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شنبه 13 خرداد 1396

John Ford: The Man and His Films by Tag Gallagher download fb2

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Book description

A Great Tribute to One of the Greatest Directors of All TimeTag Gallagher’s study John Ford. The Man and His Films may seem like an intimidating book what with its sheer volume and the author’s occasional inclination towards unnecessarily complicated language. However, to anyone interested in John Ford’s movie œuvre, or even in the classic cinema at large, this book is definitely a must-read – as long as they are willing to accept the auteur theory approach Gallagher follows. To rebut this objection from the very beginning one may say that, along with Hitchcock, Renoir, Hawks, and maybe Wyler – I would also want to add my favourite, Anthony Mann –, John Ford is most certainly a director who managed in most cases to maintain full authority in the process of making his films, not only through Argosy Productions but also due to his working style and his special personality.Gallagher divides Ford’s films into four different periods – Introspection, Idealism, Myth and Mortality – and works out the specific features of each of these eras by closely analyzing its respective films. Some films, like How Green Was My Valley, Stagecoach, Mogambo, The Searchers, or The Man Who Shot Liberty Valance are covered in extensive detail, whereas other films, like The Iron Horse obtain less attention. All in all, however, Gallagher gives a very good impression of most of Ford’s movies. As he hardly ever provides plot summaries and, instead, implies that the reader be familiar with the films, the more Ford films you know, the more you will get out of his analyses. I actually re-watched several of the films after reading Gallagher’s remarks on them, which was a very gratifying experience – even if reading the book will take even longer. But then there are a lot of worse pastimes than watching Ford movies.It quickly becomes obvious that Gallagher does not really write sine ira et studio but definitely in a strong spirit of admiration of Ford, e.g. when he attacks Bazin’s criticism of Ford’s allegedly manipulative style in Stagecoach – and rightly so, I would add after following his arguments –, but this does not make Gallagher a fawning yes-man at all (cf. his analysis of The Informer in case you need proof). It is even this spirit of admiration that leads Gallagher to some of his most valuable statements and discoveries. I was, for example, quite impressed to read Gallagher’s appreciation of Fort Apache’s seemingly conservative ending as an instance of Ford’s deeply-rooted skepticism of what some people’s idealism may lead to (cf. pp.246-54, but also p.494 n.63: “[…] how Captain York donning Colonel Thursday’s hat at the end is a Brechtian device […], and that we see clearly that an insane system needs the dedication of noble men to perpetuate itself.”). Far from being a starry-eyed and conservative myth-maker, Ford shows us that “[t]he evil, the true evil, that haunts his films is the evil of good intentions.” It is only that Ford, rather than telling us how we should feel about things, invites us to observe rather than identify and to come to our own conclusions. Ford’s cinema is unobtrusive and very clever indeed.Gallagher finishes his in-depth analyses of Ford’s films by characterizing the director’s style (and by contrasting him with Hitchcock, another auteur). One must add, though, that the book is hardly what you would call a biography, although during the first few pages I was slightly dismayed at what I found to be rather erratic biographic information on Ford. Instead Gallagher tries to characterize Ford via his films, which, to my mind, is a venture he definitely succeeds in, now and then inserting some additional biographic information.The book also contains a filmography of all films Ford in some way or other had a hand in; I was quite surprised to spot Hondo in that number. No praise, however, can be given to the illustrations which abound in the book and are meant to illustrate Gallagher’s analyses because they are often of very poor quality indeed, sometimes even completely useless without the accompanying texts.This little qualification, however, in no way detracts from the outstanding merits of Gallagher’s analysis, and so I feel inclined to call this book the best study on John Ford that is known to me.

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