The American West of John Ford | Full Movie | Denis Sanders | John Wayne, James Stewart, Henry Fonda - video Dailymotion

TRENDEST MOVIES - ENGLISH

THE AMERICAN WEST OF JOHN FORD | Biography, Documentary, Western | 1971 |   Plot: The Western films of iconic director John Ford are fondly remembered by stars James Stewart, Henry Fonda, and John Wayne, with whom he shoots a scene in Monument Valley.  Crew:  • Directed by: Denis Sanders • Written by: David H. Vowell • Starring: John Wayne, James Stewart, Henry Fonda, John Ford, Andy Devine • Produced by: Britt Lomond • Music by:  • Cinematography: Robert E. Collins • Edited by: Keith Olson  About TRENDEST MOVIES - ENGLISH:  Welcome to TRENDEST MOVIES - ENGLISH, your ultimate destination for an expansive collection of movies across all genres. From timeless classics to modern-day blockbusters, we bring you the best of cinema. Dive into our vast library, where you’ll find everything from thrilling action movies to heartwarming dramas, iconic comedies, and unforgettable sci-fi adventures. Stay tuned as we continue to expand our collection, offering something for every movie lover.  #TrendestMovies #EnglishCinema #ClassicHits   Follow Trendest Media:  • YouTube:  1) TRENDEST INFOTAINMENT: www.youtube.com/@TRENDEST_INFOTAINMENT 2) TRENDEST KIDS: www.youtube.com/@TRENDEST_KIDS  • Instagram:  TRENDEST INFOTAINMENT: https://www.instagram.com/trendestinfotainment/  • Facebook: TRENDEST INFOTAINMENT: https://www.facebook.com/TrendestInfotainment/   COPYRIGHT  We hold the proper licenses for all movies published on YouTube. For any questions, please contact: mail@trendest.in  AYA Media Private Limited & TRENDEST Media Private Limited are companies registered under the laws of India and located in the state of Kerala, India.

Transcript

00:00The following footage is from our vault of classics, taken ten years before.

00:03Any resemblance to actual people, living or dead, is coincidental and unintentional.

00:15Action!

00:16Hyah, doller!

00:26Throw it in there, right by that bush.

00:28That's good, that's good. Do that.

00:32The lines don't mean anything.

00:35I'll get some out here that'll help.

00:37Okay, there you go.

00:38Okay, quiet!

00:39What do you want, coach? You want me to say the other line or just the things?

00:42Say the other line, let's look at that one more.

00:44No, when you get up, I mean, you know.

00:46Okay, first thing.

00:47And rub your butt.

00:48I hear you.

00:50Chuck out.

00:51Yes, sir.

00:52All right, we're rolling.

00:55Dust.

00:56Dust.

01:06Thanks.

01:07I like that, he just sticks that word and just says thanks.

01:11They want action pictures, dammit.

01:13That's what we're getting paid for.

01:16Try it again.

01:18Print the other two takes.

01:26© BF-WATCH TV 2021

01:56© BF-WATCH TV 2021

02:26© BF-WATCH TV 2021

02:56They bend or they break or hold their ground

02:59depending on the kind of people that they are.

03:02Of course, when westerns were first being made,

03:05it was a different story.

03:11Shoot-em-ups, they called them.

03:13The hero wore a white hat, wasn't afraid of anything,

03:16always got the girl.

03:18They were short, simple, and except for a few stars

03:21like Harry Carey, easily forgotten.

03:25In 1924, the Iron Horse broke the pattern.

03:30It wasn't short or simple.

03:32It was an epic, an action spectacle

03:35that ran two hours and 40 minutes.

03:37The plot wasn't just good guys versus bad guys.

03:41The Iron Horse was the story of a nation's determination

03:45to unite itself with a continent-spanning railroad.

03:55This was no horse opera.

03:58This was a whole new way of looking at the American West.

04:01No one before or since has been able to get on film

04:05the vitality and sheer beauty of the West.

04:10When Pepe found Monument Valley,

04:12he found a subject equal to his talent.

04:16He came here for the first time in 1938,

04:19brought me with him.

04:21The picture? Stagecoach.

04:25Hold it!

04:29I was 30 years old then,

04:31been around pictures for about 10 years.

04:34I'd made dozens of Westerns with other directors,

04:38but except for a good part here and there,

04:41I hadn't worked with Pepe.

