JOHN FORD (1930-1940)

Summary: This was the most pivital decade in Ford's career. Without westerns, he proved himself worthy of being a great director. He won his first Oscar and began the creation of his "Stock Company". In 1939 he catapulted the western genre out of it obscurity and into demand with his creation of "Stagecoach" (1939).

Popular Western Films: "Stagecoach" (1939) & "Drums Along the Mohawk" (1939)

Interesting Fact: When John Wayne became slightly famous after his performance in The Big Trail (1930), Ford was supposedly hurt that he was'nt the one to bring him to popularity. After the film's release, Ford would not speak to Wayne, and Wayne didn't speak back either. It was not until five years later that Ford asked for Wayne and suddenly he was back with the gang. Wayne never asked what had happened and Ford never brought it up. Ford did get his chance to bring Wayne to the top, however, with "Stagecoach" (1939).

Western Awards: For "Stagecoach" (1939) he was nominated for the Best Director Oscar and received a NYFCC Award.

“I try to make it a rule that to make a big picture, which was a hit, and the next one do a cheap picture. Relax... three or four weeks while you're preparing for another story. And usually, of course to my mind, the little picture is always better."

Ford and westerns didn't happen much in this decade. Studios had chosen to move away from them a few years earlier and were also busy working on a new technology, talking pictures. Though he didn't return to westerns, until the very end of the thirties, this decade would become his most important.

In 1930, Ford discovered a monumental movie star on Broadway, Spencer Tracy. Ford was so impressed with his performances that he starred him in his new film "Up the River" (1930). Another new star to play in the same picture was an up and coming Humphry Bogart. Though neither performer became a staple for Ford, this film launched both of them into their successful careers.

Ford was now making a name for himself and continually adding on new stars to his collection. One performer that would have been perfect for his westerns was the humorous Will Rogers. Ford and Rogers worked together for a few films, like the successful "Judge Priest" (1934). They would have continued to make more pictures but, unfortunately, Rogers died in a tragic airplane accident in 1935, cutting their friendship short and ending a career that would have changed humor forever.

On the same year of Rogers death, Ford would win his first Oscar for the work he did in "The Informer". The film was highly successful and placed him near the top of the directors list. He would also win another crew member for his future classics, the very Irish Victor McLaglen. One year later Ford began working with John Carradine in The Prisoner of Shark Island (1936). This cynical looking actor also joined Ford's ranks and was the perfect mysterious character he needed for two of his popular films in 1939.

Then came the big year of 1939. This would be the year that would change Hollywood forever, and there has never been a year to rival it. Directors like Victor Fleming and Frank Capra made super-epic films, leaving all the other pictures to feed off the leftovers. Ford was not left completely in the dust though, as the three films he made became instant classics. But as time went on, audiences had forgotten these pictures and very few have heard of them today.

Two of the three pictures he made were westerns: "Stagecoach" & "Drums Along the Mohawk". As a personal note, I just watched "Stagecoach" last night for the first time. It is both epic and entertaining. It had everything the west has to offer in it: Indians, gun fights, Calvary, Marshals, outlaws & whisky. The camera moves at a high speed with the action and the shots are wide and clear. This would be his first use of Monument Valley and each camera angle was positioned beautifully. Ford had a certain eye for this which is interesting for a man with failing sight.

At the end of the 1930's, Ford had successfully brought westerns back to popularity in one swoop. As a result, the studios began to share a faith in them once more. He also pulled his friend, John Wayne, out of his B-movie rut and into supreme stardom. Ford also embraced the new technology of color by showcasing it in "Drums Along the Mohawk". In all, Ford finally had the chance to show what he was made of and came out a champion. The next couple years would continue to be as successful if not more.

THE WESTERN HENRY FONDA

Raised: Born in Grand Island, Nebraska, his father was advertising-printing jobber. As a six-foot shy teenager, he left for school at the University of Minnesota to major in journalism. When he returned home he got involved with the Omaha Community Playhouse. There he worked with Marlon Brando's mother, Dodie Brando.

Western Awards: He was nominated for an Emmy on his performance in the television movie The Red Pony (1973).

Interesting Western Fact: During the filming of Mister Roberts (1955), Fonda refused direction of John Ford. In response to this, Ford sucker punched him and was removed from directing the film. This event ended a twenty year friendship, that created many western classics.

My Favorite Western: Drums Along the Mohawk (1939). Fonda did this picture the same year as the classic Young Mr. Lincoln. Both films were directed by John Ford and have stood the test of time. What I love about this film is its portrayal of the struggling pioneer and its patriotism.

Gil: If I can get in the clear, there isn't an Indian living that can catch me.

Fonda is one of those who could express his lines through his whole body. When he does talk, he takes his lines nice and slow. Anthony Quin said of Fonda, that he performed from his soul and not just his face. Each character he played embodied these characteristics and yet each one was different than the other. His mid-western accent was one of the first clues for studios to place him in westerns. Also at times he could add a certain raspy texture during intense moments that mesmerized the audience.

