25 Best John Ford Movies, Ranked

John Ford is one of the greatest directors of Hollywood’s Golden Age, most famous for his Western films, on which Ford frequently collaborated with John Wayne. Ford is one of the most influential American directors and played a pioneering role in Hollywood’s transition from silent films to talkies. In a career spanning more than 50 years, he made more than 100 films and is often considered Hollywood’s first auteur.

Critically acclaimed John Ford holds the record for most directing Oscars, having won four of them during his illustrious career. Although his Western films are his most celebrated films, his dramatic works are equally compelling; in fact, western star and legendary director Clint Eastwood’s favorite film is, surprisingly, not a western at all. A true master of his craft, Ford dabbled in almost every genre and found consistent success in making good films in all of them.

25

The Whole Town Is Talking (1935)

Mailbox Rating: 3.6

Based on the comedic premise of an ordinary man who looks like a corrupt criminal, The whole city is talking features Edward G. Robinson in two roles. The criminal steals a pass from the common man who received the pass to avoid prosecution, since the similarity of the two would make such a mistake inevitable. While the premise is hilarious, the film is unfortunately inconsistent in terms of tone because the crime drama side is too dark to properly mix with the comedy, regardless of how dark the latter is.

24

Mr Roberts (1955)

Mailbox Rating: 3.6

Following the crew of a Navy cargo ship, Mr Roberts tells the story of a frustrated lieutenant who desperately seeks a posting to a high-action location during the final days of World War II. The ship’s captain regularly clashes with him, and the work environment becomes decidedly toxic due to this captain’s strict control. The script reads like the script for a play and all of the main actors use the space around them and their acting skills to create a compelling dramatic narrative. However, the film may have benefited from leaning more towards humor.

23

She Wore a Yellow Ribbon (1949)

Mailbox Rating: 3.6

John Wayne plays a cavalry veteran who is just days away from retiring in She wore a yellow ribbon. Set in a picturesque location filmed in a vibrant color palette, the film follows Wayne’s character as he attempts to quell a rebellion and escort two safely through a dangerous land on his last day before retiring. Racist undertones in the representation of “Indians”, i.e. Native Americans, may have been acceptable representation when She wore a yellow ribbon was made, but today it makes for an uncomfortable viewing experience.

22

The Long Journey Home (1940)

Mailbox Rating: 3.6

The long journey home chronicles the adventures of a motley crew aboard a British streamer as they attempt to cross the Atlantic during World War II. A gritty drama that explores how the difficulties of being at sea for long periods of time can disillusion even the most reckless and hard-drinking group of people. John Wayne’s Swedish accent is a mistake that could have been avoided, but despite it being underused and a bit uneven in the script’s mix of blunt dramatic twists and upbeat comedic moments, it is critically acclaimed and received six Oscar nominations. Oscar. .

21

The Iron Horse (1924)

Mailbox Rating: 3.7

A silent era western of epic proportions, The Iron Horse tells the story of a young prospector who sets out to avenge his father’s murder and bring his late father’s dream of a transcontinental railroad across the plains of the United States of America to life. The story explores the concept of workers’ rights and presents the villain of a capitalist who refuses to optimize the railroad’s plans to increase his profits. The Iron Horse is Ford’s first narrative epic, and refined versions of the ideas he explores can be found in his later westerns.

20

Steamboat on the Bend (1935)

Mailbox Rating: 3.7

Practically a romantic comedy, although the genre hadn’t yet taken shape when it was released, Steamboat on the bend follows a conman as he tries to win a steamboat race and pursues a witness who can protect his nephew from unjust execution by the law. The charming dates in which the film’s central couple work on optimizing the steamboat for the regatta and also on creating a wax museum on board configure the climate race, which is a treatise on the harms of conforming to regressive social norms .

19

The Informant (1935)

Mailbox Rating: 3.7

The first film to win the Oscar for Best Director for John Ford, The Informant tells the story of a cynical and dysfunctional man living in Dublin. He betrays his best friend’s trust for the promise of a better tomorrow, where he can live the American dream, far from his monotonous existence in Ireland. The film is a stylistic journey through a man’s psychosis that is unfortunately not very well situated, with the era and the world around him poorly realized. However, this makes the journey even more exciting and ultimately works in the film’s favor.

18

Four Sons (1928)

Mailbox Rating: 3.7

A sentimental drama about the lives of a woman and her four children set during the First World War, Four children is one of the first films in history to involve the use of sound. It’s not exactly a talkie because there is no audible dialogue played for the audience, just a background score. There is a bit of propaganda when America is portrayed as idyllic in opposition to Germany, but the film’s control over narrative elements to focus on human tenderness, even in the face of war, makes it an encouraging melodrama.

17

The Last Hurray (1958)

Mailbox Rating: 3.7

A nuanced political drama about the role television media plays in politics, The Last Hurray explores how politicians unaccustomed to television and not adept at manipulating the audiovisual medium to their needs began to be left behind when television entered everyday life. It is an eternally relevant drama because the manipulation of the media by politicians for personal gain is a phenomenon that always happens. The only flaw The Last Hurray It’s perhaps that there are so many unresolved subplots.