04:43Stagecoach was not only the first film

04:46he shot in Monument Valley,

04:48it was also the first Western he'd made with sound.

04:51And the first time he'd ever worked with me.

04:55You may need me in this Winchester, Curley.

04:58Saw a ranch house burning last night.

05:01You don't understand, kid.

05:03You're under arrest.

05:05The End

05:24Took us about

05:26six weeks to make that picture.

05:29It was fun all the way.

05:31Pepe always knew how to keep what

05:34what we call a happy set.

05:37And I was usually the butt of the jokes on that happy set.

05:41I remember once I was a new boy then

05:44and I was working with a lot of wonderful actors

05:48and after we'd been on the picture for about three weeks,

05:52Jack said, would you like to go see some of the picture?

05:55I said, gosh, I should say.

05:57He says, well, go take a look at it

05:59and see if you can come up with any ideas.

06:03Well, I went in to see the picture

06:04and the only thing that I could see wrong

06:07was I had asked the prop man to bring along

06:09one of those arm stretchers

06:11because if you put that on the other end of the lines

06:13then where I was driving the stagecoach,

06:15it looks more natural.

06:17Well, he forgot to bring that.

06:19So this fella that was driving the stagecoach

06:22was sitting up there and it was tough on him

06:24because he had to shake the lines this way

06:26rather than have the natural pull.

06:28So when I got back to set, Jack said, what's the matter?

06:31I said, well, the fella driving the stagecoach

06:33is just sitting up there jogging.

06:35He says, hold it.

06:37Everybody come down.

06:38He brought the electricians down out of the flies.

06:40He brought everybody down into the middle of the set

06:42and he says, well, Duke's made it.

06:45He thinks he's great

06:46and that fella driving the stagecoach is horrible.

06:50Well, we all had a good laugh about it later

06:52but right then I felt about that big.

06:54Well, are you still mad at me, Duke?

06:56Oh, it'd take a special kind of a man

07:02to still be mad after 30 years, coach.

07:05You're talking about the fella that,

07:06the fat fella, the ex-cowboy that drove the stagecoach.

07:10Yeah, what was his name?

07:12Oh, I don't know what his name was.

07:14We couldn't get Ward Bourne

07:15because he couldn't drive a six up

07:17and we got this ex-stuntman.

07:22I don't know what ever happened

07:23and the last thing I knew of, me.

07:26I can't believe it.

07:28Is that any divine?

07:31Hey, Andy, you still mad?

07:34You're doing all the fat parts.

07:38You mean that literally, I suppose.

07:43I was just telling the audience a little about stagecoach.

07:48First time we worked together, it seemed to me,

07:50right out here was one of your setups.

07:55Are you still trying to impress me with your expertise?

07:58No, I was just thinking about how many pictures

08:02we've made together since then.

08:04How wonderful it is to be back up here again.

08:07Anderson living.

08:09Good living.

08:20Oh, they're engraved, aren't they?

08:23This is good to Jimmy Stewart.

08:25Well, I appreciate it very much, boss.

08:28I, uh, may have told you,

08:31I have wide hips, old wife of upstairs.

08:33Mm-hmm.

08:37I see.

08:40For John Ford, making films has always been

08:43what he calls a job of work.

08:46But the Motion Picture Academy of Arts and Sciences

08:49has occasionally considered it more than just a living.

08:53In 1935, they presented an Oscar to John Ford

08:58for his direction of The Informer.

09:01Five years later, The Grapes of Wrath won him a second one.

09:05The next year, How Green Was My Valley

09:08was voted Best Picture of the Year,

09:10and John Ford won an Oscar for directing it.

09:13In 1942, John Ford was in the Navy,

09:17but he won an Oscar as the director and photographer

09:20of the documentary The Battle of Midway.

09:24One year later, Commander Ford

09:27won his fifth Oscar for another documentary, December 7th.

09:31In 1952, The Quiet Man put this one on his mantle.

09:38Six all together, and not one of them for a Western.

09:43Maybe that's because the excellence of a John Ford Western

09:47is something that we all take for granted.

09:50Or maybe it's because he's made so many of them

09:53that even he has lost count.

09:56He made his first one when he was 22 years old.

09:59That was back in 1917.

10:02It was a two-reeler called The Tornado.

