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The Fugitive (1947)

Anti-Catholic and anti-cleric policies in the Mexican state of Tabasco lead the revolutionary government to persecute the state's last remaining priest.


John Ford, Emilio Fernández (uncredited)


Dudley Nichols (screenplay), Graham Greene (novel)

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1 win & 2 nominations. See more awards »


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Complete credited cast:
Henry Fonda ... A Fugitive
Dolores del Rio ... An Indian Woman (as Dolores Del Rio)
Pedro Armendáriz ... A Lieutenant of Police (as Pedro Armendariz)
J. Carrol Naish ... A Police Informer
Leo Carrillo ... A Chief of Police
Ward Bond ... El Gringo
Robert Armstrong ... A Sergeant of Police
John Qualen ... A Refugee Doctor
Fortunio Bonanova ... The Governor's Cousin
Chris-Pin Martin ... An Organ-Grinder (as Cris-Pin Martin)
Miguel Inclán ... A Hostage (as Miguel Inclan)
Fernando Fernández ... A Singer (as Fernando Fernandez)


Based of the Graham Greene novel about a revolutionary priest in Central America. A priest who is The Fugitive is trying to getaway from the authorities who have denounced Christianity and want anyone linked to it dead. The Fugitive finds shelter with an Indian Woman (The Woman), a faithful parishioner, who gives the priest directions to Puerto Grande, where he could then board a ship and sail to freedom in America. On his journey to Puerto Grande, he meets up with a man who says he will protect him. In reality, he is the Police Informer and once The Fugitive realizes this, he is back on the run, but the Police Informer is never far behind along with the authorities. Written by Kelly

Plot Summary | Add Synopsis


Peril-Laden adventure ... of a man's desperate plight !


Drama | History


Approved | See all certifications »



USA | Mexico



Release Date:

27 March 1948 (Mexico) See more »

Also Known As:

The Labyrinthine Ways See more »

Filming Locations:



Box Office


$1,500,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

Mono (RCA Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »

Did You Know?


Robert Armstrong (A Sergeant of Police) and the producer Merian C. Cooper died only one day apart: Armstrong on April 20, 1973 and Cooper on April 21, 1973. See more »


A Fugitive: I have a question, Lieutenant. When did you lose your faith?
A Lieutenant of Police: When I found a better one.
See more »


Version of The Power and the Glory (1961) See more »


Bury Me Not on the Lone Prairie
("The Dying Cowboy") (uncredited)
American folk ballad based on an older sea song (1932)
Variation heard as theme for the Gringo (Ward Bond)
See more »

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User Reviews

down in Mexico
24 August 2008 | by MisterWhiplashSee all my reviews

It's been written somewhere that the cruelest thing you can say to an artist is that his work is flawless. John Ford thought of the Fugitive as, despite not being a box-office success, a perfect film and one of his very favorites. It's perhaps more than prudent then to point out some of the criticisms one would have of the film (which, perhaps, is moot since he's been dead for decades). As a fan of the Ford work I've seen there are some times when he's touched perfection (Grapes of Wrath and the Searchers are it for me), and sometimes not so much, which goes without saying he directed many films. With the Fugitive it's recognizable to me why it's split its audience: some hail it as being totally underrated and a brilliant depiction of religious allegory and suffering, and some say that it's a total crock for being far too heavy-handed and acted over-the-top.

Both sides have their right points; it is an underrated picture, if only for its technical feats of cinematography (Gabriel Figueroa is just right for this kind of material for Ford) and Ford's usual talents as a basic storyteller with a tendency for pure cinema expression (i.e. lack of dialog is a plus with the emotion expressed through the camera and actors. But it is also not well-acted in a couple of instances, notably the beautiful but overbearing Delores Del-Rio as the woman living in the town who's baby is baptized by the Priest played by Henry Fonda. For Fonda, it should be said, he at least gives all he can for a performance that possibly other actors could have played with more magnificence. In fact it's for him that some of the picture is most watchable, as he flexes his emotional chops for a scene where it's required for complexity like when he misses the boat and is asked to bless someone dying only to realize there is no wine and must go to ask from a vulgarian for wine (which, as it turns out, is drunken with brandy and all by him).

While it might not be the Fonda we all know and love from Grapes of Wrath or My Darling Clementine he does what he can with the part, and it's a tribute to him and Ford that they make it engrossing on a very simple level that carries some complex connotations. When focusing on the actual chase and flight from the Mexican police it works very well (particularly with a hammy but effective informer played by J. Carrol Nash). It's just when Ford over-indulges in the spiritual aspect of the picture, which is only made clearer towards the end, that it loses its footing. Indeed the start of the picture kind of threw me off for a little bit as Fonda comes in with the Christ-like symbolism highlighted on the wall, and the townspeople come in with tears in their eyes and a somber song to sing and Fonda blesses and baptizes others. I wondered: is this a little TOO much in the way of what Ford does best, which is telling the story? He can be brilliant in throwing in his deep-rooted Catholic ideas as pure visions on the screen, and once or twice in the Fugitive he does... and then other times it falls flat or goes too high where it starts to become a full-blown religious picture as opposed to a societal thriller.

Should Ford fans see it? Of course; even a lessor Ford picture will have something interesting. Will everyone like it? Surely not. Yet it is usually fine, traditional work and shouldn't be completely dismissed.

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