‘Guns’ Donovan prefers carousing with his pals Doc Dedham and ‘Boats’ Gilhooley, until Dedham’s high-society daughter Amelia shows up in their South Seas paradise. —IMDb
Maine-born John Ford (born Sean Aloysius O’Fearna) originally went to Hollywood in the shadow of his older brother, Francis, an actor/writer/director who had worked on Broadway. Originally a laborer, propman’s assistant, and occasional stuntman for his brother, he rose to became an assistant director and supporting actor before turning to directing in 1917. Ford became best known for his Westerns, of which he made dozens through the 1920s, but he didn’t achieve status as a major director until the mid-‘30s, when his films for RKO (The Lost Patrol 1934, The Informer 1935), 20th Century Fox (Young Mr. Lincoln 1939, The Grapes of Wrath 1940), and Walter Wanger (Stagecoach 1939), won over the public, the critics, and earned various Oscars and Academy nominations. His 1940s films included one military-produced documentary co-directed by Ford and cinematographer Gregg Toland, December 7th (1943), which creaks badly today (especially compared with… read more
The most inconceivable film ever made almost by far, there isn't an aspect of this film that isn't Fords handy work, not one. You are entering a completely conceived reality. Here Ford is his own animated world something in my viewing experience I only thought Chaplin could do. And to pair this with another personal hero, the only other film I know of that is both its own time and place is 'Japon' by Carlos Reygadas. John Wayne's bravado has never been more fascinating, every single joke, punch or slapstick was shocking and had me rolling it may be the ballsiest comedy I've ever seen which brings me to my last point this trumps Porky's or Animal House as the first true idealized and honest male comedy.
Welles worshiped Ford and Bresson when ever he would mention a favorite director it was Chaplin sending a list to sight and sound with only Chaplin at the top. I guess what I was saying has to do with both directors encompassing the cinema I mean Chaplin was cinema and Ford in this film was like an art-form of his own a filmed reality that is Ford but also its Ford's idealized America which is like its own place the comedy gives the world some brevity if not it can just go on existing a little bit like a television series a persistent world more than a directors outlook or style, the audacity in Ford to make this film makes it all the more special.
Welles was said to have replied to the question 'whom are your all time favourite directors?', thusly: "ford, Ford, FORD!". If that does not say it all i don't know what does. He liked Bresson, really? He said Chaplin was his all time favourite? Wow ! Amazingly passionate words - insightful too - about that Ford film. I liked it a lot. Hélas i cannot deconstruct it as neatly as you did it. you're a wordsmith man! I likwed that 'a persistent world' > great words david! "honest male comedy indeed'. i think it's an amazing film.
@ Trolley Freak: you must! I saw its first minutes on DVD and loathed it - i thought it was loud and lousy (just as you seem to have felt it the first time) then as a Fordian fanboy i stopped seeing it and waited till the cinematheque screened and then and there it became ALIVE- Ford on Film is like wind on wild reeds > b e a u t i f u l ...