How the West Was Won

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 Frank Capra’s Why We Fight series); a major war film (They Were Expendable ¹⁹⁴⁵); the historically-based drama My Darling Clementine (1946); and the “cavalry trilogy” of Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950), each of which starred John Wayne. My Darling Clementine and the cavalry trilogy contain some of the most powerful images of the American West ever shot, and are considered definitive examples of the Western.

Ford also had a weakness for Irish and Gaelic subject matter, in which a great degree of sentimentality was evident, most notably How Green Was My Valley (1941) and The Quiet Man (1952), which was his most personal film, and one of his most popular. It also earned more Oscars and nominations than any other movie ever produced at Republic Pictures. Poor health dogged Ford’s career during the 1950s, but he still managed to create The Sun Shines Bright (1953) — one of his favorite films, dealing with politics and race relations in the 19th century South — Mogambo (1953), and The Searchers (1956), which is considered one of the most powerful Western dramas ever made. The Horse Soldiers (1959) showed some of Ford’s flair, but was marred by production problems, and Ford later directed the John Wayne/Harry Morgan section of How the West Was Won (1963). His concern with social justice, which manifested itself in The Sun Shines Bright also became more evident during the early ‘60s, in films such as Sergeant Rutledge (1960), _Donovan’s Reef_ (1963), and Cheyenne Autumn (1964), all of which sought to address problems of racial prejudice.

Ford was the recipient of the first Life Achievement Award bestowed by the American Film Institute, and was the subject of Peter Bogdanovich’s documentary, Directed by John Ford (1971). He died in 1973. —AllMovie guide

The archetypal studio professional, Hathaway began working in films before the industry had settled in Hollywood. During his 40-year career he directed over 60 features (including Paramount’s first Technicolor picture, “The Trail of the Lonesome Pine” 1936), became a pioneer of location shooting, and developed a reputation as a technically accomplished, reliable entertainer. He later bemoaned the familiar and unjust tag of “genial hack” which he had earned, he said, because of his reluctance to indulge in personal promotion. Certainly, though, the director of such fine and craftsmanlike action films like “The Lives of a Bengal Lancer” (1935), “Souls at Sea” (1937) and “Spawn of the North” (1938), as well as the atypical but hauntingly surreal love story “Peter Ibbetson” (1935), deserves more critical respect.

Hathaway began his career in San Diego, as a child actor in one-reelers directed by Allan Dwan, before moving to Hollywood with his actress mother. Both worked for T.H. Ince, and then for Universal, where Hathaway returned after World War I. His first shot at directing came at Paramount in the early 1930s, where he remade eight “Zane Grey” stories that had been shot as silent films, often using footage from the originals. All but one of these starred Randolph Scott, and Hathaway went on to direct Gary Cooper, Marlene Dietrich and Mae West before moving in 1940 to 20th Century-Fox, where he worked almost exclusively for the next 20 years.

Hathaway’s “The House on 92nd Street” (1945) marked the beginning of the semi-documentary filmmaking style popular in Hollywood after World War II, a style he continued with in “Call Northside 777” (1948). His later film noirs “Kiss of Death” (1947) and “Niagara” (1953), meanwhile, had a stylized flair which showed his versatility in adapting with the times while essentially reinforcing his talent for “tough” entertainment. Like John Ford, Hathaway continued to deliver professionally through Hollywood’s decline, even helming John Wayne’s Oscar-winning performance in “True Grit” (1969). —TCM.com

George E. Marshall (December 29, 1891 – February 17, 1975) was a prolific American actor, screenwriter, producer, film and television director, active through the first six decades of movie history.

Relatively few of Marshall’s films are well-known today, with Destry Rides Again, The Sheepman, and How the West Was Won being the biggest exceptions. Marshall co-directed How the West Was Won with John Ford and Henry Hathaway, handling the railroad segment, which featured a celebrated buffalo stampede sequence. While Marshall worked on almost all kinds of films imaginable, he started his career in the early silent period doing mostly Westerns, a genre he never completely abandoned. Later in his career, he was particularly sought after for comedies. He did around half a dozen films each with Bob Hope and Jerry Lewis, and also worked with W.C. Fields, Jackie Gleason, Will Rogers and Laurel and Hardy.

For his contribution to the film industry, George Marshall has a star on the Hollywood Walk of Fame at 7048 Hollywood Boulevard. —Wikipedia