[It's been ninety years since Charles Chaplin, Douglas Fairbanks, Sr., D. W. Griffith, Frank Capra, Ben Hecht, Louise Brooks, and Roscoe Arbuckle met at an open-air press conference to announce that they were combining their resources to produce a new film journal called "the Screengrab". And while it's true that the "open-air press conference" was technically a conversation between the founders and some vice cops who discovered them out in a field at 2 A.M. with 68 gallons of bathtub gin, eight underage girls, and a ram named Ulysses, and that many people think they were just stalling until their lawyers arrived, Chaplin, a man of his word, ordered his manservant to buy a printing press as soon as he was released from custody and his hangover had dimmed enough that he could once again operate his mouth. As the Screengrab approaches yet another signal moment in its ongoing evolutionary history, we are proud to reach back into our archives and reprint some rarely seen features from our illustrious past.[

1956: At 62, John Ford has the impressive, stolid quality of a small mountain who figures that either Mohammad can damn well come to him or they can both get along without each other. You don't expect a man Ford's age to be spending his days camping out in Monument Valley, but by now, this venerable Western location must feel like home to Ford--and if it didn't, Ford keeps himself surrounded by enough of his living personal history to make anyplace feel like home. The set of The Searchers, the movie he's about to wrap, is populated by crew members and technicians and actors from many earlier Ford productions, including Ward Bond, Harry Carey. Jr., Hank Worden, John Qualen--and the picture's star. John Wayne, making his ninth feature with Ford since the director guided him to his breakthrough performance in Stagecoach, seventeen years ago. (Wayne's son Patrick, who appeared in Mister Roberts and had uncredited bit parts in four other Ford films, is also in it, in the small, comic role of an eager young lieutenant.) In The Searchers, Wayne plays a former Confederate soldier who devotes years of his life to tracking down the niece who was abducted as a child by Comanches. Ford's temper is famously fiery and notoriously unpredictable. It's with no small degree of trepidation that one suggests to him that it must be hard finding a way to freshen what must seem like very familiar material to him, especially working with collaborators he knows so well.

Surprisingly, a trace of a smile spreads across Ford's face. "I imagine a lot of people will go in expecting to see something they've seen before. 'Let's go admire the old boy's craftmanship, see what he can do with his hundredth cowboy movie', like that. Well...we'll see. It's just possible they'll find something in this one that opens the form out a little."

Read More...

"To the left, Wayne has always been close to a comic-book version of American power in all its swaggering crudeness. That his screen persona was neither swaggering nor crude hardly mattered." So writes Charles Taylor in the latest issue of the pinko-liberal publication Dissent. While the above statement can be taken as definitive proof that Taylor has never seen McQ, it'll stand for the performances that Taylor cites as among Wayne's best, such as those in Stagecoach, Red River, The Searchers, and the one he's here to preach about tonight: Howard Hawks's Rio Bravo. As Taylor writes, "The inspiration for Rio Bravo came from perhaps the most praised of Westerns, Fred Zinnemann’s 1952 High Noon. High-Minded Noon it might have been called. Existing for no other reason than to impart a lesson in good citizenship, High Noon was a transparent metaphor for the failure of Americans to stand up to Joe McCarthy. Hawks hated it. Narratively, Hawks felt it made no sense for Gary Cooper’s sheriff to spend the movie soliciting the townspeople’s help to fend off the killers coming for him only to prove, in the end, that he didn’t need help. Hawks was offended by the idea that a sheriff would endanger the lives of the people he was meant to protect by trying to recruit them to save his skin. So Hawks made a movie in which Wayne’s sheriff turns down the help offered him, and needs it at every turn... Part of the beauty of Wayne’s performance here is the way, even when Chance is refusing help, he never undervalues others.

Read More...