10:05And he wrote it and directed it,

10:09and he also worked as an actor in it.

10:13He made eight other pictures that year,

10:16all of them Westerns.

10:18They didn't win any awards,

10:21but they weren't too bad for a young man learning his trade.

10:25And the memories of that year

10:28and of all the years in between,

10:31they're all scattered around the walls of this room.

10:35The deer skin was a gift of the Navajos after stagecoach.

10:41They called him Natani Nez, tall soldier.

10:44The thank you note was written by Shirley Temple

10:47after he directed her in Wee Willie Winky.

10:51The photograph of Lincoln was used in Cheyenne Autumn.

10:55Here's a musical trio that never made it big.

10:59That's Pappy on the drums, I'm in the corner.

11:02The only real musician is the fellow in the middle,

11:05Danny Berzaghi.

11:06Danny was a fixture on almost every Ford picture.

11:10He was in some of them,

11:11but mostly he just played the accordion.

11:14On camera or backstage,

11:17music has always been an important part

11:19of John Ford's Westerns.

11:22And by that, I don't mean background music.

11:25Pappy always told me that he'd rather hear good music

11:29than bad dialogue.

11:31But more than that,

11:33the music in a John Ford Western means something.

11:37It evokes a sense of tradition,

11:40a nostalgia for simpler times

11:44when all hope lay ahead.

11:46When Americans were convinced

11:49that the promise of America lay over the next rise,

11:54that greener pastures did, in fact,

11:57beckon from beyond the next mountain range.

12:01In search of that promise,

12:04pioneers walked across the continent.

12:08And for John Ford, they also danced.

12:12In Wagon Master,

12:15we can chuckle at the comedy romance

12:17between Alan Mowbray and Jane Darwell,

12:20but at the same time,

12:22we learn that there was more to pioneer life

12:24than fighting off Indian attacks.

12:32The music in this scene,

12:34Marina Hara and Rio Grande, plays a different role.

12:41And for John Ford, there was no need for dialogue,

12:46the music said it all.

12:55The character of a strong-willed woman

12:58was a constant element in all his films.

13:02In Stagecoach, Claire Trevor got the job.

13:05She was a woman who had a strong sense of humor,

13:09and in Stagecoach, Claire Trevor got the job.

13:11She played a barroom girl with a heart of gold.

13:17Doc, can they make me leave town when I don't want to go?

13:19Do I have to go?

13:20Now, Dallas, don't you go making no fuss.

13:22Do I have to go, doctors, because they say so?

13:24Now, Dallas, I've got my orders.

13:26Don't blame these ladies, it ain't them.

13:28It is them!

13:30Doc, don't I have any right to live?

13:32What have I done?

13:34We're the victims of a foul disease

13:36called social prejudice, my child.

13:39These dear ladies of the Law and Order League

13:41are scouring out the dregs of the town.

13:44Come on, they are proud, glorified dregs like me.

13:49You get going, Doc, you're drunk.

13:51Two of a kind, just two of a kind.

13:54Take my arm, Madame de Comtesse.

13:56The Cumbriel awaits for the guillotine.

14:00Oh, wait, I get my badge, girls, I'll join you.

14:03Thomas Mitchell won an Academy Award

14:05for his portrayal of the drunken doctor.

14:09The characters are cliches now, but that's because

14:13there have been so many bad imitations of the original.

14:17In the film, The Searchers, Olive Carey sums up

14:20the philosophy of John Ford's pioneer women.

14:23Just so happens we be Texicans.

14:26Texican is nothing but a human man way out on a limb.

14:29This year and next, maybe for a hundred more,

14:34but I don't think it'll be forever.

14:36Someday, this country's gonna be a fine, good place to be.

14:40Maybe it needs our bones in the ground

14:42before that time can come.

14:44Bedtime.

14:46She was a school teacher, you know.

14:49Even disguised in Eastern frills and fragility,

14:53John Ford's women lose none of their strength.

14:56The air is so clean and clear.

14:58What's that?

15:02Scent of the desert flower.

15:05That's me.

15:08Barber.

15:11In My Darling Clementine, Kathy Downs

15:13could even get Henry Fonda as Wyatt Earp

15:16to take her to church.

15:18You are going to the services, aren't you?

15:24Yes, ma'am.

15:26I'd admire to take you.

