If you are a fan of John Ford’s movies, maybe you remember “Ditto” Boland (actor Edward Brophy), the funny character wearing a Hamburg hat in the “The Last Hurrah.” The real-life Ditto Boland, after the James Michael Curley years, became an elevator operator at the Massachusetts State House. He worked there during the 1970s, which is when I met him.
Our State House reporter had told me about him, “warning” me not to ask Ditto about his past because he’d launch into a long-winded conversation about his storied days with the legendary Boston Mayor James Michael Curley. Okay, I was warned.
One day, I was the only person on the elevator with Ditto. It was an old elevator that groaned as it slowly went from floor to floor. Ditto said nothing until letting me off.
He smiled and said, “Hi, Mr. Armstrong. I know you’re new to Boston. If ever I can give you any help, just let me know.” That was all he said. Not a single James Michael Curley story.
Ditto did help me. As the new reporter in Boston, he pointed out key political players in the stories I was assigned to cover. Boston is a complicated town — especially politically. If you didn’t know who was who, you could be lost trying to correctly cover political events.
I was nervous when assigned to the State House because I didn’t know the backstories of the various Boston politicos. I felt I couldn’t do adequate justice to these assignments. Ditto and a couple of other old-timers rescued me many times over the years. Eventually, I was able to rescue others, too. One good turn deserves many more.
A few years after our first meeting, I ran into Ditto at “The Capital Dome,” a popular bar on Beacon Hill frequented by politicians, lobbyists, political reporters, and hangers-on. I was sitting in a corner – alone – because I really didn’t know that crowd.
Ditto approached, asked if he could join me and I nodded. I found his politeness charming because “polite” didn’t usually work well around the State House. We sat, nursing our drinks for long minutes.
Finally, Ditto told me he liked me because I was “friendly and polite.” I nodded. Then he said, “And, you never asked me about James Michael Curley.”
I laughed, longer and harder than I intended. Ditto just sat there, beaming broadly.
John Ford’s classic, “The Last Hurrah”, celebrated its 60th anniversary last year. It was still very timely and I frequently used a clip from the film during my working years until it was suggested I was riding a dead horse. Considering how things worked out, maybe even more timely than I imagined possible.
I didn’t agree then and don’t agree now.
In the movie, Spencer Tracy, aka Frank Skeffington — in reality, the Honorable James Michael Curley — explains how politics has become a media show — the number one spectator sport in the land.
I knew many of the real life characters from the movie based on the popular novel about Boston politics. “Tip” O’Neill, the late, legendary Speaker of the House, was my friend, confidante, and muse. O’Neill frequently explained how he cut bi-partisan deals while orchestrating “good cop-bad cop” scenarios so no one looked bad on “the hill.”
O’Neill said he used an end-game big picture hand to win big political pots. He knew how to bluff the bully boys who didn’t know when to walk away from the game.
Today, there is chaos on the hill. Madness from the White House. Insanity in the country. Who has the best hand? Some have already folded, walked away, or been pushed out entirely. If we are lucky, more will come. The cards are grimy and I’m pretty sure they need a new deck.
Tip O’Neill urged me to always look and listen beyond the sound and fury. He smiled in recollection of the deals brokered while end-of-days threats filled Congress. Sadly, there are no Tip O’Neills today, but his advice about not yielding remains valid and relevant. I wonder what he would do today?
When the rhetoric abated, it was our job to vote with intelligence and not fold our hand. Doesn’t look to me like we got it right. What do you think?
As big a fan of these three men as I am, there is a level of revisionist history that is impossible for me to accept.
I had to stop reading the book. At least for a while. It’s a temporary interruption I’m sure, but I needed to back off from Three Bad Men. I need to take a few deep breaths and calm down before continuing.
This book chronicles the lives and friendships of John Ford, John Wayne and Ward Bond. Two great actors and one extraordinary director. It’s an interesting read. I have been reading, as is my habit, slowly, savoring. I was enjoying it.
Until I got to the section in which the author claims Ford used Stepin Fetchit and other minorities to “slyly mock America’s racism”.
That’s absolutely untrue.
