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John Ford is one of our greatest American directors, and he is profiled in this 1971 documentary that features a hilarious interview with the man himself (Interviewer: How did you shoot that scene? Ford: With a camera) and actors who worked with him many times over the years: John Wayne, James Stewart, Henry Fonda, and Maureen O'Hara. Narrated by Orson Welles, prominent directors talk about his influence on cinema and his gifts as a director: Martin Scorcese, Peter Bogdanovich, Steven Spielberg, and Clint Eastwood.

The most fascinating part of this documentary was the discussion - with clips - of how the master framed his shots like a painter, and the scenes shown were truly stunning. The end of the documentary speaks to his sentimentality, belief in an afterlife and the family, demonstrated with heartwrenching scenes from "The Searchers," "How Green was My Valley," and others.

Finally there was a taped meeting between Katharine Hepburn and Ford in the year he died. The two had a great connection and perhaps even a relationship. It is most fascinating, particularly when Ford's son leaves the room and mistakenly leaves the tape recorder on.

Excellent all the way around.

Well. Old John was 76 when Peter B. fired up the cameras out in Monument Valley in '70. 76 in those days was more or less what we see in an 80- or 85-year-old now. They don't feel all that wonderful here and there. Their internal organs aren't hitting on all eight cylinders. Their joints ache. It's hard to care for all that long about what one used to care about. (He died two years later.)

So while this is a movie -about- John Ford, his own comments seem to reflect his stresses of the moment, and he's not all that worked up about telling -- or selling -- his own story. (This -is-, after all a man whose record speaks for itself: "The Informer," "Stagecoach," "The Grapes of Wrath," "My Darling Clementine," "Fort Apache," "Rio Grande," "Mr. Roberts," etc.)

Bogdanovich is clearly abused during his interview with The (unappreciative) Great Man, but what he makes of it -- and the other interviews -- is pret-near as good as many of the Great Man's own films.

We get to see the -man- through the eyes of icons like Stewart, Fonda, O'Hara and Wayne -- who worked directly with him -- from the '70 shoots. We get to see the significance of the man's -work- through the eyes of Eastwood, Scorcese, Hill, Spielberg, Lucas and Bogdanovich, arguably six of the most qualified observers one could hope to assemble.

Moreover, Bogdanovich selects cinematic evidence of the man's remarkable sense of how to present the story on a theater screen: Ward Bond cutting loose with John Wayne. Wayne and Jeffrey Hunter amid the tree branches in a snow storm. Richard Widmark and Jimmy Stewart on the stream's edge in a five-minute two-shot that's plain astonishing.

Spielberg makes the point that Ford knew and employed the rituals of American culture. Scorcese was surely watching closely when he did. Lucas makes the point that Ford knew how to seize the moment cinematically and stamp it indelibly upon our memories. Think of Henry Fonda as Wyatt Earp rocking on the porch with Linda Darnell in "...Clementine." Ford Knew Film. This is proof. Thanks, Pete. Thanks, -John-.

"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.

Extremely interesting. Captivating through the commentaries from such stalwarts as Spielberg and The Duke. Spielberg's studies of Ford's symbolic portrayals of traditional ceremonies and John Wayne, as eloquent as one might not expect, are worth the viewing. Truly, Wayne expresses a sincere admiration and fondness for the artist that Ford was. A moving piece delivered by Maureen O'Hara. Very interesting that her comments were read from a written speech, but after she finished reading the speech, she broke down in tears. Hank Fonda and Jimmy Stewart's recollections of Ford's gift for creating character was a brilliant entry by Bogdanovich. John Ford's career spanned 140 films, including the silent era. Thanks to this documentary, we realize what a divine national treasure American film had.

While print quality of the films it shows excerpts from, and some of the interviews is poor, the quality of the documentary itself still shines. It shows us how Ford got started in film, and what films made him a star. It also gives enough of an overview of the man, and enough complete scenes from his films, that a person like me who's only seen a handful of Ford's many many films, can respect the man and know he was one of the best. You also get to know what kind of a man he was through stories told by such Ford film regulars as John Wayne, Jimmy Stewart and Henry Fonda. Some are truly funny and let you know what a character the man himself was. There are also a few spots of interviews with Ford himself behind his famous backdrop of Monument Valley. They tool show you what a unique man Ford was. I was lucky enough to see this on AMC, if you have a chance of seeing it anywhere, I recommend it.

