Le Cheval de fer

Iron Horse, The (1924)

** 1/2 (out of 4)

John Ford's first epic was a massive production for Fox who pretty much spent a ton of money hoping that the film would bring people in, which it eventually did. The film made a ton of money for Fox but more important it took Ford out of the gutters of "B" Westerns and made him a director to be reckoned with. The film tells the "true" story of the first transcontinental railroad as Davy Brandon (George O'Brien) tries to fulfill the dreams of his father who was killed by Indians years earlier. Davy must also try to win the heart of a former love (Madge Bellamy) while fighting off a man who wants to see the railroad fail. There's no question that Ford and Fox pretty much threw everything into this film and you can tell because it's story is all over the place. While I think the film isn't nearly as good as its reputation you still can't help but be impressed by many of the visuals. According to legend there were over 6000 people employed on the production with most of them being extras to give all the scenes a more epic look. I'd believe this legend because the scenery is downright beautiful to look at and there's no question that it has the look of a mammoth epic. The highlight for me were all the scenes where we see the railroad being built as the boards are placed and railings hammered down. There were many future films that dealt with the railroad but I must say this one here makes it look the most realistic. We get many other great action scenes including countless fights with the Indians where once again you can see the large scale with the amount of people, horses and of course stunt men. I think what really hurts the film is the fact that it really doesn't tell a clear story. I'm not sure if the film originally ran much longer but the 135-minute running time feels way too long but the reason for this is that so much happens and often times it doesn't really connect together. Instead of telling one full story, it seems the screenplay bounces all over the place and tries to tell as much as possible. One minute we're dealing with the railroad and then we jump to some town being built up. One moment we're dealing with the Indians but the next moment we're worried about the dress Bellamy is going to wear. It feels as if we're just getting countless vignettes pieced together without much need to bring everything together. Perhaps Fox was going for a Cecil B. DeMille type epic but this here didn't fully work. The film starts off saying that the history is true but that's clearly not the case as there are certain historic figures used in the film that had no place in the original events (like Buffalo Bill). Both O'Brien and Bellamy are good in their roles as are Cyril Chadwick, George Waggner, Will Walling and Charles Edward Bull who plays President Lincoln. THE IRON HORSE is certainly worth watching once for its importance to film history and while there are many impressive moments on the whole I think the film comes up a tad bit short.

This film was on my radar for a long time. Saw this few days back on a dvd. Fortunately it was a US version of 2 hours 29 mins but was a lil upset when I heard about the bluray release date set for November. I enjoy watching western films on blurays. This film is an epic about the creation of the first transcontinental railroad. The film portrayed the backbreaking hardwork, the toils of the men and the determination. George O'Brien plays the young man whose father was murdered for finding a shorter route through a gorge. O'Brien is adamant to fulfil his father's dream inspite of obstruction n a murder attempt. I was shocked to know that many poor farmers' land was usurped for the project n this was one of the reason for turning the James brothers into outlaws.

Since I live in Cheyenne, WY this type of movie really appeals to me. As all historians know, various towns along the route of this railroad (which coincides quite closely to interstate 80 in Wyoming) were made during its construction. Cheyenne and Rock Springs (because of its coal mining) were especially notable.

I had seen this movie several years ago and was delighted to see it being broadcast on the Turner Classic Movies channel. Perhaps they will re-broadcast it again in the future.

This movie, while not completely accurate historically, certainly gives an idea of the magnitude of the endeavor being undertaken. And it does feature a real locomotive which operated on the railroad during the period portrayed. Historical buffs definitely should not be swayed from enjoying this title simply because it may not strictly conform to history.

I won't go into the story except to say that the various sub-plots keep the viewer very entertained. This was a very well-done movie in my opinion. Acting was very good. And the cinematography was very impressive.

Fans of either westerns or silent-era films certainly should not miss this one.

THE IRON HORSE (Fox, 1924), directed by John Ford, is an story set during the middle of the 19th century America about the building of the first Transcontinental Railroad. One of the very best examples of a lavish scale western produced during the silent era, said to be the answer to Paramount's earlier production of THE COVERED WAGON (1923), but most importantly, the first major project for Ford after nearly a decade in the director's chair to now gain the recognition he truly deserves.

The story opens with a prologue set in Springfield, Ill., 1853, revolving around Davy Brandon, first as a youngster (Winston Miller) with deep affection towards Miriam Marsh (Peggy Cartwright), his childhood sweetheart. Davy's father (James Gordon) is a surveyor who dreams about the crossing of the western wilderness, while Miriam's father, Thomas Marsh (William Walling), is a skeptic. However, one of the citizens, Abraham Lincoln (Charles Edward Bull), believes in this man's theory and knows he'll accomplish his means. Setting out to accompany his father on a mission to survey an appropriate route through the mountains for the coming railroad, Davy bids a tearful farewell to Miriam. During their westward journey, Davy, who is hidden away because of foreseen danger, witnesses the brutal killing of his father by a white man dressed up as an Indian whose only identification if the loss of a thumb and two fingers on his right hand. After burying his father, Davy is taken in by a passing scouting party. A decade later, 1862, Abraham Lincoln is president of the United States; Davy (George O'Brien) is a Pony Express rider out to fulfill his father's dream leading into the building of the Transcontinental Railroad; and Miriam (Madge Bellamy), now engaged to Peter Jesson (Cyril Chadwick), an Eastern surveyor working for her father actually working for Deroux (Fred Kohler), the richest landowner, who stands to profit if the railroad goes through instead of through the pass. After being reunited with Miriam, Jesson finds himself in stiff competition. The two men become bitter enemies, especially after Jesson's attempts in doing away with him. Matters become complex until the golden spike gets hammered into the rail on that historic day of 1869 as east meets west through the continental railroad.

