How green was Ford's valley...
... and how red were Maureen O'Sullivan's hair... in her loveless marriage to the mine owner's son, she walks with the solemnity of Marie Antoinette taken to the guillotine, her long veil embracing the wind and trying to fly away like some encaged bird. The veil stays in place... and so does the man she loved whose silhouette appears behind in the distance.
A lesser director would have gratified us with a close-up showing the man's devastation but Ford cares for the big picture. One large shot speaks a thousand words, and "How Green Was My Valley" counts hundreds of such eloquent shots. Here's another one: in "The Grapes of Wrath", as the Joads move out to California, Ma Joad (Jane Darnell) chooses not to give a last look toward their farm for time is not for the past. "How Green" opens with a close-up of an aging woman looking toward the mines with eyes that convey both nostalgia and sadness.
This is a woman who didn't move and witnessed the slow decay of the once green valley through the darkening effect of industrialization. That image captures the emotional spirit of John Ford's Best Picture winner (yes, the one that beat "Citizen Kane" and "The Maltese Falcon") : the universal paradox of life is that it takes climbing the valley to admire how beautiful the view was, especially with children's eyes of wonder. And never has such a vision been so hypnotically beautiful as in the adaptation of Richard Llewely's book.
It might strike as an ironic title for a movie made of black-and-white splendor, but the green is secondary when it's all about emotions. This is not a movie for purists determined to spot the flaws within accents and proudly state the obvious, this is a film for viewers who wish to have an instant of pure old-school Hollywood-style melodrama from its most emblematic director: John Ford. Ford said it was his favorite movie and so did Clint Eastwood. Interesting from two men who owed their stardom to the Western genre to pick a movie that is just a slice of life tainted with pure nostalgia.
Or maybe is it because Western was embodying the "childhood" of America and this is why "How Green Was My Valley" hits that sensitive chord. It echoes a sublimated vision of a past that no longer exists, an order sacrificed at the altar of modernity and materialism, like a purified vision of the Old West (without the desperadoes). It is an idealistic dream from the start, the valley of Wales (which strangely resemble the industrialist setting of Zola's masterpiece "Germinal") looks like the pastoral heaven where coal miners work hard, ruled by entrusted owners, women keeping the house, and priests herding their sheep.
The story is told from a narrator who's living after fifty years, assembling his belongings in the shawl that belonged to his mother. He's Huw, the youngest of the Morgan boys, played by Roddy McDowall. He captures the spirit of the film, the fact that we all look at our past with our child eyes, reminiscing an idyllic time where each member was set on a pedestal of love and respectability. And like a romantic painter, Ford addresses a magnificent portrait of the Morgan family as a monument of stability at a time where Old Europe became the arena of bloody battles.
It was the war indeed that prevented the shooting to be set in Wales and turned the Malibu valley into a Welsh village. Needless to say that Darryl Zanuck had to downplay his ambitions to make his "Gone With the Wind", a four-hour epic in all Technicolor. But Ford knew that black-and-white was the best way to express the film's old-fashioned values through his mastery of large and haunting shots and a palette of darkness and lighting. John Ford was one hell of a storyteller and where any lesser director could have turned the melodrama into something linear and mawkish, Ford turns it into a work of art that conveys his own nostalgia of Ireland.
Yes, there are instants where the film feels preachy when too socially loaded or stagey when too melodramatic but the child perspective is the soul of the film. The film opens with the family reunion, the patriarch Mr. Morgan (Donald Crisp) cuts the bread to his sons, makes the prayer while the mother (Sara Allgood) is the last to start the meal and the first to finish, she's the pillar of the little community and while the film strikes as a man's movie, it leaves no doubt about who's the real boss in the house. The idyllic picture doesn't last for too long as we're quickly immersed in the workers' plight and the threats of strikes pending over them.
The workers' plights are less to emphasize the political content but to show how, in one instant, the father has turned into an old relic of the part. And this is what the father is, and the last monologue conveys the idea that men like him can never die, and that one can live without the past. Maybe this is why the film was such an instant favorite, it reconciled Americans with a past when the present was grim and the future uncertain. Maybe this is why it is the most Fordian of all Ford's films.
There are a few oddities here and there, keeping Roddy McDowall instead of hiring an older actor made a few interactions rather awkward, the actor who played the bigot priest was overacting, Walter Pidgeon's performance better fitted for a movie directed by Wyler (he was the initial choice)... but the film is so full of visual and haunting scenery that one can't ignore its emotional beauty, it is a vision embellished from the past that emphasizes the dissolution of many American values just like "Citizen Kane" did... in a more intellectual way.
Maybe it deserved that Best Picture after all...
