My Darling Clementine : Filmography of John Ford

It's always simplicity that you should go after in any case. In the scenario, the music, the acting, the style." Ford speaks of the dangers of using too much music in this interview with Axel Madsen, "Cavalier Seul," Cahiers du Cinéma (October 1966) : 51. 9. In his last Western, Cheyenne Autumn (1964), Ford returned to the characters of Earp and Holliday, now transformed into middle-aged card players who see life with cynical detachment. They appear in a broadly comic vignette, set in a saloon, and their world is peopled by madams, card sharks, and bar-room buffoons. Their casual hedonism is unrelated to the main narrative of the film, the tragic story of the heroic sufferings of displaced Cheyenne Indians. The inclusion of the Earp-Holliday sequence (it is not in Ford's source material and it has no historical validity) suggests that Ford intends the scene as an ironic commentary and coda to the vision he embodied in My Darling Clementine. Contents Introduction My Darling Clementine as History and Romance John Ford: A Biographical Sketch My Darling Clementine Credits and Cast The Continuity Script Notes on the Shooting Script Interviews, Reviews, and Commentaries Interviews The Old Horseman Rides Again: John Ford Talks about Westerns Interview with Winston Miller Reviews New York Times Review New Movies Review Commentaries John Ford A Home in the Wilderness: Visual Imagery in John Ford's Westerns Structural Patterns in John Ford's Films Authorship and Genre: Notes on the Western Filmography and Bibliography Ford Filmography, 1930-1966 Selected Bibliography