15:33The scene is simple, clear, and to the point.

15:36But to me, what's just as important

15:39as the way John Ford treats the characters?

15:43His admiration for Wyatt Earp

15:45and others who won the West at gunpoint

15:47is almost reluctant.

15:49While for women like Clementine,

15:51the settlers, and the school moms,

15:53he gave his wholehearted respect.

15:56I'd like to hear something from Mr. Stewart.

15:58Is it right?

15:59What'd you say?

16:01They said that.

16:02That they'd like to hear something from Mr. Stewart.

16:04In Cheyenne Autumn, I remember you telling me

16:08that the reason you put me in as Wyatt Earp,

16:11that the whole picture was kind of serious,

16:16and it needed an intermission,

16:18but you didn't want people to get out

16:20and get drinks and go to the bathroom.

16:22So you put me in as Wyatt Earp

16:24to keep them in their seats,

16:26and it actually was an intermission on film.

16:29Is that correct?

16:32Well, I don't know, Jimmy.

16:34I don't know.

16:43Yeah.

16:44That deck feels light.

16:46That's a little light.

16:47Yeah, a little light deck.

16:48Wyatt Earp.

16:50Yeah.

16:52Wyatt.

16:53Wyatt.

16:54Over there are four Texans.

16:55Get rid of that one.

16:56That's right, that's right.

16:57There's a 51 card in that deck.

16:59Every citizen of Dodge stands ready to go out and whip it.

17:01Gentlemen, I swear I didn't vomit.

17:03Major, where's the card?

17:04Wyatt, if we shoot him,

17:07we won't have anyone left to play with.

17:10Gentlemen.

17:11That's a good point.

17:12New deck.

17:14I just wondered if the reason...

17:16Oh, I don't agree.

17:17If the reason you put me in as Wyatt Earp

17:19to keep people from going to the bathroom,

17:21is that...

17:22Well, that's quite a feather in your cap.

17:26But any chance I get to whip with you or Henry,

17:30I would leap at the chance.

17:31I mean, that's why I'm here today.

17:35Yeah, well.

17:36I'm very flattered and pleased.

17:39Well, we love you, boss.

17:40You're a hell of an intermissionist.

17:42An intermissionist.

17:43I'm a hell of an intermissionist.

17:45I'm a hell of an intermissionist.

17:46I'm a hell of an intermissionist.

17:49Don't say that much, Wyatt.

17:50That's the truth.

17:53I'd like to tell a prank

17:54if I have enough film in the camera.

17:57Just tell it.

17:58They're not rolling.

17:59Oh, I want to tell this on film.

18:01Oh, roll them.

18:02Roll them.

18:03Roll them.

18:04The gag that I remember most

18:07was on Mr. Henry Fonda on me.

18:11We're doing young Mr. Lincoln.

18:14And Henry...

18:16I'd never met Henry.

18:18And the first time I saw him, he was in makeup.

18:21This is true, isn't it?

18:23And we were on location up at Sacramento,

18:25working on the river.

18:28So we finished and we got on the plane last night

18:30and this very upstanding young man sat by me

18:35and we start chatting.

18:36I said, would you like a smoke?

18:37And he says, no thanks.

18:39I have some cigarettes and you're smoking cigars.

18:43And I says, we've met before, haven't we?

18:46He says, yes, I believe we have.

18:48I said, well, I mean, my name is John Ford.

18:51He says, fine.

18:52He says, my name is Henry Fonda.

18:54I said, what?

18:56And this is true, isn't it?

18:58I'd never seen him without the makeup

19:00and I didn't even recognize him.

19:03That's a true story.

19:05And that was a prank you pulled on me.

19:07True.

19:08In Fort Apache, Ford created his own version

19:12of the Battle of Little Bighorn

19:14with Henry Fonda in the role model on Custer.

19:17Ford's version may be at variance with history,

19:20but his interest was not in the man, but in the hero.

19:25His concern was not with assignment of blame

19:29or placement of glory.

19:31His interest was in the hero.

19:34To John Ford, Fort Apache was a eulogy to an era

19:39and perhaps his way of saying that heroes are men.

19:44After all.

19:47No man died more gallantly.

19:49No one more honored for his regiment.

19:51He's become almost a hero.

19:53And the country's a better place to live.

19:56The country's a better place to live.

