Word: visions
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Dates: during 1960-1969
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...Ford and film enthusiasts. Nobody's films are as much fun as John Ford's. Their humor and excitement is exceeded only by a visual and dramatic richness on all levels. Becoming acquainted with Ford is a wondrous process ultimately involving a rediscovery of America through Ford's extraordinary vision. At best, Ford's films redeem America, as Hawks' films redeem 20th century man from the abyss into which he has tumbled. We are better for their vision and insight, greater by virtue of the tradition and myth they have created to support...
FORD'S DRAMATIC vision is simultaneously forthright and elusive, and the interest of these introductory notes is only to mention two characteristics which permeate all his films. First, Ford is a master at the sudden juxtaposition of emotional quantities. Serious scenes will turn into comic ones, then revert suddenly to introspection. The greatness of this is that Ford carries the audience with him totally; we are rarely conscious of these shifts and instead experience them without question or intellectual judgment. In Donovan's Reef (1963)--a good film for examining this--the mood of each scene in the second half...
...Shot Liberty Valance its deepest statement of the lamentable transition to modern society. Donovan's Reef is one of his funniest, while putting an audience through incredible changes. Finally, the strange and wondrous 7 Women, Ford's last film and his darkest, is a chilling vision of apocalypse and the destruction of the order Ford cherished...
...achieve that vision, Nixon outlined a program that, when fully operational in 1971, would cost $2.5 billion annually-up from $1.5 billion already provided for in the 1970 budget. Next year the Administration plans to spend $270 million to get it started...
Constable the acclaimed conservative. But Turner, however radical his techniques, still painted the grand subjects and the dramatic scenes congenial to the Romantic taste; by contrast, Constable's themes seemed merely homely. Turner was a poet of the imagination, Constable a poet of the real. Turner saw a vision of hell in a snow storm; Constable could see a vision of heaven in a blade of grass. Posterity can be grateful to both...