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'{{Other people}} {{Infobox person | name = John Ford | image = John Ford 1946.jpg | caption = Ford in 1946 | birth_name = John Martin Feeney | birth_date = {{Birth date|1894|2|1}} | birth_place = [[Cape Elizabeth, Maine]], U.S. | death_date = {{Death date and age|1973|8|31|1894|2|1}} | death_place = {{nowrap|[[Palm Desert, California]], U.S.}} | death_cause = [[Stomach cancer]] | resting_place = [[Holy Cross Cemetery, Culver City, California]]<ref>{{FAG|353|John M. Ford}}</ref> | occupation = Film director/producer | years_active = 1917–1966 | module = {{Infobox military person|embed=yes | allegiance = {{flagicon|United States}} United States | branch = [[United States Navy|US Navy]]<br />[[United States Navy Reserve|US Naval Reserve]] | serviceyears = 1942–45 (active)<br />1946–62 (reserve) | rank = [[Commander]] (active)<br />[[Rear Admiral]] (reserve) | battles = World War II<br />{{blist|[[Battle of Midway]]|[[Operation Overlord|Battle of Normandy]]}} }} }} <!--- Registry of births for Cape Elizabeth, Maine, clearly records the birth of John Martin Feeney on February 1, 1894. That is the date on his birth registration, on his school records at Portland High School, and on his death certificate. ---> '''John Ford''' (February 1, 1894 – August 31, 1973) was an American [[film director]]. He is renowned both for [[western (genre)|Westerns]] such as ''[[Stagecoach (1939 film)|Stagecoach]]'' (1939), ''[[The Searchers]]'' (1956), and ''[[The Man Who Shot Liberty Valance]]'' (1962), as well as adaptations of classic 20th-century American novels such as the film ''[[The Grapes of Wrath (film)|The Grapes of Wrath]]'' (1940). His four [[Academy Awards]] for Best Director (in 1935, 1940, 1941, and 1952) remain a record. One of the films for which he won the award, ''[[How Green Was My Valley (film)|How Green Was My Valley]]'', also won Best Picture. In a career that spanned more than 50&nbsp;years, Ford directed more than 140 films (although most of his [[silent film]]s are now [[lost film|lost]]) and he is widely regarded as one of the most important and influential film-makers of his generation.<ref>Gallagher, Tag ''John Ford: The Man and his Films'' (University of California Press, 1984), 'Preface'</ref> Ford's work was held in high regard by his colleagues, with [[Orson Welles]] and [[Ingmar Bergman]] among those who have named him one of the greatest directors of all time. Ford made frequent use of [[location shooting]] and [[long shot]]s, in which his characters were framed against a vast, harsh, and rugged natural terrain. ==Early life== Ford was born John Martin "Jack" Feeney (though he later often gave his given names as Sean Aloysius, sometimes with surname O'Feeny or O'Fearna; an [[Irish language]] equivalent of Feeney) in [[Cape Elizabeth, Maine]], to John Augustine Feeney and Barbara "Abbey" Curran, on February 1, 1894<ref>1900 Census report Feb 1894 birthdate provided </ref> (though he occasionally said 1895 and that date is erroneously inscribed on his tombstone).<ref name=Eyman /> His father, John Augustine, was born in [[Spiddal]],<ref>Probably better then known by its Gaelic name, ''[[:ga:An Spidéal|An Spidéal]]''.</ref> [[County Galway]], Ireland, in 1854.<ref name=Eyman /> Barbara Curran was born in the [[Aran Islands]], in the town of [[Kilronan]] on the island of [[Inishmore]] (Inis Mór).<ref name=Eyman /> John A. Feeney's grandmother, Barbara Morris, was said to be a member of a local (impoverished) gentry family, the Morrises of Spiddal (headed at present by [[Lord Killanin]]). John Augustine and Barbara Curran arrived in [[Boston]] and [[Portland, Maine|Portland]] respectively in May and June 1872. They married in 1875 and became American citizens five years later on September 11, 1880.<ref name=Eyman /> They had eleven children: Mamie (Mary Agnes), born 1876; Delia (Edith), 1878–1881; Patrick; [[Francis Ford (actor)|Francis Ford]], 1881–1953; Bridget, 1883–1884; Barbara, born and died 1888; Edward, born 1889; Josephine, born 1891; Hannah (Joanna), born and died 1892; John Martin, 1894–1973; and Daniel, born and died 1896 (or 1898).<ref name=Eyman /> John Augustine lived in the [[Munjoy Hill]] neighborhood of Portland, Maine, with his family, and would try farming, fishing, working for the gas company, running a saloon, and being an alderman.<ref name=Eyman /> Feeney attended [[Portland High School, Portland, Maine]], where he was a successful [[fullback (American football)|fullback]] and defensive tackle. He earned the nickname "Bull" because of the way he would lower his helmet and charge the line. A Portland pub is named Bull Feeney's in his honor. He later moved to California and in 1914 began working in film production as well as acting for his older brother [[Francis Ford (actor)|Francis]], adopting "Jack Ford" as a professional name. In addition to credited roles, he appeared uncredited as a [[Ku Klux Klan|Klansman]] in [[D. W. Griffith]]'s [[1915 in film|1915]] ''[[The Birth of a Nation]]'', as the man who lifts up one side of his hood so he can see clearly. He married Mary McBride Smith on July 3, 1920, and they had two children. His daughter Barbara was married to singer and actor [[Ken Curtis]] from 1952 to 1964. The marriage between Ford and Smith lasted for life despite various issues, one of which could have proved problematic from the start, this being that John Ford was Catholic<ref>{{cite web|url=http://www.adherents.com/people/pf/John_Ford.html|title=The religion of John Ford, director|publisher=}}</ref> while she was a non-Catholic divorcée.<ref>{{cite web|url=http://www.christianitytoday.com/ct/2008/novemberweb-only/fofford.html?paging=off|title=Filmmakers of Faith: John Ford|publisher=}}</ref> What difficulty was caused by the two marrying is unclear as the level of John Ford's commitment to the Catholic faith is disputed.<ref>[http://www.americamagazine.org/issue/searcher "The Searcher" in ''America Magazine'']:Ford once told Peter Bogdanovich that while he was Catholic, he wasn't "very Catholic," meaning he wasn't a regular churchgoer.</ref> A strain would have been Ford's many extramarital relationships.<ref>Gallagher, Tag ''John Ford: The Man and his Films'' (University of California Press 1984) p. 380</ref> ==Directing career== [[File:John Ford 1915.png|thumb|Ford in 1915]] John Ford began his career in film after moving to California in July 1914. He followed in the footsteps of his multi-talented older brother Francis Ford, twelve years his senior, who had left home years earlier and had worked in [[vaudeville]] before becoming a movie actor. Francis played in hundreds of silent pictures for filmmakers such as [[Thomas Edison]], [[Georges Méliès]] and [[Thomas H. Ince|Thomas Ince]], eventually progressing to become a prominent [[Hollywood]] actor-writer-director with his own production company (101 Bison) at [[Universal Studios|Universal]].<ref>Gallagher, 1986, p. 6</ref> John Ford started out in his brother's films as an assistant, handyman, stuntman and occasional actor, frequently doubling for his brother, whom he closely resembled.<ref>Ephraim Katz, ''The Film Encyclopedia, Fifth Edition'' (Harper-Collins, New York, 2005), p. 490</ref> Francis gave his younger brother his first acting role in ''The Mysterious Rose'' (November 1914).<ref>Gallagher, 1986, p. 13</ref> Despite an often combative relationship, within three years Jack had progressed to become Francis' chief assistant and often worked as his cameraman.<ref>Gallagher, 1986, p. 15</ref> By the time Jack Ford was given his first break as a director, Francis' profile was declining and he ceased working as a director soon after. One notable feature of John Ford's films is that he used a 'stock company' of actors, far more so than many directors. Many famous stars appeared in at least two or more Ford films, including [[Harry Carey (actor)|Harry Carey Sr.]], (the star of 25 Ford silent films), [[Will Rogers]], [[John Wayne]], [[Henry Fonda]], [[Maureen O'Hara]], [[James Stewart]], [[Woody Strode]], [[Richard Widmark]], [[Victor McLaglen]], [[Vera Miles]] and [[Jeffrey Hunter]]. Many of his supporting actors appeared in multiple Ford films, often over a period of several decades, including [[Ben Johnson (actor)|Ben Johnson]], [[Chill Wills]], [[Andy Devine]], [[Ward Bond]], [[Grant Withers]], [[Mae Marsh]], [[Anna Lee]], [[Harry Carey Jr.]], [[Ken Curtis]], Frank Baker, [[Dolores del Río]], [[Pedro Armendáriz]], [[Hank Worden]], [[John Qualen]], [[Barry Fitzgerald]], [[Arthur Shields]], [[John Carradine]], [[O. Z. Whitehead]] and [[Carleton Young]]. Core members of this extended 'troupe', including Ward Bond, John Carradine, Harry Carey Jr., Mae Marsh, Frank Baker and Ben Johnson, were informally known as the [[John Ford Stock Company]]. Likewise, Ford enjoyed extended working relationships with his production team, and many of his crew worked with him for decades. He made numerous films with the same major collaborators, including producer and business partner [[Merian C. Cooper]], scriptwriters [[Nunnally Johnson]], [[Dudley Nichols]] and [[Frank S. Nugent]], and cinematographers [[Ben F. Reynolds]], [[John W. Brown (cinematographer)|John W. Brown]] and [[George Schneiderman]] (who between them shot most of Ford's silent films), [[Joseph H. August]], [[Gregg Toland]], [[Winton Hoch]], [[Charles Lawton Jr.]], [[Bert Glennon]], [[Archie Stout]] and [[William H. Clothier]]. ===Silent era=== During his first decade as a director Ford honed his craft on dozens of features (including many westerns) but only ten of the more than sixty silent films he made between 1917 and 1928 still survive in their entirety.<ref>Gallagher, 1986, pp. 502–546</ref> However, prints of several Ford 'silents' previously thought lost have been rediscovered in foreign film archives over recent years—in 2009 a trove of 75 Hollywood silent films was rediscovered in the [[New Zealand Film Archive]], among which was the only surviving print of Ford's 1927 silent comedy ''[[Upstream (film)|Upstream]]''.<ref>{{cite news|url=http://www.cbc.ca/arts/film/story/2010/06/08/silent-films-new-zealand.html |title=New Zealand vault contains silent film cache |publisher=CBC News |date=2010-06-08 |accessdate=2012-02-27 |deadurl=yes |archiveurl=https://web.archive.org/web/20100611062910/http://www.cbc.ca/arts/film/story/2010/06/08/silent-films-new-zealand.html |archivedate=June 11, 2010 }}</ref> The print was restored in New Zealand by the [[Academy of Motion Picture Arts & Sciences]] before being returned to America, where it was given a "repremiere" at the [[Samuel Goldwyn Theater]] in Beverly Hills on August 31, 2010, featuring a newly commissioned score by [[Michael Mortilla]].<ref>{{cite web|author=|url=https://www.youtube.com/watch?v=hn5D8ZcCX0M |title=''Upstream'' repremiere |publisher=YouTube |accessdate=2012-02-27}}</ref> Throughout his career Ford was one of the busiest directors in Hollywood, but he was extraordinarily productive in his first few years as a director—he made ten films in 1917, eight in 1918 and fifteen in 1919—and he directed a total of 62 shorts and features between 1917 and 1928, although he was not given a screen credit in most of his earliest films. There is some uncertainty about the identity of Ford's first film as director—film writer Ephraim Katz notes that Ford might have directed the four-part film ''[[Lucille The Waitress (film)|Lucille the Waitress]]'' as early as 1914<ref>Ephraim Katz, ''The Film Encyclopedia, Fifth Edition'' (2005, Harper Collins, New York, {{ISBN|0-06-074214-3}})</ref>—but most sources cite his directorial début as the silent two-reeler ''[[The Tornado]]'', released in March 1917. According to Ford's own story, he was given the job by Universal boss [[Carl Laemmle]] who supposedly said, "Give Jack Ford the job—he yells good". ''The Tornado'' was quickly followed by a string of two-reeler and three-reeler "quickies"—''[[The Trail of Hate]]'', ''[[The Scrapper]]'', ''[[The Soul Herder]]'' and ''[[Cheyenne's Pal]]''; these were made over the space of a few months and each typically shot in just two or three days; all are now presumed lost. ''The Soul Herder'' is also notable as the beginning of Ford's four-year, 25-film association with veteran writer-actor [[Harry Carey (actor)|Harry Carey]],<ref>Gallagher, 1986, p. 17</ref> who (with Ford's brother Francis) was a strong early influence on the young director, as well as being one of the major influences on the screen persona of Ford's protege [[John Wayne]]. Carey's son [[Harry Carey Jr.|Harry "Dobe" Carey Jr.]], who also became an actor, was one of Ford's closest friends in later years and featured in many of his most celebrated westerns. Ford's first feature-length production was ''[[Straight Shooting]]'' (August 1917), which is also his earliest complete surviving film as director, and one of only two survivors from his twenty-five film collaboration with Harry Carey. In making the film Ford and Carey ignored studio orders and turned in five reels instead of two, and it was only through the intervention of Carl Laemmle that the film escaped being cut for its first release, although it was subsequently edited down to two reels for re-release in the late 1920s.<ref>Gallagher, 1986, p. 19</ref> Ford's last film of 1917, ''[[Bucking Broadway]]'', was long thought to have been lost, but in 2002 the only known surviving print was discovered in the archives of the French National Center for Cinematography<ref name="silentera">{{cite web |url=http://www.silentera.com/PSFL/data/B/BuckingBroadway1917.html |title=Progressive Silent Film List: Bucking Broadway |accessdate=2008-02-22|work=Silent Era}}</ref> and it has since been restored and digitized. Ford directed around thirty-six films over three years for Universal before moving to the [[20th Century Fox|William Fox]] studio in 1920; his first film for them was ''[[Just Pals]]'' (1920). His 1923 feature ''Cameo Kirby'', starring screen idol [[John Gilbert (actor)|John Gilbert]]—another of the few surviving Ford silents—marked his first directing credit under the name "John Ford", rather than "Jack Ford", as he had previously been credited. Ford's first major success as a director was the historical drama ''[[The Iron Horse (film)|The Iron Horse]]'' (1924), an epic account of the building of the [[First Transcontinental Railroad]]. It was a large, long and difficult production, filmed on location in the [[Sierra Nevada (U.S.)