19:58And the country's a better place to live,

20:00the world's a better place to live.

20:02honor for his regiment he's become almost a legend already he's the hero of every school

20:06boy in america but what of the men who died with him what of collingworth and collingwood

20:12oh of course collingwood that's the ironic part of it we always remember the thursdays

20:17but the others are forgotten you're wrong there they aren't forgotten because they haven't died

20:24they're living right out there collingwood and the rest they'll keep on living as long as the

20:31regiment lives pay is 13 a month their diet beans and egg maybe horse meat before this campaign is

20:40over fight over cards or rut gut whiskey but share the last drop in their canteens

20:48their faces may change their names but they're there they're the regiment the regular army

20:57now and 50 years from now

21:01they're better men than they used to be thursday did that he made it a command to be proud of

21:27me

21:47now maybe that's not the way things were but it's the way they should have been

21:52and that's a point of view john ford took in almost every western he ever made

21:57he summed up his approach to history in a film i worked in in 1962 it was called the man who shot

22:03liberty ballots i played a senator lawyer who got elected because the people thought he killed the

22:11bad guy well of course i didn't john wayne

22:19i'd say that was liberty balance there now wouldn't you yes i would we'll be seeing you

22:28mr stoddard get out of that shadow dude

22:34as i recall it lee marvin has never looked meaner than he did then

22:51you got two hands house slinger pick it up

23:04i was obviously no match for lee but duke was he and woody strode were across the street

23:13of course i didn't know that and neither did anybody else in town i did this time right between

23:22the eyes

23:42and in the picture when i told the truth

23:46when you're not going to use the story mr scott no sir

23:54this is the west sir when the legend becomes fact print the legend he's right

24:02and that's what john ford does he prints the legend and that's a fact

24:15so

24:27john ford has said that the best things in film happen by accident and he may be right when i

24:33went out to what used to be the backlot of 20th century fox i didn't expect to find him there

24:38hey

24:43last time we worked together was in mr roberts and the first time was in young mr lincoln

24:48you remember where you are you recognize this no i don't that's a damn displacement

24:55look at this i have no idea where the hell we are well because this is olympic i know that

25:00the western street had to be over there isn't this where the french street was a part of a

25:05french street you mean the bernadette street no no not the bernadette street now where is it

25:12where you did isn't this way over there's where you did the walk in lincoln in talking about those

25:17days i was reminded that i hadn't wanted to play lincoln i was a little scared of the part

25:22in all of lincoln i suppose and i remember jack telling me then in language a little too colorful

25:29to repeat that i wasn't going to play the great emancipator just a backwoods lawyer still wet

25:34behind the ears he convinced me to do it as much by what he said as how he said it you walked up

25:40the road if you remember i do i'll never forget god was looking down on us that day

25:49the tears of the multitude i think you said i think you said the tears of the multitude

25:54when it started to rain i had a kid somebody come out the other day came in fair and trembling

25:59to interview me so i put him right at ease i said i guess when you get right down to it john

26:05ford is as much an actor as he is a director i got the feeling that he enjoyed playing the

26:10cantankerous old man making jokes with the crew having a good time razzing one of the fellows

26:16who'd gone to yale at one point even broke into a course of the whiffenpoof song

26:21told me that a writer had come to see him that week to interview him the result i gathered

26:26satisfied him but didn't give the writer much material to work with i didn't tell him anything

26:34john ford will talk about anything but himself that makes him a great actor

26:39and a great director and a great actor and a great director and a great director

26:44right

26:47john ford will talk about anything but himself that makes him an easy man to like and a hard

26:52man to explain that was the unique thing about working with ford he made you feel

26:59related to each other actors technicians everybody part of his family i'm not saying that he's not the

27:07hard-nosed cantankerous do it my way or not at all director he claims he is

27:13but he's also a sentimentalist and there are several generations of film workers who vouch for

27:18that in 1925 victor mcloughlin made his first film with john ford he played an irish prize

27:27fighter a quarter of a century later he's still just as irish and very much a fighter

27:33the character is sergeant major quincannon a 30-year soldier six days away from an unwelcome

27:39retirement the movie is she wore a yellow ribbon duke played mcloughlin's commander determined to

27:47keep him out of trouble by getting him into trouble sergeant quincannon is improperly

