“Watch the road, dear!”
In Frank Nugent’s original 1939 New York Times review of John Ford’s Drums along the Mohawk, he observed, “The Revolutionary period, oddly enough, has been one of the least exploited epochs in our national history—by the screen, that is…” If we are discussing war movies, I would add World War I to the list under-served by the cinema. While we seem to get a new movie about World War II almost every year, these pivotal eras are rarely charted by filmmakers. So it is with great interest that I took a look at Ford’s film, which stars Henry Fonda and Claudette Colbert as a pair of newlyweds trying to make a life in the frontier when war against the British breaks out around them.
It’s not really a war movie properly speaking, but like most of Ford’s best loved pictures, a story of a family and a community. There are some battles, but most of them are off screen, or only spoken about. Ford is more concerned with the aftermath of the battles, and even the preparation for them, than on rousing footage of the actual skirmishes. The focus remains on the ways that the encroaching realities of war shapes and transforms a community. As one of the few wars fought on our own soil, this sort of story is very different than the ones where soldiers bleed and die across the ocean. Homes are burned by Indians allied with the British. The women and children of the frontier are forced to retreat to the relative safety of the nearby fort, abandoning their homes and lands. The militia is formed from the able bodied of the area, and drilled in preparation to defend the territory.
Akira Kurosawa’s 1949 film, The Quiet Duel, is one of his least seen works, partly due to some obscure rights issues that has kept it from being released by Criterion or any other major home video label. The lack of visibility can’t really be blamed for the lack of acclaim the film has generated: it is a relatively minor achievement for Kurosawa. But is still worth seeking out for any fans of the Japanese master filmmaker.
One might assume that the “duel” referred to in the title was between the two major stars of the film, Toshiro Mifune and Takashi Shimura, who had squared off the previous year in Drunken Angel, and would later famously be paired in such films as Seven Samurai. However, the title actually refers to an internal moral battle and struggle against a disease contracted by Mifune’s character in the course of his work as a doctor.
Last year, I attempted the Blind Spot series, a project where you watch one new-to-you classic film, and blog about it. This project is hosted by Ryan McNeil at the Matinee blog, and I encourage you to follow his blog for his own entries and those of the other blogs participating. I was not fully successful in getting 12 posts up last year, but I did achieve 9 from my list. I also saw lots of other new-to-me movies that I didn’t get to write about, so altogether I feel my 2016 film watching was a success.
I’m going to make another attempt in 2017 using this list. As before, I reserve the right to revise the list, but here’s the initial resolution:
- Day for Night (Truffaut) [carried over from 2016]
- Intolerance (Griffith) [carried over from 2016]
- The Quiet Duel (Kurosawa)
- Drums Along the Mohawk (Ford)
- Othello (Welles)
- Ivan’s Childhood (Tarkovsky)
- The King of Comedy (Scorsese)
- Man With a Movie Camera (Vertov)
- The Passion of Joan of Arc (Dreyer)
- M. Hulot’s Holiday (Tati)
- Late Spring (Ozu)
- The Lodger (Hitchcock)
As my thoughts are posted, links will be added to the list above. Here’s to a great 2017 of movie watching!