Cactus Rose
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Several great or powerful American films have yielded signature lines of dialogue to remember them by: “Frankly, my dear, I don’t give a damn;” “We’ll always have Paris;” “I coulda been a contender;” “Go ahead, make my day.” Of all John Ford Westerns, several of them truly great, only one of them produced a signature line: John Ford’s  The Man Who Shot Liberty Valance, remembered for “When the legend becomes fact, print the legend.” This line is remembered superficially, and most viewers don’t perceive the raw emotions and brutal reality that the statement embraces. And it has meanings and contradictions that resonate today, perhaps the most interesting of which have to do with contemporary notions of masculinity. More… “What Hallie Knew”

D.B. Jones is a retired Drexel professor of film and the author of three books on Canadian documentary film.

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John Ford’s The Searchers is a Western about party of white settlers pursuing a Comanche band that has slaughtered a homesteading family’s males and adults and kidnapped the family’s two daughters. The film presents a question that has puzzled me for years: How is it that a film so glaringly flawed can be so powerful, so great? And it is great. In 2008, the American Film Institute named it the best Western ever made. The same year, Cahiers du Cinéma ranked the film the tenth best film ever made. In 2012, a Sight & Sound survey of international film critics ranked it the seventh best film of all time. Its influence has been noticed in and/or acknowledged by directors as different from one another as David Lean, Sam Peckinpah, Martin Scorsese, Sergio Leone, George Lucas, Jean-Luc Godard, Steven Spielberg, Wim Wenders, and Paul Schrader. It has been an object of intense analysis by numerous scholars. (Anyone interested in reading in-depth work on the film would do well by starting with Edward Buscombe’s monograph in the excellent British Film Institute series of slim but comprehensive, well-researched, and annotated volumes on individual films.) More… “Flawed Greatness”

D.B. Jones is a retired Drexel professor of film and the author of three books on Canadian documentary film.

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