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Trilogy as Triptych: John Ford’s Cavalry Films David Boyd 55 Early in 1947, John Ford described to Frank Nugent, former film critic for the New York Times and aspiring screenwriter, the subject he was considering for his next film: “The cavalry. In all westerns, the Cavalry rides in to the rescue of the beleaguered wagon train or whatever, and
14 de dic. de 2020 · Ian and David talk about the three-year, three-film collaboration between John Ford and John Wayne know as the "Cavalry Trilogy". Olive Films recently releas...
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- Kicking the Seat
The study analyzes John Ford’s films Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950) for their historical portrayal of the frontier cavalry. Ford is acknowledged as one of America’s foremost chroniclers and mythmakers. His films comprise a significant body of film and cultural history, reflect his values and attitudes, and offer conflicts between historical ...
31 de dic. de 2014 · The study analyzes John Ford's films Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950) for their historical portrayal of the frontier cavalry. The study examines each film for historical accuracy in the areas of people, places, and events; uniforms, equipment, and accouterments; the profession and garrison life; and finally, the American Indian and military operations.
In the second of Ford’s cavalry trilogy, the only one filmed in colour, John Wayne aged 20 years for his sensitive performance as the career soldier who manages to help avert a war with the ...
Abstract. Early in 1947, John Ford described to Frank Nugent, former film critic for the New York Times and aspiring screenwriter, the subject he was considering for his next film: “The cavalry. In all westerns, the Cavalry rides in to the rescue of the beleaguered wagon train or whatever, and then it rides off again.
“Rio Grande” is the John Ford film to put on when you’ve run out of other John Ford films. “Grande,” the third instalment of the informal ‘cavalry trilogy,’ is a B-side entry on an album of Ford’s greatest hits. It recycles the safest and most mediocre aspects of his other movies; without detriment, or improvement.
