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10485.Ch01.Pdf © 2007 UC Regents Buy this book University of California Press, one of the most distin- guished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its ac- tivities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by The Regents of the University of California Every effort has been made to identify and locate the rightful copyright holders of all material not specifically commissioned for use in this publication and to secure permission, where applicable, for reuse of all such ma- terial. Credit, if and as available, has been provided for all borrowed material either on-page, on the copyright page, or in an acknowledgement section of the book. Errors, omissions, or failure to obtain authorization with respect to material copyrighted by other sources has been either unavoidable or unintentional. The au- thor and publisher welcome any information that would allow them to correct future reprints. Library of Congress Cataloging-in-Publication Data Kalinak, Kathryn Marie, 1952–. How the West was sung : music in the westerns of John Ford / Kathryn Kalinak. p. cm. Includes bibliographical references and index. isbn-13: 978-0-520-25233-2 (cloth : alk. paper) isbn-13: 978-0-520-25234-9 (pbk. : alk. paper) 1. Ford, John, 1894–1973—Criticism and interpreta- tion. 2. Motion picture music—United States—History and criticism. I. Title. PN1998.3.F65K35 2007 781.5'42—dc22 2006037036 Manufactured in the United States of America 16 15 14 13 12 11 10 09 08 07 10987654321 This book is printed on New Leaf EcoBook 50, a 100% recycled fiber of which 50% is de-inked post- consumer waste, processed chlorine-free. EcoBook 50 is acid-free and meets the minimum requirements of ansi/astm d5634–01 (Permanence of Paper). Contents Acknowledgments ix Introduction 1 1. How the West Was Sung: Music in the Life and Films of John Ford 9 2. Hearing the Music in John Ford’s Silents: The Iron Horse and 3 Bad Men 23 3. “Based on American Folk Songs”: Scoring the West in Stagecoach 49 4. Two Fordian Film Scores: My Darling Clementine and The Man Who Shot Liberty Valance 76 5. “Western as Hell”: 3 Godfathers and Wagon Master 100 6. “The Girl I Left Behind Me”: Men, Women, and Ireland in the Cavalry Trilogy 122 7. “What Makes a Man to Wander”: The Searchers 158 8. In the Shadow of The Searchers: Two Rode Together and Sergeant Rutledge 181 9. Cheyenne Autumn: A Conclusion 194 Notes 203 Select Bibliography 235 Index 241 chapter 1 How the West Was Sung Music in the Life and Films of John Ford There were two pianos in the Ford household, but neither John Ford nor anyone else in his immediate family played them.1 Among the notable di- rectors of Hollywood’s classical studio era, Ford took the most active and sustained control of the music for his films, and yet he couldn’t read music, he couldn’t play an instrument, and he sang aloud only when drunk (and then only Irish songs), his grandson Dan told me.2 Yet pro- fessional musicians listened to what he had to say about the music. Much is made and rightly so of Ford’s extraordinary visual sense, an eye for composition that seldom failed him. Ford had a musical sense, too, an instinctive feeling for when to use music and an encyclopedic knowledge of what music to use. For the westerns, he liked folk songs, nineteenth- century popular tunes, and Protestant hymnody. Ford treated music in much the same way he treated dialogue: pared it down to its essence, eliminated the irrelevant, and delivered it simply and without affectation. Such a minimalist approach, of course, depends upon choosing exactly the right line of dialogue and exactly the right piece of music. Repeatedly, and with a remarkable consistency, given Hollywood’s mode of produc- tion, this is what Ford was able to do. Born John Martin Feeney in 1894 (although he claimed otherwise) near Portland, Maine, to Irish immigrant parents, John Ford was the youngest ofsix surviving children. A sensitive child, and a reader, he was also a tough football player who earned an athletic scholarship to the University of Maine. After a difficult entry into college life, Jack “Bull” 9 10 How the West Was Sung Feeney followed his brother Frank to Hollywood. Billed as Francis Ford (it was Frank who adopted the less ethnic surname), Frank had become a silent film actor and director. Eventually, he founded his own pro- duction company. He was thus in a position to provide his brother with an apprenticeship in the business, and he did. Jack Ford began directing in 1917. A reversal of fortunes visited the Ford brothers