John Ford's classic films—such as Stagecoach, The Grapes of Wrath, How Green Was My Valley, The Quiet Man, and The Searchers—have earned him worldwide admiration as America's foremost filmmaker, a director whose rich visual imagination conjures up indelible, deeply moving images of our collective past. Joseph McBride's Searching for John Ford, described as definitive by both the New York Times and the Irish Times, surpasses all other biographies of the filmmaker in its depth, originality, and insight. Encompassing and illuminating Ford's myriad complexities and contradictions, McBride traces the trajectory of Ford's life from his beginnings as “Bull” Feeney, the nearsighted, football-playing son of Irish immigrants in Portland, Maine, to his recognition, after a long, controversial, and much-honored career, as America's national mythmaker. Blending lively and penetrating analyses of Ford's films with an impeccably documented narrative of the historical and psychological contexts in which those films were created, McBride has at long last given John Ford the biography his stature demands.

John Ford's classic films—such as Stagecoach, The Grapes of Wrath, How Green Was My Valley, The Quiet Man, and The Searchers—have earned him worldwide admiration as America's foremost filmmaker, a director whose rich visual imagination conjures up indelible, deeply moving images of our collective past. Joseph McBride's Searching for John Ford, described as definitive by both the New York Times and the Irish Times, surpasses all other biographies of the filmmaker in its depth, originality, and insight. Encompassing and illuminating Ford's myriad complexities and contradictions, McBride traces the trajectory of Ford's life from his beginnings as “Bull” Feeney, the nearsighted, football-playing son of Irish immigrants in Portland, Maine, to his recognition, after a long, controversial, and much-honored career, as America's national mythmaker. Blending lively and penetrating analyses of Ford's films with an impeccably documented narrative of the historical and psychological contexts in which those films were created, McBride has at long last given John Ford the biography his stature demands.

The definitive biography of the great, dark cinematic poet of the American West, the troubled director of Stagecoach, Red River, and scores of other Hollywood classics.

Follows the legendary John Ford through a career that spanned more than five decades, drawing on dozens of personal interviews, material from Ford's estate, and film criticism.

These were unique, complex, personal and professional relationships between master director John Ford and his two favorite actors, John Wayne and Ward Bond. The book provides a biography of each and a detailed exploration of Ford's work as it was intertwined with the lives and work of both Wayne and Bond (whose biography here is the first ever published). The book reveals fascinating accounts of ingenuity, creativity, toil, perseverance, bravery, debauchery, futility, abuse, masochism, mayhem, violence, warfare, open- and closed-mindedness, control and chaos, brilliance and stupidity, rationality and insanity, friendship and a testing of its limits, love and hate--all committed by a "half-genius, half-Irish" cinematic visionary and his two surrogate sons: Three Bad Men.

Traces the making of the influential 1950s film inspired by the story of Cynthia Ann Parker, sharing details of Parker's 1836 abduction by the Comanche and her return to white culture twenty-four years later.

This biography provides rare insights into Ford's life as well as his prodigious film career (spanning over 140 movies), and also reveals his work as a spy for the US government in the years leading up to World War II.

James Stewart once said, "For John Ford, there was no need for dialogue. The music said it all." This lively, accessible study is the first comprehensive analysis of Ford's use of music in his iconic westerns. Encompassing a variety of critical approaches and incorporating original archival research, Kathryn Kalinak explores the director's oft-noted predilection for American folk song, hymnody, and period music. What she finds is that Ford used music as more than a stylistic gesture. In fascinating discussions of Ford's westerns—from silent-era features such as Straight Shooting and The Iron Horse to classics of the sound era such as My Darling Clementine and The Searchers —Kalinak describes how the director exploited music, and especially song, in defining the geographical and ideological space of the American West.

This radical re-reading of Ford's work studies his films in the context of his complex character, demonstrating their immense intelligence and their profound critique of our culture.

Films of John Ford.