind of rhapsodic climax guaranteed to bring out reverent instincts in atheists.

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Victor McLaglen is great in this picture, a truly tragic clown. He would become a crude Irish clown in later Ford pix. The other actors behave as if taking sober roles in a passion play; they're all good but it's McLaglen's show. Exceptions are Wallace Ford's (Freaks, A Patch of Blue) great fugitive terrorist, and Joe Sawyer's hard-edged IRA hit man. He forms a nice contrast with Pierce Brosnan's killer in a much later IRA crime saga, The Long Good Friday. We've become accustomed to seeing Una O'Connor as comedy relief, but she's nothing of the sort here.

DVDtalk

Special Features:
- New Featurette: "The Informer: Out of the Fog"
- Theatrical Trailer

Mary Stuart returns to Scotland to rule as queen, to the chagrin of Elizabeth I of England who finds her a dangerous rival. There is much ado over whom Mary shall marry; to her later regret, she picks effete Lord Darnley over the strong but unpopular Earl of Bothwell. A palace coup leads to civil war and house arrest for Mary; she escapes and flees to England, where a worse fate awaits her.

IMDB

Katharine Hepburn is no stranger to costume dramas, and she certainly showed versatility in her choices of roles in the 1930s, but this Mary is neither written nor directed to suit her strengths. Mary wavers and dithers and allows a pack of royal knaves outflank her, requiring Hepburn to be a passive kind of woman that she doesn't play well. We never understand Mary's self-defeating decisions, especially when she sends Bothwell away.

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John Ford has a definite Catholic sensibility and appears to be championing Mary out of faithfulness to his church. Maxwell Anderson's play is a tragedy plain and simple, and Dudley Nichols' faithful adaptation doesn't simplify the courtly power plays and deadly reversals. Mary of Scotland is better history than most 30s films but makes for a frustrating drama. We keep expecting Mary to laugh out loud at the troublemakers that surround her throne, or humble one of her foes by striking them with a glove. It doesn't happen … she falls into trap after trap.

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Even worse for audiences hoping for romance, Mary spends precious little time with her highland lover Bothwell. Remaining true to history, they're separated and defeated individually. Mary was definitely caught between ambitious men, an unforgiving church and an English Queen waiting for the first opportunity to claim her head. We who aren't familiar with history keep expecting a revolution or perhaps a surprise attack by allies to save Mary. We're reminded of Josef Von Sternberg's The Scarlet Empress, in which Catherine the Great's story is an almost complete fabrication designed to crown Marlene Dietrich, not the facts. Mary of Scotland is for history professors. When Mary's detractors accuse her of adultery with her loyal secretary Rizzio (John Carradine, excellent in a meaty role), there's not even a hint that the charge could be true. This Mary is basically sexless.

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Except for a final, surprisingly non-explosive scene, enemies Elizabeth and Hepburn stay separate. Florence Eldridge is an interesting Elizabeth, much less likeable than Bette Davis or Flora Robson. A good 'battle of the broads' version might have pitted Davis against a Mary played by Irene Dunne or Carole Lombard, but the script would have needed a good rewrite.

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Ford's direction is quite good, although he has less personality when set adrift in castle walls, staging court rituals. He knows when to give Hepburn beautiful close-ups, but she never gets the fire in her eyes that animates her other performances. Mary of Scotland is the key movie that tarred Hepburn with the "boxoffice poison" label. That was an unfair slur by an exhibitor with a grudge to vent, but it probably described the reaction to this picture … the audience didn't go for it. After The Plough and the Stars Ford was back at Fox working on a "sure-fire" Shirley Temple movie.

DVDtalk

The story of a court-martial, told in flashback, about a black cavalry officer on trial for rape and murder. A detailed look at overt and covert racism handled by master director Ford. It is always apparent Strode (as Rutledge) is a heroic, yet human, figure who refuses to be beaten down by circumstances. The courtroom setting is deliberately oppressive but does make the film somewhat static. Based on the novel "Captain Buffalo" by James Warner Bellah.