27:51dressed on duty and he's under the influence throw him in a guardhouse

28:02the bartender by the way is francis ford jack's brother you'll find him in a lot of pappy's

28:06pictures when i played that up just drove me out

28:17you're under arrest quincannon by whom's orders by order of captain brittles

28:23are you coming peaceably laddie i've never gone any place peaceably in my life

28:36so

28:52mcloughlin was jack's ideal irish brawler he could lick any man in the house but always showed

28:58proper respect for the ladies who in this case is another ford regular mildred natwick

29:04i'm just telling it to the guardhouse quincannon quick step march

29:11what's the touch ma'am aren't you ashamed eight of you picking on one poor man only seven ma'am

29:22comedy is what john ford claims he does best and i don't want to argue with him but somebody said

29:28i think it was orson wells that john ford is as much a poet as he is a comedian

29:35maybe he's both for sure he's a sentimentalist

29:41to jack victor mcloughlin wasn't just an actor he was a friend they made 11 pictures together

29:47this was the 10th one in the last western rio grande

29:51ah

29:54i feel better now it'll kill you or cure you

29:59doctor with your fine education would you be telling me something yeah what is an arsonist

30:10an arsonist is a person that sets buildings on fire for profit or perverse excitement why

30:20it all started when we rode down the shadow valley doctor

30:25it was because it looked to be ordered to burn the crops in the barns at bridesdale

30:32she said was owned by the same family ever since that grand irishman

30:36sir water riding first smoked a pipe seems like i've heard that story before

30:45and there's the black hand that did the dirty deed

30:49you see a lot of the same faces in jack's pictures harry carey jr. ward bond jane darwell

31:07jane darwell

31:14it was like being part of a large and loyal repertory company

31:18ward made 22 including my first ford western my darling clementine

31:29and as for you when doc finds out you butted him the girl is linda darnell

31:34i'm the fellow pretending to be Wyatt Earp i guess more people have asked me about this balancing act

31:40than almost anything else i've done it wasn't in the script it was just something jack figured

31:45Wyatt Earp would do so i did it you remember the gunfight in the okay crowd in clementine

31:51surely uh i'd seen it a couple of times i mean the other other versions how did you uh come to

31:58stage it the way you did had you heard uh Earp himself tell the story yeah as i've told you you

32:04know as we've reminisced about this many times when Wyatt Earp retired as a lawman henry as you

32:11know he went to some little town north of uh pasadena now his wife was a very devout religious

32:19woman and a couple of times a year she'd go to these religious conventions in utah and eastern

32:26arizona and why'd we get on the streetcar go up to universal city and join us we became quite

32:33friendly and i didn't know anything about the okay corral at the time but harry carried you about it

32:41and he asked Wyatt and Wyatt described the fight fully exactly the way that you did it

32:49oh as a matter of fact he drew it out on paper a sketch of the entire thing and that's a

32:55why i said i was not a good shot i did close to a man and that's exactly what you did the

33:03clantons were in a defensive position at the corral Earp said so he approached the situation

33:09as if it were a small-scale military campaign the only advantage he his brother morgan doc holiday

33:15had was mobility dark holidays with him

33:23the way Earp saw it a frontal attack on the clans wouldn't do anything but get him killed

33:29i remember the uh yeah when we shot it you had a stagecoach or something coming through and

33:34raise a big cloud of dust that's that they used like the present-day uh smoke screen that's right

33:41now that was that in the in his original story yes is that right as a matter of fact he told me

33:47he had time he's falling you know he knew exactly when the stagecoach would come by

33:52and a very dusty road and he weighed this time and when the stagecoach came by you

33:57made your move and the others made their move but that's exactly the way it happened

34:02all right mr clanton

34:16let's talk a while hank

34:21well now

34:24you go right ahead and talk i got a warrant here for you and your son

34:29i got a warrant here for you and your son charging the murder of james and virgil earp

34:36there's also a charge of cattle rustling i'm giving you a chance to submit to proper authority

34:44will you come on right in here marshal and serve your warrant which one of you killed james

34:51i did and the other one too

35:02i'm gonna kill you

35:09so

35:18now colliday's silk handkerchief isn't documented

35:22but then as i said jack used history he didn't feel he was married to it

35:39so

35:49the ending was pure ford sentiment but it had the ring of truth in it

35:53throw your gun down and come on out old man

35:56so

36:02my boys ike sam finn billy they're dead i ain't gonna kill you

36:11i hope you live a hundred years feel just a little what my paw is gonna feel