This is one of the best director bios I've ever seen, and I'm not even a huge John Ford fan. Personally, I've taken a dislike to the man himself after reading all the stories about his brutal treatment of people on the sets of his films. JOHN WAYNE and JAMES STEWART talk about some of the humiliating moments they suffered on Ford's sets and how he manipulated them into very embarrassing moments. Seems someone always had to be the fall guy on a Ford set. The JOHN AGAR incident during FORT APACHE is never mentioned, but Ford was notoriously unkind to the fledgling actor, addressing him on the set as "Mr. Temple."

As JAMES STEWART says: "A Ford set was never a relaxed set." And as HARRY CAREY, JR. says: "He told me I'd hate him by the time the film was over. He was wrong. I hated him after that first day." MAUREEN O'HARA has her own take on Ford, praising him for the work he accomplished but adding that he "could be the most aggravating man" and "mean and vindictive" during one of his moods.

The only thing they all agreed on: he was a master movie-maker. "He's a painter. A great painter," says Steven Spielberg who had a rather uncomfortable first meeting with Ford when Spielberg was a youngster telling the great man that some day he'd like to be a director.

The man who made over 135 films, won six Oscars and four New York Film Critics awards is certainly not an easy man to know, as anyone who has interviewed him finds out. Much can be traced to the unhappy family life in his background.

All of the incisive remarks on Ford's movie-making experiences, as related by stars and directors, are followed by clips illustrating the points they make. In fact, there's a very generous assortment of film clips from all his major films and even some from the lesser known works. All together, it's a fully rounded portrait of the man.

Highly recommended for anyone with an interest in what has to go on behind the camera, with insightful contributions from Clint Eastwood, Martin Scorsese and Steven Spielberg, especially.

Directed By John Ford (2006)

**** (out of 4)

Peter Bogdanovich directs this documentary on the life and career of the legendary director. Vintage interviews with John Wayne, Henry Fonda and James Stewart are mixed with newer interviews with Martin Scorsese, Steven Spielberg and Clint Eastwood (among others). The doc does a great job at showing what made Ford some a great director and I really enjoyed the scenes where they'd show clips from countless films in a row, showing you how Ford liked certain themes in his films. There's one section where they cover 180 years of history shown through Ford's films. I do wish the documentary had spent more time with Ford's career in the late 1910s. There's also another segment, which I felt shouldn't have been included. There's a recorded conversation between Ford and Katharine Hepburn, which was great to hear but the recorder was left on when the two didn't know it was running. This audio recording might show Ford at a softer moment but I really didn't feel comfortable listening to it.

The introduction of John Ford, as an interviewee, in Peter Bogdanovich's documentary 'Directed by John Ford', is quite awkward, and really funny. He sits in a chair, slightly uncomfortable, glancing out as his own backdrop he's been up by, Monument Valley, and smoking a cigar from time to time. Bogdanovich's questions aren't bad, but they're prime fodder for someone like Ford to just rip apart, or just scoff at or ignore. He finishes it by saying "CUT" as if he was the director. But after this, and throughout the rest of the documentary, Ford is much more on a level field with Bogdanovich (or perhaps his questions were more straightforward), and we see a man who is uncomplicated on the surface, but is an artist underneath, a complex one who regards his country with a slight sense of irony, but also a true warmth for people and family and the 'other' like the American Indians.

And boy could he compose a shot! One of the joys of Directed by John Ford is to get to see these scenes from Ford films, some quite long and some just snippets, and see how it is painterly, from, as narrator Orson Welles would once say, a "poet in a mind's eye". And seeing those scenes from the Searchers and Grapes of Wrath and Fort Apache are incredible to see in the context of the interviews. Also, if you haven't seen many Ford films, it's a great window into his work (if not completely full of spoilers), and if you have then it's like revisiting a great body of work in one book or other.

