John ford in DVDs & Videos

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All three of Francis Ford Coppola's classic films detailing the trials and tribulations of the Corleone family and their involvement in the world of organized crime come to DVD in this collection. Each film is given widescreen treatment with commentary from Coppola himself. The fifth disc contains over three hours of exclusive bonus features, including several behind-the-scenes featurettes. See individual film titles for descriptions.

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Hollywood's most celebrated luminaries--behind the camera as well as in front of it--combined talents to present this epic tale of the development of the American West from the 1830s through the Civil War to the end of the century, as seen through the eyes of one pioneer family. The film, divided into three chapters--"The Civil War" (directed by John Ford), "The Railroad" (directed by George Marshall), and "The River, the Plains, the Outlaws" (directed by Henry Hathaway)--tells the story of the Prescotts, a spirited group of easterners who make a declaration to migrate west. When their parents are lost in a tragic river accident, Eve (Carroll Baker) and Lilith (Debbie Reynolds) go their separate ways. Eve remains on the land that took her parents, settling down with the well-intentioned Linus Rawlings (James Stewart), while Lilith becomes a singer who is courted by the conniving Cleve Van Valen (Gregory Peck) when he learns that she has inherited a fortune in California. As time passes and the Civil War takes the life of Linus, the newest generation of Prescott offspring struggles with even greater danger and loss, in the form of fierce Indians as well as family archrivals. Top-notch production values and an endless string of solid performances have earned HOW THE WEST WAS WON the well-deserved label as one of Hollywood's most revered classics.

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For the follow-up to his dark crime thriller SEVEN, director David Fincher decided to remain in a film noir vein. The result is THE GAME, a fast-paced cinematic roller-coaster ride that stars Michael Douglas as Nicholas Van Orton, a joyless San Francisco investment banker who receives an unusual birthday present from his estranged younger brother, Conrad (Sean Penn). The gift enrolls Nicholas in CRS (Consumer Recreation Services), a company that designs elaborate real-life games for each specific participant. As the game begins, the reluctant Nicholas becomes the victim of a series of pranks that quickly turn malicious and dangerous. Stripped of his finances and convinced that he can trust no one, Nicholas realizes that this game may be an attempt to steal his fortune and leave him for dead. In a desperate bid to regain his life, Nicholas infiltrates CRS in order to uncover the secrets of the mysterious organization. Douglas is perfect playing the uptight businessman Nicholas, cleverly riffing on his Oscar-winning performance as the cold-blooded Gordon Gekko in WALL STREET. Fincher's Kafkaesque carnival show is an exercise in taut filmmaking that mischievously pulls a seemingly endless supply of rugs out from under both Nicholas and, even more impressive, the viewer.

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This collection of John Ford films includes CHEYENNE AUTUMN, THE INFORMER, THE LOST PATROL, MARY OF SCOTLAND, and SERGEANT RUTLEDGE. Please see individual titles for synopsis information.

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A classic Western regarded by many as the best of the genre, John Ford's THE SEARCHERS has been acknowledged by several directors who came into their own in the 1970s, including Martin Scorsese, Steven Spielberg, Paul Schrader, and George Lucas, as a powerful influence on their work. The film stars John Wayne as Ethan Edwards, a case-hardened Civil War veteran returning to his brother Aaron's (Walter Coy) Texas home in 1868. When Rev. Samuel Johnson Clayton (Ward Bond) arrives to raise a posse to run down the Comanche who have stolen the cattle of neighbor Lars Jorgenson (John Qualen), Ethan is among those who join him. They return to find the Edwards family slaughtered and the two girls, Lucy (Pippa Scott) and Debbie (Natalie Wood), missing. The posse continues to search for the girls but turns back as winter settles in. However, Ethan and his reluctantly accepted companion, Martin Pawley (Jeffrey Hunter), the girls' part-Cherokee stepbrother, press on for another seven years, with the Indian-hating veteran becoming ever more fanatical as the hard seasons pass. In his epic meditation on racism, obsession, paranoia, and the myth of the West, Ford explores the ugly underside of a genre that he had imbued with optimism in his early career. Wayne gives perhaps his most powerful performance as the embittered Edwards, but it's the visual poetry of what are possibly Ford's most carefully framed, lit, and composed images that shape this masterwork from beginning to end. As Wayne walks through the doorway at the film's end, he grabs his elbow in a tribute to his and Ford's close friend Harry Carey Sr., a Western film icon who had passed away a few years before.

