John Ford
John Martin Feeney (February 1, 1894 – August 31, 1973), known professionally as John Ford, was an American film director and producer. He is regarded as one of the most important and influential filmmakers during the Golden Age of Hollywood,[2] and was one of the first American directors to be recognized as an auteur.[3][4] In a career of more than 50 years, he directed over 140 films between 1917 and 1965 (although most of his silent films are now lost), and received six Academy Awards including a record four wins for Best Director for The Informer (1935), The Grapes of Wrath (1940), How Green Was My Valley (1941), and The Quiet Man (1952).
For other people named John Ford, see John Ford (disambiguation).
John Ford
August 31, 1973 (aged 79)
Holy Cross Cemetery, Culver City, California[1]
- Film director
- producer
1913–1966
Democratic (until 1951)
Republican (after 1951)
2
- 1942–1945 (active)
- 1946–1962 (reserve)
Commander (active)
Rear admiral (reserve)
- World War II
- Korean War
Ford is renowned for his Westerns, such as Stagecoach (1939), My Darling Clementine (1946), Fort Apache (1948), The Searchers (1956), and The Man Who Shot Liberty Valance (1962); though he worked in many other genres, including comedies, period dramas, and documentaries. He made frequent use of location shooting and wide shots, in which his characters were framed against a vast, harsh, and rugged natural terrain. He is credited with launching the careers of some of Hollywood's biggest stars during the 1930s, '40s, and '50s, including John Wayne, Henry Fonda, Maureen O'Hara and James Stewart.
Ford's work was held in high regard by his contemporaries, with Akira Kurosawa, Orson Welles, Frank Capra,[5] Andrei Tarkovsky, and Ingmar Bergman naming him one of the greatest directors of all time.[6] Subsequent generations of directors, including many of the major figure of the New Hollywood movement, have cited his influence.[5][7] The Harvard Film Archive writes that "the breadth and measure of Ford’s major contributions to the Golden Age of Hollywood cinema, and to film language in general, remains somewhat difficult to discern.... Rarely recognized in full are Ford’s great achievements as a consummate visual stylist and master storyteller."[4]
Early life[edit]
Ford was born John Martin "Jack" Feeney (though he later often gave his given names as Seán Aloysius, sometimes with surname O'Feeny or Ó Fearna; an Irish language equivalent of Feeney) in Cape Elizabeth, Maine, to John Augustine Feeney and Barbara "Abbey" Curran, on February 1, 1894,[8] (though he occasionally said 1895 and that date is erroneously inscribed on his tombstone).[9] His father, John Augustine, was born in Spiddal,[10] County Galway, Ireland, in 1854.[9] Barbara Curran was born in the Aran Islands, in the town of Kilronan on the island of Inishmore (Inis Mór).[9] John A. Feeney's grandmother, Barbara Morris, was said to be a member of an impoverished branch of a family of the Irish nobility, the Morrises of Spiddal (headed at present by Lord Killanin).
John Augustine and Barbara Curran arrived in Boston and Portland respectively in May and June 1872. They filed their intentions to marry on July 31, 1875, and became American citizens five years later on September 11, 1880.[9] The John Augustine Feeney family resided on Sheridan Street, in the Irish neighborhood of Munjoy Hill in Portland, Maine, and his father worked a variety of odd jobs to support the family—farming, fishing, a laborer for the gas company, saloon keeping, and an alderman.[9] In interviews John Ford said that his family was well off, he said that they had a farm and his father fished. John and Barbara had eleven children: Mamie (Mary Agnes), born 1876; Delia (Edith), 1878–1881; Patrick; Francis Ford, 1881–1953; Bridget, 1883–1884; Barbara, born and died 1888; Edward, born 1889; Josephine, born 1891; Hannah (Joanna), born and died 1892; John Martin, 1894–1973; and Daniel, born and died 1896 (or 1898).[9]
Feeney attended Portland High School, Portland, Maine, where he played fullback and defensive tackle. He earned the nickname "Bull" because, it is said, of the way he would lower his helmet and charge the line. A Portland pub, named "Bull Feeney's" in his honor, was open from 2002 to 2023. He later moved to California, and in 1914 began working in film production as well as acting for his older brother Francis, adopting "Jack Ford" as a professional name. In addition to credited roles, he appeared uncredited as a Klansman in D. W. Griffith's 1915 The Birth of a Nation.[11][12]
He married Mary McBride Smith on July 3, 1920, and they had two children. His daughter Barbara was married to singer and actor Ken Curtis from 1952 to 1964. The marriage between Ford and Smith lasted for life despite various issues, one being that Ford was Catholic[13] while she was a non-Catholic divorcée.[14] What difficulty was caused by this is unclear as the level of Ford's commitment to the Catholic faith is disputed.[15] Another strain was Ford's many extramarital relationships.[16]