One other interesting fact that I didn't mention above is on The Ox-Bow Incident (1943). If you've seen this film you know that its about a lawless hanging. When Fonda was a young boy his father took him to the lynching of an African-American. His father didn't tell him where they were going or explain the event as they did it. He let his son decide how he felt and this event forever solidified in the young heart of Fonda. Can you imagine the emotions he felt during the making of this film later in his life.

The classic scene from The Ox-Bow Incident (1943).

FAVORITE FILMS OF WARD BOND

Earlier I mentioned a favorite actor of my parents, and now my father would like me to post on him. The man is Ward Bond, an amazing actor in his own right.

To list all of his films would take a large amount of time and detail, but I wish to highlight some of them. The complete tally is way over two-hundred and many of them are among the classics of our day. This was a particular impressive task that he achieved, since he died at the young age of fifty-seven. His voice and stature are unforgettable, yet he could play one part as well as another without the two being similar.

He was a good friend to John Wayne & John Ford, and appeared in many of their pictures. In fact the partnership with Ford created the longest record for director and star to appear together, twenty-six films. Bond himself starred in multiple pictures a year, once reaching a staggering thirty films in just one year in 1935.

Here are some of the favorites:

In 1939 we see him in two of the most popular films of its time, Gone with the Wind & Drums Along the Mohawk. I actually prefer Ford's film over the popular Fleming classic. Here we see Bond in a role he'd play a countless other times, the comedic country folk who added muscle to any fight. Always a friend of the lead and ready to follow at any moment.

Then in 1940, he finds himself in one of the most monumental pictures of it's time, The Grapes of Wrath. This character was more silly than comedic, and that's the beauty of his talent. In one film he is a convincingly brainless wit, and in the next he is a dominating strategic soldier.

Before he moved onto more dominating roles, he plays the country folk fool once again in Sergeant York (1941). His role was as the spirited friend of York who most often found in a tavern. He and Cooper did an amazing job of bringing this part of America to the screen. You would think that he was incapable of ever playing an sober person.

His strength and stature now came to the fore-front when he played the legendary John L. Sullivan in Gentlemen Jim (1942). He was the ultimate candidate for this gigantic American role. The scene in the end is one of the most endearing and humble that I have ever seen on screen. The movie itself is a treasure of a film to watch.

With WWII in full swing, he landed a great role on a classic film, A Guy Named Joe (1943). In a cast with some of the best of Hollywood, he didn't look left out. This film is an amazing one to watch and taught the World a new kind of love story.

Switching to a more modern role in Frank Capra's It's a Wonderful Life (1946), we discover that Bond can play anything. His part as "Bert" the cop has always baffled me. "How could this be the same guy in that other film?" I've watched it so many times before I even noticed it was him. That's alright though, as a kid I use to get Cooper & Stewart confused. True story!

He went on to be in many other amazing films as the years went by. Two of them in particular were shot in the same year, but as completely separate characters. The two films were 3 Godfathers (1948) & Joan of Arc (1948). With one, he played a common role as the sheriff hunting down the outlaws. The other placed him in a era he had never played before, the close ally of Joan of Arc in France. Both films are personal favorites and it's no wonder that Bond would be in them.

In 1952, he plays in the side role of Father Peter Lonergan, who wouldn't leave his fishing pole for almost anything. The Quiet Man brings together the Ford cast again also making this one of my favorite roles of his. Who would of thought that a witless country folk / cowboy could ever have played man in the cloth so well.

There are many films that I did not list that happened during and after the ones listed above. It seems every time I love a new film, I discover Ward Bond in the cast. He was not a fill in character, but an interesting side story to every script he played. You wanted to see more of what that character did and what he would rather be doing. This is truly one of the greatest supporting actors in the history of Hollywood.

DRUMS ALONG THE MOHAWK (1939)

Studio: Twentieth Century Fox

Producer: Darryl F. Zanuck

Director: John Ford

Awards: Nominated for two Oscars: Best Supporting Actress (Edna May Oliver) and Best Cinematography.

Interesting Fact: This was the first of Ford's film to be done in color.

My Mother's Favorite Scene: Her favorite is in the ending when an Indian jumps up with the patch on his eye from the villain. It cracks her up every time. This is topped of course when one of the final lines are given as the soldiers see a new flag for their country and say: "Is that what we are fighting for?"

Reverend Rosenkrantz: "O Almighty God, hear us, we beseech Thee, and bring succor and guidance to those we are about to bring to Your divine notice. First we are thinking of Mary Walaber. She is only 16 years old, but she is keeping company with a soldier from Fort Dayton. He's a Massachusetts man, and Thou knowest no good can come of that."

As a newly wed couple begins to carve out their life on the wild frontier of upstate New York, the Revolutionary War breaks out. With their farm burned to the ground and the wife miscarrying they seek shelter in another home. The husband is soon sent out to war and returns delirious. Soon they have a baby boy as the Indians begin to attack again. Everyone in the area seeks refuge at Fort Herkimer and they are hopelessly out numbered. Her husband is called upon to run through enemy lines and call for help. In a frantic race for his life, he returns with soldiers to find if the Fort has survived.

