Several men are shirtless as they wash outdoors after working.


A woman raises the towel on her young brother back and smacks his bare bottom. His bottom is not shown.


Some very mild flirting between a woman and a preacher.


Film review:Translated by www.rabudo-ru.com


In John Ford’s westerns, the protagonists are basically wandering as lone Rangers, without relatives, especially their parents. This lonely cowboy road implies the absence of family affection or the death of relatives, such as Billy boy in Guanshan ferry. However, John Ford himself is not lack of family affection. He grew up in a large family of Irish immigrants, with parents, grandparents and many brothers and sisters. He is by no means a lone cowboy.

The expression of family in films often represents the social history and culture of a nation or country. For example, in the films of the fifth and sixth generations, the image of father is often absent (refer to the big flag tiger skin), which is a portrayal of Chinese society during the 1950s and 1970s. For Ford, the family image in his films also shows the historical and cultural characteristics of Irish people, which is fully reflected in his two important works in the 1940s: green mountains and green valleys and angry grapes.

After the 20th Century Fox company got the book of green mountains and green valleys, it first considered William Wheeler. Wheeler chose the role and changed the book. At this time, the company was worried that Wheeler was too slow. He took a lot of time to make a famous film (one of the two perfectionists, the other is George Stevens), so it found John Ford. Ford is a talented fast shooter, Because he always edited it in his mind. When shooting, it was clean and neat. The film ratio was very low. It was finished in two months. Another consideration of fox in the 20th century is that Wheeler pays too much attention to the characters and does not explain the story itself. After Ford took over, he focused on the story narration of the original work. The whole film structure is very scattered, but the tragedy of reality is gradually increasing from one thing to another, which firmly attracts people.

The story of green mountains and green valleys takes place in Wales, but Ford makes him very Irish. The first is the Irish family view. In this big family, there are strict father, hardworking mother, six boys and a daughter. Ford is also the youngest child in his own family, so he uses his observation of the family as the youngest son to examine the family relationship in the green mountains and green valleys: the elder brother is strong and capable, but he leaves one after another in adulthood; the father has status and influence, but is gradually getting old, while the mother is strong and dare to take on the responsibility, and can stand up at the critical moment; the elder sister is considerate and delicate and yearns for sincere love, This seems to be a replica of his own family. Ford’s father is the leader of the local Democratic Party in Boston and has a high position in immigration. His mother is also a person who can run the family and make a public appearance. Several brothers, especially the eldest brother, left the family and wandered around early. Therefore, the Morgan family in the green mountains and valleys is largely Ford’s own family. In this Irish family, respect for the father is mandatory. For example, various rules at the dinner table reflect the central position of patriarchy. At the same time, all members’ religious beliefs are also very firm under the influence of their parents. Their prayers, praise to God and various rituals all reflect a devout Catholic spirit. When the elder brother dies or leaves, the father dies, the elder sister marries, and all kinds of misfortunes break up the big family tightly held together, green mountains and green valleys, as the works of John Ford of Irish descent, have become a portrayal of the Irish people’s separation of their wives and children, displacement and wandering in a foreign land in the past 200 years.

Very similar to the green hills and green valleys, the image of the family in the angry grapes is also Irish. A large family has grandparents, fathers and uncles, as well as many brothers and sisters. The mother is still hardworking and capable and dares to bear the burden, but the father’s position in the family is no longer significant, and the person who holds the voice of the family in the angry grapes gradually becomes the mother, This is a difference. John Ford strengthened his mother’s position in the film and weakened the religious color of his father. He put this religious color on his adult son Tom, who has become the pillar of the family. Tom replaced his father’s command of the family and pondered under the influence of the priest. The reflection of the younger generation is also a reflection of family relations. In the green mountains and green valleys, the sons adopted a different attitude from their father. They wanted to organize trade unions rather than accept them. In the grapes of anger, Ford clearly showed the process of thinking, from Tom’s parole home to his departure from his family, All his experiences and experiences are pushing him to the process of independent thinking and making him a real man. Therefore, if we regard green mountains and green valleys as the childhood growth experience of an Irish man, then the grapes of anger are the growth process of the man in his youth, and these processes are complemented by family relations. A man gradually bears all the suffering of his family, which promotes his real maturity.

Family is the best scene to show life. Although Ford has made Westerns all his life, when he turns the lens from the vast grassland desert to the warm fireplace and reunion table, he can always accurately grasp the manners, behaviors, personality and emotions of each family member. He can always use the most concise dispatching command to outline complex relationships among so many members of the big family, This is not only his genius, but also his natural consciousness established by his family concept and childhood experience as an Irish descendant. When you learn more about Ford’s films and how he is, you can find a magical and consistent relationship between the two. Ford’s grasp of reality does not come from imagination, but from his experience of life, from his education and his belief. This is his starting point for observing reality, and this steady starting point should be prepared by any realistic author.

LEAVE A REPLY

Please enter your comment!
Please enter your name here