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This film collection is devoted to legendary director John Ford. Included are the films DRUMS ALONG THE MOHAWK, THE GRAPES OF WRATH, MY DARLING CLEMENTINE, HOW GREEN WAS MY VALLEY, and the documentary BECOMING JOHN FORD. See individual titles for synopsis information.

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Eight classic westerns that John Ford and John Wayne collaborated on together are collected in this release. The titles include: THE SEARCHERS, STAGECOACH, FORT APACHE, THE LONG VOYAGE HOME, WINGS OF EAGLES, SHE WORE A YELLOW RIBBON, THEY WERE EXPENDABLE, and THREE GODFATHERS. Please see individual titles for synopsis information.

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With his clipped delivery and weighty screen presence, John Wayne is one of the icons of the Western genre. This collection presents four of the actor's best films: THE SEARCHERS, FORT APACHE, RIO BRAVO, and THE COWBOYS. Please see individual titles for complete synopsis information.

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A classic Western regarded by many as the best of the genre, John Ford's THE SEARCHERS has been acknowledged by several directors who came into their own in the 1970s, including Martin Scorsese, Steven Spielberg, Paul Schrader, and George Lucas, as a powerful influence on their work. The film stars John Wayne as Ethan Edwards, a case-hardened Civil War veteran returning to his brother Aaron's (Walter Coy) Texas home in 1868. When Rev. Samuel Johnson Clayton (Ward Bond) arrives to raise a posse to run down the Comanche who have stolen the cattle of neighbor Lars Jorgenson (John Qualen), Ethan is among those who join him. They return to find the Edwards family slaughtered and the two girls, Lucy (Pippa Scott) and Debbie (Natalie Wood), missing. The posse continues to search for the girls but turns back as winter settles in. However, Ethan and his reluctantly accepted companion, Martin Pawley (Jeffrey Hunter), the girls' part-Cherokee stepbrother, press on for another seven years, with the Indian-hating veteran becoming ever more fanatical as the hard seasons pass. In his epic meditation on racism, obsession, paranoia, and the myth of the West, Ford explores the ugly underside of a genre that he had imbued with optimism in his early career. Wayne gives perhaps his most powerful performance as the embittered Edwards, but it's the visual poetry of what are possibly Ford's most carefully framed, lit, and composed images that shape this masterwork from beginning to end. As Wayne walks through the doorway at the film's end, he grabs his elbow in a tribute to his and Ford's close friend Harry Carey Sr., a Western film icon who had passed away a few years before.

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Five of the best movies of the dashing and talented screen legend Clark Gable are gathered together in this collection. The titles included are: BOOM TOWN, CHINA SEAS, DANCING LADY, MOGAMBO, and SAN FRANCISCO.

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DRUMS ALONG THE MOHAWK is John Ford's first film in Technicolor (which recently perfected far richer shadings of color than had previously been possible), and the director uses it to stunning effect. The film stars Henry Fonda as Revolutionary War-era farmer Gilbert Martin, who, in 1776, has returned with his well-born wife, Lana (Claudette Colbert), to his rustic cabin in the increasingly dangerous Mohawk River valley. At first unaccustomed to the harsh physical challenges of frontier life, Lana adjusts to the work at hand and is soon able to help her husband in the fields. Shortly after they learn that the colonies are at war with the British, their farmhouse is attacked and burned to the ground by a party of Tory-led Indians. The feisty Widow McKlennar (Edna May Oliver) provides temporary shelter for the couple, but it's only a matter of time before the Indians launch a more brutal assault. Save for THE QUIET MAN, DRUMS ALONG THE MOHAWK contains the richest passages of pastoral imagery in Ford's entire canon, the visual beauty nearly upstaging the spectacular and terrifying Indian battles. The performances, particularly Oliver (who garnered an Oscar nomination) as the vinegary widow and the superbly stoic Fonda, enable Ford to again demonstrate the heroism and limitations of rugged individualism. The scenes of an Indian prisoner spread-eagled on a wagon and Gilbert's escape are repeated almost exactly in the 1982 dystopian classic THE ROAD WARRIOR.