This is one of my mother's favorite films for it's acting patriotism and era. The only film in our day to come close to this picture would be The Patriot (2000). John Ford was THE greatest American director and this film showcases his amazing talent. Fonda & Colbert were perfect for the film; Fonda as a humble farmer and Colbert as the city girl getting use to he farming life. Most of all, as I mentioned above, she loves this film for it's electrifying patriotism.

HAVE YOU SEEN THIS MOVIE?

MOTHER'S MONTH

In 1956, Hollywood honored six mothers as "Mothers of the year."
Here is the link for the story: click here

In honor of Mother's Day this month, I have turned to my matriarch and asked her what are her top ten films. With no surprise she listed some of my favorite films that I may have already posted on.

I should mention a little unknown fact about my mother which would explain why I created this blog in the first place. In her youth she had lived in three different parts of the country: Arizona, Utah & California. As with all children, they moved where work could be had by the father.

Her father had worked as a young boy in Hollywood at a department store and would often wait on the Barrymore family. As a teenager he became interested in Radio and a new invention that later became Television.

This love of media grew into a career and he soon found himself picking up Bob Hope and others like Edward Arnold to help them put their show over the air and record it. Now mind you, he was not seen as an errand boy to perform these jobs. As an employee of KSL he was the only one working on this position to make sure it was a success. No secretary, no agent just my grandpa.

Another interesting story about my grandpa was when my mother was in the eighth grade of Crozier Junior High in Inglewood CA. He was noticing that layoffs were coming to his job at Hughes Air Base. Working as an electronic technician he was fearful that he may be next in line. Afraid of being out of work with a family to feed, he got a job at Motorola in Arizona. Howard Hughes, thee Howard Hughes, called him on the phone while he was packing and asked why he was leaving the company. My grandpa told him the situation and Hughes said in response: "Clyde, we would never fire you. You don't take coffee breaks."

These and other experiences, throughout his life, created a great love for the work of Hollywood and the celebrities in it. This love was so great that it spilled over into my mother's life and on into all of my brothers and sisters. This is why I do what I do for this blog each day.

My Mother's Top Ten:

1. A Guy Named Joe (1943)

2. Random Harvest (1942)

3. Blossoms In the Dust (1941)

4. New Moon (1940)

5. Drums Along the Mohawk (1939)

6. The Alamo (1960)

7. Girl of the Golden West (1938)

8. It's a Wonderful Life (1946)

9. What's Up Doc? (1972)

10. Mrs. Miniver (1942)

You may notice that with the exception of two of the above listed, all of the films hover around the 1940's. My mother is a firm believer that a humbled people make truly remarkable films. Those were dark days where the sunlight that came from the screen gave hope.

With those years long gone and with nothing to keep us humble, we find the people interested in things that are low and degrading in order to find a cheap laugh.

CLAUDETTE COLBERT (1903-1996)

EMILIE CLAUDETTE CHAUCHOIN

Born: September 13th, 1903 (Saint-Mandé, France)

Died: July 30th, 1996 (suffering from multiple strokes)

Marriages: Norman Foster (1928-1935), Dr. Joel Pressman (1935-His death in 1968)

Children: None, but she adopted became a godmother to a few including June Allyson's daughter Pamela Powell.

Interesting Fact: You will rarely see the right side of her face in any picture since she had a bump on her nose. The camera-men would call it the "dark side of the moon" and Doris Day later said that "God waisted half a face on Claudette."

Success: She originally began on the stage and only came to films when the depression hit. Her first film "For the Love of Mike" (1927) was a flop and she vowed to never make another film. One of her next films however was a success in "The Lady Lies" (1929) and she continued to become popular. Her most notable achievement was her role in "It Happened One Night" (1934) where she won her only Oscar. She began to wain in popularity around the 1950's and returned to the stage.

Awards: She one a surprising Oscar for "It Happened One Night" in 1934 and received two nominations for "Private Worlds" (1935) & "Since You Went Away" (1944). She also won five other acting achievements and was nominated for her role in "The Two Mrs. Grenvilles" in 1987.

My Favorite Film: I just watched her in "Without Reservations" (1946) with John Wayne and loved it. My two favorite films of her are "Since You Went Away" and of course "It Happened One Night." Another hidden gem is her performance in "The Egg and I" (1947).

Claudette can be both sophisticated and personable at any time she wishes. Her laugh is contiguous as well as any and all of her expressions. She was a Queen of the silver screen.

I mentioned in a previous post about her unexpected Oscar win. Below is a quote from her on the occasion.

"I was surprised when I got the prize. I really had no idea I would get it. In fact, I was ready to leave for New York the night they called to tell me about it. Dressed in a mousy brown suit, I was escorted into the banquet hall full of diamonds and tail coats. It was especially embarrassing because I imagined they thought I was putting on an act, making an entrance."