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John Ford

July 3, 1994
"John Ford's Century," a retrospective of 88 films marking the centenary of the director's birth, screens at UCLA's Melnitz Theater and the Los Angeles County Museum of Art. The schedule: UCLA Melnitz Theater Thursday, 7:30 p.m.: "My Darling Clementine," "The Man Who Shot Liberty Valance." Friday, 7:30 p.m.: "Hell Bent," "Straight Shooting," "Just Pals." Saturday, 7:30 p.m.: "They Were Expendable," "The Wings of Eagles." July 10, 7 p.m.: "The Plough and the Stars," "Young Cassidy."
February 20, 2014 | By M.G. Lord
Propaganda today has a nasty connotation; it suggests something cheesy, manipulative, in the service of a dishonorable cause. During World War II, however, cinematic propaganda became an elevated art, practiced with unusual expertise by five great American movie directors: John Ford, William Wyler, John Huston, Frank Capra and George Stevens. Hitler threw down the gauntlet with Leni Riefenstahl's "Triumph of the Will" (1935), propaganda so captivating that it impelled even gentle Germans to thump their chests.
June 24, 2001
Joseph McBride has a tough time fitting Ford's "convoluted politics" into the right or left ideological box (" 'Fellow Traveler' or Redbaiter?" June 3). The explanation is quite simple: Ford was a populist. While economic populism leans to the left, viewing wealth and power as unequally distributed, cultural populism positions itself in the opposite direction, with its core support coming from the religious right. Populism neither commends the liberal solution of handing out welfare nor the compassion-challenged conservative solution that says, "I've got mine; now fend for yourself."
February 5, 2014 | By Susan King
TCM has added three screen legends and a tribute to an Oscar-winning actor to the roster of the 2014 TCM Classic Film Festival, which takes place April 10 to 13 in Hollywood. Maureen O'Hara, who is best known for her work in John Ford films including 1952's "The Quiet Man," will present the world premiere restoration of Ford's Oscar-winning 1941 drama "How Green Was My Valley," in which she stars. Funny man Mel Brooks will stop by for a screening of his 1974 comedic masterpiece, "Blazing Saddles," and Margaret O'Brien will be on hand for the screening of Vincente Minnelli's beloved 1944 Technicolor musical, "Meet Me in St. Louis," for which she won a juvenile Oscar as Judy Garland's little sister.
June 17, 2003 | From Chicago Tribune
"He was the pride of all the cowboys on the ranch. An independent spirit, as were all the cowboys, he fell under the irresistible charm of Helen Clayton." So reads the first inter-title of a 1917 John Ford film whose recent rediscovery is being compared to the unearthing of a new painting by Cezanne or an unpublished manuscript by Victor Hugo.
July 26, 1990 | LEO SMITH
We'd like to bid farewell to Dr. John Ford. Today is his last day as medical director of six satellite clinics in Ventura County. In August, he and his fiancee, Laura Sugino, will be heading off to Thailand or Papua New Guinea--they aren't quite sure which--to do a year of volunteer medical work. It won't be Ford's first mission abroad. In 1982 he worked in Africa and in 1985 he spent some time in the Amazon Basin of Brazil. What does he miss most about Southern California when he's away?
March 16, 1986 | Philip Dunne, Writer-director Dunne is the author of "Take Two: A Life in Movies and Politics" (McGraw-Hill)
Tag Gallagher has performed a monumental task of scholarship in reconstructing the mind and psyche of movie director John Ford. Nearly 500 pages of text, profusely illustrated, are backed by another 100 of filmography, bibliography, notes and appendixes, even one recording the earnings of the director's movies. (Given the Byzantine nature of film company bookkeeping, let us hope that these figures are accurate.
June 3, 2001 | JOSEPH McBRIDE, Joseph McBride is the author of 14 books, including "Frank Capra: TheCatastrophe of Success" (1992) and "Steven Spielberg: A Biography" (1997)
"The truth about my life is nobody's damn business but my own," film director John Ford (1894-1973) once proclaimed. This penchant for secrecy helps explain why the truth of his life has been so notoriously difficult to pin down. No aspect of Ford has generated more confusion than his often contradictory stands on political issues.
James Pepper's small, adventurous Santa Teresa Press in Santa Barbara, which in 1987 produced a handsome edition of Orson Welles' unproduced original script, "The Big Brass Ring," has now brought out a commemorative edition of Philip Dunne's script for "How Green Was My Valley." The film, produced by Darryl F.
June 20, 1993 | KENNETH TURAN, Kenneth Turan is The Times' film critic
To know "The Searchers" is to love it. Or is it? Directed by the venerable John Ford and starring John Wayne at his strongest and strangest, this, the most celebrated of Westerns (opening on Wednesday for a nine-day revival at Laemmle's Monica in Santa Monica), was not exactly fawned over when it first appeared.