|Sierra Nevada]]. The logistics were enormous—two entire towns were constructed, there were 5000 extras, 100 cooks, 2000 rail layers, a cavalry regiment, 800 Indians, 1300 buffaloes, 2000 horses, 10,000 cattle and 50,000 properties, including the original stagecoach used by [[Horace Greeley]], [[Wild Bill Hickok]]'s [[derringer]] pistol and replicas of the "[[Jupiter (locomotive)|Jupiter]]" and "[[Union Pacific No. 119|119]]" locomotives that met at [[Promontory Point]] when the two ends of the line were joined on 10 May 1869.<ref name="Gallagher, 1986, p. 31">Gallagher, 1986, p. 31</ref> Ford's brother Eddie was a crew member and they fought constantly; on one occasion Eddie reportedly "went after the old man with a pick handle". There was only a short synopsis written when filming began and Ford wrote and shot the film day by day. Production fell behind schedule, delayed by constant bad weather and the intense cold, and Fox executives repeatedly demanded results, but Ford would either tear up the telegrams or hold them up and have stunt gunman [[Edward "Pardner" Jones]] shoot holes through the sender's name.<ref>{{cite web|url=http://www.texasescapes.com/MikeCoxTexasTales/215-Pardner-Jones-King-Fisher.htm |title=Edward Jones, Pardner Jones or King Fisher |publisher=Texasescapes.com |date=2004-12-12 |accessdate=2012-02-27}}</ref> Despite the pressure to halt the production, studio boss [[William Fox (producer)|William Fox]] finally backed Ford and allowed him to finish the picture and his gamble paid off handsomely—''The Iron Horse'' became one of the top-grossing films of the decade, taking over US$2&nbsp;million worldwide, against a budget of $280,000.<ref name="Gallagher, 1986, p. 31"/> Ford made a wide range of films in this period, and he became well known for his Western and 'frontier' pictures, but the genre rapidly lost its appeal for major studios in the late 1920s. Ford's last silent Western was ''[[3 Bad Men]]'' (1926), set during the [[Dakota land rush]] and filmed at [[Jackson Hole]], Wyoming and in the [[Mojave Desert]]. It would be thirteen years before he made his next Western, ''Stagecoach'', in 1939. During the 1920s, Ford also served as president of the [[Motion Picture Directors Association]], a forerunner to today's [[Directors Guild of America]]. ===Talkies: 1928–1939=== Ford was one of the pioneer directors of sound films; he shot Fox's first song sung on screen, for his film ''[[Mother Machree]]'' (1928) of which only three of the original seven reels survive; this film is also notable as the first Ford film to feature the young [[John Wayne]] (as an uncredited extra) and he appeared in Ford's next two films. Ford also directed Fox's first all-talking dramatic feature ''Napoleon's Barber'' (1928), a 3-reeler which is also now lost. Just before the studio converted to talkies, Fox gave a contract to the German director [[F. W. Murnau]], and his film ''[[Sunrise (film)|Sunrise]]'' (1927), still highly regarded by critics, had a powerful effect on Ford.<ref>Gallagher, 1986, pp. 49–61</ref> Murnau's influence can be seen in many of Ford's films of the late 1920s and early 1930s—his penultimate silent feature ''[[Four Sons]]'' (1928), was filmed on some of the lavish sets left over from Murnau's production. Ford's last silent feature ''[[Hangman's House]]'' (1928) is notable as one of the first credited screen appearances by [[John Wayne]]. ''Napoleon's Barber'' was followed by ''[[Riley the Cop]]'' (1928) and ''[[Strong Boy]]'' (1929), starring [[Victor McLaglen]]; the latter is now lost (although Tag Gallagher's book records that the only surviving copy of ''Strong Boy'', a 35&nbsp;mm nitrate print, was rumored to be held in a private collection in Australia<ref>Gallagher, 1986, p. 519</ref>). ''[[The Black Watch]]'' (1929), a colonial army adventure set in the [[Khyber Pass]] starring Victor McLaglen and [[Myrna Loy]] is Ford's first complete surviving talking picture; it was remade in 1954 by [[Henry King (director)|Henry King]] as ''[[King of the Khyber Rifles (film)|King of the Khyber Rifles]]''. Ford's output was fairly constant from 1928 to the start of World War II; he made five features in 1928 and then made either two or three films every year from 1929 to 1942, inclusive. Three films were released in 1929—''[[Strong Boy]]'', ''[[The Black Watch]]'' and ''[[Salute (1929 film)|Salute]]''. His three films of 1930 were ''[[Men Without Women (film)|Men Without Women]]'', ''[[Born Reckless (1930 film)|Born Reckless]]'' and ''[[Up the River]]'', which is notable as the debut film for both [[Spencer Tracy]] and [[Humphrey Bogart]], who were both signed to Fox on Ford's recommendation (but subsequently dropped). Ford's films in 1931 were ''[[Seas Beneath]]'', ''[[The Brat]]'' and ''[[Arrowsmith (film)|Arrowsmith]]''; the last-named, adapted from the [[Sinclair Lewis]] novel and starring [[Ronald Colman]] and [[Helen Hayes]], marked Ford's first [[Academy Awards]] recognition, with five nominations including Best Picture. Ford's legendary efficiency and his ability to craft films combining artfulness with strong commercial appeal won him increasing renown. By 1940 he was acknowledged as one of the world's foremost movie directors.{{Citation needed|date=February 2010}} His growing prestige was reflected in his remuneration—in 1920, when he moved to Fox, he was paid $300–600 per week. As his career took off in the mid-Twenties his annual income significantly increased. He earned nearly $134,000 in 1929, and made over $100,000 per annum ''every year'' from 1934 to 1941, earning a staggering $220,068 in 1938<ref>Gallagher, 1986, pp. 498–99</ref>—more than double the salary of the U.S. President at that time (although this was still less than half the income of [[Carole Lombard]], Hollywood's highest-paid star of the 1930s, who was earning around $500,000 per year at the time). With film production affected by the Depression, Ford made two films each in 1932 and 1933—''[[Air Mail (film)|Air Mail]]'' (made for Universal) with a young [[Ralph Bellamy]] and ''[[Flesh]]'' (for MGM) with [[Wallace Beery]]. In 1933, he returned to Fox for ''[[Pilgrimage]]'' and ''[[Doctor Bull]]'', the first of his three films with [[Will Rogers]]. The World War I desert drama ''[[The Lost Patrol (1934 film)|The Lost Patrol]]'' (1934), based on the book ''Patrol'' by [[Philip MacDonald]], was a superior remake of the 1929 silent film ''[[Lost Patrol (1929 film)|Lost Patrol]]''. It starred [[Victor McLaglen]] as The Sergeant—the role played by his brother [[Cyril McLaglen]] in the earlier version—with [[Boris Karloff]], [[Wallace Ford]], [[Alan Hale Sr.|Alan Hale]] and [[Reginald Denny (actor)|Reginald Denny]] (who went on to found a company that made radio-controlled target aircraft during World War II). It was one of Ford's first big hits of the sound era—it was rated by both the [[National Board of Review]] and ''[[The New York Times]]'' as one of the Top 10 films of that year and won an Oscar nomination for its stirring [[Max Steiner]] score.<ref>Gallagher, 1986, p. 97</ref> It was followed later that year by ''[[The World Moves On]]'' with [[Madeleine Carroll]] and [[Franchot Tone]], and the highly successful ''[[Judge Priest]]'', his second film with Will Rogers, which became one of the top-grossing films of the year. Ford's first film of 1935 (made for [[Columbia Pictures|Columbia]]) was the mistaken-identity comedy ''[[The Whole Town's Talking]]'' with [[Edward G. Robinson]] and [[Jean Arthur]], released in the UK as ''Passport to Fame'', and it drew critical praise. ''[[Steamboat Round The Bend]]'' was his third and final film with Will Rogers; it is probable they would have continued working together, but their collaboration was cut short by Rogers' untimely death in a plane crash in May 1935, which devastated Ford. Ford confirmed his position in the top rank of American directors with the [[F. W. Murnau|Murnau]]-influenced [[Irish Republican Army]] drama ''[[The Informer (1935 film)|The Informer]]'' (1935), starring Victor McLaglen. It earned great critical praise, was nominated for Best Picture, won Ford his first [[Academy Award]] for Best Director, and was hailed at the time as one of the best films ever made, although its reputation has diminished considerably compared to other contenders like ''[[Citizen Kane]]'',<ref>{{IMDb name|0000406}}</ref> or Ford's own later ''[[The Searchers (film)|The Searchers]]'' (1956). The politically charged ''[[The Prisoner of Shark Island]]'' (1936)—which marked the debut with Ford of long-serving "Stock Company" player [[John Carradine]]—explored the little-known story of [[Samuel Mudd]], a physician who was caught up in the [[Abraham Lincoln assassination]] conspiracy and consigned to an offshore prison for treating the injured [[John Wilkes Booth]]. Other films of this period include the South Seas melodrama ''[[The Hurricane (1937 film)|The Hurricane]]'' (1937) and the lighthearted [[Shirley Temple]] vehicle ''[[Wee Willie Winkie (film)|Wee Willie Winkie]]'' (1937), each of which had a first-year US gross of more than $1&nbsp;million. During filming of ''Wee Willie Winkie'', Ford had elaborate sets built on the [[Iverson Movie Ranch]] in [[Chatsworth, Los Angeles, California|Chatsworth, Calif.]], a heavily filmed location ranch most closely associated with serials and B-Westerns, which would become, along with [[Monument Valley]], one of the director's preferred filming locations, and a site to which Ford would return in the next few years for ''[[Stagecoach (1939 film)|Stagecoach]]'' and ''[[The Grapes of Wrath (film)|The Grapes of Wrath]]''. The longer revised version of ''[[Directed by John Ford]]'' shown on [[Turner Classic Movies]] in November, 2006 features directors [[Steven Spielberg]], [[Clint Eastwood]], and [[Martin Scorsese]], who suggest that the string of classic films Ford directed during 1936 to 1941 was due in part to an intense six-month extra-marital affair with [[Katharine Hepburn]], the star of ''[[Mary of Scotland (film)|Mary of Scotland]]'' (1936), an Elizabethan costume drama. ===1939–1941=== ''[[Stagecoach (1939 film)|Stagecoach]]'' (1939) was Ford's first western since ''3 Bad Men'' in 1926, and it was his first with sound. Reputedly Orson Welles watched ''Stagecoach'' forty times in preparation for making ''Citizen Kane''. It remains one of the most admired and imitated of all Hollywood movies, not least for its climactic stagecoach chase and the hair-raising horse-jumping scene, performed by the stuntman [[Yakima Canutt]]. The [[Dudley Nichols]]–[[Ben Hecht]] screenplay was based on an [[Ernest Haycox]] story that Ford had spotted in ''[[Collier's]]'' magazine and he purchased the screen rights for just $2500. Production chief [[Walter Wanger]] urged Ford to hire [[Gary Cooper]] and [[Marlene Dietrich]] for the lead roles, but eventually accepted Ford's decision to cast [[Claire Trevor]] as Dallas and a virtual unknown, his friend [[John Wayne]], as Ringo; Wanger reportedly had little further influence over the production.<ref>Gallagher, 1986, p. 146</ref> In making ''Stagecoach'', Ford faced entrenched industry prejudice about the now-hackneyed genre which, ironically, he had helped to make so popular. Although low-budget western features and serials were still being churned out in large numbers by "[[Poverty Row]]" studios, the genre had fallen out of favor with the big studios during the 1930s and they were regarded as B-grade "pulp" movies at best. As a result, Ford shopped the project around Hollywood for almost a year, offering it unsuccessfully to both [[Joseph Kennedy]] and [[David O. Selznick]] before finally linking with Walter Wanger, an independent producer working through [[United Artists]]. ''Stagecoach'' is significant for several reasons—it exploded industry prejudices by becoming both a critical and commercial hit, grossing over US$1&nbsp;million in its first year (against a budget of just under $400,000), and its success (along with the 1939 Westerns [[Destry Rides Again]] with Dietrich and Michael Curtiz's [[Dodge City (film)|Dodge City]] with Erroll Flynn) revitalized the moribund genre, showing that Westerns could be "intelligent, artful, great entertainment—and profitable".<ref>Gallagher, 1986, p. 145</ref> It was nominated for seven Academy Awards, including Best Picture and Best Director, and won two Oscars, for Best Supporting Actor (Thomas Mitchell) and Best Score. ''Stagecoach'' became the first in the series of seven classic Ford Westerns filmed on location in [[Monument Valley]],<ref>The other Ford westerns with location work shot in Monument Valley were ''[[My Darling Clementine]]'' (1946), ''[[Fort Apache (film)|Fort Apache]]'' (1948), ''[[She Wore a Yellow Ribbon]]'' (1949), ''[[The Searchers (film)|The Searchers]]'' (1956), ''[[Sergeant Rutledge]]'' (1960), and ''[[Cheyenne Autumn]]'' (1964).</ref> with additional footage shot at another of Ford's favorite filming locations, the [[Iverson Movie Ranch]] in [[Chatsworth, Los Angeles, California|Chatsworth, Calif.]], where he had filmed much of ''[[Wee Willie Winkie (film)|Wee Willie Winkie]]'' two years earlier. Ford skillfully blended Iverson and Monument Valley to create the movie's iconic images of the American West. John Wayne had good reason to be grateful for Ford's support; ''Stagecoach'' provided the actor with the career breakthrough that elevated him to international stardom. Over 35 years Wayne appeared in 24 of Ford's films and three television episodes. Ford is credited with playing a major role in shaping Wayne's screen image. Cast member Louise Platt, in a letter recounting the experience of the film's production, quoted Ford saying of Wayne's future in film: "He'll be the biggest star ever because he is the perfect 'everyman.'"