36:17now get out of town start wandering

36:20now

36:25the okay corral in the town of tombstone were built from the ground up in the corner of monument

36:29valley but the interiors were done here the same place where we made young mr lincoln

36:37drums along the mohawk and the grapes of wrath

36:40they were good years very good years when this was the back lot of 20th century fox

36:52back that's gone now

36:57it's been homesteaded

36:59it

37:08monument valley is so identified with john ford it's been said that if anybody else made a picture

37:15here they'd be accused of plagiarism a shot like this a man on a horse riding against the background

37:23of harshness and beauty that's a john ford trademark

37:30he doesn't just tell you a story he writes a poem about it he doesn't just point the camera

37:37he paints a picture with it i guess what john ford has been doing for close to half a century

37:43is showing his love for the west by putting in motion the moods of remington and russell

37:49he's shown us a big country and people who seem big because they were part of it he gave us

37:55something to look up to like jimmy stewart says when it comes to a choice between what really

38:02happened and what should have happened john ford prints the legend the legend has become our

38:08folklore and the western the most colorful part of our american heritage it's the way we keep in

38:14touch with our past but the western has become something that we sadly take for granted can you

38:21imagine how it'd be without them be no cowboys or indians or homesteaders or gunfighters

38:27no covered wagons or stagecoaches no villains no heroes it'd be like not having a soul

38:35and working with john ford it's pretty hard not to pick up a few facts about making pictures

38:42one of his first rules is not to pack too many ideas in one scene and the second don't talk too

38:50much come on go go

39:01and the third rule is what hurts

39:06a lot of action

39:08this is the land rise scene from the three bad men made in 1926

39:14some directors would have settled for the spectacle a papi wanted drama

39:29he never missed an opportunity for humor or a chance to do what he called busting them up

39:38papi liked contrasts mood and lighting and pacing

39:43he knew how to get everything there was out of a scene and how to put a period on it

40:03when you pull a gun kill a man

40:08so

40:25ah

40:30But the real action to Pappy always happened outside.

40:41To get it started, all I'd have to say was, get to Fort Grant, tell them where we are.

40:47Tell them we may still be alive if they hurry.

40:49Move!

40:50Whenever Ben Johnson showed up in one of Pappy's pictures, you knew you were in for at least

41:07one and maybe two spectacular riding sequences.

41:12Ben liked to ride and Pappy liked to shoot him doing it.

41:16Go ahead, Jim.

41:38Pappy has said that on film he's killed more Indians than Custer.

41:43Fact is, he's never hurt anyone.

41:45Just looks that way.

41:51In all the stunts he's staged, never once was a man or a horse seriously injured.

41:56Oh, I picked up a bruise or two maybe here and so did Hank.

42:00But that was in the line of duty.

42:02It was supposed to look dangerous.

42:06The granddaddy of all the chases Pappy put on film is the one in stagecoach.

42:16The villains were the Indians.

42:18We'd been dodging them for two-thirds of the picture.

42:36Some realist, William S. Hart, I think, once pointed out that if a chase like this had

42:42actually happened, the Indians would have shot the horses and that would have been that.

42:49But Pappy wasn't as interested in facts as he was in heroic tradition.

42:54Besides, it made a better story his way.

42:59One of the most spectacular stunts was performed by Yakama Kanat.

43:04He's really an Irishman, by the way.

43:07His first name is Enos.

43:13This is how Pappy earned the reputation of being a hard-nosed old action director.

43:18He didn't rehearse anything.

43:20He took it any way it happened.

43:35Keep the suspense going, he'd create crisis within crisis, action within action.

43:47I'd like to take credit for this stunt, but it was Yakama again.

43:51One of the best stuntmen I've ever worked with.

43:54It was a dangerous piece of work and I was satisfied to settle for the close-up.

44:05In those days, the cavalry always arrived in the nick of time,

44:09and the Indians always faded into the background

44:12until they were needed as villains again.

44:20To set the record straight, Pappy cast the Indians as heroes in the last western he made,

44:25Cheyenne Autumn.

44:27He did it, he said, in an interview because

44:30In The Searchers, however, Pappy stuck with traditional casting

44:34and, in my opinion, it was one of the finest westerns that he ever made.

