Wayne and Ford: The Films, the Friendship, and the Forging of an American Hero - Softcover

Schoenberger, Nancy

Softcover

ISBN 10: 0307744159 ISBN 13: 9780307744159

Verlag: Knopf Doubleday Publishing Group, 2018

Inhaltsangabe

John Ford and John Wayne, two titans of classic film, made some of the most enduring movies of all time. The genre they defined—the Western—and the heroic archetype they built still matter today.
 
For more than twenty years John Ford and John Wayne were a blockbuster Hollywood team, turning out many of the finest Western films ever made. Ford, known for his black eye patch and for his hard-drinking, brawling masculinity, was a son of Irish immigrants and was renowned as a director for both his craftsmanship and his brutality. John “Duke” Wayne was a mere stagehand and bit player in “B” Westerns, but he was strapping and handsome, and Ford saw his potential. In 1939 Ford made Wayne a star in Stagecoach, and from there the two men established a close, often turbulent relationship.
     Their most productive years saw the release of one iconic film after another: Rio Grande, The Quiet Man, The Searchers, She Wore a Yellow Ribbon, The Man Who Shot Liberty Valance. But by 1960 the bond of their friendship had frayed, and Wayne felt he could move beyond his mentor with his first solo project, The Alamo. Few of Wayne’s subsequent films would have the brilliance or the cachet of a John Ford Western, but viewed together the careers of these two men changed moviemaking in ways that endure to this day. Despite the decline of the Western in contemporary cinema, its cultural legacy, particularly the type of hero codified by Ford and Wayne—tough, self-reliant, and unafraid to fight but also honorable, trustworthy, and kind—resonates in everything from Star Wars to today’s superhero franchises.
     Drawing on previously untapped caches of letters and personal documents, Nancy Schoenberger dramatically narrates a complicated, poignant, and iconic friendship and the lasting legacy of that friendship on American culture.

Über diesen Titel

Über die Autorin bzw. den Autor

NANCY SCHOENBERGER is a professor of English and director of creative writing at the College of William and Mary. She is the author of Dangerous Muse: The Life of Lady Caroline Blackwood and coauthor with Sam Kashner of books on Oscar Levant; George Reeves; and the love affair, marriages, and working relationship of Elizabeth Taylor and Richard Burton. Also the author of three award-winning books of poetry, Schoenberger divides her time between Williamsburg, Virginia, and New York City.

Auszug. © Genehmigter Nachdruck. Alle Rechte vorbehalten.

Chapter 2 - The Good Bad Man

"Dammit. The son of a bitch looked like a man."—Raoul Walsh on John Wayne

"To live outside the law you must be honest."—Bob Dylan

THE BIG BREAK

Director John Ford—born John Martin Feeney and known as Sean O’Fearna (in the Gaelic), Pappy, Coach, or Jack Ford—elevated John Wayne from property boy, bit actor, and occasional stuntman to leading man in his classic 1939 film Stagecoach, launching the strapping actor on a career that would eventually make him the number one movie star in the world. But it wasn’t Ford who gave John “Duke” Wayne his first starring role in pictures. It was Raoul Walsh, in a Western epic released in 1930 called The Big Trail. Wayne was well suited to play the new Adam, a frontiersman confronting an untamed, unspoiled wilderness with courage and optimism. He wore his essential goodness on his sleeve, and the characters around him often sought to exploit it. More significantly, the audience responded to it. In The Big Trail, he didn’t need to wear the signature white hat, a staple of the early Hollywood Western for children, to show he was the good guy. His innocence, his courage, his resolve, his loyalty to a slain friend, and his tenderness to a feisty young woman on the wagon train he is guiding through the wilderness immediately signal a hero to root for. The fact that he has to be persuaded to take on the task also helps define him: the true hero is a reluctant hero.

That “remarkable quality of innocence,” as film director and film historian Peter Bogdanovich has noted, defined John Wayne right from the start and immediately made him a charismatic, and sympathetic, presence on-screen despite his lack of theatrical experience and film technique. His performance got Ford’s attention and made him think that the handsome, well-mannered, oversized, somewhat shy property boy—good mostly for moving scenery and occasional stunt work—might turn out to be an actor after all. But it would take another nine years before Ford gave John Wayne a chance by casting him as the Ringo Kid in Stagecoach. When later asked why he waited so long before offering Wayne a leading role, Ford said that he had kept his eye on Duke all along but had waited because he felt that “Duke wasn’t ready. He had to develop his skills as an actor. . . . I wanted some pain written on his face to offset the innocence.”