<ref name="Louise Platt letter">{{cite web|url=http://www.thenedscottarchive.com/hollywood/films/movie-stagecoach.html#platt2|title=Movie Stagecoach|first=|last=Editor|publisher=}}</ref> ''Stagecoach'' marked the beginning of the most consistently successful phase of Ford's career—in just two years between 1939 and 1941 he created a string of classics films that won numerous Academy Awards. Ford's next film, the biopic ''[[Young Mr Lincoln]]'' (1939) starring [[Henry Fonda]], was less successful than ''Stagecoach'', attracting little critical attention and winning no awards. It was not a major box-office hit although it had a respectable domestic first-year gross of $750,000, but Ford scholar Tag Gallagher describes it as "a deeper, more multi-leveled work than ''Stagecoach''&nbsp;... (which) seems in retrospect one of the finest prewar pictures".<ref>Gallagher, 1986, p. 162</ref> ''[[Drums Along the Mohawk]]'' (1939) was a lavish frontier drama co-starring Henry Fonda and [[Claudette Colbert]]; it was also Ford's first movie in color and included uncredited script contributions by [[William Faulkner]]. It was a big box-office success, grossing $1.25&nbsp;million in its first year in the US and earning [[Edna May Oliver]] a Best Supporting Actress Oscar nomination for her performance. Despite its uncompromising humanist and political stance, Ford's screen adaptation of [[John Steinbeck]]'s ''[[The Grapes of Wrath]]'' (scripted by [[Nunnally Johnson]] and photographed by [[Gregg Toland]]) was both a big box office hit and a major critical success, and it is still widely regarded as one of the best Hollywood films of the era. Noted critic [[Andrew Sarris]] described it as the movie that transformed Ford from "a storyteller of the screen into America's cinematic poet laureate".<ref>Quoted in Joseph McBride, "The Searchers", ''Sight & Sound'', Spring 1972, p. 212</ref> Ford's third movie in a year and his third consecutive film with Fonda, it grossed $1.1&nbsp;million in the USA in its first year<ref name="Gallagher, 1986, p. 499"/> and won two Academy Awards—Ford's second 'Best Director' Oscar, and 'Best Supporting Actress' for [[Jane Darwell]]'s tour-de-force portrayal of Ma Joad. During production, Ford returned to the [[Iverson Movie Ranch]] in [[Chatsworth, Los Angeles, California|Chatsworth, Calif.]], to film a number of key shots, including the pivotal image depicting the migrant family's first full view of the fertile farmland of [[California]], which was represented by the [[San Fernando Valley]] as seen from the Iverson Ranch. [[The Grapes of Wrath (film)|''The Grapes of Wrath'']] was followed by two less successful and lesser known films. ''[[The Long Voyage Home]]'' (1940) was, like ''Stagecoach'', made with Walter Wanger through United Artists. Adapted from four plays by [[Eugene O'Neill]], it was scripted by Dudley Nichols and Ford, in consultation with O'Neill. Although not a significant box-office success (it grossed only $600,000 in its first year), it was critically praised and was nominated for seven Academy Awards—Best Picture, Best Screenplay, (Nichols), Best Music (Best Photography ([[Gregg Toland]]), Best Editing (Sherman Todd), Best Effects (Ray Binger & R.T. Layton), and Best Sound ([[Robert Parrish]]). It was one of Ford's personal favorites; stills from it decorated his home and O'Neill also reportedly loved the film and screened it periodically.<ref>Gallagher, 1986, p. 182</ref> ''[[Tobacco Road (film)|Tobacco Road]]'' (1941) was a rural comedy scripted by [[Nunnally Johnson]], adapted from the long-running Jack Kirkland stage version of the novel by [[Erskine Caldwell]]. It starred veteran actor [[Charley Grapewin]] and the supporting cast included Ford regulars [[Ward Bond]] and [[Mae Marsh]], with Francis Ford in an uncredited bit part; it is also notable for early screen appearances by future stars [[Gene Tierney]] and [[Dana Andrews]]. Although not highly regarded by some critics—Tag Gallagher devotes only one short paragraph to it in his book on Ford<ref>Gallagher, 1986, p. 183</ref>—it was fairly successful at the box office, grossing $900,000 in its first year. According to IMDb, the film was banned in Australia for unspecified reasons.<ref>[http://www.imdb.com/title/tt0034297/trivia IMDb – ''Tobacco Road – Trivia]</ref> Ford's last feature before America entered World War II was his screen adaptation of ''[[How Green Was My Valley]]'' (1941), starring [[Walter Pidgeon]], [[Maureen O'Hara]] and [[Roddy McDowell]] in his career-making role as Huw. The script was written by [[Philip Dunne (writer)|Philip Dunne]] from the best-selling novel by [[Richard Llewellyn]]. It was originally planned as a four-hour epic to rival ''[[Gone with the Wind (film)|Gone with the Wind]]''—the screen rights alone cost Fox $300,000—and was to have been filmed on location in Wales, but this was abandoned due to the heavy German bombing of Britain. A search of Southern California locations resulted in the set for the village being built on the grounds of the Crags Country Club (later the Fox ranch, now the core of Malibu Creek State Park).<ref>{{cite web|url=http://www.malibucreekstatepark.org/history.html|title=history|publisher=}}</ref> Another reported factor was the nervousness of Fox executives about the pro-union tone of the story.<ref>[http://www.imdb.com/title/tt0033729/trivia IMDb – "How Green Was My Valley'' – Trivia]</ref> [[William Wyler]] was originally engaged to direct, but he left the project when Fox decided to film it in California; Ford was hired in his place and production was postponed for several months until he became available. Producer [[Darryl F. Zanuck]] had a strong influence over the movie and made several key decisions, including the idea of having the character of Huw narrate the film in voice-over (then a novel concept), and the decision that Huw's character should not age ([[Tyrone Power]] was originally slated to play the adult Huw).<ref>Gallagher, 1986, pp. 184–185</ref> ''How Green Was My Valley'' became one of the biggest films of 1941. It was nominated for ten Academy Awards including Best Supporting Actress ([[Sara Allgood]]), Best Editing, Best Script, Best Music and Best Sound and it won five Oscars—Best Director, Best Picture, Best Supporting Actor ([[Donald Crisp]]), Best B&W Cinematography ([[Arthur C. Miller]]) and Best Art Direction/Interior Decoration. It was a huge hit with audiences, coming in behind ''[[Sergeant York (film)|Sergeant York]]'' as the second-highest-grossing film of the year in the USA and taking almost $3&nbsp;million against its sizable budget of $1,250,000.<ref name="Gallagher, 1986, p. 499">Gallagher, 1986, p. 499</ref> Ford was also named Best Director by the New York Film Critics, and this was one of the few awards of his career that he collected in person (he generally shunned the Oscar ceremony).<ref>Gallagher, 1986, p. 184</ref> ===War years=== During [[World War II]], Commander John Ford, USNR, served in the [[United States Navy]] and as head of the photographic unit for the [[Office of Strategic Services]], made documentaries for the Navy Department. He won two more Academy Awards during this time, one for the semi-documentary ''[[The Battle of Midway (1942 documentary)|The Battle of Midway]]'' (1942), and a second for the [[propaganda]] film ''[[December 7th: The Movie]]'' (1943). Commander Ford was a veteran of the [[Battle of Midway]], where he was wounded in the arm by shrapnel while filming the Japanese attack from the power plant of Sand Island on Midway.<ref>{{cite web|url=http://www.imdb.com/title/tt0035790/|title=December 7th: The Movie|date=1 January 2000|publisher=|via=IMDb}}</ref><ref>{{cite web|url=http://www.history.navy.mil/bios/ford_john.htm|title=Biography of Rear Admiral John Ford; U.S. Naval Reserve|publisher=[[Naval Historical Center]]}}{{dead link|date=September 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref><ref>{{cite web|url=http://www.history.navy.mil/faqs/faq81-8b.htm|title=''"Oral History – Battle of Midway:Recollections of Commander John Ford"''|publisher=[[Naval Historical Center]]}}{{dead link|date=September 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Ford was also present on [[Omaha Beach]] on [[D-Day]]. He crossed the [[English Channel]] on the {{USS|Plunkett|DD-431}}, anchored off Omaha Beach at 0600 where he observed the first wave land on the beach from the ship, landing on the beach himself later with a team of US Coast Guard cameramen who filmed the battle from behind the beach obstacles, with Ford directing operations. The film was edited in London, but very little was released to the public. Ford explained in a 1964 interview that the US Government was "afraid to show so many American casualties on the screen", adding that all of the D-Day film "still exists in color in storage in Anacostia near Washington, D.C."<ref>[http://www.thefilmjournal.com/issue12/ford.html Martin, Pete, "We Shot D-Day on Omaha Beach (An Interview With John Ford)", ''The American Legion Magazine'', June 1964] from thefilmjournal.com, retrieved 14 February 2007</ref> Thirty years later, historian [[Stephen E. Ambrose]] reported that the [[Eisenhower Center]] had been unable to find the film.<ref>Ambrose, Stephen E. ''D-Day, June 6, 1944: The Climactic Battle of World War II''. New York: Simon & Schuster. 1994. pp 395-397. {{ISBN|0-671-67334-3}}</ref> Ford eventually rose to become a top adviser to OSS head [[William Joseph Donovan]]. According to records released in 2008, Ford was cited by his superiors for bravery, taking a position to film one mission that was "an obvious and clear target". He survived "continuous attack and was wounded" while he continued filming, one commendation in his file states.<ref>{{cite news|url=https://www.washingtonpost.com/wp-dyn/content/article/2008/08/14/AR2008081400253_2.html?nav=rss_email/components |title="Spy Tales: a TV Chef, Oscar Winner, JFK Adviser", Brett J. Blackledge and Randy Herschaft, The Associated Press |publisher=Washingtonpost.com |accessdate=2012-02-27 }} {{Dead link|date=April 2014|bot=RjwilmsiBot}}</ref> His last wartime film was ''[[They Were Expendable]]'' (MGM, 1945), an account of America's disastrous defeat in The Philippines, told from the viewpoint of a [[PT boat]] squadron and its commander. Ford created a part for the recovering [[Ward Bond]], who needed money. Although he was seen throughout the movie, he never walked until they put in a part where he was shot in the leg. For the rest of the picture, he was able to use a crutch on the final march. Ford repeatedly declared that he disliked the film and had never watched it, complaining that he had been forced to make it,<ref>Anderson, 2004, pp. 446–47</ref> although it was strongly championed by filmmaker [[Lindsay Anderson]].<ref>Anderson, 1981 [1999], pp. 101–8</ref> Released several months after the end of the war, it was among the year's top 20 box-office draws, although Tag Gallagher notes that many critics have incorrectly claimed that it lost money.<ref>Gallagher, 1986, p. 225</ref> ===Post-war career=== After the war, Ford remained an officer in the [[United States Navy Reserve]]. He returned to active service during the Korean War, and was promoted to [[Rear admiral (United States)|Rear Admiral]] the day he left service. Ford directed sixteen features and several documentaries in the decade between 1946 and 1956. As with his pre-war career, his films alternated between (relative) box office flops and major successes, but most of his later films made a solid profit, and ''Fort Apache'', ''The Quiet Man'', ''[[Mogambo]]'' and ''The Searchers'' all ranked in the Top 20 box-office hits of their respective years.<ref>Gallagher, 1986, pp. 499–500</ref> <!-- Image with unknown copyright status removed: [[File:clementine-fonda.jpg|thumb|''[[My Darling Clementine]]'' (1946) – Wyatt Earp (Henry Fonda) faces the Clantons at the OK Corral]] --> Ford's first postwar movie ''[[My Darling Clementine]]'' (Fox, 1946) was a romanticized retelling of the primal Western legend of [[Wyatt Earp]] and the [[Gunfight at the O.K. Corral]], with exterior sequences filmed on location in the visually spectacular (but geographically inappropriate) [[Monument Valley]]. It reunited Ford with Henry Fonda (as Earp) and co-starred [[Victor Mature]] in one of his best roles<ref>{{IMDb name|0001514|Victor Mature}}</ref> as the consumptive, Shakespeare-loving [[Doc Holliday]], with Ward Bond and [[Tim Holt]] as the Earp brothers, [[Linda Darnell]] as sultry saloon girl Chihuahua, a strong performance by [[Walter Brennan]] (in a rare villainous role) as the venomous Old Man Clanton, with [[Jane Darwell]] and an early screen appearance by [[John Ireland (actor)|John Ireland]] as Billy Clanton. In contrast to the string of successes in 1939–1941, it won no major American awards, although it was awarded a silver ribbon for Best Foreign Film in 1948 by the Italian National Syndicate of Film Journalists,<ref>[http://www.imdb.com/title/tt0038762/awards IMDb – ''My Darling Clementine'' – Awards]</ref> and it was a solid financial success, grossing $2.75&nbsp;million in the United States and $1.75&nbsp;million internationally in its first year of release.<ref name="Gallagher, 1986, p. 499"/> ====The Argosy years==== Refusing a lucrative contract offered by Zanuck at 20th Century Fox that would have guaranteed him $600,000 per year,<ref>Gallagher, 1986, p. 454</ref> Ford launched himself as an independent director-producer and made many of his films in this period with Argosy Pictures Corporation, which was a partnership between Ford and his old friend and colleague [[Merian C. Cooper]]. Ford and Cooper had previously been involved with the distinct Argosy Corporation, which was established after the success of ''Stagecoach'' (1939); Argosy Corporation produced one film, ''[[The Long Voyage Home]]'' (1940), before the Second World War intervened.