16

Sergeant Rutledge (1960)

Letterboxd rating: 3.8

A harrowing courtroom drama about an African-American military man accused of raping a white woman, Sergeant Rutledge is a hard-hitting look at the racism inherent in the justice system and the American population. It provides the black man with narrative agency and thus actively takes an anti-racism stance. However, this stance is undermined by the treatment of Native American characters in the film. The Apaches are present, but their treatment as characters, both in the film and in the film’s treatment of them, smacks of racist prejudice, as their victimization is never acknowledged.

15

The Silent Man (1952)

Mailbox Rating: 3.8

John Ford won his fourth and final Oscar for Best Director for The quiet manwhich is a romantic drama set in Ireland. The visual presentation of the place is fascinating, and the idiosyncratic drama is given ample comic relief to make it an entertaining watch. However, the central focus of the romantic arc is a little perplexing. John Wayne’s character often simply holds and grabs Maureen O’Hara’s character and just physically manipulates her, and while it’s played as affectionate, it feels a little dated through today’s agency lens.

14

7 Women (1966)

Mailbox Rating: 3.8

Ford’s last film 7 women tells the story of the residents of an all-female Christian mission in rural China. They are pursued by the Mongols and it is up to some women to ensure the residents’ safety by confronting the perpetrators. The gender politics of this film are kind of progressive, and it’s definitely refreshing for a film from this era, by such a famous director, to adopt such a feminist lens to its storytelling. However, the progressive potential is undermined by the racist stereotypes of the thieves and locals in the film.

13

Pilgrimage (1933)

Mailbox Rating: 3.8

A war drama that is also a romance film, Pilgrimage tells the story of a woman who forces her son to enlist in the army as a way to ensure he doesn’t get married. The consequences of this decision will haunt her for the rest of her life, and most of the film focuses on her journey to find forgiveness and catharsis as she tries to find ways to live with herself.

12

Fort Apache (1948)

Letterboxd rating: 3.8

Decidedly critical of chivalry, Fort Apache is the first film in Ford’s famous Cavalry Trilogy. It’s a sprawling narrative about the self-destructiveness of being obsessed with military titles to the point of being blinded by ambition. Fort Apache it is an indictment of the military structure and the American people’s reverence for it, often to their own detriment. There is a significant amount of racial stereotyping in the characterization of the Native characters, but at least the film gives them some narrative agency and definitely focuses on the unfair treatment the American government gives them.

11

The Sun Shines (1953)

Mailbox Rating: 3.8

A political satire about the importance of empathy and decency in sustaining a community, The sun shines brightly follows a politician whose main goal is not to get votes for himself. He is more focused on being vigilant in his efforts to combat racism and sexism in his community. An always relevant film, The sun shines brightly, offers perspective on affirmative action, showing how man’s intentional interventions make the community a utopian safe haven for those whose world seemed particularly dangerous when the film began.

10

3 Bad Men (1926)

Mailbox Rating: 3.8

One of his last silent films, Ford’s 3 bad men weaves an extensive adventure narrative. After a girl’s father is killed, the three bad men, who are criminals in the eyes of the law, band together to help her. They protect her and take her with them to the city of Custer, where they head in search of gold. Their story provides an analysis of the American dream and shows how it sometimes provides people with just the right boost they need to change who they are and improve their lives.

9

Young Mr. Lincoln (1939)

Mailbox Rating: 3.9

A fictionalized account of the early days of Abraham Lincoln’s life, long before he became President of the United States of America, Young Mr. Lincoln tells the story of his fascination with the law and how he successfully became a lawyer. Most of the film frames him at the center and draws attention to the mannerisms and oratory of this skilled young lawyer as he awkwardly walks through the courtroom, defending innocent people.

8

Wagon Master (1950)

Mailbox Rating: 3.9

Although it received neutral responses upon its release, in the following years, Wagon Master It became celebrated as a masterpiece of John Ford. It chronicles the adventures of two young horse traders who escort a Mormon wagon to the San Juan Valley. They encounter all kinds of dangers along the way, and Ford expertly films the frontiers in all their glory, painting a picture of desolation and survival, masterfully creating a Western for the ages.

7

The Searchers (1956)

Letterboxd rating: 3.9

One of the most celebrated western films of all time The researchers features John Wayne as a Civil War vet who returns home after years of service with gold of unknown origin. With a false alarm, he is taken away from his brother’s house and returns to find that the house is on fire and that his niece has been kidnapped by the Comanche. Unfortunately, the film is plagued with racist and sexist tones and stereotypes that, while a product of the time, today make the viewing experience outdated, especially considering its popularity.

6

Stagecoach (1939)

Letterbox Rating: 4.0

Another highly influential western starring John Wayne and directed by John Ford Diligence features a chase sequence that inspired action scenes for years to come. Led by boy Ringo, a ragtag group of travelers aboard a stagecoach prepare to confront Geronimo as rumors warn them of an imminent Native American attack. Along with the themes of bravery and solidarity, the film explores the role of classism in society, as everyone in Coach represents a different stage in the working-class hierarchy.