The interviews also give insight, while at the same time not being dishonest about how Ford could be on a set. He could tease actors, or just outright bully, and on occasions he would ask an actor a question, such as "how do you think Woody Strode looks, (Jimmy Stewart)" and get a frank answer, he would embarrass the star in front of the entire cast and crew. Sometimes actors would even come to the defense on the side of the one Ford would be picking on, and then, as any bully, he would back-off. But somehow, the interviewees like Fonda and Stewart and Harry Carey Jr and 'Duke' can attest to, a lot of the stern and angry behavior from the director was worth it - and part of his own personality as a tough but sensitive Irish-American.

We see how his films reflect the man - quiet and bold, sentimental but never corny, raw, naturalistic, and stylized. It's a complex man, given a documentary full of rightful praise and some moments that will be helpful to burgeoning movie-buffs (i.e. a scene from Two Rode Together that Scorsese says changed his life is, in fact, an extraordinary scene, and all in a two shot no less!)

This film was originally made in 1971 by Peter Bogdonovich. However, Bogdonovich and Turner Classic Movies re-edited and expanded this film for release on 11/6/06.

In general, I enjoyed this film--mostly since I love so many of Ford's films. It tends to focus mostly on actors impressions of the man--with lots of interviews with actors and actresses. Some of these interviews are quite recent and many were made around 1969-1971. They all gave some wonderful insights into the director and with my background in psychology, what WASN'T said explicitly was interesting. While no one said it, Ford seemed like a very controlling and domineering man with some self-esteem issues. And, sadly, his personal life was a mess--probably because these characteristics that helped him be a great director probably made him a lousy family man. I really, really wished the film had gone into this area further, but the focus of the film was not so much on his psychology but on what others superficially saw in him. Too bad it just didn't go deeper.

Also, I had seen a documentary about Ford years ago on American Movie Classics and it had a totally different slant. Instead of interviews, it was more a sequential overview of Ford's films. If this IS what you are looking for, the Bogdonovich documentary is not for you, as it shows clips and talks about most of the famous Ford films but ignores the rest (he did direct something like 150 films).

So overall, it was very interesting and it was nice to see interviews with so many of my dead favorites. But this must be seen as a very narrow and superficial tribute, as it ignores Ford's life story or a sequential or in-depth account of his film career.

You get to hear why Ford was so great, see him be a cantankerous jerk to a young Peter Bogdonovich, and see loads of clips from classics. If anything, this movie leaves you wanting more, but you will certainly want to go and watch all of these movies again (or for the first time). A great summation.

Made the same year Peter Bogdanovich created his masterpiece, "The Last Picture Show," one might expect great things from this somewhat unconventional documentary on John Ford. After all, how wrong can one go with interview footage of John Wayne, Henry Fonda, Jimmy Stewart, and the director himself? And if that's not enough "star power," consider that no less than Orson Welles narrates. But things often go horribly wrong in this uneven, inconsistent work that's more of a random, love-letter to the director, than an insightful peek into his world.

Rather than tell the story of his life, Bogdonavich focuses on the work of John Ford. In fact, he relies heavily on film footage. It isn't all the typical sound-bite clip one comes to expect from documentaries, but often long scenes, or sequences of scenes. This works well sometimes, but all too often, the clip is simply longer than it needs to be. It makes its point, and then keeps going, and going, and going. This wouldn't be so bad if Bogdanovich, a former film critic, put more commentary into the scenes, but he usually doesn't.

Then there is the interview footage, the real reason to watch. There are some wonderful anecdotes and insights here, but they are too often constructed in disjointed, dare I say, amateurish ways.

Indeed, the whole film is inconsistent. It lacks focus, and shifts rather uneasily from one way of looking at things to another. Taken as isolated pieces, such as the the way it surveys the historical scope of Ford's work, it's wonderful, but as a whole, it's potential is never realized.

If anyone is to get anything out of this, one would probably have to possess some familiarity with the work of Ford. As a fan of the great director, I certainly found this worthwhile, but too sloppy. Those unfamiliar with Ford's work will probably find nothing of interest here, and their time would be better spent watching the actual works of Ford, than this work about Ford.