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The Lost Worlds of John Ford

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iv
The Lost Worlds of John Ford
Beyond the Western

Jeffrey Richards

v
 BLOOMSBURY ACADEMIC
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First published in Great Britain 2020

Copyright © Jeffrey Richards, 2020

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1988, to be identified as Author of this work.

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Dan Dailey and John Wayne in The Wings of Eagles (1957)

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vi
 For
Robert Gitt
and
Anthony Slide

vii
viii
 Contents

List of Illustrations x
Introduction and Acknowledgments xii

1 John Ford: The Enigmatic Genius 1

2 John Ford’s Ireland 43
3 John Ford’s Empire 123
4 John Ford’s Faith 165
5 John Ford’s Underworld 195
6 John Ford’s Wars 219
7 John Ford’s Navy 267

Conclusion 321
Index 323

ix
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 List of Illustrations

1.1 John Ford—1930s portrait photograph 10

2.1 Victor McLaglen in The Informer (RKO, 1935) 60

2.2 The IRA in The Informer (RKO, 1935) 64

2.3 John Wayne and Maureen O’Hara in The Quiet Man

(Republic, 1952) 93

2.4 John Wayne and Victor McLaglen in The Quiet Man

(Republic, 1952) 97

2.5 The archetypal Fordian Family: The Morgans in How Green

Was My Valley (20th Century-Fox, 1941) 117

2.6 The Fordian Family (“our father was the head but our mother
was the heart”): Sara Allgood, Roddy McDowall and Donald
Crisp in How Green Was My Valley (20th Century-Fox, 1941) 121

