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Peter Bogdanovich (written by)
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A documentary on the life and films of director John Ford. Full summary » | Add synopsis »
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(17 articles)
3 Bad Men
 (From Trailers from Hell. 17 July 2016, 11:30 AM, PDT)

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 (From Trailers from Hell. 10 June 2016, 7:30 PM, PDT)

She Wore a Yellow Ribbon
 (From Trailers from Hell. 3 June 2016, 8:01 PM, PDT)

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Lest We Forget... See more (11 total) »


  (in credits order) (complete, awaiting verification)

Orson Welles ... Narrator (voice)
rest of cast listed alphabetically:

Ward Bond ... (archive footage)

Harry Carey ... (archive footage)

Katharine Hepburn ... Herself (archive footage)

Jeffrey Hunter ... (archive footage)

Maureen O'Hara ... Herself (archive footage)

Richard Widmark ... (archive footage)

Peter Bogdanovich ... Himself / Interviewer (uncredited)

Harry Carey Jr. ... Himself (uncredited)

Henry Fonda ... Himself (uncredited)

John Ford ... Himself (uncredited)

James Stewart ... Himself (uncredited)

John Wayne ... Himself (uncredited)

Directed by
Peter Bogdanovich 
Writing credits
(in alphabetical order)
Peter Bogdanovich  written by

Produced by
Tom Brown .... executive producer
Frank Marshall .... producer
Melissa Roller .... supervising producer
James R. Silke .... producer
George Stevens Jr. .... producer
Gregg Taylor .... co-producer
Original Music by
Gaylord Carter 
Cinematography by
László Kovács 
Brick Marquard 
David Sammons 
Gregory Sandor 
Eric Sherman 
Patrick Alexander Stewart 
Douglas Knapp (uncredited)
Film Editing by
Mark Fitzgerald 
Richard Patterson 
Art Department
Steve Callahan .... graphics
Sound Department
Karen Baker Landers .... supervising sound editor (as Karen M. Baker)
Per Hallberg .... supervising sound editor
Chris Jargo .... dialogue editor
Scott Millan .... re-recording mixer
Philip D. Morrill .... assistant sound editor
Leslie Shatz .... re-recording mixer
Leslie Shatz .... sound re-recordist
Greg Steele .... sound mixer
Drew Webster .... re-recording mixer
Greg Zimmerman .... sound
Camera and Electrical Department
László Kovács .... camera operator: interviews (as Laszlo Kovacs)
Brick Marquard .... camera operator: interviews
Gregory Sandor .... camera operator: interviews
Eric Sherman .... camera operator: interviews
Marc Surette .... camera utility
Kelly Waldman .... gaffer
Douglas Knapp .... camera operator: interviews (uncredited)
Editorial Department
Jill Breitzman .... post-production coordinator
John Coldiron .... on-line editor
Jason Overbeck .... post-production assistant
Other crew
Cassandra Barbour .... rights and clearances
Mary Berlin .... accountant
Iris Chester .... personal assistant
Joanna Levy .... rights and clearances
Mary T. Radford .... assistant
Parish Rahbar .... personal assistant
Mike Schneider .... production associate
Laura Sevier .... rights and clearances
Marc Surette .... production assistant
Michael Barlow .... thanks
Gaylord Carter .... thanks
George Feltenstein .... thanks (2006 restoration)
Henry Fonda .... thanks
John Ford .... thanks
Alex Gordon .... thanks
Harry Goulding .... thanks
Clarence Inman .... thanks
Richard Kahlenberg .... thanks
Tom Karsch .... thanks (2006 restoration)
Thomas Philip Pollock .... thanks
Rick Simonton .... thanks (as Richard Simonton Jr.)
James Stewart .... thanks
John Wayne .... thanks
Crew believed to be complete

Production CompaniesDistributors

Additional Details

Also Known As:
99 min | 110 min (restored longer 2006 version)
Color | Color (Technicolor)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:

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Movie Connections:
Features Mary of Scotland (1936)See more »


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4 out of 5 people found the following review useful.
Lest We Forget..., 6 February 2007
Author: Bill Slocum ( from Greenwich, CT United States

"Directed By John Ford" is a moving, thoroughgoing, yet somehow incomplete look at that master of directors, John Ford, directed by Peter Bogdanovich, a hot young director himself when he first made this film, in 1971.

The version of "Directed By John Ford" I saw is not that version, but a retooled one made in 2006 featuring up-to-date commentary from Steven Spielberg, Clint Eastwood, Martin Scorsese, and Bogdanovich himself, among others. There's also surviving footage from the 1971 version, showing John Wayne, James Stewart, Henry Fonda, and Ford himself, all still alive at the time and willing to sit down and talk with Bogdanovich, though barely in the case of Ford himself.

Q: Mr. Ford, I've noticed your view of the West has become increasingly sad...Have you been aware of that change of mood? A: No.

Q: Now that I've pointed it out, is there anything you'd like to say about it? A: I don't know what you're talking about.

The others interviewed are more willing to share their views, not to mention their scars. "He dares you to do it right – do it good," notes Stewart, adding "It's not a relaxed set." Ford was a rank sentimentalist and a bullying manic depressive, pressing every psychological button among his cast, crew, and himself. Wayne and Fonda note how hard-nosed Ford could be with the amused bewilderment of Catholic schoolboys discussing a crazy nun.

The modern-day interviews are interesting, too, though not nearly so. The result here is less a retrospective than an appreciation piece, and something of a disjointed one, with half the interviews discussing Ford in the present tense and half wistfully acknowledging the world Ford left behind.

"He's like Dickens or something," says Walter Hill, the guy behind "Deadwood" and "48 Hrs." "There's a whole frame of reference and horizon-line that's Fordian." The best thing to say about this documentary is that you get some concrete sense of what the adjective "Fordian" means. His films could be messy and emotional, but there was often a economical driving force at their heart, running through them tight as a clothesline.

You also see how Ford influenced directors who came after him. One scene from a 1961 film "Two Rode Together," shows Stewart and Richard Widmark sitting at a stream and having a long conversation about Stewart's love life. It's introduced by Scorsese as an influential scene in his own film-making, but there was nothing recognizably of Scorsese in the clip I see, which is amiable, drawn-out, and too whimsical by half for Scorsese's macho style. But it did remind me a lot of Quentin Tarantino, who it turns out is a huge Scorsese fan. Ford's roots run deep, and often past a lot of people, as with me.

The film loses steam in the second half, though, with a labored reflection on how Ford captured the story of America on a chronological basis. There's some brief audio of Ford talking to Katharine Hepburn that hints at a great romance between the two, but it's thrown up late and not tied in well to anything else.

But this is a fine overview of Ford's fantastic career, however unsettled as to its perspective. Ford himself was a little unsettled, too.

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