Word: fords
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Dates: during 1960-1969
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...said angrily, 'C'mon, Maureen, get going. This is your scene.' I said I was trying to go fifty-fifty. 'Fifty-fifty, hell,' he said. 'It's your scene. Take it.' Then he added under his breath, 'If you can.' " The master of the western, Director John Ford, calls Wayne "a splendid actor who has had very little chance to act." Agrees Director Andrew McLaglen: "All of a sudden they're saying that he's an actor. Well, he always...
Wayne never did jump from the treadmill. He was lifted off by John Ford, who had become a poker-playing buddy. "I had been friendly with Ford for ten years," recalls Wayne, "and I wanted to get outa these quickie westerns, but I was damned if I was gonna climb on a friend to do it. He came to me with the script of Stagecoach and said, 'Who the hell can play the Ringo Kid?' " It was a part that called for a strong, inarticulate frontiersman vengefully seeking his father's killers. "I said there's only one guy: Lloyd...
Detroit automakers have found that regular use of the polyisobutylene compounds can occasionally clog small oil passages and cause engine damage. Ray Potter, retired supervisor of fuels and lubricant research at Ford, says: "No one has ever presented any scientific data to prove that additives do anything good." The auto manufacturers do not recommend the use of additives except to deal with some "special problems." The trouble is that the ordinary driver cannot really diagnose those problems...
...ornate Spanish architecture, monuments and statuary versus shots of the people gaily swinging through the busy streets of Brazil's modern cities, qua qua. And there to help them is American business, working and playing to build a strong, free Western Hemisphere. The whole gang's on hand: Coke, Ford, General Motors, Shell, Texaco, Esso, Frank Sinatra, even Helena Rubinstein with American beauty standards. But the spoken narration puts this post-card Brazil into perspective, reciting figures on the present-day poverty of the Brazilian people, on the history of foreign profiteering. The Old and the New are but emblems...
What Tropici does best is record the landscape of foreign business domination. Once we lose Miguel, Tropici is strewn with interesting shots of the billboards that blister the countryside of Brazil, shouting "Texaco" "Ford" "Esso" at the passing cars. But this is rather small accomplishment; it's all there, as obvious as a Wheaties box. Tropici is betrayed by Amico's failure to integrate his narrative and documentary concerns, to deal with them not in isolation but in interaction. This failure gives his statement on foreign exploitation the ring of a superficial overview, rendering it less forceful, less immediate...