... and how red were Maureen O'Sullivan's hair... in her loveless marriage to the mine owner's son, she walks with the solemnity of Marie Antoinette taken to the guillotine, her long veil embracing the wind and trying to fly away like some encaged bird. The veil stays in place... and so does the man she loved whose silhouette appears behind in the distance.
A lesser director would have gratified us with a close-up showing the man's devastation but Ford cares for the big picture. One large shot speaks a thousand words, and "How Green Was My Valley" counts hundreds of such eloquent shots. Here's another one: in "The Grapes of Wrath", as the Joads move out to California, Ma Joad (Jane Darnell) chooses not to give a last look toward their farm for time is not for the past. "How Green" opens with a close-up of an aging woman looking toward the mines with eyes that convey both nostalgia and sadness.
This is a woman who didn't move and witnessed the slow decay of the once green valley through the darkening effect of industrialization. That image captures the emotional spirit of John Ford's Best Picture winner (yes, the one that beat "Citizen Kane" and "The Maltese Falcon") : the universal paradox of life is that it takes climbing the valley to admire how beautiful the view was, especially with children's eyes of wonder. And never has such a vision been so hypnotically beautiful as in the adaptation of Richard Llewely's book.
It might strike as an ironic title for a movie made of black-and-white splendor, but the green is secondary when it's all about emotions. This is not a movie for purists determined to spot the flaws within accents and proudly state the obvious, this is a film for viewers who wish to have an instant of pure old-school Hollywood-style melodrama from its most emblematic director: John Ford. Ford said it was his favorite movie and so did Clint Eastwood. Interesting from two men who owed their stardom to the Western genre to pick a movie that is just a slice of life tainted with pure nostalgia.
Or maybe is it because Western was embodying the "childhood" of America and this is why "How Green Was My Valley" hits that sensitive chord. It echoes a sublimated vision of a past that no longer exists, an order sacrificed at the altar of modernity and materialism, like a purified vision of the Old West (without the desperadoes). It is an idealistic dream from the start, the valley of Wales (which strangely resemble the industrialist setting of Zola's masterpiece "Germinal") looks like the pastoral heaven where coal miners work hard, ruled by entrusted owners, women keeping the house, and priests herding their sheep.
The story is told from a narrator who's living after fifty years, assembling his belongings in the shawl that belonged to his mother. He's Huw, the youngest of the Morgan boys, played by Roddy McDowall. He captures the spirit of the film, the fact that we all look at our past with our child eyes, reminiscing an idyllic time where each member was set on a pedestal of love and respectability. And like a romantic painter, Ford addresses a magnificent portrait of the Morgan family as a monument of stability at a time where Old Europe became the arena of bloody battles.
It was the war indeed that prevented the shooting to be set in Wales and turned the Malibu valley into a Welsh village. Needless to say that Darryl Zanuck had to downplay his ambitions to make his "Gone With the Wind", a four-hour epic in all Technicolor. But Ford knew that black-and-white was the best way to express the film's old-fashioned values through his mastery of large and haunting shots and a palette of darkness and lighting. John Ford was one hell of a storyteller and where any lesser director could have turned the melodrama into something linear and mawkish, Ford turns it into a work of art that conveys his own nostalgia of Ireland.
Yes, there are instants where the film feels preachy when too socially loaded or stagey when too melodramatic but the child perspective is the soul of the film. The film opens with the family reunion, the patriarch Mr. Morgan (Donald Crisp) cuts the bread to his sons, makes the prayer while the mother (Sara Allgood) is the last to start the meal and the first to finish, she's the pillar of the little community and while the film strikes as a man's movie, it leaves no doubt about who's the real boss in the house. The idyllic picture doesn't last for too long as we're quickly immersed in the workers' plight and the threats of strikes pending over them.
The workers' plights are less to emphasize the political content but to show how, in one instant, the father has turned into an old relic of the part. And this is what the father is, and the last monologue conveys the idea that men like him can never die, and that one can live without the past. Maybe this is why the film was such an instant favorite, it reconciled Americans with a past when the present was grim and the future uncertain. Maybe this is why it is the most Fordian of all Ford's films.
There are a few oddities here and there, keeping Roddy McDowall instead of hiring an older actor made a few interactions rather awkward, the actor who played the bigot priest was overacting, Walter Pidgeon's performance better fitted for a movie directed by Wyler (he was the initial choice)... but the film is so full of visual and haunting scenery that one can't ignore its emotional beauty, it is a vision embellished from the past that emphasizes the dissolution of many American values just like "Citizen Kane" did... in a more intellectual way.
Maybe it deserved that Best Picture after all...