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One of John Ford's most cherished projects, THE QUIET MAN took years to finance but became one of his greatest box-office successes and an enduringly beloved classic. John Wayne stars as Sean Thornton, a retired American boxing champion trying to put tragedy behind him by returning to Innisfree, the bucolic Irish village of his birth. He purchases his birthplace from its current owner, enraging the wealthy and bellicose Red Will Danaher (Victor McLaglen), who had designs on the property. On arriving at his cottage, Thornton finds it being swept out by Mary Kate Danaher (Maureen O'Hara), a redheaded vision from whom he steals a not completely unwelcome kiss. After engaging in a subterfuge involving a horse race, some of the locals manage to get the disgruntled Red Will to allow his sister to be courted by the American. But the courtship ritual of the village is only the first of many local practices that the bewildered Thornton must endure if he is to have Mary Kate. Wayne gives a surprisingly nuanced performance as the fish out of water, and he is perfectly matched with the radiantly rambunctious O'Hara. The rest of the cast is splendid as well, and the lush color photography garnered an Academy Award for Winston Hoch. John Ford also won an Oscar for his directing, and it's impossible not to be charmed by the artistry with which he weaves his rollicking, robust tale.

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Hollywood's most celebrated luminaries--behind the camera as well as in front of it--combined talents to present this epic tale of the development of the American West from the 1830s through the Civil War to the end of the century, as seen through the eyes of one pioneer family. The film, divided into three chapters--"The Civil War" (directed by John Ford), "The Railroad" (directed by George Marshall), and "The River, the Plains, the Outlaws" (directed by Henry Hathaway)--tells the story of the Prescotts, a spirited group of easterners who make a declaration to migrate west. When their parents are lost in a tragic river accident, Eve (Carroll Baker) and Lilith (Debbie Reynolds) go their separate ways. Eve remains on the land that took her parents, settling down with the well-intentioned Linus Rawlings (James Stewart), while Lilith becomes a singer who is courted by the conniving Cleve Van Valen (Gregory Peck) when he learns that she has inherited a fortune in California. As time passes and the Civil War takes the life of Linus, the newest generation of Prescott offspring struggles with even greater danger and loss, in the form of fierce Indians as well as family archrivals. Top-notch production values and an endless string of solid performances have earned HOW THE WEST WAS WON the well-deserved label as one of Hollywood's most revered classics.

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John Ford's memorable screen version of John Steinbeck's epic novel of the Great Depression--often regarded as the director's best film--stars Henry Fonda as Tom Joad. After having served a brief prison sentence for manslaughter, Joad arrives at his family's Oklahoma farm only to find it abandoned. Muley (John Qualen), a neighbor now nearly mad with grief, tells Tom of the drought that has transformed the farmland of Oklahoma into a desert and of the preying land agents who have plowed under the shacks of the sharecroppers. Joined by former hellfire preacher Casy (John Carradine), Tom finds his extended family, including Pa (Charles Grapewin) and his indomitable Ma (Jane Darwell), packing their ramshackle truck to seek work in the fields of California. As the family treks across the country, their dissolution begins with the deaths of Tom's grandparents at close intervals. When they arrive in California, the Joads find only an abundance of poverty-stricken migrants like themselves and little in the way of potential work. Yet, ever resilient, they maintain their dignity, hoping for the best. Among the talented cast, Fonda does perhaps the best work of his career, as does Qualen in the film's most haunting sequence. Director of photography Gregg Toland captures the suffering and the weathered, luminous nobility of the Joads and the other uprooted, drifting families, creating striking images equal to the best work of Dorothea Lange and Walker Evans. In a stirring film that stands as a microcosm of the depression experience of millions, Ford gives poverty a human face in a way that was rare then and even rarer in the decades to follow as Hollywood films with a sense of class consciousness dwindled like a species nearing extinction.

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Regarded by many as the best Western ever made, STAGECOACH shot John Wayne to stardom and elevated the prestige of a genre that had hitherto been considered a B-movie province. With rumors in the air of a possible Apache attack, a motley group of travelers in a small New Mexico town board the Overland Stage bound for Lordsburg. Among them are the pregnant Lucy Mallory (Louise Platt); timid liquor salesman Peacock (Donald Meek); Hatfield, an aloof gambler (John Carradine); Gatewood (Berton Churchill), a pompous, embezzling banker; and two who have been exiled from town, alcoholic Doc Boone (Thomas Mitchell) and Dallas (Clair Trevor), a lady of the evening. Along the trail, they pick up the Ringo Kid (John Wayne), an outlaw who's escaped from prison to take revenge on the Plummer brothers for destroying his family and framing him for murder. As their journey progresses, the hypocrisy of the supposedly respectable passengers becomes clear, and it's the tainted outsiders who display courage and humanity. Described by Orson Welles, who watched the film innumerable times before making CITIZEN KANE, as his cinematic textbook, STAGECOACH is superbly made in every respect, layering humor and sharp characterization into an exciting plot that includes a spectacularly photographed chase in Monument Valley.

