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The Fugitive (1947 film)

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478:"excelled in plastic perfection. On the other hand, its very excess of pictorial splendour was a fault of the John Ford-Figueroa production. The drama of the priest, as related by Graham Greene, lost in profundity what it gained in external splendour. We all know the definition of this award; for the production that has made the greatest contribution to the moral and spiritual betterment of humanity. It differs from the other awards, which are normally given for artistic merit. Art for Art's sake is not the object, but rather art for the sake of man, the whole of man, heart and soul. Pious dullness is not the aim." 391:, who served as an associate producer of the film. He introduced Ford to Dolores del Río, Pedro Armendáriz and cinematographer Gabriel Figueroa (all people Fernández previously worked with). About Figueroa's work, Ford said: "It had a lot of damn good photography – with those black and white shadows, We had a good cameraman, Gabriel Figueroa, and we'd 285:
him. The priest is captured and sentenced to death, but forgives the informant for betraying him. The priest's execution by firing squad brings an outpouring of public grief and shows the authorities that it is impossible to stamp out religion, as long as it exists in people's hearts and minds. Even the police lieutenant acknowledges his own faith.
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In another town, the priest seeks sanctuary, but the crazy Native tracks him down and tells him that "El Gringo" is dying and he must return, to give him last rites. He is dying, but refuses the confession. Of course, it was a trap by the crazy Native and the head lieutenant, who has been hunting
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is outlawed. He tries to escape the country, but his efforts are thwarted by a crazy Native and other circumstances. He returns to his village. Another fugitive, a murderous North American bandit, dubbed "El Gringo", has already arrived in town. The crazy Native and the police troops soon follow.
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lost considerable money, caused a rift between Nichols and Ford, and has posed problems even for Ford's most devoted followers. Only the director himself consistently defended it. 'I just enjoy looking at it.' 'To me, it was perfect.' And in terms of composition, lighting and editing,
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While Maria Dolores, a beautiful Indian woman, entertains the men, the priest escapes from the back. As the priest escapes, the bandit "El Gringo" holds off the troops in a gun battle. He ends up wounded. The priest and Maria Dolores escape.
454:(1940), remind us that beneath Ford's growling machismo were a sophisticated mind and a brilliant visual sense, even though Ford was later to deny both gifts ('I make Westerns' is how he typically summarized his career). 442:
belongs to an earlier, lesser known faction of his work, self-consciously 'arty' films that demonstrated his interests in German expressionism, English literature and religious ideology. Films such as
438:(1949); and for his crusty, unpretentious demeanor, often denying the existence of thematic subtext in his work and refusing to discuss his artistic intentions as a director. But 474:
in 1948. According to this jury, this was a film "most capable of contributing to the revival of moral and spiritual values of humanity". OCIC critic Johanes added to this that
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With the exception of two assistant directors and an editor, the entire crew was Mexican, about it Ford said it ran "neck and neck with the best... in Hollywood."
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In a church, several residents pray for peace when there is a knock at the door. A man stands at the door, announcing that he is the new priest for the village.
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and its place in Ford's career as follows: "once in Mexico, Ford jettisoned most of the script and, giving leave to his fancy, made a highly abstract art film.
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is perhaps Ford's last great 'art film', a high-minded show of faith, a lovingly crafted paean to his own Catholicism."
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for the light – instead of the way it is nowadays, where regardless of the light, you shoot."
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Gallagher has made an electronic version of his book freely available for download; see
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has written: "Ford is best remembered today for his boisterous adventure films, such as
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in Mexico City. It was the first collaboration between RKO and Ford-Cooper's company
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Schallert, Edwin (Mar 19, 1946). "Blondell, McCrea Team; Twins' Subject Chosen".
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Tag Gallagher has written an extended discussion of the film in his book,
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An international co-production between the United States and Mexico. The
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Page numbers don't correspond exactly to the printed version.
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is a fugitive in an unnamed Latin American state, where
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The film was shot on location in 14: 466:The film gained the prize of the 1683:The Man Who Shot Liberty Valance 573:John Ford: The Man and His Films 405:John Ford: The Man and His Films 2515:Films scored by Richard Hageman 1899:Korea: Battleground for Liberty 1547:When Willie Comes Marching Home 2450:English-language Mexican films 1918:(1971) (produced and co-wrote) 1112:The Face on the Bar-Room Floor 488:List of American films of 1947 1: 2460:Films based on British novels 2440:Mexican black-and-white films 2435:Films about Mexican Americans 1907:Chesty: A Tribute to a Legend 2455:Films about Catholic priests 2445:1940s English-language films 1822:The Adventures of Marco Polo 1387:The Prisoner of Shark Island 688:AFI Catalog of Feature Films 448:The Prisoner of Shark Island 348:as Father Serra (uncredited) 330:as James "El Gringo" Calvary 2490:Films directed by John Ford 2536: 960:The Outcasts of Poker Flat 361:was filmed on location in 269:A nameless and conflicted 246:, based on the 1940 novel 177:November 3, 1947 2480:Estudios Churubusco films 632:International Film Review 342:as Policeman (uncredited) 26: 2301:And Then There Were None 2181:The Plough and the Stars 2157:Steamboat Round the Bend 2109:You Can't Buy Everything 2085:She Wanted a Millionaire 2018:Mourning Becomes Electra 1539:She Wore a Yellow Ribbon 1403:The Plough and the Stars 1379:Steamboat Round the Bend 1363:The Whole Town's Talking 984:A Gun Fightin' Gentleman 620:. 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Index


John Ford
Dudley Nichols
The Power and the Glory
Graham Greene
Merian C. Cooper
Emilio Fernández
Henry Fonda
Dolores del RĂ­o
Pedro Armendáriz
Gabriel Figueroa
Jack Murray
Richard Hageman
Argosy Pictures
RKO Radio Pictures
Estudios Churubusco
drama film
Henry Fonda
John Ford
The Power and the Glory
Graham Greene
Mexico
Catholic
priest
religion
Henry Fonda
Dolores del RĂ­o
Pedro Armendáriz
J. Carrol Naish
Leo Carrillo

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