About John Ford

by Lindsay Anderson

The career of John Ford, considered by some to be America’s greatest film director, spanned nearly half a century. With masterpieces like Stagecoach, The Informer, The Grapes of Wrath, and The Searchers, he was one of the world’s most popular filmmakers and one of the most universally admired. About John Ford is a critical interpretation and a personal tribute. Lindsay Anderson’s comprehensive survey of Ford’s work has the authority of a writer who was himself a distinguished filmmaker, and the portrait that emerges has the vividness and warmth of friendship. “About John Ford leaves no room for challenge.†— David Robinson, The Times (London)

Genres: Film

256 pages, Paperback

First published January 1, 1983

Reviews

[John · Rating 4 out of 5]

An excellent work from Anderson, easily one of my favorite books on Ford. I often find myself enjoying several of Ford's films more than Anderson does, while at times puzzling over some films he champions (Tobacco Road). However, Anderson at least argues for his positions with the knowledge of a filmmaker. He also includes a number of letters and reflections from those who worked with Ford at the end of the book. These are most interesting, as they provide first person accounts of the man's working and at times, personal habits that can be enlightening as far as his artistic process goes.

[Luke Schiefelbein · Rating 3 out of 5]

I didn't finish. I don't like John Ford movies that much, so I guess that's why. Some good discussion about Ford's career progression from journeyman director to acclaimed artist.

[Paul Cornelius · Rating 5 out of 5]

British filmmaker Lindsay Anderson began his career as a film critic. Among those filmmakers he most appreciated was John Ford. This volume, published in the early 1980s, brings a personal point of view to Ford's films. As a filmmaker, Anderson was nothing like Ford, except in the pursuit of what Anderson called the "poetic" in film. Some of Anderson's appraisals of Ford will surprise some readers--he dismisses The Searches as a lesser film--while others will confirm expectations--his praise for They Were Expendable. Anderson never received the support of his native film industry in the way Ford did in America. But both men shared at least one great talent: storytelling. Ford was a master; and he merged his gift with a genuine love and respect for the traditions of his country. Sometimes, it's harder to see that at work in Anderson, but it's there if you take the time--the nostalgia laden images of the emptied out school in If . . . . This book is a remarkable insight into what drove two filmmakers.