What I see — and have always seen — is the perpetuation of racism by Pappy. As much as I love John Ford’s westerns, there’s no escaping the racism in his films.
Western movies. You love them or hate them. Hardly anyone is neutral. I’ve always loved them, since I was a little girl, pretending to be a cross between The Lone Ranger and Jesse James.
But why? What is it about westerns that makes them so appealing to those of us that love them?
Let’s work this as a list, top to bottom. Remember, this is my list. You may have a completely different list and totally not relate to mine. That’s okay.
Why I love Western Movies
1) Horses. I love horses. The more horses, the better. You could leave out the riders and I would sit there and watch the horses, no problem.
2) Scenery. The deserts, the mountains, the plains. The dusty trail as the wagon train rolls westward. The Rocky Mountains looming, challenging. Sunsets over Monument Valley. Some of the most incredible cinematography has been done for westerns. From Ride the High Country to almost anything ever filmed by John Ford. To the dusty streets of Tombstone… the big sky hangs over everything, a huge blue dome. Everything is bigger, brighter, younger. The beauty is hard to match and it goes so well with the eye of the camera.
3) Simple ethics, simple philosophy. There is something terribly appealing about a world where the excuse “He needed killing” is an actual defense at trial. You can put a lot of violence into a western and it’s just fine. The bad guys wear black hats, figuratively or literally. The good guys are the ones with the nice horses, better clothing … and white hats. No ambivalence. No confusion. Not at all like the real world made up of endless shades of gray. It’s a black and white world, black and white morality. “He needed killing. So I killed him.” I get that.
4) Heroes. This is really a continuation of the previous, but Wyatt Earp kills a lot of people and it’s okay. I can cheer him on as he and Doc Holliday rampage through the west. “Yes!!” I cry, waving my fist in the air. I could never kill anyone, but I can be really grateful that someone else is doing it for me. In real life, I favor gun control. In westerns? Blast away!
If the movie also has a good plot, terrific sound track, great cinematography? Some wit, cleverness and even a few laughs? Bonus material.
That’s it. Pretty simple, eh? Horses, gorgeous scenery, good guys being good, bad guys being bad. Add music, dim the lights and pass the popcorn.
There are so many movies … and this is far too short a list to really tell the story. Call it the tip of my iceberg. That said, here we go — the movies I never tire of watching.
I love westerns. This may be the best ever made and it’s Duke Wayne’s finest performance. My director idol, John Ford, said of his masterpiece, “It’ll do”.
Everyone’s go-to movie easily could be number one. I remember chatting with Julius Epstein, one of the co-screenwriters, who told me how crazy it was on the set with revised scripts rushed in every day as they set up shots.
Epstein said Bogie was never fazed and usually nailed his lines on the first take. Director Michael Curtiz, on the other hand, was very “upset”, according to Epstein.
The Best Years of our Lives
Wonderful film but, admittedly, a sentimental choice here. The very FIRST film I ever saw ata movie theatre.
It was 1946. My Dad had just returned from the war. He was dressed in his uniform. He seemed ten feet tall and very heroic. The theme of the movie, GI’s trying to cope with post-war life, is timeless. Little did I know that it would be an issue in my family.
Another great western. I saw it numerous times when it opened in 1960. I know all the lines.
The cast of then relatively unknown actors was terrific. Steve McQueen was my movie hero — next to Duke Wayne. I even tried to dress like McQueen. Didn’t quite work out. Years later, I had a sit down chat with James Coburn who related how wild things were during the shooting of “Seven”. He told me how McQueen used to drive the nominal star, Yul Brynner, crazy with upstaging bits of business. Charles Bronson was described as “one very quiet and strange dude”. Coburn admitted everyone was sneaking in “bits” trying to outdo each other.
The Great Escape
Think “The Magnificent Seven” as a World War two prison escape war movie instead of a western. James Coburn said he marvelled at how director John Sturges kept control of the “boys”, including several of the “Magnificent Seven” cast members.
I’d be remiss if I didn’t single out Elmer Bernstein‘s distinctive musical score in both films. Those scores or “themes” would achieve their own celebrity over the years.