<ref>{{cite web|url=http://www.cobbles.com/simpp_archive/argosy_ford.htm |title=John Ford: Biography and Independent Profile |publisher=Cobbles.com |date=1939-08-14 |accessdate=2012-02-27}}</ref><ref>{{cite web |title=Register of The Argosy Pictures Corporation Archives, 1938-1958 |url=http://files.lib.byu.edu/ead/XML/MSS1849.xml |publisher=Brigham Young University}} This webpage has an extended, unsigned introduction to the Argosy Pictures Corporation, as well as a catalog of the archives held by Brigham Young University.</ref> ''[[The Fugitive (1947 film)|The Fugitive]]'' (1947), again starring Fonda, was the first project of Argosy Pictures. It was a loose adaptation of [[Graham Greene]]'s ''[[The Power and the Glory]]'', which Ford had originally intended to make at Fox before the war, with [[Thomas Mitchell (actor)|Thomas Mitchell]] as the priest. Filmed on location in Mexico, it was photographed by distinguished Mexican cinematographer [[Gabriel Figueroa]] (who later worked with [[Luis Buñuel]]). The supporting cast included [[Dolores del Río]], [[J. Carrol Naish]], [[Ward Bond]], [[Leo Carrillo]] and [[Mel Ferrer]] (making his screen début) and a cast of mainly Mexican extras. Ford reportedly considered this his best film<ref>[http://www.cinemaforever.com/CF_The_Fugitive_1947_rev.html CinemaForever.com – ''The Fugitive'' – review by James Travers] {{webarchive |url=https://web.archive.org/web/20130729145355/http://www.cinemaforever.com/CF_The_Fugitive_1947_rev.html |date=July 29, 2013 }}</ref> but it fared relatively poorly compared to its predecessor, grossing only $750,000 in its first year. It also caused a rift between Ford and scriptwriter Dudley Nichols that brought about the end of their highly successful collaboration. Greene himself had a particular dislike of this adaptation of his work{{Citation needed|date=September 2009}}. ''[[Fort Apache (film)|Fort Apache]]'' (Argosy/RKO, 1948) was the first part of Ford's so-called 'Cavalry Trilogy', all of which were based on stories by [[James Warner Bellah]]. It featured many of his 'Stock Company' of actors, including John Wayne, Henry Fonda, Ward Bond, Victor McLaglen, Mae Marsh, Francis Ford (as a bartender), Frank Baker, Ben Johnson and also featured [[Shirley Temple]], in her final appearance for Ford and one of her last film appearances. It also marked the start of the long association between Ford and scriptwriter [[Frank S. Nugent]], a former ''[[New York Times]]'' film critic who (like Dudley Nichols) had not written a movie script until hired by Ford.<ref>Gallagher, 1986, p. 247</ref> It was a big commercial success, grossing nearly $5&nbsp;million worldwide in its first year and ranking in the Top 20 box office hits of 1948.<ref name="Gallagher, 1986, p. 499"/> During the year Ford also assisted his friend and colleague [[Howard Hawks]], who was having problems with his current film ''[[Red River (1948 film)|Red River]]'' (which starred John Wayne) and Ford reportedly made numerous editing suggestions, including the use of a narrator.<ref>Gallagher, 1986, p. 531</ref> ''Fort Apache'' was followed by another Western, ''[[3 Godfathers]]'', a remake of a 1916 silent film starring Harry Carey (to whom Ford's version was dedicated), which Ford had himself already remade in 1919 as ''[[Marked Men (1919 film)|Marked Men]]'', also with Carey and thought lost. It starred John Wayne, [[Pedro Armendáriz]] and Harry "Dobe" Carey Jr (in one of his first major roles) as three outlaws who rescue a baby after his mother ([[Mildred Natwick]]) dies giving birth, with [[Ward Bond]] as the sheriff pursuing them. In 1949, Ford briefly returned to Fox to direct ''[[Pinky (film)|Pinky]]''. He prepared the project but worked only one day before being taken ill, supposedly with [[shingles]], and [[Elia Kazan]] replaced him (although Tag Gallagher suggests that Ford's illness was a pretext for leaving the film, which Ford disliked<ref>Gallagher, 1986, p. 346)</ref>). His only completed film of that year was the second instalment of his Cavalry Trilogy, ''[[She Wore a Yellow Ribbon]]'' (Argosy/RKO, 1949), starring John Wayne and [[Joanne Dru]], with Victor McLaglen, [[John Agar]], [[Ben Johnson (actor)|Ben Johnson]], [[Mildred Natwick]] and Harry Carey Jr. Again filmed on location in Monument Valley, it was widely acclaimed for its stunning Technicolor cinematography (including the famous cavalry scene filmed in front of an oncoming storm); it won Winton Hoch the [[22nd Academy Awards|1950 Academy Award for Best Color Cinematography]] and it did big business on its first release, grossing more than $5&nbsp;million worldwide. John Wayne, then 41, also received wide praise for his role as the 60-year-old Captain Nathan Brittles. ====1950s==== Ford's first film of 1950 was the offbeat military comedy ''[[When Willie Comes Marching Home]]'', starring [[Dan Dailey]] and [[Corinne Calvet]], with [[William Demarest]], from [[Preston Sturges]] 'stock company', and early (uncredited) screen appearances by [[Alan Hale Jr.]] and [[Vera Miles]]. It was followed by ''[[Wagon Master]]'', starring [[Ben Johnson (actor)|Ben Johnson]] and Harry Carey Jr, which is particularly noteworthy as the only Ford film since 1930 that he scripted himself. It was subsequently adapted into the long-running TV series ''[[Wagon Train]]'' (with Ward Bond reprising the title role until his sudden death in 1960). Although it did far smaller business than most of his other films in this period, Ford cited ''Wagon Master'' as his personal favorite out of all his films, telling [[Peter Bogdanovich]] that it "came closest to what I had hoped to achieve".<ref>Bogdanovich, 1978, p. 88</ref> ''[[Rio Grande (film)|Rio Grande]]'' (Republic, 1950), the third part of the 'Cavalry Trilogy', co-starred John Wayne and [[Maureen O'Hara]], with Wayne's son [[Patrick Wayne]] making his screen debut (he appeared in several subsequent Ford pictures including ''[[The Searchers (film)|The Searchers]]''). It was made at the insistence of [[Republic Pictures]], who demanded a profitable Western as the condition of backing Ford's next project, ''[[The Quiet Man]]''. A testament to Ford's legendary efficiency, ''Rio Grande'' was shot in just 32&nbsp;days, with only 352 takes from 335 camera setups, and it was a solid success, grossing $2.25&nbsp;million in its first year. Republic's anxiety was erased by the resounding success of ''[[The Quiet Man]]'' (Republic, 1952), a pet project which Ford had wanted to make since the 1930s (and almost did so in 1937 with an independent cooperative called Renowned Artists Company). It became his biggest grossing picture to date, taking nearly $4&nbsp;million in the US alone in its first year and ranking in the top 10 box office films of its year. It was nominated for seven Academy Awards and won Ford his fourth Oscar for Best Director, as well a second Best Cinematography Oscar for [[Winton Hoch]]. It was followed by ''[[What Price Glory? (1952 film)|What Price Glory?]]'' (1952), a World War I drama, the first of two films Ford made with [[James Cagney]] (''Mister Roberts'' was the other) which also did good business at the box office ($2&nbsp;million). ''[[The Sun Shines Bright]]'' (1953), Ford's first entry in the [[Cannes Film Festival]], was a western comedy-drama with [[Charles Winninger]] reviving the [[Judge Priest]] role made famous by Will Rogers in the 1930s. Ford later referred to it as one of his favorites, but it was poorly received, and was drastically cut (from 90 mins to 65 mins) by Republic soon after its release, with some excised scenes now presumed lost. It fared poorly at the box office and its failure contributed to the subsequent collapse of Argosy Pictures. Ford's next film was the romance-adventure ''[[Mogambo]]'' (MGM, 1953), a loose remake of the celebrated 1932 film ''[[Red Dust (1932 film)|Red Dust]]''. Filmed on location in Africa, it was photographed by British cinematographer [[Freddie Young]] and starred Ford's old friend [[Clark Gable]], with [[Ava Gardner]], [[Grace Kelly]] (who replaced an ailing [[Gene Tierney]]) and [[Donald Sinden]]. Although the production was difficult (exacerbated by the irritating presence of Gardner's then husband [[Frank Sinatra]]), ''Mogambo'' became one of the biggest commercial hits of Ford's career, with the highest domestic first-year gross of any of his films ($5.2&nbsp;million); it also revitalized Gable's waning career and earned Best Actress and Best Supporting Actress Oscar nominations for Gardner and Kelly (who was rumored to have had a brief affair with Gable during the making of the film). In 1955, Ford made the lesser-known [[West Point]] drama ''[[The Long Gray Line]]'' for Columbia Pictures, the first of two Ford films to feature [[Tyrone Power]], who had originally been slated to star as the adult Huw in ''How Green Was My Valley'' back in 1941. Later in 1955 Ford was hired by Warner Bros to direct the Naval comedy ''[[Mister Roberts (1955 film)|Mister Roberts]]'', starring [[Henry Fonda]], [[Jack Lemmon]], [[William Powell]], and [[James Cagney]], but there was conflict between Ford and Fonda, who had been playing the lead role on Broadway for the past seven years and had misgivings about Ford's direction. During a three-way meeting with producer [[Leland Hayward]] to try and iron out the problems, Ford became enraged and punched Fonda on the jaw, knocking him across the room, an action that created a lasting rift between them.{{citation needed|date=February 2013}} After the incident Ford became increasingly morose, drinking heavily and eventually retreating to his yacht, the ''[[USS Araner (IX-57)|Araner]],'' and refusing to eat or see anyone. Production was shut down for five days and Ford sobered up, but soon after he suffered a ruptured gallbladder, necessitating emergency surgery, and he was replaced by [[Mervyn LeRoy]]. Ford also made his first forays into television in 1955, directing two half-hour dramas for network TV. In the summer of 1955 he made ''Rookie of the Year'' (Hal Roach Studios) for the TV series ''Studio Directors Playhouse''; scripted by Frank S. Nugent, it featured Ford regulars John and Pat Wayne, Vera Miles and Ward Bond, with Ford himself appearing in the introduction. In November he made ''The Bamboo Cross'' (Lewman Ltd-Revue, 1955) for the ''[[Fireside Theater]]'' series; it starred [[Jane Wyman]] with an Asian-American cast and Stock Company veterans Frank Baker and [[Pat O'Malley (actor)|Pat O'Malley]] in minor roles. [[File:The searchers Ford Trailer screenshot (crop).jpg|thumb|''[[The Searchers (film)|The Searchers]]'' (1956)]] Ford returned to the big screen with ''[[The Searchers (film)|The Searchers]]'' (Warner Bros, 1956), the only Western he made between 1950 and 1959, which is now widely regarded as not only one of his best films, but also by many as one of the greatest westerns, and one of the best performances of John Wayne's career. Shot on location in Monument Valley, it tells of the embittered Civil War veteran Ethan Edwards who spends years tracking down his niece, kidnapped by [[Comanche]]s as a young girl. The supporting cast included [[Jeffrey Hunter]], [[Ward Bond]], [[Vera Miles]] and rising star [[Natalie Wood]]. It was Hunter's first film for Ford. It was very successful upon its first release and became one of the top 20 films of the year, grossing $4.45&nbsp;million, although it received no [[Academy Award]] nominations. However, its reputation has grown greatly over the intervening years—it was named the [[AFI's 10 Top 10|Greatest Western of all time]] by the [[American Film Institute]] in 2008 and also placed 12th on the Institute's 2007 list of the Top 100 greatest movies of all time.<ref>{{cite web|url=http://connect.afi.com/site/PageServer?pagename=micro_100landing |title=AFI's website listing Top 100 films |publisher=Connect.afi.com |accessdate=2012-02-27 |deadurl=yes |archiveurl=https://web.archive.org/web/20110716071157/http://connect.afi.com/site/PageServer?pagename=micro_100landing |archivedate=2011-07-16 |df= }}</ref> ''The Searchers'' has exerted a wide influence on film and popular culture—it has inspired (and been directly quoted by) many filmmakers including [[David Lean]] and [[George Lucas]], Wayne's character's catchphrase "That'll be the day" inspired Buddy Holly to pen his famous hit song of the same name, and the British pop group [[The Searchers (band)|The Searchers]] also took their name from the film. ''The Searchers'' was accompanied by one of the first "making of" documentaries, a four-part promotional program created for the "Behind the Camera" segment of the weekly ''[[Warner Bros. Presents]]'' TV show, (the studio's first foray into TV) which aired on the [[American Broadcasting Company|ABC]] network in 1955–56. Presented by [[Gig Young]], the four segments included interviews with [[Jeffrey Hunter]] and [[Natalie Wood]] and behind-the-scenes footage shot during the making of the film. ''[[The Wings of Eagles]]'' (MGM, 1957) was a fictionalized biography of Ford's old friend, aviator-turned-scriptwriter [[Frank Wead|Frank "Spig" Wead]], who had scripted several of Ford's early sound films. It starred [[John Wayne]] and [[Maureen O'Hara]], with [[Ward Bond]] as John Dodge (a character based on Ford himself). It was followed by one of Ford's least known films, ''The Growler Story'', a 29-minute dramatized documentary about the USS ''Growler''. Made for the US Navy and filmed by the Pacific Fleet Command Combat Camera Group, it featured Ward Bond and Ken Curtis alongside real Navy personnel and their families. Ford's next two films stand somewhat apart from the rest of his films in terms of production, and he notably took no salary for either job. ''[[The Rising of the Moon (film)|The Rising of the Moon]]'' (Warner Bros, 1957) was a three-part 'omnibus' movie shot on location in Ireland and based on Irish short stories. It was made by Four Province Productions, a company established by Irish tycoon [[Michael Morris, 3rd Baron Killanin|Lord Killanin]], who had recently become Chair of the [[International Olympic Committee]], and to whom Ford was distantly related. Killanin was also the actual (but uncredited) producer of ''The Quiet Man''. The film failed to recoup its costs, earning less than half ($100,000) its negative cost of just over $256,000 and it stirred up some controversy in Ireland. Both of Ford's 1958 films were made for [[Columbia Pictures]] and both were significant departures from Ford's norm. ''Gideon's Day'' (titled ''Gideon of Scotland Yard'' in the US) was adapted from the novel by British writer [[John Creasey]]. It is Ford's only police genre film, and one of the few Ford films set in the present day of the 1950s. It was shot in England with a British cast headed by [[Jack Hawkins]], whom Ford (unusually) lauded as "the finest dramatic actor with whom I have worked".