Francis Ford: Cinema Pioneer in the Shadows

My fellow Morlock, R. Emmet Sweeney has written an excellent appreciation of the restoration of the long-lost John Ford film Upstream (1927)  that was recently screened at New York’s Museum of the Moving Image. Like Rob, I saw this delightful movie for the first time as well–though I was in a relatively small audience at the George Eastman House in Rochester, New York with Philip P. Carli providing live musical accompaniment on the piano. The Dryden Theatre at Eastman House rang with laughter and applause last weekend in response to Upstream, though the audience was also held rapt by another movie on the program created by a member of the same family. Francis Ford (1881-1953), a man who acted in around 400 movies and wrote, directed and produced close to 200 films, preceded his baby brother, the four time Oscar winning director, John Ford, into the burgeoning movie industry by several years. Frank Ford is primarily remembered now as a fairly obscure and often silent member of the John Ford Stock Company in the background of numerous films, including Upstream, where he appears as a medicine show salesman who likes to guzzle his own wares.  On rare occasions in his long years as an obscure character actor, Francis had a few moments of glory: his brave (if thirsty) Revolutionary soldier Joe Boleo in Drums Along the Mohawk (1939), the frightened victim of a lynch mob in The Ox-Bow Incident (1943), the old codger who rises from his death bed to witness the battle royal in The Quiet Man (1952) or his silent but animated coonskin-wearing Civil War veteran in The Sun Shines Bright (1953). While Francis was often a sad, peripheral figure after he gave up directing for acting in the late ’20s, filmmaker Francis Ford’s  When Lincoln Paid (1913), has only recently been restored after almost 98 years in obscurity, and highlighting a nearly unknown talent.

The film was a thirty minute, two-reeler, made for distribution by Kay-Bee pictures, (Kay-Bee was a subsidiary of Universal and was also known as Bison). The Civil War story may have been directed by and starred John Ford‘s elder brother and unsung pathfinder, Francis Ford a year before John Feeney’s arrival in California, but the seeds of the “Fordian” storytelling that recur so often in justly celebrated films such as The Searchers, Young Mr. Lincoln, and How Green Was My Valley can be discerned in When Lincoln Paid in less polished form, as characters cope with private pain and loss, the longing for revenge, the development of empathy and public action for a greater good. Long forgotten and assumed lost, this movie was unearthed by contractor Peter Massie, who came across a 35mm Monarch projector and seven reels of nitrate film tucked away and forgotten in the summer of 2006 as he prepared to demolish a barn in Nelson, N.H. It was eventually determined that this movie was the only surviving copy of one of the eight silent films starring Francis Ford as Lincoln; there are no known surviving copies of the others.


The Rising of the Moon (1957)

Tyrone Power introduces the first of three stories told in the film The Rising of the Moon (1957) with the wry comment that “This is a story about nothing, or perhaps about everything.”

For the director John Ford, this roughly 84 minute black and white movie, made in Ireland, which he did for free and “the sake of my artistic soul,” may be among his most personal films–even though today it is probably the least seen of this celebrated filmmaker’s movies from the sound era. As revealed in a piece by the New York Post’s film critic Lou Lumenick last year, even the director’s grandson, Daniel Ford, has only a videotape of this now rare movie, and the exact copyright ownership of the movie appears to be a bit mysterious. Preoccupied, as almost all of Ford’s movies were, with the inevitable dissolution of traditions, communities and ties, it was not a realistic movie, having about as much to do with “life as we knew it in the ’50s in Ireland as Prince Valiant did to life in the Middle Ages,” as one Irish-born friend pointedly told me once. The stories woven in this anthology film also feature magnificent casts, with Noel Purcell, Cyril Cusack, Donal Donnelly, Frank Lawton, Dennis O’Dea, Jack MacGowran and Eileen Crowe giving life to these off-hand tales.

The quirky The Rising of the Moon (1957) looked back nostalgically through Ford’s somewhat foggy, affectionate lens at an imagined world as it might have been or as the director wished it to be. Originally entitled The Three-Leaf Clover, (as well as Three or Four Leaves of the Shamrock, according to some sources), it tells a trio of stories, all related to the theme of personal freedom, in a loose-limbed way. Each of the segments adapted by longtime Ford screenwriter Frank S. Nugent for scale, unfolded, in their seemingly ramshackle way, and celebrate the rituals of comradeship, tradition, chaos, and wholesale blarney that underpinned Ford’s vision of Irish life. These casually told and seemingly rambling stories are all tinged with the melancholy that a child of immigrants might feel about a romanticized past he could never fully experience first-hand.

[...MORE] is the official blog for TCM. No topic is too obscure or niche to be excluded from our film discussions. And we welcome your comments on our blogs and bloggers.
See more:
See more:
3-D  Academy Awards  Action Films  Actors  Actors' Endorsements  Actresses  animal stars  Animation  Anime  Anthology Films  Art Direction  Art in Movies  Asians in Hollywood  Australian CInema  Autobiography  Avant-Garde  Aviation  Awards  B-movies  Beer in Film  Behind the Scenes  Best of the Year lists  Biography  Biopics  Black Film  Blu-Ray  Books on Film  Boxing films  British Cinema  Canadian Cinema  Character Actors  Chicago Film History  Children  Cinematography  Classic Films  College Life on Film  Comedy  Comic Book Movies  Crime  Czech Film  Dance on Film  Digital Cinema  Directors  Disaster Films  Documentary  Drama  DVD  Early Talkies  Editing  Educational Films  European Influence on American Cinema  Experimental  Exploitation  Fairy Tales on Film  Faith or Christian-based Films  Family Films  Fantasy Movies  Film Composers  Film Criticism  Film Festival 2015  film festivals  Film History in Florida  Film Noir  Film Scholars  Film titles  Filmmaking Techniques  Films About Gambling  Films of the 1930s  Films of the 1960s  Films of the 1970s  Films of the 1980s  Food in Film  Foreign Film  French Film  Gangster films  Genre  Genre spoofs  HD & Blu-Ray  Holiday Movies  Hollywood history  Hollywood lifestyles  Horror  Horror Film Hosts  Horror Movies  Icons  independent film  Italian Film  Japanese Film  Korean Film  Literary Adaptations  Martial Arts  Melodramas  Memorabilia  Method Acting  Mexican Cinema  Moguls  Monster Movies  Movie Books  Movie Costumes  movie flops  Movie locations  Movie lovers  Movie Magazines  Movie Posters  Movie Reviewers  Movie settings  Movie Stars  Movie titles  Movies about movies  Music in Film  Musicals  New Releases  Outdoor Cinema  Paranoid Thrillers  Parenting on film  Pirate movies  Polish film industry  political thrillers  Politics in Film  Pornography  Pre-Code  Producers  Race in American Film  Remakes  Revenge  Road Movies  Romance  Romantic Comedies  Russian Film Industry  Satire  Scandals  Science Fiction  Screenwriters  Semi-documentaries  Sequels  Serials  Set design/production design  Short Films  Silent Film  silent films  Social Problem Film  Spaghetti Westerns  Sports  Sports on Film  Stereotypes  Steven Spielberg  Straight-to-DVD  Studio Politics  Stunts and stuntmen  Suspense thriller  Swashbucklers  TCM Classic Film Festival  TCM Programming  TCM Underground  Telephones  Television  The British in Hollywood  The Germans in Hollywood  The Hungarians in Hollywood  The Irish in Hollywood  Theaters  Thriller  Trains in movies  U.S.S. Indianapolis  Underground Cinema  VOD  War film  Westerns  Women in the Film Industry  Women's Weepies