IMDB

Sergeant Rutledge is a noble mess. Ford wants to confer equality on Braxton Rutledge and uses all of his cavalry-epic grace notes to do so. Woody Strode rides tall in the saddle, always stands erect and proud and poses nobly against the ubiquitous Monument Valley backdrops. Ford tries to leap forward with his nod to the Buffalo Soldiers but he goes in reverse in his position re: the Indians. The "scary" Apaches are the old-fashioned kind that always ride directly into cavalry fire, to be shot dead by the score. Liberal revisionists have no trouble making the claim that Ford finds it comfortable to exalt the blacks because they're so eager to fight the Indians – in the politicized view, it's one oppressed minority being used to suppress another oppressed minority.

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The story is really a fumbled version of Intruder in the Dust, the superior 1949 lynching movie that ended with the admonition that "Lucas Beauchamp (a falsely accused black man) wasn't in trouble, WE were in trouble." In that film (by Clarence Brown out of William Faulkner) Juano Hernandez refuses to proclaim his innocence because he knows it will just enrage the lynch mob. Juano Hernandez has a secondary role in Sergeant Rutledge, watching Woody Strode do the same thing.

Unfortunately, the script for Sergeant Rutledge fumbles both the Rutledge character and the trial structure, which doesn't make the slightest bit of sense. Rutledge is on trial for a double murder and rape but the testimony ignores that event to tell the mostly irrelevant post-crime tale of a midnight standoff at a rail stop and an Indian chase through the desert. The story makes Rutledge virtuous but doesn't know how to humanize him – everything he does and says relates to his identity as a faultless black man. The only reason Rutledge doesn't come out and say he's innocent is to delay the 'surprise' that somebody else is guilty. The trial is taken up with 'testimony' that informs us of basic facts that the assembled court should already know … Rutledge didn't rape Mary Beecher; he's a fine soldier, etc.

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The court is of course what's put on trial, although they turn out to be "okay" when they exonerate Rutledge. Thus Rutledge is a credit to the cavalry and vice versa. The one element in the film that still stands tall is Woody Strode's iron-willed sergeant … when he does defend himself, he never begs or asks for mercy.

Ford and his writers make the trial into an amusing charade, with the judges drinking whiskey and playing poker during breaks. The story is told in flashbacks with very modern hard cuts … but a major error in that Constance Towers' "testimony" flashback contains an involved dialogue scene that takes place after she leaves the room!

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The subject keeps returning to the fact that the main judge (Willis Bouchey) helped burn Atlanta and stole knick-knack souvenirs to bring home to the missus. The judge's wife Billie Burke is a ditsy old biddie, but neither she nor anyone else expresses any direct racist sentiments. In fact, everyone's far too respectful of the black soldiers, historically speaking. To Ford, the blacks can be given no higher compliment than being allowed to serve (enlisted only) as Indian fighters. The Army is their home too, you see, although they don't seem to be allowed to have familiies. Perhaps Ford saw this as another kind of recruiting tool, as were so many military-themed 50s films. Jeffrey Hunter goes back to his red-lipped Constance Towers, while Sgt. Rutledge retakes his place at the front of his troops, riding in circles in Monument Valley. T'was ever thus.

DVDtalk

Special Features:
- Theatrical Trailer

The newly restored version of the ambitious, ultimately hit-and-miss western epic about three hundred Cheyenne Indians who migrate from Oklahoma to their Wyoming homeland in 1878.
Ford's valedictory western is a belated and belaboured tribute to the Native American and reparation for the way the director portrayed them in his films. Pity, therefore, he decided to cast Latins Del Rio, Mineo and Montalban as the Native Americans. The best part of the rambling narrative, which tells of the sufferings of the Cheyenne tribe being moved hundreds of miles to a new reservation, is a comic interlude set in Dodge City featuring Stewart as Wyatt Earp. Ford's compositions (he was 69 at the time) are as noble as ever, but a feeling of fatigue hangs over the whole enterprise.

IMDB

One shocking scene in The Searchers shows mounted cavalry troops marching a line of freezing Indians through deep snowdrifts. Although complacent 1956 audiences don't seem to have been aware of Ford's subversive intentions, that set of visuals (and the troopers splashing through an icy stream) say more than the 156 minutes of Cheyenne Autumn. It's not that we don't like the movie – it overflows with our favorite actors playing against drop-dead beautiful 65mm visuals of Monument Valley (which again stretches from the Southwest to the Canadian border). But just as we sometimes find ourselves complimenting films that magically get everything right (Casablanca, Singin' in the Rain, The Asphalt Jungle) it's a sad thing to report on a picture that somehow gets everything dead wrong.