<ref name="Gallagher, 1986, p. 359">Gallagher, 1986, p. 359</ref> It was poorly promoted by Columbia, who only distributed it in B&W, although it was shot in color,<ref name="Gallagher, 1986, p. 359"/> and it too failed to make a profit in its first year, earning only $400,000 against its budget of $453,000. ''[[The Last Hurrah]]'', (Columbia, 1958), again set in present-day of the 1950s, starred [[Spencer Tracy]], who had made his first film appearance in Ford's ''Up The River'' in 1930. Tracy plays an aging politician fighting his last campaign, with [[Jeffrey Hunter]] as his nephew. Katharine Hepburn reportedly facilitated a rapprochement between the two men, ending a long-running feud, and she convinced Tracy to take the lead role, which had originally been offered to [[Orson Welles]] (but was turned down by Welles' agent without his knowledge, much to his chagrin). It did considerably better business than either of Ford's two preceding films, grossing $950,000 in its first year<ref name="Gallagher, 1986, p. 500">Gallagher, 1986, p. 500</ref> although cast member [[Anna Lee]] stated that Ford was "disappointed with the picture" and that Columbia had not permitted him to supervise the editing. ''Korea: Battleground for Liberty'' (1959), Ford's second documentary on the [[Korean War]], was made for the [[US Department of Defense]] as an orientation film for US soldiers stationed there. It was followed by his next feature, ''[[The Horse Soldiers]]'' (Mirisch Company-United Artists, 1959), a Civil War story starring John Wayne and [[William Holden]]. Although Ford professed unhappiness with the project, it was a commercial success, ranking in the year's Top 20 box-office hits, grossing $3.6&nbsp;million in its first year, and earning Ford his highest-ever fee—$375,000, plus 10% of the gross.<ref name="Gallagher, 1986, p. 500"/> ===Last years, 1960–1973=== [[File:John ford 4 Allan Warren.jpg|thumb|Ford in 1973]] In his last years Ford was dogged by declining health, largely the result of decades of heavy drinking and smoking, and exacerbated by the wounds he suffered during the Battle of Midway. His vision in particular began to deteriorate rapidly and at one point he briefly lost his sight entirely; his prodigious memory also began to falter, making it necessary to rely more and more on assistants. His work was also restricted by the new regime in Hollywood, and he found it hard to get many projects made. By the 1960s he had been pigeonholed as a Western director and complained that he now found it almost impossible to get backing for projects in other genres. ''[[Sergeant Rutledge]]'' (Ford Productions-Warner Bros, 1960) was Ford's last cavalry film. Set in the 1880s, it tells the story of an African-American cavalryman (played by [[Woody Strode]]) who is wrongfully accused of raping and murdering a white girl. It was erroneously marketed as a suspense film by Warners and was not a commercial success. During 1960, Ford made his third TV production, ''The Colter Craven Story'', a one-hour episode of the network TV show ''[[Wagon Train]]'', which included footage from Ford's ''[[Wagon Master]]'' (on which the series was based). He also visited the set of ''[[The Alamo (1960 film)|The Alamo]]'', produced, directed by, and starring John Wayne, where his interference caused Wayne to send him out to film second-unit scenes which were never used (nor intended to be used) in the film.<ref>Clark, Donald, & Christopher P. Andersen. ''John Wayne's The Alamo: The Making of the Epic Film'' (New York: Carol Publishing Group, 1995) {{ISBN|0-8065-1625-9}}</ref> ''[[Two Rode Together]]'' (Ford Productions-Columbia, 1961) co-starred [[James Stewart]] and [[Richard Widmark]], with [[Shirley Jones]] and Stock Company regulars [[Andy Devine]], [[Henry Brandon (actor)|Henry Brandon]], Harry Carey Jr, Anna Lee, Woody Strode, Mae Marsh and Frank Baker, with an early screen appearance by [[Linda Cristal]], who went on to star in the Western TV series ''[[The High Chaparral]]''. It was a fair commercial success, grossing $1.6m in its first year. ''[[The Man Who Shot Liberty Valance]]'' (Ford Productions-Paramount, 1962) is frequently cited as the last great film of Ford's career. It co-starred John Wayne and [[James Stewart]], with [[Vera Miles]], [[Edmond O'Brien]], [[Andy Devine]] as the inept marshal Appleyard, [[Denver Pyle]], [[John Carradine]], and [[Lee Marvin]] in one of his first major roles as the brutal Valance, with [[Lee Van Cleef]] and [[Strother Martin]] as his henchmen. It is also notable as the film in which Wayne first used his trademark phrase "Pilgrim" (his nickname for James Stewart's character). It was very successful, grossing over $3&nbsp;million in its first year, although the lead casting stretched credibility—the characters played by Stewart (then 53) and Wayne (then 54) were meant to be in their early 20s, and Ford reportedly considered casting a younger actor in Stewart's role but feared it would highlight Wayne's age. Though it is often claimed that budget constraints necessitated shooting most of the film on soundstages on the Paramount lot, studio accounting records show that this was part of the film's original artistic concept, according to Ford biographer Joseph McBride. According to [[Lee Marvin]] in a filmed interview, Ford had fought hard to shoot the film in [[black-and-white]] to accentuate his use of shadows. Still, it was one of Ford's most expensive films at US$3.2&nbsp;million. After completing ''Liberty Valance'', Ford was hired to direct the Civil War section of MGM's epic ''[[How the West Was Won (film)|How The West Was Won]]'', the first non-documentary film to use the [[Cinerama]] wide-screen process. Ford's segment featured [[George Peppard]], with [[Andy Devine]], [[Russ Tamblyn]], [[Harry Morgan]] as [[Ulysses S. Grant]], and John Wayne as [[William Tecumseh Sherman]]. Also in 1962, Ford directed his fourth and last TV production, ''[http://www.imdb.com/title/tt0055989/ Flashing Spikes]'', a baseball story made for the ''Alcoa Premiere'' series and starring James Stewart, [[Jack Warden]], [[Patrick Wayne]] and [[Tige Andrews]], with Harry Carey Jr. and a lengthy surprise appearance by John Wayne, billed in the credits as "Michael Morris". ''[[Donovan's Reef]]'' (Paramount, 1963) was Ford's last film with John Wayne. Filmed on location on the Hawaiian island of [[Kauai]] (doubling for a fictional island in [[French Polynesia]]), it was a [[morality play]] disguised as an action-comedy, which subtly but sharply engaged with issues of racial bigotry, corporate connivance, greed and American beliefs of societal superiority. The supporting cast included [[Lee Marvin]], [[Elizabeth Allen (actress)|Elizabeth Allen]], [[Jack Warden]], [[Dorothy Lamour]], and [[Cesar Romero]]. It was also Ford's last commercial success, grossing $3.3&nbsp;million against a budget of $2.6&nbsp;million. ''[[Cheyenne Autumn]]'' (Warner Bros, 1964) was Ford's epic farewell to the West, which he publicly declared to be an elegy to the Native American. It was his last Western, his longest film and the most expensive movie of his career ($4.2&nbsp;million), but it failed to recoup its costs at the box office and lost about $1&nbsp;million on its first release. The all-star cast was headed by [[Richard Widmark]], with [[Carroll Baker]], [[Karl Malden]], [[Dolores del Río]], [[Ricardo Montalbán]], [[Gilbert Roland]], [[Sal Mineo]], [[James Stewart]] as Wyatt Earp, [[Arthur Kennedy (actor)|Arthur Kennedy]] as Doc Holliday, [[Edward G. Robinson]], [[Patrick Wayne]], [[Elizabeth Allen (actress)|Elizabeth Allen]], [[Mike Mazurki]] and many of Ford's faithful Stock Company, including [[John Carradine]], [[Ken Curtis]], [[Willis Bouchey]], [[James Flavin]], Danny Borzage, [[Harry Carey Jr.]], [[Chuck Hayward]], [[Ben Johnson (actor)|Ben Johnson]], [[Mae Marsh]] and [[Denver Pyle]]. William Clothier was nominated for a Best Cinematography Oscar and Gilbert Roland was nominated for a [[Golden Globe]] award for Best Supporting Actor for his performance as Cheyenne elder [[Dull Knife]]. In 1965 Ford began work on ''[[Young Cassidy]]'' (MGM), a biographical drama based upon the life of Irish playwright [[Seán O'Casey]], but he fell ill early in the production and was replaced by [[Jack Cardiff]]. Ford's last completed feature film was ''[[7 Women]]'' (MGM, 1966), a drama about missionary women in China ca. 1935 trying to protect themselves from the advances of a barbaric Mongolian warlord. [[Anne Bancroft]] took over the lead role from [[Patricia Neal]], who suffered a near-fatal stroke two days into shooting. The supporting cast included [[Margaret Leighton]], [[Flora Robson]], [[Sue Lyon]], [[Mildred Dunnock]], [[Anna Lee]], [[Eddie Albert]], [[Mike Mazurki]] and [[Woody Strode]], with music by [[Elmer Bernstein]]. Unfortunately it was a commercial flop, grossing only about half of its $2.3&nbsp;million budget. Unusual for Ford, it was shot in continuity for the sake of the performances and he therefore exposed about four times as much film as he usually shot. Anna Lee recalled that Ford was "absolutely charming" to everyone and that the only major blow-up came when Flora Robson complained that the sign on her dressing room door did not include her title ("Dame") and as a result Robson was "absolutely shredded" by Ford in front of the cast and crew. Ford's next project, ''The Miracle of Merriford'', was scrapped by MGM less than a week before shooting was to have begun. His last completed work was ''Chesty: A Tribute to a Legend'', a documentary on the most decorated U.S. Marine, General [[Chesty Puller|Lewis B. Puller]], with narration by John Wayne, which was made in 1970 but not released until 1976, three years after Ford's death. Ford's health deteriorated rapidly in the early 1970s; he suffered a broken hip in 1970 which put him in a wheelchair. He had to move from his Bel Air home to a single-level house in [[Palm Desert, California]], near [[Eisenhower Medical Center]], where he was being treated for cancer. In October 1972, the Screen Directors Guild staged a tribute to Ford and in March 1973 the [[American Film Institute]] honored him with its first Lifetime Achievement Award at a ceremony which was telecast nationwide, with President [[Richard Nixon]] promoting Ford to full Admiral and presenting him with the [[Presidential Medal of Freedom]]. Ford died on 31 August 1973 at Palm Desert<ref name=Eyman>Eyman, Scott. [http://partners.nytimes.com/books/first/e/eyman-legend.html ''Print the Legend: The Life and Times of John Ford'']. New York: Simon & Schuster. 1999. {{ISBN|0-684-81161-8}} (excerpt c/o ''[[New York Times]]'')</ref> and his funeral was held on 5 September at Hollywood's Church of the Blessed Sacrament. He was interred in [[Holy Cross Cemetery, Culver City|Holy Cross Cemetery]] in [[Culver City, California]]. ==Personality and directing style== ===Personality=== Ford was renowned for his intense personality and his many idiosyncrasies and eccentricities. From the early Thirties onwards, he always wore dark glasses and a patch over his left eye, which was only partly to protect his poor eyesight. He was an inveterate pipe-smoker and while he was shooting he would chew on a linen handkerchief—each morning his wife would give him a dozen fresh handkerchiefs, but by the end of a day's filming the corners of all of them would be chewed to shreds. He always had music played on the set and would routinely break for tea ([[Earl Grey tea|Earl Grey]]) at mid-afternoon every day during filming. He discouraged chatter and disliked bad language on set; its use, especially in front of a woman, would typically result in the offender being thrown off the production. He rarely drank during the making of a film, but when a production wrapped he would often lock himself in his study, wrapped only in a sheet, and go on a solitary drinking binge for several days, followed by routine contrition and a vow never to drink again. He was extremely sensitive to criticism and was always particularly angered by any comparison between his work and that of his older brother Francis. He rarely attended premieres or award ceremonies, although his Oscars and other awards were proudly displayed on the mantel in his home. There were occasional rumors about his sexual preferences,<ref name="Gallagher, 1986, p. 381" /> and in her 2004 autobiography '''Tis Herself'', [[Maureen O'Hara]] recalled seeing Ford kissing a famous male actor (whom she did not name) in his office at Columbia Studios.