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magicmyth505
Reviews
Blood Alley (1955)
An enjoyable movie with some interesting relevance today
This movie seems to get a bum rap in John Wayne histories as a trite anti communist movie, just pushing Wayne's right wing politics. Speaking as a long time leftie, it is worth noting the politics in China was not Marxist socialism at the time but a fascist dictatorship under Mao. And shocking as this may seem the film, while the communist are the heavies, is not anti-Chinese but is about the Duke taking a group of boat people to safety over terrible waterways in a rickety boat where they are received by a British soldier with the words "Refugees God bless them" Like that would happen today. More likely to spend the next 10 years in a refugee camp than get a welcome. A curious thing that a film made by someone who is often accused of being a right wing extremist is so 'liberal' in its response to refugee issues.
The character is not quite in the usual Duke mode. Apparently they were negotiating with Bogart to do the role and then Duke had to step in and its a little like they did not change the role to make it a John Wayne role. There is a little bit of Casablanca 'I stick my neck out for nobody' before he comes to support the villagers wholeheartedly. And a little bit of African Queen bum. Wayne is a lot less heroic than usual, the bravest thing he does is steer the boat and save the heroine from being raped by using a gin with a bayonet. He even needs a couple of Chinese monks to help him when he can't punch out one small Chinese assassin. And the Chinese are the ones who do all the planning, work out how to get away and solve most of the problems.
The costuming is interesting too. Wayne either looks ridiculous (intentionally) in European clothing 3 sizes too big for him, or wears a Chinese villager's costume that integrates him into the village.
The film is beautifully shot, William Clothier is the photographer, and the old ferry they use sort of has an African Queen quality to her, a character in herself.
Lauren Bacall is Lauren Bacall but at least she and Duke have some chemistry going. The kiss at the end looks like they are really connecting not like Duke is wishing to god he is somewhere else which can happen with some leading ladies. Some people have criticised the talking to "Baby" but I thought it was rather fun and a really clever way to get some quick exposition.
The film does have European actors playing Chinese, including the buffoon, but most of the performances are pretty restrained and not caricatures. There is a little bit of fifties pigeon English, mimicked quite affectionately by Duke and Laureen Bacall but as the character that does it is the one that pulls Wayne's character into line, it does not grate like some fifties films that use it.
All in all, Blood Alley is a film I had not seen for a long time but surprised myself how much I enjoyed it and found quite relevant in its presentation of the boat people/ refugee picture.
Wagon Master (1950)
One of the best films Ford made
This film has to be as near to perfect a film as John Ford made. The film is magic, a masterpiece, the reason Ford was, well Ford. If you want to know why Ford was great this one explains it.
The photography of course is superb, black and white as black and white should be, wonderful shots, not an over the shoulder conversation in it, pure Ford, great moments, big and little. The famous ripped pants of Ward Bond. Apparently two dogs kept invading the set and fighting so Ford wanted to use them in the fighting scene, but instead of fighting one dog ran away and the other attacked Ward Bond and ripped his pants, which caused Ford no end of mirth. A whole scene around plaiting a rope. The way Ben Johnson burn then snuffs his rope, wonderful foreshadowing and anticipation of the final. Harry Carey's naive courting of Prudence. The usual ford line about being scared and not showing it. Bond's horse accidentally falling in him and its left in the film. Johnson and Bond are fantastic in that scene. Lord help any Ford actor who does not stay in character while the camera is rolling even when a horse falls on top of you.
A couple of very sweet romances, not intruding on the whole focus, two very likable leads, not to mention for the girls, the number of times the cameras focus on Ben Johnson's rather delightful backside.
Lots of old time stuntmen getting lines and roles, Cliff Lyons, Frank McGrath. Some wonderful character studies mostly of faces staring, all the villains and main stars. A set of villains to rival any group in any western.
Many many Fordian shots of faces, groups, children, women, small things happening, foals in the background (Ford seems to love images of foals), women in aprons, allowing the moment as wagons cross rivers and the camera lingers.
This is probably not a western as much as an artist's picture that happens to be set in the west.
Lucky the film was made in 1950 because it is impossible to imagine such a film could be ever made again, but then it is such a work of art that it would be a sacrilege to attempt it
3 Godfathers (1948)
Just a great film
I had not seen this film for some time and I had forgotten what a lovely film it is. I feel this one should be up there with John Ford's masterpieces for the photography and the wonderful performances by the actors. Especially Pedro Armendiaz and John Wayne. This is another film that goes in the category of why do people think John Wayne can't act because when you see him in something like this you just know he is a wonderful actor. When he screams "Steal a man's burro in this county. They string ya." You feel all the agony of that walk. And that long scene Wayne does almost without a break "That ain't the worst of it." It takes a real actor to be able to do that without even a cut away and to show how much frustration. And when Bob and Pete walk away from the kid's unburied body, it just hurts. The pain almost comes off the screen like the sun.
Wonderful moments in this film. Harry Carey singing. The whole caring for the baby scenes. The expression on John Wayne's face when Pete and the kid read from the book that the NURSE should grease the baby and they both look at Wayne. John Wayne sitting uncomfortably on a chair to small for him, trying not to cross his legs as he holds the baby. Pete sitting on the edge of the wagon after he delivers the baby, just dying inside because he cannot save the mother. The argument between Bob and Pete over not breaking their promise to a dying woman. Lots of nice foreshadowing there when they both talk about growing long white beards in Yuma penitentiary and then later Bob's confident belief he can do twenty years standing on his head. And more foreshadowing when they find the woman and Bob declares it can rain "until I get religion", meaning forever and of course he gets religion.
There are some great tributes to Harry Carey and in not jokes exactly but moments. Ward Bond blows the smoke away from the rifle he fires at the water bag, just like Harry Carey did. In the scene where the ghosts of Pete and the Kid walk with Bob, Pedro calls Bob a saddle tramp which is the role Harry Carey most played. And the way Wayne asks for a cool cool beer "for me" is almost a mimic of Harry Carey.
Also the names of towns, clearly biblical Damascus, Jerusalem and Cairo. Also the Marhall mentions Dobe ( Harry Carey Jr's nickname) and (I think) Tres Hermanos ( three brothers).
Its also pretty clear where MarmaDUKE comes from. I would bet that Pearly is an in joke too but don't know that one.
It also rather fun to try and see when it really is John Wayne's hands with the baby. The baby is not much bigger than his enormous hand. (Check the size of them when he hold's Mildred Natwick's hand in his) Pretty sure its him greasing it. Sounds like the sort of thing Ford would make him do. And also him in the barroom at the end where the baby holds his finger.