3.1 The Lost Patrol (RKO, 1934) with Victor McLaglen, Boris
Karloff, Reginald Denny among others 137

3.2 C. Aubrey Smith, Shirley Temple and Cesar Romero in

Wee Willie Winkie (20th Century-Fox, 1937) 141

3.3 Victim of Imperialism Jon Hall in The Hurricane

(United Artists, 1937) 158

4.1 Henry Fonda in The Fugitive (RKO, 1947) 175

4.2 Mary of Scotland (RKO, 1936) with Katharine Hepburn

as doting mother 181

4.3 Mary of Scotland (RKO, 1936) with Katharine Hepburn

as Catholic martyr 187

x
 List of Illustrations xi

5.1 Spencer Tracy in Up the River (Fox, 1930) 201

5.2 Ricardo Cortez and Karen Morley in Flesh (MGM,1932) 206

5.3 Michael Trubshawe, Grizelda Hervey, Jack Hawkins and

Frank Lawton in Gideon’s Day/Gideon of Scotland Yard
(Columbia, 1958) 215

6.1 Henrietta Crosman, Norman Foster and Marian Nixon

in Pilgrimage (Fox, 1933) 227

6.2 James Cagney, Corinne Calvet and Dan Dailey in

What Price Glory (20th Century-Fox, 1952) 257

7.1 The crew of the Glencairn in The Long Voyage Home

(United Artists, 1940) 288

7.2 Barry Fitzgerald, John Wayne and John Qualen in

The Long Voyage Home (United Artists, 1940) 292

7.3 Jack Pennick, John Wayne, Robert Montgomery and Ward

Bond in They Were Expendable (MGM, 1945) 301

7.4 Donna Reed, Louis Jean Heydt and John Wayne in

They Were Expendable (MGM, 1945) 303

7.5 John Wayne and Dan Dailey in The Wings of Eagles

(MGM, 1957) 317

7.6 John Wayne and Ward Bond (as John Ford) in

The Wings of Eagles (MGM, 1957) 319
 Introduction and Acknowledgments

“My name is John Ford. I make Westerns” has been one of the most celebrated
pronouncements of the golden age of Hollywood. It occurred at the height of
the McCarthyite purge on October 22, 1950 at an emergency meeting of the
Screen Directors Guild, of which Ford was a founder member. It was called by
Cecil B. de Mille and a right wing cabal on the board of directors of the Guild
with the aim of ousting the liberal Guild president Joseph L. Mankiewicz who
was opposing the introduction of a compulsory loyalty oath and a black list of
those refusing to take it. Ford denounced the proposed black list, called for the
resignation of the board of directors and a vote of confidence in Mankiewicz.
He carried the day. It is a measure of the respect with which Ford was held in
the industry that he triumphed over the forces of reaction. Ford was admired
not only by the giants of the American film industry (Orson Welles, Frank
Capra, Howard Hawks, Alfred Hitchcock, Samuel Fuller, Martin Scorsese,
Anthony Mann and Steven Spielberg) but also by the titans of world cinema
(Satyajit Ray, Jean Renoir, Mark Donskoi, François Truffaut, Federico Fellini,
Ingmar Bergman and Akira Kurosawa). Sergei Eisenstein wrote that the
American film he most wished he had made was John Ford’s Young Mr. Lincoln.
Ford was chosen in 1973 as the first recipient of the American Film Institute’s
Life Achievement Award and he became the first American film-maker to
receive the country’s highest civilian award, the Medal of Freedom. He certainly
directed some of the greatest Westerns ever made (Stagecoach, My Darling
Clementine, The Searchers, Fort Apache, Rio Grande, She Wore a Yellow Ribbon,
The Horse Soldiers). But he was much more than a maker of Westerns. He
received four best director Oscars but none of them was for a Western. In fact
he made no Westerns between 1929 and 1939. When he was honored in 1972
by a Screen Directors Guild “Salute”, the film he chose to accompany the
ceremony was his Welsh family saga How Green Was My Valley and not one of
his celebrated Westerns.
The literature on Ford is extensive, but there has been an overconcentration
on the Westerns to the neglect of the non-Western films. While he was
xii
 Introduction and Acknowledgments xiii

undoubtedly devoted to the world of the American West and the values it
embodied, he had other current preoccupations, and he explored them in a
series of films that deserve to be better known. His other cinematic worlds
included Ireland, the Family, Catholicism, War, and the Sea, which share with
the Westerns the recurrent themes of memory and loss, the plight of outsiders
and the tragedy of family break-up. The principal object of this book is to
analyze these other worlds. It is not a biography though inevitably elements of
his life and beliefs will feature in the analysis. There are three outstanding
biographies of Ford by Tag Gallagher (John Ford: the Man and his Films, 1986),
Scott Eyman (Print the Legend: the Life and Times of John Ford, 1999) and
Joseph McBride (Searching for John Ford, 2001). This study will engage with
these writers and with other influential Ford scholars such as Lindsay
Anderson, Peter Bogdanovich, Andrew Sinclair, Andrew Sarris and J. A. Place
in what will be a revisionist account, challenging many judgments on individual
films and seeking to re-evaluate titles frequently dismissed as failures or
marginal works, among them such neglected masterworks as Mary of Scotland,
The Fugitive, The Hurricane, Wee Willie Winkie and Gideon’s Day. It is intended
to follow up this book with a second volume, John Ford’s American Worlds
which will re-examine not only his films set in the West but also those films set
in the South and in New England and in America’s historical past.
This book has been many years in the making and during that time I have
incurred many debts of gratitude for help and advice of various kinds. I wish
to thank in particular John Birchall, James Chapman, Stephen Constantine,
Michael Coyne, Estel Eforgan, Allen Eyles, Sir Christopher Frayling, Philip
French, Mark Glancy, Tom Hamilton, Kevin Harty, Joel Hockey, Corinna
Peniston-Bird, Sara Bryant, and Linda Persson. I am grateful to Robert Gitt
and Anthony Slide for making available unpublished interviews with Frank
Baker, Eileen Crowe and Mary Ford. This book is dedicated to them in
recognition of many years of valued friendship. Stills are from the author’s
collection. Thanks are due to Caroline Maxwell for compiling the index.
xiv
 1