<ref>{{cite book|last=O'Hara|first=Maureen|title='Tis Herself: An Autobiography|year=2005|publisher=Simon & Schuster|isbn=9780743269162|pages=190|url= |author2=John Nicoletti}}</ref> He was famously untidy, and his study was always littered with books, papers and clothes. He bought a brand new [[List of Rolls-Royce motor cars|Rolls-Royce]] in the 1930s, but never rode in it because his wife, Mary, would not let him smoke in it. His own car, a battered Ford roadster, was so dilapidated and messy that he was once late for a studio meeting because the guard at the studio gate did not believe that the real John Ford would drive such a car, and refused to let him in. He was also notorious for his antipathy towards studio executives: on one early film for Fox he is said to have ordered a guard to keep studio boss [[Darryl F. Zanuck]] off the set, and on another occasion he brought an executive in front of the crew, stood him in profile and announced, "This is an associate producer—take a good look because you won't be seeing him on this picture again". His pride and joy was his yacht, ''[[Araner (yacht)|Araner]]'', which he bought in 1934 and on which he lavished hundreds of thousands of dollars in repairs and improvements over the years; it became his chief retreat between films and a meeting place for his circle of close friends, including John Wayne and Ward Bond. Ford was highly intelligent, erudite, sensitive and sentimental, but to protect himself in the cutthroat atmosphere of Hollywood he cultivated the image of a "tough, two-fisted, hard-drinking Irish sonofabitch".<ref name="Gallagher, 1986, p. 381">Gallagher, 1986, p. 381</ref> One famous event, witnessed by Ford's friend actor Frank Baker, strikingly illustrates the tension between the public persona and the private man. During the Depression, Ford—by then a very wealthy man—was accosted outside his office by a former Universal actor who was destitute and needed $200 for an operation for his wife. As the man related his misfortunes, Ford appeared to become enraged and then, to the horror of onlookers, he launched himself at the man, knocked him to the floor and shouted "How dare you come here like this? Who do think you are to talk to me this way?" before storming out of the room. However, as the shaken old man left the building, Frank Baker saw Ford's business manager Fred Totman meet him at the door, where he handed the man a cheque for $1,000 and instructed Ford's chauffeur to drive him home. There, an ambulance was waiting to take the man's wife to the hospital where a specialist, flown in from San Francisco at Ford's expense, performed the operation. Some time later, Ford purchased a house for the couple and pensioned them for life. When Baker related the story to Francis Ford, he declared it the key to his brother's personality: <blockquote>Any moment, if that old actor had kept talking, people would have realized what a softy Jack is. He couldn't have stood through that sad story without breaking down. He's built this whole legend of toughness around himself to protect his softness.<ref>Gallagher, 1986, pp. 40–41</ref></blockquote> ===General style=== Ford had many distinctive stylistic 'trademarks' and a suite of thematic preoccupations and visual and aural [[Motif (narrative)|motifs]] recurs throughout his work as a director. Film journalist [[Ephraim Katz]] summarised some of the keynote features of Ford's work in his Collins ''Film Encyclopedia'' entry: <blockquote>Of all American directors, Ford probably had the clearest personal vision and the most consistent visual style. His ideas and his characters are, like many things branded "American", deceptively simple. His heroes .... may appear simply to be loners, outsiders to established society, who generally speak through action rather than words. But their conflict with society embodies larger themes in the American experience. Ford's films, particularly the Westerns, express a deep aesthetic sensibility for the American past and the spirit of the frontier ... his compositions have a classic strength in which masses of people and their natural surroundings are beautifully juxtaposed, often in breathtaking long shots. The movement of men and horses in his Westerns has rarely been surpassed for regal serenity and evocative power. The musical score, often variations on folk themes, plays a more important part than dialogue in many Ford films. Ford also championed the value and force of the group, as evidenced in his many military dramas ... (he) expressed a similar sentiment for camaraderie through his repeated use of certain actors in the lead and supporting roles ... he also felt an allegiance to places ...<ref>Ephraim Katz, ''The Film Encyclopedia, Fifth Edition'' (2005, Harper-Collins, New York; {{ISBN|0-06-074214-3}}), p. 490</ref></blockquote> In contrast to his contemporary [[Alfred Hitchcock]], Ford never used storyboards, composing his pictures entirely in his head, without any written or graphic outline of the shots he would use.<ref>Gallagher, 1986, p. 464</ref> Script development could be intense but, once approved, his screenplays were rarely rewritten; he was also one of the first filmmakers to encourage his writers and actors to prepare a full [[back story]] for their characters. He hated long expository scenes and was famous for tearing pages out of a script to cut dialogue. During the making of ''[[Mogambo]]'', when challenged by the films producer [[Sam Zimbalist]] about falling three days behind schedule, Ford responded by tearing three pages out of the script and declaring "We're on schedule" and indeed he never filmed those pages.<ref>''A Touch Of The Memoirs'' Donald Sinden. Hodder & Stoughton 1982. pp. 187–8</ref> While making ''Drums Along the Mohawk'', Ford neatly sidestepped the challenge of shooting a large and expensive battle scene—he had [[Henry Fonda]] improvise a monologue while firing questions from behind the camera about the course of the battle (a subject on which Fonda was well-versed) and then simply editing out the questions. He was relatively sparing in his use of camera movements and close-ups, preferring static medium or long shots, with his players framed against dramatic vistas or interiors lit in an [[Expressionism|Expressionistic]] style, although he often used panning shots and sometimes used a dramatic dolly in (e.g. John Wayne's first appearance in ''Stagecoach''). Ford is famous for his exciting tracking shots, such as the Apache chase sequence in ''Stagecoach'' or the attack on the Comanche camp in ''The Searchers''. Recurring visual motifs include trains and wagons—many Ford films begin and end with a linking vehicle such as a train or wagon arriving and leaving—doorways, roads, flowers, rivers, gatherings (parades, dances, meetings, bar scenes, etc.); he also employed gestural motifs in many films, notably the throwing of objects and the lighting of lamps, matches or cigarettes.<ref>{{cite web|url=http://www.rouge.com.au/7/ford.html |title=Shigehiko Hasumi, ''John Ford, or The Eloquence of Gesture'' |publisher=Rouge.com.au |accessdate=2012-02-27}}</ref> If a doomed character was shown playing poker (such as Liberty Valance or gunman Tom Tyler in ''Stagecoach''), the last hand he plays is the "[[dead man's hand|death hand]]"—two eights and two aces, one of them the ace of spades—so-called because [[Wild Bill Hickok]] is said to have held this hand when he was murdered. Many of his sound films include renditions or quotations of his favorite hymn, "[[Shall We Gather at the River?]]", such as its parodic use to underscore the opening scenes of ''Stagecoach'', when the prostitute Dallas is being run out of town by local matrons. Character names also recur in many Ford films—the name Quincannon, for example, is used in several films including ''The Lost Patrol'', ''Rio Grande'', ''She Wore A Yellow Ribbon'' and ''Fort Apache''. Recent works about Ford's depictions of Native Americans have argued that contrary to popular belief, his Indian characters spanned a range of hostile to sympathetic images from ''[[The Iron Horse]]'' to ''[[Cheyenne Autumn]]''. His depiction of the [[Navajo people|Navajo]] in ''[[Wagon Master]]'' included their characters speaking the [[Navajo language]]. The distinguishing mark of Ford's Indian-themed Westerns is that his Native characters always remained separate and apart from white society.<ref>Angela Aleiss, "A Race Divided: The Indian Westerns of John Ford," ''American Indian Culture & Research Journal'', 18 (2), Summer 1995, 25-34.</ref> Ford was legendary for his discipline and efficiency on-set<ref>Gallagher, 1986, ''op.cit.'', p. 38</ref> and was notorious for being extremely tough on his actors, frequently mocking, yelling and bullying them; he was also infamous for his sometimes sadistic practical jokes. Any actor foolish enough to demand star treatment would receive the full force of his relentless scorn and sarcasm. He once referred to John Wayne as a "big idiot" and even punched [[Henry Fonda]]. [[Henry Brandon (actor)|Henry Brandon]] (who played Chief Scar from ''The Searchers'') once referred to Ford as "the only man who could make John Wayne cry". {{Citation needed|date=February 2008}}. He likewise belittled Victor McLaglen, on one occasion reportedly bellowing through the megaphone: "D'ya known, McLaglen, that Fox are paying you $1200 a week to do things that I could get any child off the street to do better?".<ref>Gallagher, 1986, p. 38</ref> Stock Company veteran [[Ward Bond]] was reportedly one of the few actors who were impervious to Ford's taunting and sarcasms. Sir [[Donald Sinden]], then a contract star for the [[Rank Organisation]] at [[Pinewood Studios]] when he starred in ''[[Mogambo]]'', was not the only person to suffer at the hands of John Ford's notorious behaviour. He recalls "Ten White Hunters were seconded to our unit for our protection and to provide fresh meat. Among them was Marcus, Lord Wallscourt, a delightful man whom Ford treated abysmally—sometimes very sadistically. In Ford's eyes the poor man could do nothing right and was continually being bawled out in front of the entire unit (in some ways he occasionally took the heat off me). None of us could understand the reason for this appalling treatment, which the dear kind man in no way deserved. He himself was quite at a loss. Several weeks later we discovered the cause from Ford's brother-in-law: before emigrating to America, Ford's grandfather had been a [[labourer]] on the estate in [[Republic of Ireland|Ireland]] of the then Lord Wallscourt: Ford was now getting his own back at his descendant. Not a charming sight."<ref>''A Touch Of The Memoirs'' Donald Sinden. Hodder & Stoughton 1982. p. 174</ref> "We now had to return to the [[MGM-British Studios]] in London to shoot all the interior scenes. Someone must have pointed out to Ford that he had been thoroughly foul to me during the entire location shoot and when I arrived for my first day's work, I found that he had caused a large notice to be painted at the entrance to our sound stage in capital letters reading BE KIND TO DONALD WEEK. He was as good as his word—for precisely seven days. On the eighth day he ripped the sign down and returned to his normal bullying behaviour."<ref>''A Touch Of The Memoirs'' Donald Sinden. Hodder & Stoughton 1982. p. 185</ref> Ford usually gave his actors little explicit direction, although on occasion he would casually walk through a scene himself, and actors were expected to note every subtle action or mannerism; if they did not, Ford would make them repeat the scene until they got it right, and he would often berate and belittle those who failed to achieve his desired performance. On ''The Man Who Shot Liberty Valance'', Ford ran through a scene with [[Edmond O'Brien]] and ended by drooping his hand over a railing. O'Brien noticed this but deliberately ignored it, placing his hand ''on'' the railing instead; Ford would not explicitly correct him and he reportedly made O'Brien play the scene forty-two times before the actor relented and did it Ford's way. Despite his often difficult and demanding personality, many actors who worked with Ford acknowledged that he brought out the best in them. John Wayne remarked that "Nobody could handle actors and crew like Jack."<ref>Eyman, Scott, ''Print The Legend: The Life and Times of John Ford'', see below</ref> and Dobe Carey stated that "He had a quality that made everyone almost kill themselves to please him. Upon arriving on the set, you would feel right away that something special was going to happen. You would feel spiritually awakened all of a sudden."<ref>Carey, Harry Jr. ''Company of Heroes: My Life as an Actor in the John Ford Stock Company''</ref> Carey credits Ford with the inspiration of Carey's final film, ''[[Comanche Stallion]]'' ([[2005 in film|2005]]). [[File:16 21 2053 monument valley.jpg|thumb|John Ford's Point in [[Monument Valley]]]] Ford's favorite location for his Western films was southern [[Utah]]'s [[Monument Valley]]. Although not generally appropriate geographically as a setting for his plots, the expressive visual impact of the area enabled Ford to define images of the American West with some of the most beautiful and powerful cinematography ever shot, in such films as ''Stagecoach'', ''[[The Searchers (film)|The Searchers]]'', ''[[Fort Apache (film)|Fort Apache]]''. A notable example is the famous scene in ''[[She Wore a Yellow Ribbon]]'' in which the cavalry troop is photographed against an oncoming storm. The influence on the films of classic Western artists such as [[Frederic Remington]] and others has been examined.<ref>Peter Cowie, see below</ref> Ford's evocative use of the territory for his Westerns has defined the images of the American West so powerfully that [[Orson Welles]] once said that other film-makers refused to shoot in the region out of fears of plagiarism.<ref>Welles' narration for the film ''Directed by John Ford''</ref> Ford typically shot only the footage he needed and often filmed in sequence, minimizing the job of his film editors.<ref>[[BBC Radio 4]] programme 10:30am 29 September 2007</ref> In the opinion of Joseph McBride,<ref>McBride, Joseph, ''Searching For John Ford: A Life'', see below</ref> Ford's technique of cutting in the camera enabled him to retain creative control in a period where directors often had little say on the final editing of their films. Ford noted: <blockquote>I don't give 'em a lot of film to play with. In fact, Eastman used to complain that I exposed so little film. I do cut in the camera. Otherwise, if you give them a lot of film 'the committee' takes over. They start juggling scenes around and taking out this and putting in that. They can't do it with my pictures. I cut in the camera and that's it. There's not a lot of film left on the floor when I'm finished.