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John Ford cast former matinee idol Tyrone Power against type in the true story of Marty Maher, a humble Irish immigrant who rose through the ranks to become one of West Point's most revered instructors. Arriving at the hallowed military academy near the turn of the 20th century, Maher first gets a job as a cafeteria dishwasher but realizes that the enlisted men receive better treatment and quickly becomes one. The life of military discipline is no easier for the Irishman, and he soon finds himself in the guardhouse after getting in a fight with an officer he mistakenly accuses of a crime. Upon his release, Capt. Herman Koehler (Ward Bond), who saw the fight and admired his pugilistic skill, offers Marty a job as the school's boxing coach. Koehler also introduces him to the quiet Irish-born cook, Mary (Maureen O'Hara), who will become his wife. As the years pass, Marty's role expands beyond his place in the athletic department as he gradually becomes one of the most beloved characters in the school's history, a second father to thousands of grateful cadets. This warmly sentimental, typically Fordian tribute to a life of service--the director's first film following a year off because of eye surgery--features a fine performance by Power as the volatile, big hearted Hibernian.

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A lament for the passage of time and the second in the director's acclaimed series of cavalry films, John Ford's SHE WORE A YELLOW RIBBON stars John Wayne as Capt. Nathan Brittles, a cavalry officer stationed in the Southwest. While contemplating his retirement, which is only a week away, Brittles is assigned to escort the wife and niece of his commanding officer, Maj. Mac Allshard (George O'Brien), to the stage line at Sudros Wells. Although he would prefer to battle the rampaging Cheyenne Indians as his final action, Brittles obeys orders. En route, two of the men in Brittles's patrol, Lieutenants Cohill and Pennell (John Agar and Harry Carey Jr.), get an eyeful of the major's distracting niece, Olivia (Joanne Dru), and nearly kill each other trying to attract her attention. Brittles then gets word from a scout, Sergeant Tyree (Ben Johnson), that a group of Arapaho Indian warriors is heading straight toward Sudros Wells. Wayne is at his best in his sensitive portrayal of an older man reluctantly stepping away from the only life he's known. Despite the constant skirmishing of Ford and cinematographer Winston Hoch, the cameraman won an Oscar for his work on the film and would go on to shoot the director's THE QUIET MAN and THE SEARCHERS.

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Nick Redman directs this documentary about the life, legend, and cinematic legacy of American filmmaker John Ford.

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Kris Kristofferson narrates this fascinating and enlightening documentary about the World War II experiences of legendary, visionary director John Ford. The auteur behind STAGECOACH, THE GRAPES OF WRATH, THE QUIET MAN, RIO GRANDE, and HOW GREEN WAS MY VALLEY--among many other instant classics--volunteered his services and produced fascinating, cutting-edge documentaries on the war effort (as well as sex-hygiene videos for the soldiers). He was injured while capturing THE BATTLE OF MIDWAY on film, for which he won an Oscar in 1942; he won another the next year for DECEMBER 7TH. Luminaries such as Oliver Stone and Peter Bogdanovich are interviewed, and the result is an unusual, intriguing portrait of a complex and staggeringly talented man.

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John Ford's adaptation of the Sinclair Lewis Nobel Prize-winning novel stars Ronald Colman as the idealistic Martin Arrowsmith. Although a brilliant medical student, Arrowsmith's chances of pursuing a research fellowship are sidetracked by his marriage to nurse Leora Tozer (Helen Hayes). The couple returns to Leora's small Minnesota hometown, where Arrowsmith establishes a medical practice while continuing to do research on his own. After a few years, he discovers the cure for a bovine disease, which lands him a job doing research with former mentor Dr. Max Gottlief (A.E. Anson) in New York. Scientist Gustavus Sondelius (Richard Bennett), a friend of the researchers', informs them that a plague is devouring the West Indies. Eager to test a new serum, Arrowsmith accompanies the scientist to the islands, reluctantly taking Leora along. Although the white population refuses to participate in the experiment, a black doctor persuades the native people to take the serum. In the course of his research, Arrowsmith meets Joyce Lanyon (Myrna Loy), the daughter of a plantation owner--and finds himself irresistibly drawn to her. Colman, Hayes, and Bennett contribute fine performances, and the supporting cast, particularly John Qualen and Beulah Bondi, are outstanding. Ford, famous for his sublime visual sense in handling epic material, displays a deft directorial touch in the quiet, intimate ARROWSMITH, creating a wrenching portrait of a man struggling to do right while shrouded in a mist of moral ambiguity.

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