I’ve always loved this one!! The cast, acting, dialogue, and script are superb. It’s about the theatre world. But anyone who’s had a professional life in the public eye can relate to the characters and the plot. Bette Davis was at the top of her game (role was originally slated for Claudette Colbert who had to pass).
The wonderful supporting cast included Anne Baxter, Celeste Holm, Gary Merrill, Gregory Ratoff, Hugh Marlowe, Thelma Ritter, a young Marilyn Monroe and the estimable George Sanders in his career-defining role. I shared Bloody Mary’s with Gary Merrill when he was in Boston (that’s another story) and had me laughing about life on the set of “All About Eve”. He and Ms. Davis fell in love while making “Eve”. However, the theatrics within the theatrics were something to behold, Merrill recalled. Everyone was trying to upstage everyone else but nobody upstaged Bette Davis. Gary Merrill grinned as he refilled my drink. And, George Sanders, Merrill said, was George Sanders on and off camera.
Oh, how I adore this movie and WHY didn’t they make it in color?? Had the great fortune to meet James “Call me Jimmy” Cagney in the early 70’s on Martha’s Vineyard. I was awestruck. He was very kind. Seems he had caught my work as a TV news reporter and just wanted to say he liked what he saw. Over coffee, we talked about the joys of doing what we loved and the frustration of dealing with “suits” or executives. I mostly just listened. He talked about the making of “Yankee Doodle Dandy” and how, clearly, that was his personal favorite “job” in his long career. He was glad to do the music biopic and show off his dancing chops which he’d always had but were rarely used in previous films. He credited his unusual dance movements to mannerisms of his old street pals in New York’s “hell’s Kitchen” where he grew up.
My favorite scene in “Yankee Doodle Dandy” is near the end where Cagney/Cohan, dances down the stairs at the White House.
My wife Marilyn and I usually replay this scene three, four, five times whenever we watch the film.
Another classic western. Alan Ladd’s shining hour and another gem in director George Steven’s illustrious career. The photography and editing are wonderful. Victor Young’s music is evocative. Perhaps my favorite sequence is the burial of “Reb”. The dialogue is muted and the plaintive harmonica music, “Dixie” and then “Taps” is contrasted with Reb’s dog softly wailing over the grave and two youngsters nearby — oblivious to the tragedy — playing with a horse. The continuous scene then pans down to a long shot of the nearby town ending with an ominous dirge. Powerful, poetic stuff!!
The final scene of Shane — slightly slumped in saddle — riding away to the mountains with the boy calling after him is the stuff of movie legend.
Another John Ford – John Wayne classic. This is Ford near the end of his career. It’s his homage to the ending of the west as he’s depicted it for most of his professional life, dating back to silent films. Shot in black and white on a small budget, Ford is more concerned about characters than action.
Duke Wayne and Jimmy Stewart, teamed for the first time, are the perfect choices, albeit a little long in the teeth, to play the contrasting leads. Wayne is the rough tough cowman. Stewart is the sensitive lawyer who wants to see justice meted out by the court rather than Wayne’s six-shooter. Lee Marvin’s “Liberty Valance” borders on parody but that’s okay.
Great supporting cast including Edmond O’Brien, Vera Miles, Andy Devine, Lee van Cleef, Strother Martin and Woody Strode (why did they have to call him “Boy” in one scene). The “print the legend” theme is so ironic and haunting. Ford is trying to break his habit of printing the legend but the public doesn’t want the facts.
The haunting theme at the end of “Liberty Valance” is the same mournful theme Ford used 25 years earlier in “Young Mr. Lincoln”.
Ford and Wayne again — this time in Ireland. Ford’s tribute to his birth place. Wonderful photography!! The green hills and pastures of Ireland never looked lovelier. Just watch out for the sheep dung. The music is memorable. “Wild Colonial Boy” pub sequence is pure John Ford. The Wayne-McLagen epic fight is in Hollywood’s hall of Fame.
Marilyn and I visited Cong and the remnants of “The Quiet Man’s” cabin during our honeymoon in Ireland in 1990. That’s when we found out that — guess who — has Irish roots.