<ref>{{cite book |last=Kennedy |first=Burt |authorlink=Burt Kennedy |chapter=Burt Kennedy Interviews John Ford |title=Directors in Action: Selections from Action: the official magazine of the Directors Guild of America |editor1-first=Bob |editor1-last=Thomas |publisher=Bobbs Merrill |year=1973 |pages=133–37 |isbn=9780672517143 |oclc=749433}} Reprint of an article from ''Action'' (August 1968), as cited by Tag Gallagher in ''John Ford: The Man and His Films'' (see below).</ref></blockquote> ==Awards and honors== <!-- Deleted image removed: [[File:John Ford Commemorative Stamp 2012.jpg|thumb|2012 United States Postal Service Commemorative Stamp.]] --> Ford won a total of six [[Academy Awards]]. Four of these were for Best Director for ''[[The Informer (1935 film)|The Informer]]'' (1935), ''[[The Grapes of Wrath (film)|The Grapes of Wrath]]'' (1940), ''[[How Green Was My Valley (film)|How Green Was My Valley]]'' (1941), and ''[[The Quiet Man]]'' (1952)—none of them Westerns (also starring in the last two was [[Maureen O'Hara]], "his favorite actress"). He was also nominated as Best Director for ''Stagecoach'' (1939). He won two Oscars for Best Documentary for ''The Battle of Midway'' and ''[[December 7th: The Movie]]''. To this day Ford holds the record for winning the most Best Director Oscars, having won the award on four occasions. [[William Wyler]] and [[Frank Capra]] come in second having won the award three times. Ford was the first director to win consecutive Best Director awards, in 1940 and 1941. This feat was later matched by [[Joseph L. Mankiewicz]] exactly ten years later, when he won consecutive awards for Best Director in 1950 and 1951. As a producer he received nominations for Best Picture for ''[[The Quiet Man]]'' and ''[[The Long Voyage Home]]''. In 1955 and 1957, Ford was awarded [https://web.archive.org/web/20120415183637/http://www.eastmanhouse.org/museum/awards.php The George Eastman Award], given by [[George Eastman House]] for distinguished contribution to the art of film. He was the first recipient of the [[American Film Institute]] [[AFI Life Achievement Award|Life Achievement Award]] in 1973. Also in that year, Ford was awarded the [[Presidential Medal of Freedom]] by President [[Richard Nixon]]. Ford directed 10 different actors in Oscar-nominated performances: Victor McLaglen, Thomas Mitchell, Edna May Oliver, Jane Darwell, Henry Fonda, Donald Crisp, Sara Allgood, Ava Gardner, Grace Kelly and Jack Lemmon. McLaglen, Mitchell, Darwell, Crisp and Lemmon won Oscar for one of their roles in one of Ford's movies. A television special featuring Ford, John Wayne, James Stewart, and Henry Fonda was broadcast over the [[CBS]] network on December 5, 1971 called ''[[The American West of John Ford]]'', featuring clips from Ford's career interspersed with interviews conducted by Wayne, Stewart, and Fonda, who also took turns narrating the hourlong [[documentary]]. In 2007, [[Twentieth Century Fox]] released ''Ford at Fox'', a DVD boxed set of 24 of Ford's films. ''[[Time (magazine)|Time]]'' magazine's [[Richard Corliss]] named it one of the "Top 10 DVDs of 2007", ranking it at #1.<ref>[http://www.time.com/time/specials/2007/top10/article/0,30583,1686204_1686244_1692075,00.html Corliss, Richard, "Top 10 DVDs", ''Time'' magazine], retrieved from time.com, 14 February 2008</ref> A statue of Ford in [[Portland, Maine]] depicts him sitting in a director's chair. The statue made by [[New York City|New York]] sculptor George M. Kelly, cast at Modern Art Foundry, Astoria, NY, and commissioned by Louisiana philanthropst Linda Noe Laine was unveiled on 12 July 1998 at Gorham's Corner in [[Portland, Maine]], United States, as part of a celebration of Ford that was later to include renaming the auditorium of [[Portland High School (Maine)|Portland High School]] the John Ford Auditorium.{{sfn|Stoehr|Connolly|2008|p=2–3}} ==Preservation== The Academy Film Archive has preserved a number of John Ford's films, including ''How Green Was My Valley'', ''The Battle of Midway'', and ''Four Sons''.<ref>{{cite web|title=Preserved Projects|url=http://www.oscars.org/academy-film-archive/preserved-projects?title=&filmmaker=john+ford&category=All&collection=All|website=Academy Film Archive}}</ref> ===Academy Awards=== {| class="wikitable" |- ! Year ! Awards ! Film ! Winner |- | [[5th Academy Awards|1932]] | [[Academy Award for Best Picture|Outstanding Production]] | ''[[Arrowsmith (film)|Arrowsmith]]'' | [[Irving Thalberg|Irving G. Thalberg]] – ''[[Grand Hotel (1932 film)|Grand Hotel]]'' |- | [[8th Academy Awards|1935]] | [[Academy Award for Best Picture|Outstanding Production]] | ''[[The Informer (1935 film)|The Informer]]'' | [[Irving Thalberg|Irving G. Thalberg]] – ''[[Mutiny on the Bounty (1935 film)|Mutiny on the Bounty]]'' |- | [[8th Academy Awards|1935]] | [[Academy Award for Best Director|Best Director]] | ''[[The Informer (1935 film)|The Informer]]'' | {{won}} |- | [[12th Academy Awards|1939]] | [[Academy Award for Best Director|Best Director]] | ''[[Stagecoach (1939 film)|Stagecoach]]'' | [[Victor Fleming]] – ''[[Gone with the Wind (film)|Gone with the Wind]]'' |- | [[13th Academy Awards|1940]] | [[Academy Award for Best Picture|Outstanding Production]] | ''[[The Long Voyage Home]]'' | [[David O. Selznick]] – ''[[Rebecca (1940 film)|Rebecca]]'' |- | [[13th Academy Awards|1940]] | [[Academy Award for Best Director|Best Director]] | ''[[The Grapes of Wrath (film)|The Grapes of Wrath]]'' | {{won}} |- | [[14th Academy Awards|1941]] | [[Academy Award for Best Picture|Best Motion Picture]] | ''[[How Green Was My Valley (film)|How Green Was My Valley]]'' | {{won}} |- | [[14th Academy Awards|1941]] | [[Academy Award for Best Director|Best Director]] | ''[[How Green Was My Valley (film)|How Green Was My Valley]]'' | {{won}} |- | [[15th Academy Awards|1942]] | [[Academy Award for Best Documentary Feature|Best Documentary]] | ''[[The Battle of Midway (1942 documentary)|The Battle of Midway]]'' | {{won}} |- | [[16th Academy Awards|1943]] | [[Academy Award for Best Documentary (Short Subject)|Best Documentary, Short Subjects]] | ''[[December 7th: The Movie]]'' | {{won}} |- | [[25th Academy Awards|1952]] | [[Academy Award for Best Picture|Best Motion Picture]] | ''[[The Quiet Man]]'' | [[Cecil B. DeMille]] – ''[[The Greatest Show on Earth (film)|The Greatest Show on Earth]]'' |- | [[25th Academy Awards|1952]] | [[Academy Award for Best Director|Best Director]] | ''[[The Quiet Man]]'' | {{won}} |} [[File:John Ford, 1946.jpg|thumb|'''John Ford''' with portrait and Oscar, circa 1946]] ==Politics== Early in life, Ford's politics were conventionally progressive; his favorite presidents were Democrats [[Franklin D. Roosevelt]] and [[John F. Kennedy]] and Republican [[Abraham Lincoln]].<ref>[[Peter Bogdanovich]], ''John Ford'', See below, pp 18–19.</ref> But despite these leanings, many thought<ref>{{cite web|url=https://www.pbs.org/wnet/americanmasters/database/ford_wayne_interview.html |title=Interview with Sam Pollard about Ford and Wayne from |publisher=pbs.org |date=2006-05-10 |accessdate=2012-02-27}}</ref><ref>{{cite news|url=http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20020331/REVIEWS08/203310301/1023&template=printart |first=Roger|last=Ebert|title=The Grapes of Wrath|publisher=Rogerebert.suntimes.com |date=2002-03-31 |accessdate=2012-02-27}}</ref> he was a Republican because of his long association with actors [[John Wayne]], [[James Stewart]], [[Maureen O'Hara]] and [[Ward Bond]]. In his review of the film in what was then a leading national magazine (''[[Time (magazine)|Time]]'' magazine), [[Whittaker Chambers]] wrote of ''[[The Grapes of Wrath (film)|The Grapes of Wrath]]'': <blockquote>It will be a red rag to bull-mad Californians who may or may not boycott it. Others, who were merely annoyed at the exaggerations, propaganda and phony pathos of [[John Steinbeck]]'s best selling novel, may just stay away. Pinkos who did not bat an eye when the Soviet Government exterminated 3,000,000 peasants by famine, will go for a good cry over the hardships of the Okies. But people who go to pictures for the sake of seeing pictures will see a great one. For ''The Grapes of Wrath'' is possibly the best picture ever made from a so-so book. It is certainly the best picture [[Darryl F. Zanuck]] has produced or [[Nunnally Johnson]] scripted. It would be the best John Ford had directed if he had not already made ''The Informer''.<ref> {{cite web | title = The Grapes of Wrath | publisher = WhittakerChambers.org (originally Time) | url = http://whittakerchambers.org/articles/reviews/grapes-of-wrath/ | date = 12 February 1940}}</ref></blockquote> Ford's attitude to [[McCarthyism]] in Hollywood is expressed by a story told by [[Joseph L. Mankiewicz]]. A faction of the [[Directors Guild of America]], led by [[Cecil B. DeMille]], had tried to make it mandatory for every member to sign a [[loyalty oath]]. A whispering campaign was being conducted against Mankiewicz, then President of the Guild, alleging he had communist sympathies. At a crucial meeting of the Guild, DeMille's faction spoke for four hours until Ford spoke against DeMille and proposed a vote of confidence in Mankiewicz, which was passed. His words were recorded by a stenographer:<ref name=Grove>{{cite book|accessdate=2008-08-15|url=https://books.google.com/books?id=RnpzQrwB-FIC&pg=PA418& |page=418|chapter=John Ford to the Rescue|title=Growing up in Hollywood|author=Parrish, Robert|publisher= in Silvester, Christopher (2002), ''The Grove Book of Hollywood'', Grove Press|year=1996|isbn=0-8021-3878-0}}</ref> {{quote|My name's John Ford. I make Westerns. I don't think there's anyone in this room who knows more about what the American public wants than [[Cecil B. DeMille]]—and he certainly knows how to give it to them....'' [looking at DeMille] ''But I don't like you, C.B. I don't like what you stand for and I don't like what you've been saying here tonight.}} As time went on, however, Ford became more publicly allied with the Republican Party, declaring himself a 'Maine Republican' in 1947. He claimed he didn't vote for either Goldwater or Johnson in 1964, but he supported Richard Nixon in 1968 and became a supporter of the [[Vietnam War]]. In 1973, he was awarded the Medal of Freedom by President Nixon, whose campaign he had publicly supported.<ref>McBride, Joseph "The Convoluted Politics of John Ford" ''Los Angeles Times'' 3 June 2001 [http://articles.latimes.com/2001/jun/03/magazine/tm-5876]</ref> ==Influence== Ford is widely considered to be among the most influential of Hollywood's filmmakers. He was listed as the fifth most influential director of all time by ''[[MovieMaker]]''.<ref>{{cite web|url=http://www.moviemaker.com/directing/article/the_25_most_influential_directors_of_all_time_3358/ |title=The 25 Most Influential Directors of All Time |author=Jennifer M. Wood |date=July 6, 2002 |publisher=MovieMaker Magazine |accessdate=12 July 2010 |deadurl=yes |archiveurl=https://web.archive.org/web/20110608025225/http://www.moviemaker.com/directing/article/the_25_most_influential_directors_of_all_time_3358/ |archivedate=8 June 2011 |df= }}</ref> Below are some of the people who were directly influenced by Ford, or greatly admired his work: * [[Ingmar Bergman]]<ref name=JFo /> – Said of Ford, "the best director in the world". * [[Peter Bogdanovich]] - ''[[Directed by John Ford]]'' (1971)<ref name=JFo /> * [[Frank Capra]]<ref name=JFo /> – Referred to Ford as the "king of directors" * [[Federico Fellini]]<ref name=JFIn /> * [[Jean-Luc Godard]]<ref>{{cite journal |last=Byron |first=Stuart |title=The Searchers': Cult Movie of the New Hollywood |journal=New York Magazine |date=March 1979 |page=48}}</ref> – Once compared the ending of ''[[The Searchers (film)|The Searchers]]'' to "Ulysses being reunited with [[Telemachus]]" * [[Howard Hawks]]<ref name=JFIn /> * [[Alfred Hitchcock]]<ref name=JFIn>{{cite book |last = Peary |first = Gerard |title = John Ford: interviews |publisher = [[University Press of Mississippi]] |series = [[Conversations with Filmmakers Series|Conversations with Filmmakers]] |year = 2001 |isbn = 978-1-57806-398-7}}</ref> – "A John Ford film was a visual gratification" * [[Elia Kazan]]<ref>{{cite book |last = Baer |first = William |title = Elia Kazan: interviews |publisher = [[University Press of Mississippi]] |series = [[Conversations with Filmmakers Series|Conversations with Filmmakers]] |year = 2000 |isbn = 978-1-57806-224-9}}</ref> * [[Satoshi Kon]] took inspiration from Ford's [[Three Godfathers (1936 film)|Three Godfathers]] for his animated film [[Tokyo Godfathers]], a riff on Ford's western, set in contemporary Tokyo. * [[Stanley Kubrick]]<ref> https://filmschoolrejects.com/6-filmmaking-tips-from-john-ford-73ef4c4291a5/</ref> * [[Akira Kurosawa]]<ref name=Ain>{{cite book |last = Cardullo |first = Bert |title = Akira Kurosawa: interviews |publisher = [[University Press of Mississippi]] |series = [[Conversations with Filmmakers Series|Conversations with Filmmakers]] |year = 2008 |isbn = 978-1-57806-997-2}}</ref> – "I have respected John Ford from the beginning. Needless to say, I pay close attention to his productions, and I think I am influenced by them." * [[David Lean]] took inspiration from ''[[The Searchers (film)|The Searchers]]'' for his film ''[[Lawrence of Arabia (film)|Lawrence of Arabia]]'' * [[Sergio Leone]] * [[George Lucas]] * [[Sam Peckinpah]] * [[Satyajit Ray]]<ref>{{cite book |last = Ray |first = Satyajit |authorlink = Satyajit Ray |title = [[Our Films, Their Films]] |publisher = [[Hyperion Books]] |chapter = A Tribute to John Ford |year = 1994 |isbn = 978-0-7868-6122-4}}</ref> – "A hallmark is never easy to describe, but the nearest description of Ford's would be a combination of strength and simplicity. The nearest equivalent I can think of is a musical one: middle-period Beethoven." * [[Jean