John Ford: The Enigmatic Genius

Ford the Man

John Ford, arguably the greatest of all American film directors, was born John
Martin Feeney on February 1, 1894 in the state of Maine. He was the youngest
surviving of the eleven children of Irish immigrants John A. Feeney and
Barbara Curran Feeney. Having failed the entrance examination for the US
Naval Academy at Annapolis, he joined his elder brother Frank in Hollywood
in 1914. Frank, who had rechristened himself Francis Ford, had arrived in
1907 and established himself as a director and star in the fledgling movie
industry. Known henceforth as Jack Ford, the young John Feeney became a
props man, a stunt man and an extra in his brother’s films. None of Frank’s
films have survived. But Ford told Peter Bogdanovich that Frank had been his
greatest influence:

He was a great cameraman—there’s nothing they’re doing today . . . that he

hadn’t done; he was a good artist, a wonderful musician, a hell of a good
actor, a good director . . . he just couldn’t concentrate on one thing too long.

He also acknowledged the influence of Griffith (“D. W. Griffith influenced us

all”).1 But as Frank’s career declined due to alcoholism and poor business
decisions, Jack’s took off. Ford would later employ his brother as a character
actor, often playing drunken old derelicts, which some have seen as payback
for Frank’s patronizing treatment of the young Jack.
Ford began directing two-reelers in 1917 and soon graduated to features
with Straight Shooting. Teamed with cowboy star Harry Carey, he directed 22
films at Universal between 1917 and 1921. The stories were devised by Ford

1
Peter Bogdanovich, John Ford, Berkeley : University of California Press, 1978, p. 40.

1
2 The Lost Worlds of John Ford: Beyond the Western

and Carey and featured a continuing character, a good-bad man called

Cheyenne Harry. Ford recalled of these Westerns: “They weren’t shoot-em-ups,
they were character stories. Carey was a great actor”.2
Anxious to strike out on his own and establish a solo reputation, and jealous
of Carey’s greater earnings (Carey was being paid $2,250 a week to Ford’s
$300), Ford moved from Universal to Fox where in 1923 he changed his billing
from Jack to John Ford and achieved a great hit with his Western epic The Iron
Horse (1924). He successfully weathered the change from silent to sound films
and made no Westerns between 1926 and 1939. Instead he worked in a variety
of genres mainly at Fox (later 20th Century-Fox) and RKO Radio Pictures,
winning his first Oscar for his Irish melodrama The Informer in 1935.
He established a productive relationship with screenwriter Dudley Nichols
and they were to work on fourteen films together. As Stephen O. Lesser writes:

The Ford–Nichols relationship was critical in the developing careers of both

men, although Nichols’ contribution to Ford’s style has become a matter of
dispute. In recent times, the weight of opinion has swung against Nichols,
claiming that Ford only revealed himself as a poet of the cinema once free
from the schematic bonds of Nichols’s screenplays. On the other hand, it was
only after Ford had discovered Nichols that Ford achieved the critical success
needed to fuel his career and establish his reputation. It is safe to say that the
two men shared similar outlooks and worked well together, each bringing
out tendencies in the other that resulted in a symbolic, atmospheric style of
filmmaking.3

Another key relationship in Ford’s career was with Darryl F. Zanuck, head of
20th Century-Fox. Zanuck told his biographer Mel Gussow in 1968:

In reviewing all the work of the many directors I have finally come to the
conclusion that John Ford is the best director in the history of motion
pictures . . . Ford had that enormous sense of the visual. He makes the camera
act . . . He was an artist. He painted a picture—in movement, in action, in still
shots . . . He was a great great pictorial artist.4

2
Bogdanovich, John Ford, p. 39.
3
Robert E. Morsberger, Stephen O. Lesser and Randall Clark, eds., Dictionary of Literary Biography
vol. 26: American Screenwriters, Detroit, MI: Gale Research Co., 1984, p. 229.
4
Mel Gussow, Zanuck: Don’t Say Yes Until I Finish Talking, London: W. H. Allen, 1971, pp. 163–4.
 John Ford: The Enigmatic Genius 3

