The Evolution of John Fords Idea of the West

Westerns represent a significant layer in American culture for several generations. Among the directors of this genre, one of the most famous filmmakers is John Ford. His work has become a new branch in the history of cinema and has inspired many modern directors. During his formative years, Ford developed the idea of the West and the evolution of his thought can be seen in three famous films: Stagecoach, The Searchers, and The Man Who Shot Liberty Valance. In the original films, Fords focus is on the adventure film, however, over time, his work develops the theme of inner tragedy and pain.

Film production is constantly adapting to the demands and mood of society. This happened with the works of Ford, which emphasized the psychological and revisionist attitudes of the population. Ford brought the genre to mass popularity and instilled in it the love of many people (Grant, 2012). Stagecoach is a film about the pre-war west and social differences. In this work, Ford focuses on the character as a clear sign of defining personality. In Stagecoach, Ford sees the West as the quintessence of tension and masculine heroism. This is confirmed by the way the director stretches the growing tension of impending doom and danger with the approaching Apaches in every scene of his work (Ford, 1939). Thus, in Stagecoach, Ford sees the pre-war west and broadcasts his performance to the audience.

However, the author reveals the difficult social problems of that time. Ford discloses the stratification of society, where he shows the bad reputation of the heroes because of their low class. The director conveys this in the form of contrasts between the good passengers and the poorer layer of the population (Ford, 1939). In addition, the dynamics of the film reveal the framework and standards that society and civilization set. This is manifested in the fact that Ringos only hope for a happy life seems to be running away across the border and stopping at a ranch. Thus, Ford shows the imperfection of the social system and tolerance in the pre-war west.

In The Searchers, Fords focus is on the post-war period and the problems that this event brought to the population of western places. The film embodies American ideals and themes relevant to the society of that time (Kitses, 2019). Ford no longer describes the west as a place full of adventure and danger. The Searchers takes up the issue of personal redemption, possession, and human suffering. The evolution of the genre is reduced to a more violent and dynamic spectacle and the resistance of the various views of society (Schatz, 1977). Ford shows the viewers the wild nature in the border area, which is fraught with danger and danger. The dramatic state of civilization and the environment is shown by the example of houses and caves that constantly exist nearby.

In addition, in this film, the West takes on the features of bitterness and pain. The women in distress and the protagonists personal revenge reflect the plight of the area in the years following the war (Ford, 1956). At the same time, the sense of unity with the family and native places, where the main character returns after the war, slides as a life motif. Thus, from an adventurous view of the west, Ford reveals to viewers a place of suffering and redemption.

The Man Who Shot Liberty Valance traces the next stage in the evolution of the west and the film genre in the eyes of Ford. The work is a kind of farewell to the technological frontier and the past with which the myths of the Old Wild West are associated. The area takes on an increasingly tragic hue and the ghost of death is constantly seen in the surrounding nature (Ford, 1962). A dusty antique carriage in the middle of a deserted field reveals the sad fate of the heroes and the west itself.

Ford heightens the drama for the audience regarding the melancholy mood of the West and its history. The director reveals a world that no longer exists and people cannot return to it. The main motive of the film is the loss of mythological association and national traditions about the West in history (Ford, 1962). The director emphasizes the importance of the historical context and the reification of peoples tales. However, now the West is most imbued with the tragedy of the outgoing and irrevocable past.

In addition, in the films created, one can trace the relationship of the great filmmaker to the genre. The filmmaker uses westerns to present American history to the audience, which he deeply appreciates and respects (Kitses, 2019). Ford uses his work to reveal a treatise on human goodness and suffering. For him, this is not just an adventure genre, but an opportunity to show the realities of life in a desert area. Thus, Fords attitude is determined by the dialogue and opposition of human drama and historical context.

In conclusion, Stagecoach, The Searchers, and The Man Who Shot Liberty Valance reveal the dynamics and evolution of the authors westward outlook. Initially, his work reflects the spirit of adventure and the courage of heroes in a difficult situation. However, later the context changes to the problems and difficulties of the post-war period in the desert area. Finally, the third film reflects Fords internal attitude to the history of the West as an irretrievably lost phenomenon.