JOHN FORD (1930-1940)

Summary: This was the most pivital decade in Ford's career. Without westerns, he proved himself worthy of being a great director. He won his first Oscar and began the creation of his "Stock Company". In 1939 he catapulted the western genre out of it obscurity and into demand with his creation of "Stagecoach" (1939).

Popular Western Films: "Stagecoach" (1939) & "Drums Along the Mohawk" (1939)

Interesting Fact: When John Wayne became slightly famous after his performance in The Big Trail (1930), Ford was supposedly hurt that he was'nt the one to bring him to popularity. After the film's release, Ford would not speak to Wayne, and Wayne didn't speak back either. It was not until five years later that Ford asked for Wayne and suddenly he was back with the gang. Wayne never asked what had happened and Ford never brought it up. Ford did get his chance to bring Wayne to the top, however, with "Stagecoach" (1939).

Western Awards: For "Stagecoach" (1939) he was nominated for the Best Director Oscar and received a NYFCC Award.

“I try to make it a rule that to make a big picture, which was a hit, and the next one do a cheap picture. Relax... three or four weeks while you're preparing for another story. And usually, of course to my mind, the little picture is always better."

Ford and westerns didn't happen much in this decade. Studios had chosen to move away from them a few years earlier and were also busy working on a new technology, talking pictures. Though he didn't return to westerns, until the very end of the thirties, this decade would become his most important.

In 1930, Ford discovered a monumental movie star on Broadway, Spencer Tracy. Ford was so impressed with his performances that he starred him in his new film "Up the River" (1930). Another new star to play in the same picture was an up and coming Humphry Bogart. Though neither performer became a staple for Ford, this film launched both of them into their successful careers.

Ford was now making a name for himself and continually adding on new stars to his collection. One performer that would have been perfect for his westerns was the humorous Will Rogers. Ford and Rogers worked together for a few films, like the successful "Judge Priest" (1934). They would have continued to make more pictures but, unfortunately, Rogers died in a tragic airplane accident in 1935, cutting their friendship short and ending a career that would have changed humor forever.

On the same year of Rogers death, Ford would win his first Oscar for the work he did in "The Informer". The film was highly successful and placed him near the top of the directors list. He would also win another crew member for his future classics, the very Irish Victor McLaglen. One year later Ford began working with John Carradine in The Prisoner of Shark Island (1936). This cynical looking actor also joined Ford's ranks and was the perfect mysterious character he needed for two of his popular films in 1939.

Then came the big year of 1939. This would be the year that would change Hollywood forever, and there has never been a year to rival it. Directors like Victor Fleming and Frank Capra made super-epic films, leaving all the other pictures to feed off the leftovers. Ford was not left completely in the dust though, as the three films he made became instant classics. But as time went on, audiences had forgotten these pictures and very few have heard of them today.

Two of the three pictures he made were westerns: "Stagecoach" & "Drums Along the Mohawk". As a personal note, I just watched "Stagecoach" last night for the first time. It is both epic and entertaining. It had everything the west has to offer in it: Indians, gun fights, Calvary, Marshals, outlaws & whisky. The camera moves at a high speed with the action and the shots are wide and clear. This would be his first use of Monument Valley and each camera angle was positioned beautifully. Ford had a certain eye for this which is interesting for a man with failing sight.

At the end of the 1930's, Ford had successfully brought westerns back to popularity in one swoop. As a result, the studios began to share a faith in them once more. He also pulled his friend, John Wayne, out of his B-movie rut and into supreme stardom. Ford also embraced the new technology of color by showcasing it in "Drums Along the Mohawk". In all, Ford finally had the chance to show what he was made of and came out a champion. The next couple years would continue to be as successful if not more.