March 10, 2013 | By Susan King, Los Angeles Times
On May 19, 1836, a force of Comanche warriors accompanied by their Kiowa and Kochi allies attacked Ft. Parker in central Texas. Besides killing several of the residents of the fort, the Comanches kidnapped five captives, including 9-year-old Cynthia Ann Parker. For years, her uncle James Parker tried and ultimately failed to find her. Cynthia Ann stayed with the Comanches for 25 years, marrying a warrior and having three children, including the legendary Quanah Parker, a famed Comanche chief and leader of the Native American Church.
March 1, 2013 | By David Kipen, Special to the Los Angeles Times
The bigger the fight between a screenwriter and a director, the better the picture. It's an arrant generalization but not necessarily an errant one. Look at Budd Schulberg's battles with "On the Waterfront," or Robert Towne's over the ending of "Chinatown," or most if not all the writers on director Otto Preminger's best movies - few if any of whom could stand ever to work with him again. "The Searchers," which many critics and filmmakers consider the best western ever made, was written by a former film critic named Frank Nugent.
January 11, 2013 | By Charles McNulty, Los Angeles Times Theater Critic
Before Quentin Tarantino, Martin McDonagh and all the other sadistic bad boys of film and theater, there was the 17th century dramatist John Ford testing his audience's tolerance for perverse blood sport. In his most popular play, " 'Tis Pity She's a Whore," now at Freud Playhouse through Saturday in an international touring production by the acclaimed London-based company Cheek by Jowl, Ford does his best to out-Jacobean the Jacobean playwrights he was weaned on. Revenge isn't just the main dish - it's the theme of his entire buffet.
December 29, 2012 | Dennis McLellan, McLellan is a former Times staff writer
Harry Carey Jr., a venerable character actor who was believed to be the last surviving member of director John Ford's legendary western stock company, died Thursday. He was 91. Carey, whose career spanned more than 50 years and included such Ford classics as "She Wore a Yellow Ribbon" and "The Searchers," died of natural causes in Santa Barbara, said Melinda Carey, a daughter. "In recent years, he became kind of the living historian of the modern era," film critic Leonard Maltin told The Times on Friday.
August 22, 2012 | By Mike Boehm, Los Angeles Times
The fact that the Los Angeles Jewish Symphony is making a big deal out of its 18th anniversary concert on Sunday at the John Anson Ford Amphitheatre - and isn't sure whether it will treat its 20th as a special occasion - is just the latest unique happenstance flowing from Noreen Green's decision to strike up an orchestra different from all other orchestras. Her idea of forming an ensemble that follows Jewish threads through the classical and pops traditions has had enough staying power to reach a milestone that is itself uniquely Jewish.
February 19, 2012 | By Neal Gabler, Special to the Los Angeles Times
This is the Oscars' year of nostalgia - or at least that has been the pronouncement among observers. There is, of course, "The Artist," a silent film set in the silent film era. There is Martin Scorsese's "Hugo," which is the story of the rediscovery of one of the early pioneers of the movies, the French director George Méliès. There is Woody Allen's"Midnight in Paris" in which the protagonist slips through a hole in time into the Paris of the expatriate '20s. There are Steven Spielberg's "War Horse," which borrows the cinematic syntax of John Ford and feels like one of Ford's 1950s Cinemascope epics, and "The Help," which has the sensibility of a 1960s social issue movie.
November 21, 1999 | ALLEN BARRA, Allen Barra is the author of "Inventing Wyatt Earp: His Life and Many Legends."
No filmmaker better understood America than John Ford. Bully, genius, liar, myth-maker, Irishman and American, staunch conservative and lifelong Roosevelt Democrat, Ford explored in his movies the contradictions of the American experience and in turn helped define our understanding and imagining of Abraham Lincoln, the Old West, the Depression and the immigrant experience.
May 10, 2006 | Robert Lloyd, Times Staff Writer
The PBS series "American Masters" begins its 20th anniversary season tonight with "John Ford/John Wayne: The Filmmaker and the Legend," an engaging dual critical biography of the director and the actor whose names are as tightly linked as any in moviedom.
January 9, 2012
For almost a century, Bronson Canyon, in the southwest section of Griffith Park, has been a popular location for feature films and television. John Ford used the area for the pivotal scene in his 1956 western masterpiece, "The Searchers," in which John Wayne rides down the hill looking for his long-lost niece (Natalie Wood), who had been kidnapped as a child by Indians. The first movie to use the canyon as a location was 1919's "Lightning Bryce. " Over the years, serials such as 1935's "The Phantom Empire" and 1936's "Flash Gordon" were shot there as well as such sci-fi classics as 1956's "Invasion of the Body Snatchers.
September 7, 2011 | Susan King
Ethan Wayne, the youngest son of Hollywood legend John Wayne, hates to have anything in his pockets because as a young boy he couldn't go out of the house with his dad without a stack of business cards that read, "Good Luck, John Wayne" on one side and the Duke's name typed on the other side stuffed in his pockets. "He would always take care of the fans no matter how busy he got," said Wayne, 49, who is named after his father's character in John Ford's influential 1956 western "The Searchers.
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