44:38Why don't you finish the job?

44:49What good did that do you?

44:51By what you preach, Pappy, I mean what good it did me.

44:56What good did that do you?

44:58By what you preach, none.

45:00But what that Comanche believes,

45:02ain't got no eyes, he can't enter the spirit land,

45:05has to wander forever between the winds.

45:07You get it, Reverend.

45:09I played Ethan Edwards, a man whose niece, a young girl he hardly knew,

45:14had been captured by a band of Comanches.

45:17Two sons killed by white men.

45:22For each son, I take many scouts.

45:28It took him ten years to track down the Comanches who had taken the little girl,

45:33and when he did, his hate was still intact.

45:36The problem was that the girl was now a woman,

45:39and the woman was now a Comanche.

45:43Yo, Ajay.

45:51We must go amongst them!

45:53You go!

46:21You go!

46:29Ethan Edwards was probably the most fascinating character I ever played

46:33in the John Ford Western.

46:36Pappy conceived Ethan as a complicated man,

46:39determined, ruthless, but somehow admirable.

46:44I was so impressed by him that I named one of my sons after him.

46:52Let's go home, Debbie.

47:01The ending of The Searchers has fascinated students of the

47:05John Ford Western world since it was first released.

47:09It's a story of a young man, a young man,

47:12a young man, a young man, a young man,

47:15a young man, a young man, a young man,

47:18John Ford Western world since it was first released

47:21in 1856.

47:23Maybe it does because it's an unhappy happy ending.

47:28The lost girl Natalie Wood is found

47:30and returned to her family,

47:32John Qualen and Olive Kerry,

47:35Jeff Hunter and Vera Miles, the young lovers are reunited,

47:39but Ethan Edwards, the man the story was all about

47:43is left standing outside all alone.

47:45The people have wondered what John Ford meant by that.

47:48He's never answered.

47:50I can't answer for him.

47:52I can only tell you what I had in mind.

47:55When I crossed my arm,

47:57I did it the way Harry Carey used to do it.

48:00Because his widow was on the other side of that door,

48:03and he was the man Pappy said taught him his trade.

48:15Jack Ford made all or part of nine westerns here in Monument Valley.

48:25When we came back in June,

48:27it was the first time we'd been here together in 15 years.

48:31The valley hadn't changed.

48:33It never does.

48:35But we had.

48:36Mostly just getting older, I guess.

48:40I came back to reminisce.

48:42And I got the feeling that maybe Pappy came back to say goodbye.

48:47You're going to take that over again, I said.

48:49I haven't, no.

48:50I said, you came and crossed out in the action.

48:52He said, what in the action?

48:53I, damn horse went down.

48:56Wayne almost rode over me.

48:59I said, oh, I think it looks good.

49:02I did, too.

49:03I just looked right up on it.

49:05Yeah.

49:09Isn't that the road there where the coach came up?

49:12Mm-hmm.

49:14Right around there and right up to the Indians right here.

49:17Yeah.

49:21It's a very funny coincidence.

49:24The fellow we picked out as Geronimo actually is Geronimo's grandson.

49:28Is that right?

49:29No, we didn't find him.

49:30Harry just dug it out.

49:33And told me he was half Apache, half Navi.

49:36That's like Vicky.

49:40What's his name?

49:41Vicky.

49:43The half Irish, half Indian.

49:45Oh, oh, son of a.

49:47Yeah, he's half Irish, half Indian, and a whole son of a.

49:52Vicky, yeah.

49:55Memories come back.

49:57The American West of John Ford.

50:27Motion picture home, of course, company home.

50:39As you always do.

50:41I'm not a career man.

50:42I never was.

50:44I'm just a hard-nosed, hard-working director.

50:48They'd hand me a script.

50:50I said, this ought to make a fair picture.

50:52This will make a good picture.

50:53I think it's going to be a lousy picture.

50:55But you have a schedule, so I'll go ahead and do the best I can with it.

51:01Well, I never felt important or felt anything.

51:04I was a career director, a genius, or any other damn thing.

51:11When you get the cue, just bust them and roll.

51:13Yes, sir.

51:14Okay.

51:16Ready?

51:17Take off.

51:24When I pass on, I want to be remembered as John Ford, a guy that made Westerns.

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