Ford returned the compliment:

Darryl’s a genius—and I don’t use the word lightly . . . he is head and

shoulders above all producers . . . We had an ideal relationship.5

This is remarkable coming from Ford who detested most producers and
resented any tampering with his films. Zanuck had absolute control of 20th
Century-Fox, choosing the properties, assigning scripts to writers, deciding
the casts, supervising the final edit. With Ford who cut in the camera as he was
filming, Zanuck’s main effect was to reduce the running time of Ford’s films by
editing out what he considered extraneous scenes slowing down the trajectory
of the story. The studio’s fondness for Americana allowed Ford to make his
easy-going Will Rogers trilogy and three masterpieces, Young Mr. Lincoln
(1939), Drums Along the Mohawk (1939) and The Grapes of Wrath (1940)
which brought Ford his second best director Oscar. A third followed for How
Green Was My Valley (1941) before the war interrupted his career. He set up
the Field Photo Unit which became the cinematic branch of the Office of
Strategic Service (OSS) and was employed throughout the war making training
films and documenting the progress of hostilities. Two of Ford’s documentaries
won Oscars, Battle of Midway (1942) and December 7th (1943), although they
were not specifically awarded to the director. Much against his will, Ford was
seconded from the unit to MGM in 1945 to make a tribute to the PT (Patrol
Torpedo) boats, They Were Expendable, which turned out to be another
masterpiece.
Anxious to avoid being tied to a studio, he set up after the war an independent
company, Argosy, with Merian C. Cooper. Their first production, the Catholic
allegory The Fugitive, was a box office disaster and Ford produced his celebrated
cavalry trilogy, Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio
Grande (1950), to recoup the company’s fortunes. He also established a new
partnership with the journalist Frank Nugent who was to script eleven films
for Ford, including The Quiet Man (1952), his long-cherished Irish romance
which brought him his fourth best director Oscar.
During the 1950s Ford became increasingly disenchanted with American
society and his vision darkened. During the 1920s and 1930s he can be seen

5
Gussow, Zanuck, pp. 162–3.
4 The Lost Worlds of John Ford: Beyond the Western

actively subscribing to an optimistic populist view of American history and

society. In his films, the move is always westward: from Europe to America
(Mother Machree, Four Sons, Flesh, The Informer, How Green Was My Valley),
the dream of the immigrant; and in America from East to West, the aim of the
pioneer (The Iron Horse, 3 Bad Men, Drums Along the Mohawk, Wagon Master).
His films reached an optimistic peak with Wagon Master (1950) which tells of
a Mormon trek across the desert in search of the Promised Land.
But with the development of the Cold War, anti-Communist paranoia
fueling the McCarthyite purges and the beginning of civil rights agitation,
Ford turned from the optimistic age of frontier America and the dream of an
ideal society to be created there and began to eulogize settled traditional
societies with what is basically paternalist government, sustained by simple
Christian faith, good neighborliness and time-honored rituals; hence his
affectionate depictions of Old Ireland (The Quiet Man), the Old South (The
Sun Shines Bright) and the South Seas (Donovan’s Reef).
However, he depicts a bitterly divided United States in films about the Civil
War (The Horse Soldiers, How the West Was Won), and he begins to explore the
impact of racism on American society in The Searchers (1956), regarded by
many as his greatest film, Sergeant Rutledge (1960), Two Rode Together (1961)
and Cheyenne Autumn (1964). He celebrates an old-style political machine in
The Last Hurrah (1958) and provides a melancholy elegy for the Old West in
The Man Who Shot Liberty Valance (1962). His box office appeal began to wane
as two personal projects The Rising of the Moon (1957) and Gideon’s Day/Gideon
of Scotland Yard (1958) failed badly at the box office. The balance of power
between him and his favorite star John Wayne shifted. Increasingly Ford could
only get his projects off the ground if Wayne agreed to star. His health began to
fail and longtime associates noticed his energy levels falling and his increasing
preference for shooting in the studio and avoiding the rigors of location
filming. In a 1959 interview he lamented, “The old enthusiasm has gone maybe.
But don’t quote that. Oh, hell, you can quote it.”6 A lifetime of alcoholism
caught up with him and he had to withdraw from Young Cassidy (1965) as he
had from Mister Roberts (1955). When his final film 7 Women (1966) was both

