Last night I attended the NY Film Festival's screening of the Fox/Film Foundation's restored print of Drums Along the Mohawk at Lincoln Center.
I felt as if I had never seen it before, it was transformed into an entirely new experience seeing it on the big screen. Principally, what I never could really appreciate from seeing it on television, was the setting. I never before realised what a truly OUTDOORS movie this is. I felt I really was in the "Mohawk Valley" of the Revolutionary War days. I could see the skies changing, the blades of grass under Claudette's feet, the beautiful symmetry of the hay-ricks, the cold wetness of the snow and all the autumnal glory of harvest-time.
What a glorious film John Ford "tossed off on his way out the door", as Martin Scorcese jokingly said in his amusing and passionate opening remarks. He went on to say, relative to the oft-doubted "authenticity" of the movie in some parts, this much: "A birch tree looks like any other birch tree to this native New Yorker, and Ford's were as beautiful as any can be found and as far as I'm concerned this was the Mohawk Valley!" He went on to praise Bert Glennon and Ray Rennahan, the film's cinematographers, as well as to recount his own first experiences seeing only black-and-white prints in his childhood. He thought for the longest time this movie was a B&W film and was astonished to learn it was a 3-strip Technicolor picgture (Ford's firs).
And what colors! I can't begin to describe those skies behind Henry Fonda's foot pounding figure springing over the ridge in his mad dash from the Indians on his heels. You just can't imagine the difference between this experience on a big screen and the TV.
The other aspect of the movie that came more forcefully home to me than in previous viewings, was the beating heart of the story: the love between Henry Fonda and Claudette Colbert. Because this is a love story above all. The audience is at all times completely involved with what is happening to this young couple making their way in a new and, for Claudette anyway, strange life. There is plenty to be concerned about too! One minute, I was scrambling for Henry Fonda to get out of one scrape alive and finally relax when he's safe only to start worrying over what's next happening to Claudette! There were constant trials, unceasing work, and that made the good times appear so much sweeter and stronger and of course, Ford is a master at capturing the richness of these varying textures of communal life.
Last of all, I have to share the applause and cheers that errupted from our audience when first Edna Mae Oliver "poked her long face in" the movie. What a delight to relish, and how charming it is to know so many still adore her and younger people are learning to appreciate her wise and canny presence.
Scorcese said that these screenings (Leave Her to Heaven followed this movie) were the first of a series to travel around the country, so if any of you get the chance to see Pappy's third "toss off" of the magical year 1939, please don't hesitate to go.
Drums Along the Mohawk
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MissGoddess
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Miss G:
I'm so glad you enjoyed viewing Drums Along the Mohawk as much as you say. I've never seen it on the big screen, and I believe the only movies that really lose on the small TV screen are the westerns and other outdoorsy movies that show a lot of scenery like The Quiet Man, or Ryan's Daughter. Is there a difference on a 52" TV screen? The only one I've seen just makes the picture bigger and fuzzier.
Anne
I'm so glad you enjoyed viewing Drums Along the Mohawk as much as you say. I've never seen it on the big screen, and I believe the only movies that really lose on the small TV screen are the westerns and other outdoorsy movies that show a lot of scenery like The Quiet Man, or Ryan's Daughter. Is there a difference on a 52" TV screen? The only one I've seen just makes the picture bigger and fuzzier.
Anne
Anne
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jdb1
MissG, I'm so sorry I missed the screening, but I'm glad you have posted your impressions. I had the same reaction the first time I saw a TV broadcast of this movie in color: "Wow! This movie is gorgeous!!"
It's a great story, and Ford really "got" it.
Incidentally, I'm sorry that Scorcese doesn't have a better appreciation of his native state. New York State is huge, varied and beautiful. He should get out more. Do you know -- was this movie shot in NYS? Or did they use Idaho as a nearer-to-California substitute for upstate New York, as did Northwest Passage?
It's a great story, and Ford really "got" it.
Incidentally, I'm sorry that Scorcese doesn't have a better appreciation of his native state. New York State is huge, varied and beautiful. He should get out more. Do you know -- was this movie shot in NYS? Or did they use Idaho as a nearer-to-California substitute for upstate New York, as did Northwest Passage?
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MissGoddess
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jdb1 wrote:MissG, I'm so sorry I missed the screening, but I'm glad you have posted your impressions. I had the same reaction the first time I saw a TV broadcast of this movie in color: "Wow! This movie is gorgeous!!"
It's a great story, and Ford really "got" it.
Incidentally, I'm sorry that Scorcese doesn't have a better appreciation of his native state. New York State is huge, varied and beautiful. He should get out more. Do you know -- was this movie shot in NYS? Or did they use Idaho as a nearer-to-California substitute for upstate New York, as did Northwest Passage?
The locations were shot in Utah, I'm afraid I don't remember the exact areas.
Martin Scorcese defintely comes across as a real "city boy", so I'm not surprised he doesn't venture out to the more bucolic areas more.
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MissGoddess
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I wish I could answer you, Anne, but my TV is only a 32" screen, so you can see why this was a real "eye-opener".mrsl wrote:Miss G:
I'm so glad you enjoyed viewing Drums Along the Mohawk as much as you say. I've never seen it on the big screen, and I believe the only movies that really lose on the small TV screen are the westerns and other outdoorsy movies that show a lot of scenery like The Quiet Man, or Ryan's Daughter. Is there a difference on a 52" TV screen? The only one I've seen just makes the picture bigger and fuzzier.
Anne
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MissGoddess
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Another point I am not 100% sure about is whether the dvd that was released a couple of years ago (the one without any "extras") is from the same restored print. I suspect it is not---so the one included in the new Ford at Fox set is probably going to look a heck of alot better on any sized TV screen. And thankfully, it will be accompanied by appropriate extras and commentary.
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feaito
I found you other thread April. I recall reading your first post.
But, are we 100% sure that the print included in Fox's brand new release is the one you saw at the cinema? It may be that this particular restored print belongs to other person/company. i.e. Criterion's restored prints of other studios' films belong to that company, so if Fox ever decides to release "Unfaithfully Yours" for example, it won't be the print restored by Criterion.
But, are we 100% sure that the print included in Fox's brand new release is the one you saw at the cinema? It may be that this particular restored print belongs to other person/company. i.e. Criterion's restored prints of other studios' films belong to that company, so if Fox ever decides to release "Unfaithfully Yours" for example, it won't be the print restored by Criterion.