*

Marion Morrison’s football coach at USC, Howard Jones, had gotten several of his athletes summer jobs moving scenery andprops at Fox and, later, working as extras in John Ford’s Salute, about an Army-Navy football game at Annapolis. Morrison roundedup his fellow football players, including future sometime rival Ward Bond, who would become a memorable character actor and a reliable member of the John Ford Stock Company, as well as a longtime friend of both Ford’s and Wayne’s. But Ford first met Duke Morrison when Duke showed up to work on the Fox Studios lot in the summer of 1928, herding a flock of geese on the set of Ford’s silent picture Mother Machree, a sentimental paean to Irish immigrants. The director was a tall, pipe-smoking, redheaded, heavy-featured man in spectacles who was surprisingly graceful on his feet. At thirty-three years of age, he would win his first Best Director Academy Award in 1936 for The Informer, a haunting, shadows-and-fog drama about a hapless man, played by the larger-than-life, barrel-chested Victor McLaglen, who informs against his friend in the Irish Republican Army. Ford had directed over sixty silent films by the time he met Duke—learning everything he could from, and finally surpassing, his mentors: his older brother Frank Ford and the silent Western star Harry Carey—and he had established a reputation as a crusty, quick-tempered Irishman inspiring fear and adoration in equal measure. Six feet tall and a former high school football player himself, Ford was not a man to be crossed. He took one look at the even larger—six-foot-four, two-hundred-pound—callow youth who stood off camera shyly corralling his flock of geese and instantly sized him up.

In romantic comedies, the hero and heroine “meet cute” and usually start out as adversaries. In male-bonding movies, the two buddies usually begin with a fight, testing each other’s mettle, before becoming friends. So it happened with Ford and Wayne. Upon learning that Wayne was a USC football player, Ford tackled him to the ground. But Wayne got up and repositioned himself, taking Ford crashing down to the ground in one sudden move. The entire crew held its breath, waiting for the explosion of wrath. Surprisingly, it didn’t come. Instead, Ford got up and calmly walked away. Duke—still Marion Morrison—had made an impression. Ford ended up casting Duke as an uncredited extra in Mother Machree and as an uncredited officer in another 1928 silent film, Four Sons, before returning him to the status of third assistant property man.

Years later, Ford recalled, "I met Duke—he was very bright and energetic and I realized at the time he was hooked on movies. . . . I got him a job as third assistant prop man . . . [he’s] the man who does the manual labor. And he was good; I remember one incident. I was doing a picture called Four Sons and there’s a scene where a woman receives word about her son, it’s a very dramatic scene. She’s sitting alone in this room; in the back there’s a big open door. We tried a couple of times, the third time she was great. In the back[ground] there’s this big gangling Wayne sweeping the leaves off the floor; halfway through he looked in, gave a gasp of horror, dropped his broom and started running for the gate. . . . I said, that’s a natural mistake, I know you’re new to the business. Forget it! We’ll dothe scene again and it’ll be better. He was very chagrined."

Duke recalled, however, that he was dragged back to Ford, who “bent me over and kicked me in the ass.” Despite being embarrassed by his experiences on Four Sons and Mother Machree, Wayne developed a keen admiration of the director that would last his entire life. He recalled, “I had no ambition to be an actor, I had no desire for it.” What he wanted was “to be like Jack Ford! My whole set up was that he was my mentor and my ideal! I think that deep down inside, he’s one of the greatest human beings that I have ever known. And I’ve known quite a few people in my life. And as a consequence I took more interest in the business.”

By that time, his interest in pursuing a law career, his course of study at USC, had waned considerably. Wayne recalled that just being around Pappy Ford made him think seriously about his future: "When I went back to school that year, I looked around, and the kids that I knew who were going to take Law aroundthe time that I would be taking it, I’d see one, and I’d think, well his father has a law firm, another one, his uncle has one . . . and whether or not I’m brighter, I’ll end up writing their briefs for them! I’ll be in the back room for ten years before I can even get started in the business, or else I’ll have to hang up a shingle and take the kind of legal work I wouldn’t be interested in. So for this reason, it really started preying on me."

It was just as well, because an injury derailed his football career and scholarship, and neither he nor his struggling family had the funds to cover his USC tuition.

Still not convinced that he wanted to be an actor, Duke realized he could make a contribution to Ford’s movies...

Details zur Ausgabe

• Verlag: Knopf Doubleday Publishing Group
• Erscheinungsdatum: 2018
• Sprache: Englisch
• ISBN 10: 0307744159
• ISBN 13: 9780307744159
• Einband: Taschenbuch
• Anzahl der Seiten: 256
• Kontakt zum Hersteller: Nicht verfügbar
• Verantwortliche Person: eucomply OÜ; hello@eucompliancepartner.com; ; Pärnu mnt 139b-14; Tallinn; 11317; Estland