6
Joseph McBride, Searching for John Ford, London: Faber and Faber, 2003, p. 600.
 John Ford: The Enigmatic Genius 5

a critical and box office failure, MGM canceled his next project and thereafter
he could not raise finance for any of his projects. As he lamented to French
critic Claudine Tavernier, repeating it over and over again, “They won’t let me
make any more films”.7
In the 1930s he had described himself as “a definite Socialistic democrat”8 and
still defined himself as a Democrat in the 1960s.9 But after World War Two he
moved steadily to the right though never as far right as his friends John Wayne
and Ward Bond. With his strong commitment to the military, he supported the
unpopular Korean and Vietnam Wars. However, his disillusionment proceeded
apace in the 1960s. As he told British interviewer Philip Jenkinson in 1970:

I’m worried about these riots, these students. I’m worried about this anti-
racism. It doesn’t mean the Negroes are doing it. They are being influenced
by outside. Some other country. They are agents, the people who are doing
things, that are being arrested . . . and the poor Negroes are getting the blame.
That’s why I think our ancestors would be . . . bloody ashamed of us if they
saw us now.10

In 1971 Ford was diagnosed with terminal cancer. He lived long enough to
receive the first American Film Institute Life Achievement Award and the
Presidential Medal of Freedom, the highest civilian award in the United States,
before he died on August 31, 1973.
Ford was a nightmare for interviewers. He said: “I hate pictures—well, I like
making them, but it’s no use asking me to talk about them.”11 When he was not
answering in monosyllables, he would make things up, embellish or deny the
truth, contradict previous statements. He hated analyzing his films. His attitude
was akin to that of the similarly uncommunicative Rudyard Kipling who
would answer questions about his life and work with the statement “It’s all in
the books”. For Ford his films spoke for themselves and said everything he
wanted to say.
His films were the world as he wanted it to be and it overlapped with reality
to the extent that he twice made feature films about real-life friends, John

7
Gerald Peary, ed., John Ford Interviews, Jackson: University Press of Mississippi, 2001, p. 103.
8
McBride, Searching for John Ford, p. 193.
9
Peary, John Ford Interviews, pp. 48, 107.
10
Peary, John Ford Interviews, p. 140.
11
Louis Marcorelles, “Ford of the Movies”, Cahiers du Cinéma 86 (1958), p. 32.
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Exploring the Variety of Random
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Diguediguedon, drelindindin, etc.

Il sonne notre servante Ursule,

En place de petite maman,
Et bien mieux que la vieille pendule,
Il nous donne l’heure exactement.

Diguediguedon, drelindindin, etc.

 Les
Ballons Rouges
[Fichier midi] [Fichier xml] [PDF]

Arrachés, par un coup de vent,

Des mains de l’homme qui les vend,
Les ballons rouges, dans les cieux,
S’éparpillent, capricieux.

Quand les ballons cassent leurs fils,

Petite mère, où s’en vont-ils?...

Regarde, petite maman:

Ils s’élèvent au firmament,
Petits coquelicots du ciel,
Bien plus haut que la Tour Eiffel.

Quand les ballons cassent leurs fils,

Petite mère, où s’en vont-ils?...

Sans doute, ils vont servir de jeu

Aux jolis anges du bon Dieu:
Sur le bord du ciel se baissant,
Ils les attrapent en passant.

Quand les ballons cassent leurs fils,

Petite mère, où s’en vont-ils?...
 Le
Petit Chemin de fer
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