in the 1920s. Under the tutelage of the cowboy star Harry Carey, Jack produced a series of successful contemporary westerns, and, as John Ford, was catapulted to international acclaim for The Iron Horse. Frank was plagued by do- mestic woes, alcoholism, and business problems and hit bottom. He would find work as a character actor in his brother’s films for the rest of his life. Ford plugged away through the transition to sound and eventually be- came Twentieth Century–Fox’s most dependable director. With a string of critical and box office successes in the late 1930s and 1940s, he was Hollywood’s most prestigious filmmaker, winning four Academy Awards as Best Director, and two more for his documentaries, a total unmatched to this day. Powerful, difficult, and cantankerous, he worked within the studio system but managed to go his own way nonetheless, butting heads with studio executives but generally thriving in Holly- wood. It would be 1939 before he returned to the westerns that had been his entry into the industry and made Stagecoach, a film in which he cast his young friend John Wayne. Westerns would be a central thread in the fabric of Ford’s opus, and several of his last films were westerns, but he never won an Academy Award for his work in the genre by which he is now defined. Any book that devotes itself to the work of a single director needs to confront its own assumptions about authorship and at very least make them explicit for its readers. The field of film studies has been marked since its inception as an academic discipline in the 1960s by auteurism, a romantic and powerful definition of the director as a visionary artist and the source of filmic meaning. Not all directors were deemed auteurs, only those who were able to leave their personal imprint on a film. Ford was fairly early on championed as an auteur; Andrew Sarris in The American Cinema (1968) placed him in his legendary pantheon of di- rectors,3 and there is a prodigious industry still devoted to this view of Ford today.4 Auteur status was largely equated with control over the mise-en-scène in these early formulations, influenced no doubt by Cahiers du cinema, the journal in whose pages the notion of the director How the West Was Sung 11 as auteur first appeared. Ford’s status was seen as the result of his abil- ity to render story, character, and theme in visual terms. Even the struc- turalist approaches to authorship that followed, notably Peter Wollen’s work on Ford in Signs and Meaning in the Cinema (1969) tended to priv- ilege visual language.5 Music was ignored in shaping these arguments. Ford was able to exert control over an aspect of film production to which few directors in the studio system even had access, and his rela- tionship to the music challenges traditional notions of what constitutes film authorship. Of the American directors elevated to auteur status by the critics, few directly became involved with the score (D. W. Griffith, King Vidor, and Charles Chaplin, in the silent era, and Orson Welles in his limited collaborations with Bernard Herrmann, in the sound era, are notable exceptions). Most directors left the music in the capable hands of composers. Ford, however, generally chose the songs for his films him- self, and since their scores largely consist of songs, and are sometimes even limited to songs, surely this complicates things. Does Ford deserve special status in the pantheon of directors? Or is the concept of auteurism unable to accommodate a director who controlled more than just the vi- sual field? Ignoring the score may be the least of traditional auteurism’s problems, and it has long since been put to rest in academic film studies as a viable approach to understanding meaning production. But au- teurism is not alone in its short-sightedness. Under the influence of the poststructuralist revolution of the 1970s, more recent theories have repositioned authorship within a network of meaning production that exceeds the director. John Ford is no longer simply seen as an individual artist working within an assembly-line mode of production who was able to transcend the system and mark his films with personal meaning. Rather, “John Ford” is a site determined by a va- riety of industrial, institutional, economic, social, legal, cultural, and psychic practices that have the power to govern the ways in which films are interpreted. At its most extreme, directors are regarded as the prod- ucts of psychic and cultural forces that leave them little or no control over meaning.
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