Renoir]]<ref name=JFo /> – After seeing ''[[The Informer (1935 film)|The Informer]]'', he reportedly told [[George Seaton]]: "I learned so much today ... I learned how to not move my camera." * [[Martin Scorsese]]<ref name=JFIn /> * [[Steven Spielberg]]<ref name=JFo /> * [[Straub-Huillet|Jean-Marie Straub]] praised Ford as "the most [[Bertolt Brecht|Brechtian]] of all filmmakers" * [[François Truffaut]]<ref name=JFIn /> * [[Orson Welles]]<ref name=JFo>{{cite book |last = Davis |first = Ronald L. |title = John Ford: Hollywood's old master |publisher = [[University of Oklahoma Press]] |series = The Oklahoma Western Biographies |year = 1995 |isbn = 978-0-8061-2916-7}}</ref> – When asked to name the directors who most appealed to him, he replied: "I like the old masters, by which I mean John Ford, John Ford and John Ford." * [[Wim Wenders]]<ref name=JFIn /> * [[Pedro Costa]] – "It makes me dream and it makes me come back. I felt so right when I saw a film by John Ford and I was in front of those people. It was a dream thing. It was a real thing." ==John Ford Ireland== In December 2011 the [[Irish Film & Television Awards#Irish Film & Television Academy|Irish Film & Television Academy]] (IFTA), in association with the John Ford Estate and the Irish Department of Arts, Heritage and the Gaeltacht, established "John Ford Ireland", celebrating the work and legacy of John Ford. The Irish Academy stated that through John Ford Ireland, they hope to lay the foundations for honoring, examining and learning from the work and legacy of John Ford, who is widely regarded as one of the most important and influential filmmakers of his generation. ===Symposium=== The first John Ford Ireland Symposium was held in Dublin, Ireland from 7 to 10 June 2012. The Symposium, designed to draw inspiration from and celebrate Ford's ongoing influence on contemporary cinema, featured a diverse program of events, including a series of screenings, masterclasses, panel discussions, public interviews, and an outdoor screening of ''[[The Searchers (film)|The Searchers]]''. Guests who attended included Dan Ford, grandson of John Ford; composer Christopher Caliendo conducted the acclaimed [[RTÉ Concert Orchestra]] performing his score to Ford's ''[[The Iron Horse (film)|The Iron Horse]]'', opening the four-day event; author and biographer [[Joseph McBride (writer)|Joseph McBride]] gave the Symposium's opening lecture; directors [[Peter Bogdanovich]], [[Stephen Frears]], [[John Boorman]], [[Jim Sheridan]], [[Brian Kirk]], [[Thaddeus O'Sullivan]] and Sé Merry Doyle participated in a number of events; Irish writers [[Patrick McCabe (novelist)|Patrick McCabe]], [[Colin Bateman]], Ian Power and [[Eoghan Harris]] examined Ford's work from a screenwriters perspective; [[Joel Cox]] delivered an editing masterclass; and composers and musicians, among whom [[David Holmes (musician)|David Holmes]] and [[Kyle Eastwood]], discussed music for film. The John Ford Ireland Film Symposium was held again in Dublin in Summer 2013. ===John Ford Award=== [[Clint Eastwood]] received the inaugural John Ford Award in December 2011. It was presented to Mr Eastwood, at a reception in Burbank, California, by Michael Collins, Irish Ambassador to the United States, Dan Ford, grandson of John Ford, and Áine Moriarty, Chief Executive of the Irish Film & Television Academy (IFTA). Accepting the Award, Mr Eastwood said: "Any kind of association with John Ford is most directors' dream, as he was certainly a pioneer of American filmmaking and I grew up on his films. His Westerns had a great influence on me, as I think they had on everybody. When I worked with [[Sergio Leone]] years ago in Italy, his favorite Director was John Ford and he spoke very openly about that influence. I want to thank everybody who is here from the Irish Academy, the John Ford family and thank you to John Ford Ireland." ==Filmography== {{Main article|John Ford filmography}} ==Navy awards== {| |{{ribbon devices|number=0|type=oak|ribbon=Us legion of merit legionnaire.png|width=20}} |[[Legion of Merit]] |- |{{ribbon devices|number=0|type=oak|ribbon=Purple Heart Medal.png|width=20}} |[[Purple Heart]] |- |{{ribbon devices|number=0|type=oak|ribbon=Naval Reserve Medal front.jpg|width=20}} | [[Naval Reserve Medal]] |- |{{ribbon devices|number=0|type=oak|ribbon=ADSM.png |width=20}} | [[American Defense Service Medal]] |- |{{ribbon devices|number=0|type=oak|ribbon=AmericanCM.png|width=20}} | [[American Campaign Medal]] |- |{{ribbon devices|number=0|type=oak|ribbon=ASPCFCM.png|width=20}} | [[Asiatic–Pacific Campaign Medal]] with three campaign stars |- |{{ribbon devices|number=0|type=oak|ribbon=EAMECM.jpg|width=20}} | [[European–African–Middle Eastern Campaign Medal]] with campaign star |- |{{ribbon devices|number=0|type=oak|ribbon=WWIIVictory.gif|width=20}} | [[World War II Victory Medal (United States)|World War II Victory Medal]] |- |{{ribbon devices|number=0|type=oak|ribbon=NavOccMedal.jpg|width=20}} | [[Navy Occupation Service Medal]] |- |{{ribbon devices|number=0|type=oak|ribbon=National Defense Service Medal.png|width=20}} | [[National Defense Service Medal]] |- |{{ribbon devices|number=0|type=oak|ribbon=KoreanService.gif |width=20}} | [[Korean Service Medal]] |- |{{ribbon devices|number=0|type=oak|ribbon=Korea Medaille van de Verenigde Naties.jpg|width=20}} | [[United Nations Korea Medal]] |} ==See also== {{Portalbar|Film in the United States|Biography}} * [[List of film collaborations]] ==Notes== {{reflist|colwidth=30em}} ==References== * Evans, Alun, ''Brassey's Guide to War Films'', Brassey's, 2000. {{ISBN|1-57488-263-5}} * Lindsay Anderson, ''Never Apologise: The Collected Writings'', London: Plexus, 2004. Republication of "Meeting in Dublin with John Ford: ''The Quiet Man''", ''Sequence'' 14, 1952. * Lindsay Anderson, ''About John Ford'', London: Plexus, 1981, 1999 edition. * Peter Bogdanovich, ''John Ford'', Berkeley: University of California Press, 1967, revised 1978. * Peter Cowie, ''John Ford and the American West'', New York: Harry Abrams Inc., 2004. * Serge Daney, "John Ford", in Dictionnaire du cinéma, Paris, Éditions universitaires, 1966, ripubblicato in Serge Daney, ''La Maison cinéma et le monde'', 1. Le Temps des Cahiers, 1962–1982, Paris: P.O.L., 2001. * Toni D'Angela, ''John Ford. Un pensiero per immagini'', Milano, Edizioni Unicopli, 2010. * Scott Eyman, ''Print the Legend: The Life and Times of John Ford'', New York, 1999. * Dan Ford, ''The Unquiet Man: The Life of John Ford'', London: Kimber. 1982 (1979). * Tag Gallagher. ''John Ford: The Man and His Films''. Berkeley: University of California Press, 1986. * [http://www.lafuriaumana.it/index.php?option=com_content&view=category&id=50:la-furia-umana-nd-3-winter-2010&Itemid=61&layout=default ''La furia umana'', n. 3, 2010]. Special issue about John Ford, incorporating texts (in French, Italian, English, Portuguese) by Julio Bressane, Paul Vecchiali, [[Raymond Bellour]], Art Redding, Toni D'Angela, Juan Gorostidi Munguia, Tag Gallagher, [[Joseph McBride (writer)|Joseph McBride]], [[Jacques Aumont]], John Zorn, Barry Gifford, Giulio Giorello, Alberto Abruzzese, Eva Truffaut and others. * Jean Mitry, ''John Ford'', Paris, 1954. * {{cite book|last=McBride|first=Joseph|title=Searching for John Ford: A Life|year=2001|publisher=St. Martin's Press|location=New York|isbn=0-312-31011-0|page=880|url=https://books.google.com/books/about/Searching_For_John_Ford.html?id=2ZrqhjIvYcYC}} * Pippin, Robert B. ''Hollywood Westerns and American Myth: The Importance of Howard Hawks and John Ford for Political Philosophy'' (Yale University Press, 2010) 208 pp. * Patrice Rollet and Nicolás Saada, ''John Ford'', Paris: Editions de l'Etoile/Cahiers du cinéma, 1990. * Andrew Sinclair, ''John Ford'', New York: Dial Press/J. Wade, 1979. * {{cite magazine|magazine=[[:fr:Trafic (revue)|Trafic]] |number=56 |date=Winter 2005 |title=Politique(s) de John Ford |language=French}} ==External links== {{Commons category|John Ford}} * {{IMDb name|406|John Ford}} ===Archival Materials=== * [https://findingaid.lib.byu.edu/viewItem/MSS%202076-1 John Ford's America, MSS 2076-1] at [https://sites.lib.byu.edu/sc/ L. Tom Perry Special Collections], [[Brigham Young University]] * [http://www.indiana.edu/~liblilly/guides/ford/johnford.shtml John Ford papers] at the Lilly Library, Indiana University Bloomington <!--Commenting these links out for now, because I don't think they belong in the external links section, but they may have been used as sources. Some seem like they'd be great sources. ==Biographical information and news=== * [https://movies.yahoo.com/movie/contributor/1800011224/bio Ford biography] at [[Yahoo! Movies]] * [http://www.sensesofcinema.com/2004/31/john_ford_till_47/ ''"Ford Till '47"''] by Tag Gallagher, at SensesofCinema.com * [http://www.sensesofcinema.com/2002/great-directors/ford/ ''"John Ford"''] by Richard Franklin, at SensesofCinema.com * [http://www.reelclassics.com/Directors/Ford/ford.htm Ford biography] (with film poster illustration) at ReelClassics.com * [http://film.virtual-history.com/person.php?personid=104 John Ford Bibliography] at Film.Virtual-History.com * [http://www.theyshootpictures.com/fordjohn.htm ''"John Ford"''] at TheyShootPictures.com * [http://www.guardian.co.uk/film/2010/jun/07/john-ford-movie-new-zealand Lost John Ford movie unearthed in New Zealand, The Guardian, 7 June 2010] * [http://www.maineirishheritagetrail.org/john-ford-statue_026.shtml Website for Maine Irish Heritage Trail] ===Blog posts=== * [http://iversonmovieranch.blogspot.com/2011/02/revisiting-iverson-locations-in-john.html ''Stagecoach'' at the Iverson Movie Ranch] * [http://iversonmovieranch.blogspot.com/ Iverson Movie Ranch: History, vintage photos.] * [http://iversonmovieranch.blogspot.com/2012/05/john-ford-gets-postage-stamp.html The John Ford postage stamp] These links are dead, but might still be valuable: * [http://www.history.navy.mil/bios/ford_john.htm Biography of Rear Admiral John Ford; U.S. Naval Reserve] at [[Naval Historical Center]] * [http://www.history.navy.mil/faqs/faq81-8b.htm ''"Oral History – Battle of Midway: Recollections of Commander John Ford"''] at [[Naval Historical Center]] * [http://mainehumanities.org/podcast/archives/495 Talk on Ford] in Portland, Maine, by Michael C. Connolly and Kevin Stoehr, editors of ''John Ford in Focus'' * [http://www.thenedscottarchive.com/hollywood/films/the-long-voyage-home.html John Ford's favorite stills from ''The Long Voyage Home''] by [[Ned scott|Ned Scott]] --> ===Criticism=== * [http://www.rouge.com.au/7/ford_depth.html Ford's Depth by Miguel Marías] * [http://www.rouge.com.au/7/ford.html The Eloquence of Gesture by Shigehiko Hasumi] * [http://www.lafuriaumana.it/index.php?option=com_content&view=category&id=50:la-furia-umana-nd-3-winter-2010&Itemid=61&layout=default ''La furia umana/3''], winter 2010, special about John Ford, texts (in French, Italian, English, Portuguese) by Julio Bressane, Paul Vecchiali, Raymond Bellour, Art Redding, Toni D'Angela, Juan Gorostidi Munguia, Tag Gallagher, Joseph McBride, Jacques Aumont, John Zorn, Barry Gifford, Giulio Giorello, Alberto Abruzzese, Eva Truffaut and others; on www.lafuriaumana.it * [http://cnx.org/content/col11357 The Influence of Western Painting and Genre Painting on the Films of John Ford Ph.D. Dissertation by William Howze, 1986] ===Official sites=== * [http://www.johnfordireland.org Website for John Ford Ireland] {{s-start}} {{s-ach}} |- ! colspan="3" style="background: #DAA520;" | [[Academy Awards]] |- {{succession box |title=[[Academy Award for Best Director|Best Director]]<br />John Ford |years=1935<br />'''for ''[[The Informer (1935 film)|The Informer]]'' ''' |before=[[Frank Capra]]<br />for ''[[It Happened One Night]]'' |after=Frank Capra<br />for ''[[Mr. Deeds Goes to Town]]''}} |- ! colspan="3" style="background: #DAA520;" | [[Academy Awards]] |- {{succession box |title=[[Academy Award for Best Director|Best Director]]<br />John Ford |years=1940<br />'''for ''[[The Grapes of Wrath (film)|The Grapes of Wrath]]'' '''<br />1941<br />'''for ''[[How Green Was My Valley (film)|How Green Was My Valley]]'' ''' |before=[[Victor Fleming]]<br />for ''[[Gone with the Wind (film)|Gone with the Wind]]'' |after=[[William Wyler]]<br />for ''[[Mrs. Miniver (film)|Mrs. Miniver]]''}} |- ! colspan="3" style="background: #DAA520;" | [[Academy Awards]] |- {{succession box |title=[[Academy Award for Best Director|Best Director]]<br />John Ford |years=1952<br />'''for ''[[The Quiet Man]]'' ''' |before=[[George Stevens]]<br />for ''[[A Place in the Sun (film)|A Place in the Sun]]'' |after=[[Fred Zinnemann]]<br />for ''[[From Here to Eternity]]''}} |- ! colspan="3" style="background: #DAA520;" | [[American Film Institute]] |- {{succession box |title=[[AFI Life Achievement Award]]<br />John Ford |before=Ford first recipient |years=1973 |after=[[James Cagney]]}} {{end}} {{John Ford}} {{Navboxes |title = Awards for John Ford |list = {{Academy Award Best Director}} {{AFI Life Achievement Award}} {{DirectorsGuildofAmericaAwardFeatureFilm}} {{Locarno Film Festival Best Director Award}} }} {{Authority control}} {{DEFAULTSORT:Ford, John}} [[Category:1894 births]] [[Category:1973 deaths]] [[Category:American film directors]] [[Category:American military personnel of World War II]] [[Category:American people of Irish descent]] [[Category:Best Directing Academy Award winners]] [[Category:Burials at Holy Cross Cemetery, Culver City]] [[Category:Deaths from cancer in California]] [[Category:Deaths from stomach cancer]] [[Category:Irish-American history]] [[Category:Operation Overlord people]] [[Category:People from Cape Elizabeth, Maine]] [[Category:Artists from Portland, Maine]] [[Category:Military personnel from Maine]] [[Category:Presidential Medal of Freedom recipients]] [[Category:Recipients of the Legion of Merit]] [[Category:United States Navy rear admirals (lower half)]] [[Category:Western (genre) film directors]] [[Category:People of the Office of Strategic Services]] [[Category:Directors Guild of America Award winners]]'