An analysis of the revisions and deletion in the film the grapes of wrath by john ford

The author photo above was taken by me at Mrs. Nevertheless, despite the mixture of fatalism and sentimentality that mar both, Of Mice and Men and The Grapes of Wrath deserve their endurance, certainly on humane grounds and, whatever our critical reservations, on reasonably substantial aesthetic grounds as well.

An analysis of the revisions and deletion in the film the grapes of wrath by john ford

In the right side of the frame, however, Wyatt Earp stands in the shadow, his face dimly visible, his back turned toward the camera, intently observing Clementine over his shoulder. Wyatt perceives in her hardly much more than imperceptible reactions what he had supposed and hoped had withered — her lingering love for Doc Holliday.

Her posture elevates and her admiring look fixates ever more strongly upon Doc as Doc recovers his long-abandoned vocation as physician caring for a patient.

An analysis of the revisions and deletion in the film the grapes of wrath by john ford

Unaware of the man right next to her who studies her reactions intently, the man who surely she was convinced had stolen her affections, she steps past him and towards Doc when Doc commands her to come forward to assist.

She passes, still captured in the light, and Wyatt turns slowly to follow her movement — his face now fully darkened in shadow.

Richard Church:

He then slowly turns back the other way, leans on the bar, draws his hand up to his face, and tilts his head slowly down, the light from not quite directly behind delicately haloing his profile.

The shot lingers twelve seconds on Wyatt in his throes of dejection. Wyatt stays at the end of the bar, next to a steaming kettle, through to the conclusion of the operation. The wafting steam, the low moans of the surgical patient, and the muffled whooping and hollering from the saloon next door provide understated swirls of aural and visual counterpoint to the elaborately detailed deeply contrasting chiaroscuro long-shot composition from the far end of the saloon cum impromptu operating room, an image sustained for fifteen seconds.

Doc pauses at the door, while Clementine expresses how proud she is in him, exuding a conciliatory overture that does not quite carefully mask rekindled though clearly not reciprocated emotions. She follows Doc out the door, final confirmation of what Wyatt will have surmised — that her affections are irrepressibly drawn to Doc and not to him.

Wyatt looks down pensively, drumming his fingers idly. Finally he looks up, still subdued, and asks Mac J. It is a quintessentially Fordian moment, in which quiet, easily-missed subtle visual detail lyrically woven into a seemingly functional montage transmits vitally important information about character development, and fully more important than the dialogue and action that promotes the obvious structures of the plot.

The poignancy is punctuated by distracting humor. It is as if John Ford hides himself in those shadows, very studiously embedding meaning just beneath the surface dramatic context.

Ford routinely worked closely with his cinematographer, counting himself as the best cameraman in Hollywood. Wyatt and his brothers arrive in Tombstone unmarried, leading a herd of cattle. Wyatt accepts the position of Marshall after one of his brothers is murdered.

He confronts the Clantons in the OK Corral after a second brother is killed. The Earps are the only law officers in Tombstone. No other cowboys or gunfighters are associated with the Clantons.

Billy is killed prior to the shootout and the rest of the Clanton clan die in the shootout at the OK Corral. The feud with the Clantons concludes with the shootout, and Wyatt and Morgan leave Tombstone soon after, leaving Clementine behind.

The film is shot in Monument Valley, which little resembles the terrain surrounding Tombstone miles to the south — though a few saguaro cacti native to southern but not northern Arizona find their place in the town.

All of these elements of the film contradict historical or geographical fact. The plethora of these divergences and on some points seemingly gratuitous 48 Chapter Three flaunting of liberal adaptation indicate not so much inattentiveness as it does willful authorial assertion of the primacy of story and character.

Ford deliberately alternated big-budget studio projects with small- budget personal projects that had meaning for him. The town was elaborate enough to allow shooting the nearly all of the film on location, interiors and exteriors alike.

Ford saw that the town was ceded to the Navajo nation after shooting was completed. Inhe claimed never to have seen the My Darling Clementine. My children liked it a lot. But I — you know. The existence of the unique version came to light as students reported details to their professors that were different from the studio release.

Lloyd Bacon directed these scenes on a studio soundstage against backdrops of Monument Valley scenery.

An analysis of the revisions and deletion in the film the grapes of wrath by john ford

The diffuse and photographic textures clearly contrast with the richly-detailed and sharp natural images of the rest of the film, even the footage that Ford shot on a studio sound stage. These changes were likely often the product of his instinctive blocking of camera and action, which he would not plan ahead but rather conceive on the day of shooting a scene, once he could see what the environs provided.

Zanuck would have it that she came West to find Doc, found him, found that he no longer loved her, nor she him, but found Wyatt, and, oh, fell for him instead.John Frizzell 02ddafdb9a-4cd5-b0ceec68 Universal Music Group Building a Boat Randal Collier-Ford 05d4eda5-a1dfe6a1ccbb Kalpamantra Filosofia 05d7ccccea Grapes Grey feab57fbcdf27a On My Feet Again e7d0db0-b1adbf7b5a.

Critical Analysis of “The Grapes of Wrath”, by John Steinbeck Professor: MARZIEH ASEFI NAJAF ABADI Islamic Azad University khorasgan (Esfahan) INTRODUCTION In October , Wall Street, the center of finance in the United States, crashed.

This was the start of the Great Depression. is a platform for academics to share research papers. In the epic movie Grapes of Wrath, director John Ford depicted a saga of one family trying to survive the ’s. In watching this film, it helped me to understand the hardships of the American migrants.

John Ford's Film is Almost The Grapes of Wrath by John Steinbeck; Jim Casy Chracter Analysis; Grapes of Wrath Essay: Steinbeck's Use. 44 CHAPTER THREE THE COWBOY IN THE SHADOWS IN JOHN FORD’S MY DARLING CLEMENTINE DENNIS ROTHERMEL, CALIFORNIA STATE UNIVERSITY, CHICO The Cowboy Standing Silently in the Shadows Clementine Carter stands in the light, captured in a four-second-long medium-close-up of ostensibly just her.

Sep 27,  · The Grapes of Wrath is a drama film directed by John Ford and based on John Steinbeck's novel written and published in The film is set during the Great american Depression in the s.

An American family, Joad, are forced together with others, to leave their homeland in Oklahoma and migrate in search of work and a future in California.

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