John Ford's themes and styles
The figure who appears walking down that road is every bit the lonely drifter of so much of his other films and, as played by Henry Fonda, is the same physical embodiment of the man set adrift and apart from society.

At the beginning of this film, however, that man is trying to return home, trying to reunite with the family he left behind when he went to prison for murder. Although he does find them, his search is bittersweet, as they have been uprooted from their family home and are about to head west, in search of better days and distant promises.

It is the same search that the Earp brothers are pursuing at the beginning of My Darling Clementine and the search that Kirby Yorke in Rio Grande is prevented from pursuing by orders that keep him from crossing the river into Mexico to exact revenge of Apache raiders. Tom Joad, Wyatt Earp, and Kirby Yorke are all men whose family connections both tie them to their duty and challenge their ability to make their own way in the world. Joad must help the family make the trek to California, even if it puts him at risk for breaking his parole and tests his ability to make a life for himself. Earp is bound to the life of a cowboy by his loyalty to his brothers and becomes a lawman to exact the revenge that this loyalty demands of him. Yorke's family includes not only an estranged wife and a son he has not seen fo 15 years but also a troop of men, a general who is both commanding officer and

 

Stanley Kauffmann has written, "The power of Ford burns through, a power that makes us a part of lives far from our own and makes our own lives more vivid, power over daydream and memory" (25). All three of these stories portrayed worlds far removed from even the audiences that saw them first. While Grapes of Wrath was set just a few years in the past, it showed a world as distant from the immediate experience of most of those who first viewed it as any of the post-Civil War Westerns he created. Yet all three retain an immediacy with which even contemporary audiences can identify, and this is in large part because they chronicle struggles that continue to challenge those watching. This may be as much a result of the length of Ford's career (he worked in movies from 1914 until 1972, an extraordinarily long sweep through American history) as of his very American themes and concerns. Lloyd Eby argues that Ford's enduring legend is due to his ability to explore the American character, especially through his Westerns but also throughout his other films.

My Darling Clementine uses a story that has become an American myth, and Romney cautions:

Place argues, "Ford performs the nearly impossible dual function of affirming the existing social order and all its mythologies, and profoundly critiquing it in both personal and structural terms" (7). He does not present institutions and authority figures in a completely positive light, yet he is cautiously respectful of social order and the benefits it confers. Large, faceless corporations are the trigger to the Joads' sojourn in the desert, driving them to seek better treatment in the promised land but unsure if it even exists. Wyatt Earp becomes the law in Tombstone, but it is a job no one else wants and it does not bring automatic security or safety. Yorke's commanding officer, while a long-time friend, is helpless throughout most of the film to offer any real help and ultimately promises only to look the other w

 
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    Some topics in this essay  
 
    Rio Grande | Grapes Wrath | Darling Clementine | Kirby Yorke | Civil War | Home Kathleen | Instead Ford | War Westerns | John Ford | Wyatt Earp | darling clementine | grapes wrath | rio grande | john ford | civil war | wyatt earp | played henry fonda | century fox | traditional american | henry fonda | 20th century fox | played henry | clementine rio grande | films played henry | commanding officer long-time |  
   
 
 
 
   
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