Our first glimpse of Wayne is so sensational and unusual — the camera’s quick track forward as Wayne twirls his rifle — that we may experience today as Ford’s prophetic introduction of
The Great Western Star. But there was no
reason to suspect in 1939 that Wayne would become a god. Ford is introducing
The Ringo Kid, who is already a god, with Monument Valley behind him evoking eternal truth. With many other moviemakers — Howard Hawks, for example — landscapes are bare, transcendentals are missing, along with families, social classes, races, anything that defines people. In contrast, with Ford there is always a complicated dialectic — a drama, conflict, tension — between an individual and the culture, mores, values, traditions, religion, race, sex, class and profession which a person lives in like a fish in water.
John Ford — the man and his films, de Tag Gallagher
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