Personality and directing style[edit]
Personality[edit]
Ford was renowned for his distinct and forceful personality, and his many idiosyncrasies and eccentricities. From the early Thirties onwards, he always wore dark glasses and a patch over his left eye, which was only partly to protect his poor eyesight. He was an inveterate pipe-smoker and while he was shooting he would chew on a linen handkerchief—each morning his wife would give him a dozen fresh handkerchiefs, but by the end of a day's filming the corners of all of them would be chewed to shreds. He always had music played on the set and would routinely break for tea (Earl Grey) at mid-afternoon every day during filming. He discouraged chatter and disliked bad language on set; its use, especially in front of a woman, would typically result in the offender being thrown off the production. He rarely drank during the making of a film, but when a production wrapped he would often lock himself in his study, wrapped only in a sheet, and go on a solitary drinking binge for several days, followed by routine contrition and a vow never to drink again. He was extremely sensitive to criticism and was always particularly angered by any comparison between his work and that of his elder brother Francis. He rarely attended premieres or award ceremonies, although his Oscars and other awards were proudly displayed on the mantel in his home.
There were occasional rumors about his sexual preferences,[81] and in her 2004 autobiography 'Tis Herself, Maureen O'Hara recalled seeing Ford kissing a famous male actor (whom she did not name) in his office at Columbia Studios.[82]
He was untidy, and his study was always littered with books, papers, and clothes. He bought a brand new Rolls-Royce in the 1930s, but never rode in it because his wife, Mary, would not let him smoke in it. His own car, a battered Ford roadster, was so dilapidated and messy that he was once late for a studio meeting because the guard at the studio gate did not believe that the real John Ford would drive such a car, and refused to let him in.
Ford held antipathy towards studio executives. On one early film for Fox he is said to have ordered a guard to keep studio boss Darryl F. Zanuck off the set, and on another occasion, he brought an executive in front of the crew, stood him in profile and announced, "This is an associate producer—take a good look, because you won't be seeing him on this picture again". While shooting Rio Grande in 1950, producer Herbert Yates and Republic executive Rudy Ralston visited the location and when Yates pointed out the time (it was 10am) and asked when Ford intended to start shooting, Ford barked: "Just as soon as you get the hell off my set!" At dinner, Ford reportedly recruited cast member Alberto Morin to masquerade as an inept French waiter, who proceeded to spill soup over them, break plates and cause general mayhem, but the two executives apparently didn't realise they were the victims of one of Ford's practical jokes.
He greatly enjoyed spending time on his yacht, Araner, which he bought in 1934 and on which he lavished hundreds of thousands of dollars in repairs and improvements over the years; it became his chief retreat between films and a meeting place for his circle of close friends, including John Wayne and Ward Bond.
Ford was highly intelligent, erudite, sensitive and sentimental, but to protect himself in the cutthroat atmosphere of Hollywood he cultivated the image of a "tough, two-fisted, hard-drinking Irish sonofabitch".[81] One famous event, witnessed by Ford's friend, actor Frank Baker, strikingly illustrates the tension between the public persona and the private man. During the Depression, Ford—by then a very wealthy man—was accosted outside his office by a former Universal actor who was destitute and needed $200 for an operation for his wife. As the man related his misfortunes, Ford appeared to become enraged and then, to the horror of onlookers, he launched himself at the man, knocked him to the floor and shouted "How dare you come here like this? Who do think you are to talk to me this way?" before storming out of the room. However, as the shaken old man left the building, Frank Baker saw Ford's business manager Fred Totman meet him at the door, where he handed the man a cheque for $1,000 and instructed Ford's chauffeur to drive him home. There, an ambulance was waiting to take the man's wife to the hospital where a specialist, flown in from San Francisco at Ford's expense, performed the operation. Sometime later, Ford purchased a house for the couple and pensioned them for life. When Baker related the story to Francis Ford, he declared that the incident illustrated his brother's personality very well:
Archival materials
Criticism
Official sites