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Ford's Revolutionary America: "Drums Along the Mohawk" |
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Abstract:
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Although Drums Along the Mohawk presents the kind of frontier story that is familiar to Ford fans, it is more than just another western in colonial costume. Ford makes clear from the beginning of the film two distinct but interrelated themes. He tells us the year is 1776 and the opening scene is the wedding of Gil and Lana Martin. Ford wants us to think about what it means to start a new nation and to start a new life and a new family. The hero in this film, Gil Martin, exhibits little of the alienation or angst of the rugged individualist threatened by the encroachment of civilization in Ford’s classic films. It is not even clear that Gil is the central figure of the story. In many respects we see the film through Lana’s eyes, and her heroism is ultimately the equal of Gil’s. Heroism and family, men and women, nature and civilization represent irreconcilable tensions in most of Ford’s films, but in Drums Along the Mohawk, we find some hope for reconciliation. |
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gil (73), lana (71), ford (47), film (36), scene (29), one (29), indian (19), battl (19), macklennar (18), see (17), mrs (17), first (16), soldier (16), take (16), back (15), new (15), men (14), even (14), communiti (14), go (13), fort (13), |
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Association:
Name: American Political Science Association
URL: http://www.apsanet.org
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Citation:
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MLA Citation:
| Nichols, David. "Ford's Revolutionary America: "Drums Along the Mohawk"" Paper presented at the annual meeting of the American Political Science Association, Hyatt Regency Chicago and the Sheraton Chicago Hotel and Towers, Chicago, IL, Aug 30, 2007 <Not Available>. 2009-05-27 <http://www.allacademic.com/meta/p210566_index.html> |
APA Citation:
| Nichols, D. K. , 2007-08-30 "Ford's Revolutionary America: "Drums Along the Mohawk"" Paper presented at the annual meeting of the American Political Science Association, Hyatt Regency Chicago and the Sheraton Chicago Hotel and Towers, Chicago, IL Online <PDF>. 2009-05-27 from http://www.allacademic.com/meta/p210566_index.html |
Publication Type: Conference Paper/Unpublished Manuscript
Abstract: Although Drums Along the Mohawk presents the kind of frontier story that is familiar to Ford fans, it is more than just another western in colonial costume. Ford makes clear from the beginning of the film two distinct but interrelated themes. He tells us the year is 1776 and the opening scene is the wedding of Gil and Lana Martin. Ford wants us to think about what it means to start a new nation and to start a new life and a new family. The hero in this film, Gil Martin, exhibits little of the alienation or angst of the rugged individualist threatened by the encroachment of civilization in Ford’s classic films. It is not even clear that Gil is the central figure of the story. In many respects we see the film through Lana’s eyes, and her heroism is ultimately the equal of Gil’s. Heroism and family, men and women, nature and civilization represent irreconcilable tensions in most of Ford’s films, but in Drums Along the Mohawk, we find some hope for reconciliation. |
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| Document Type: |
PDF |
| Page count: |
11 |
| Word count: |
5740 |
| Text sample: |
| John Ford’s Revolutionary Americans: Drums Along the Mohawk David K. Nichols Baylor University For presentation at the American Political Science Association Annual Meeting Chicago Ill August 30 2007 John Ford’s Revolutionary Americans: Drums Along the Mohawk The American Revolution has not been a particularly fertile ground for American cinema. Although George Bernard Shaw’s play The Devil’s Disciple was the subject of two movies even the first version starring Kirk Douglass Burt Lancaster and Laurence Olivier is remembered only by |
| the fact that one has to build for oneself will make the product more valuable. John Ford was an alcoholic subject to frequent bouts of depression. He felt a great affinity for the alienated outsiders he portrayed on film. But his grandson reports that Drums Along the Mohawk was “an exceptionally difficult picture to make.”12 Part of the problem was the remote location in Utah’s Wasatch Mo untains part was the fact that it was Ford’s third picture of |
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