Another western and a relatively unheralded film. It’s Charlton Heston‘s realistic take on the life of an aging cow puncher. Had the genuine pleasure to “hang out” with “Chuck” on several occasions and he was a very nice, down to earth guy (just ask Marilyn). This was the pre-NRA Heston. Anyway, during one of our sit-downs, he talked about making “Will Penny” as a personal project.
He had done several traditional westerns and wanted to do one that was authentic and free of Hollywood glamour and happy endings. “Will Penny” is perhaps Heston’s best acting work. It is understated with Heston showing a range of emotion not usually apparent in his more typical epic screen characters.
Terrific Blake Edwards film that angered Hollywood insiders — with good reason. Again, if you’ve had a professional career in the public eye, you will absolutely love this movie. You know these people. You’ve worked with and for these people. William Holden’s talk to his depression-ridden pal was all too real and could easily have been Holden’s own eulogy.
Most of the ensemble star cast, plus Edwards, stopped in Boston to promote the movie. The behind the scenes arm-twisting coming out of Hollywood was trying to kill the film. On that memorable Saturday morning, I was with only one or two other reporters (who also left after 5 minutes or so to chase more meaningful stories), listening to William Holden (a few sheets to the wind), Robert Preston, Craig (Peter Gunn) Stevens, Loretta Swit, Blake Edwards and others chat about making “S.O.B.”. It sounded more like a “Bitch session” than a movie promotion. In fact, it sounded very familiar to me.
There are so many other films on my list. “To Kill A Mockingbird”. Atticus, I believe, was rated the most popular movie hero in a recent poll. Then and now, “Mockingbird” resonates on so many levels. The movie does Harper Lee’s wonderful book full justice. That, alone, is a miracle.
There are so many favorite films and stars I could mention with personal “war stories” or anecdotes. And there are musicals, romance. And comedies. “So many movies, so little time” takes on new meaning. All great movies. Just not the only great movies.
I need to sign off because I’m burning daylight. Maybe another time if there is interest. There’s still the John Wayne story to tell, Pilgrims. There are plenty more movies to talk about and many more tales to tell … Happy trails!
As big a fan of these three men as I am, there is a level of revisionist history that is impossible to simply accept.
I actually had to stop reading the book, at least for a while. It’s a temporary interruption I’m sure, but I needed to back off from Three Bad Men. I needed to take a few deep breaths and calm down before continuing.
This book chronicles the lives and friendships of John Ford, JohnWayne and Ward Bond. Two great actors and one extraordinary director. It’s an interesting read. I have been reading, as is my habit, slowly, savoring. I was enjoying it.
Until I got to the section in which the author claims Ford used Stepin Fetchit and other minorities to “slyly mock America‘s racism“.
That’s just not true. What I see — and have always seen — is the perpetuation of racism by Pappy. As much as I love John Ford’s westerns, there’s no escaping the racism in his films. They were still calling Woody Strode “boy” as late as The Man Who Shot Liberty Valance (1962). Even considering his belated attempt to make some reparations with Cheyenne Autumn, it was much too little and way too late.
I’ll get back to the book in a while, when I have calmed down a bit. Right now, I’m sorry. I simply can’t continue reading it.
Growing up all three of these men were an integral part of my childhood. Specifically John “Pappy” Ford in the cinemas and of course John Wayne ‘Duke’ and Ward Bond as well, but Mr Bond had the added distinction of being in my folks’ living rooms each week as Major Seth Adams, in Wagon Train.
Of course, I saw all the films and television shows long after they were initially made. The films, I saw on Saturday night at the movies (usually accompanied by a huge bowl of popcorn and a tall ice filled glass of Coca-Cola) and the Wagon Train episodes I watched were the newer ones with John McIntire with the occasional re-run with Ward Bond in. Come to think of it, the McIntire ones were probably re-runs as well.
I do remember with perfect clarity that my family adored the John Wayne film Rio Bravo…
To participate in the Ragtag Daily Prompt, create a Pingback to your post, or copy and paste the link to your post into the comments. And while you’re there, why not check out some of the other posts too!