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Ford's background Indians are the same reliable fellows we've seen since Stagecoach but his leads are all played by ethnic Europeans and Latins … Sal Mineo, Ricardo Montalban, Victor Jory, Gilbert Roland. Dolores Del Rio is supposed to be a Spanish woman, but everybody else just reminds us that we're in Hollywoodland. Mineo is good in his small part, but Montalban and Roland are lost doing a "who's got the pillow" schtick with the tribe's sacred icon. The worst of it is that we learn so little about the Indians. They're so boring we honestly don't care what happens to them. An old Mad magazine hit this fact without mercy, calling the movie "Cheyenne Awful."

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We'd never believe that Ford could be led astray with good intentions … the screen story is the movie equivalent of a root canal. The Indians suffer in the sun. A narrator tells us about the injustice visited upon them. Carroll Baker (who is fine - no weepy scenes) tells us about the injustice. Liberal trooper Richard Widmark complains about the injustice. Soulful Secretary of the Interior Edward G. Robinson worries about the injustice in Washington. Meanwhile, Ford's stock company is either sidelined or plays villains. Harry Carey Jr. and Ben Johnson do some hot fast riding, but that's all they do. Ken Curtis is a murderous cowboy. Casual western fans in 1964 must have wondered what the heck Ford was thinking.

This DVD release comes complete with a major missing scene (that still looks like it has continuity jumps) that disappeared from most sub-runs of the film. It's a light-comedy episode in Dodge City that just plain doesn't fit. James Stewart is Wyatt Earp, Arthur Kennedy is Doc Holliday and a pack of amusing actors (John Carradine, Elizabeth Allan of Donovan's Reef) play idiotic townspeople panicked by the idea that an Indian horde will soon attack. It's only fitfully funny and is ridiculously wrong for Cheyenne Autumn. James Stewart shoots Ken Curtis' murderous cowpoke in the foot in a dirty-trick faceoff identical to Han Solo's "shooting first" scene in Star Wars (the real Star Wars from 1977).

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After the Hallelujah Trail-style chaos in Dodge City, we're given an obvious concentration camp metaphor with Karl Malden's harsh Captain deciding to freeze the Indians into accepting his terms. Everybody gets a chance to thump their chests and say how sorry they are. Then Edward G. Robinson shows up via terrible rear-projection for a quickie peace-pipe scene. One shocking scene with Sal Mineo and the Indians has a powerful outburst of Indian emotion but neglects to show us the reaction of Mineo's lover (spoiler), who presumably should be concerned when he's shot dead in front of the whole tribe. A few discontinuous shots of Baker and Widmark returning an Indian child to the (now happy?) tribe gives us a wholly unsatisfying ending. Has everyone forgotten about returning the Indians to the desert? What's going on?

DVDtalk

Special Features:
- New digital transfer from restored roadshow length picture and audio elements
- Vintage featurette "Cheyenne Autumn Trail"
- Commentary by Ford biographer Joseph McBride
- Theatrical Trailer

Described as "the greatest director who ever lived" by Ingmar Bergman and "the greatest poet movies have given us" by Orson Welles, there is very little room for argument that John Ford was responsible for some of the greatest American films ever produced - period. Known for his simplistic style, Ford perfected the "invisible technique" whereby making the audience forget they were watching a movie. Nominated for an astounding seven Academy Awards (and winner of four), Warner Home Video finally brings many of Ford's earlier works to DVD and has given them their just due. Though the Collection is light on special features (and that's forgivable given the content and era), the presentations surpassed my wildest expectations. June 6th is a big day for Ford fans and I can't imagine any fan of classic film not being interested in this important set.

Home Theater Forum

John Wayne-John Ford Film Collection (1939-1957) [2006]

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JFFC.SERGERUTLE.avaxhome.ru.part11.rar
JFFC.SERGERUTLE.avaxhome.ru.part12.rar
JFFC.SERGERUTLE.avaxhome.ru.part13.rar

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pass: www.AvaxHome.ru

Interchangable links.