In the supporting cast are Gladys Hulett (Ruby); Jack O'Brien (Dinny); three musketeer pals of J. Farrell MacDonald (Corporal Casey); Francis Powers (Sergeant Slattery); and James Welch (Private Schultz), as well as historical figures of Buffalo Bill Cody, Wild Bill Hickock and John Hay enacted by George Wagner, John Padjan and Stanhope Wheatcroft.

THE IRON HORSE (title indicating the locomotive train) plays like a D.W. Griffith production with prologue, historical figures, flashbacks and epilogue, and like a screen adaptation to an Edna Ferber novel telling its story through the passage of time, along with soap-opera ingredients (complicated love triangle), but no usual conclusions of central characters going through the white hair and wrinkles aging process. Overall, this is John Ford's storytelling, cliché as it may be, placing fictional characters against historic setting, along with the oft-told murder-mystery subplot of a son out to avenge his father's killer, a historical movie that's become an important part of cinema history. Ford, the future four time Academy Award winning director, with a handful of motion pictures to his credit, best known for westerns, would provide similar themes in his future film-making. As popular as THE IRON HORSE was back in 1924, it's amazing that Ford didn't attempt doing a remake, especially in 1939 when westerns reached it peak of popularity. It took Cecil B. DeMille to attempt a similar story with UNION PACIFIC (Paramount, 1939) starring Barbara Stanwyck and Joel McCrea. Like THE IRON HORSE, UNION PACIFIC, which tells its story in over two hours, features villains, Indian massacres and thousands of extras.

George O'Brien, a rugged actor, was an ideal choice for the role of Davy Brandon. Although he worked under Ford's direction numerous times in latter years, and showed his capability as a dramatic actor in F.W. Murnau's SUNRISE (1927), he never achieved major stardom. He did work steadily mostly in "B" westerns through the early 1950s. Co-star Madge Bellamy offers her typical heroine performance, caught between two men who vie for her affection, but is far from being a strong character. While the acting overall is satisfactory, from today's viewpoint, some heavy melodramatics as the method of fainting by youngster Davy after witnessing his father's massacre, or Bellamy's performance in general, might provoke some laughter. Scenes such as these can be overlooked by great location scenery as Monument Valley, a race against time and action scenes typically found in Ford westerns.

Television history to THE IRON HORSE began when it became one of the movies from the Paul Killiam collection to air on public television's 13-week series of "The Silent Years" (June-September 1975), hosted by Lillian Gish. In her profile about THE IRON HORSE (accompanied by an excellent piano score by William Perry), Gish talks about its location shooting in the Nevada desert, the use of 100 cooks to feed the huge cast, and 5,000 extras consisting of 3,000 railway workers, 1,000 Chinese laborers, many horses and steers. Decades later, THE IRON HORSE made it to the American Movie Classics (1997-1999) and Turner Classic Movies (TCM premiere December 9, 2007 ) accompanied by orchestral score with 15 minutes of additional footage as opposed to the 119 minutes presented on both "The Silent Years," and the Western Channel in 2001. Distributed to home video Critic's Choice in 1997, availability on DVD came a decade later.

THE IRON HORSE may not be historically accurate as promised through its opening inter-titles, but it's sure an ambitious John Ford production to still be entertaining today. (****)

In the mid-1920s cinema saw the second coming of the epic, the first having been in the mid-1910s, and giants of the era such as Douglas Fairbanks and Cecil B. DeMille were continually upping the ante on each other with bigger and bigger pictures. Meanwhile the Western had been in gradual development, and by now it was only logical that this ever-popular genre was itself given a massiveness makeover. Paramount had the first stab with The Covered Wagon in 1923, and the following year Fox responded with The Iron Horse.

The Western itself of course went through many developments in theme, and can be grouped into different phases. The Iron Horse, along with Covered Wagon, Three Bad Men (1926) and The Big Trail (1930) belongs squarely to the "pioneer" Westerns which dominate this era. In these pictures the west would typically be an unclaimed wilderness, and the heroes were those who explored, settled and developed it. By now the genuine old west was fading from living memory, and so now we had the first generation for whom it could be a romanticised piece of history. Plus of course there is the fact that the wagon trails, railroads and cattle drives of the pioneer Western were ideal for the aforementioned fashion for epic pictures.

Today of course The Iron Horse is best remembered for its director – a young John Ford. Even back then Ford had a close association with the Western, although to some extent his style is still in development here. His shot composition relies heavily on very distinctive framing devices such as tree branches or posts, and sometimes the shots look a little cluttered. Also, his approach to the romantic love scenes is entirely conventional – with close-ups, rhyming angles and sparse backgrounds so as to focus on the actors. The older (more cynical?) John Ford tended to shoot these moments rather flatly, the camera hanging back, and even throwing in distracting background business.

On the other hand, and perhaps in ways that matter more, this is very much the same John Ford of Stagecoach, Fort Apache and so forth. In particular is his vision of the west. Right from the opening scenes he contrasts the smallness of the homestead with the romantic allure of the wilderness – framing the actors tightly in the opening shots, and then cutting to point-of-view shots of the trail. He always captures the vastness of the outdoors, and yet without ever dwarfing the people in it. Particularly impressive (and this is perhaps where Ford's greatest strength lay) is his ability to combine different storytelling elements in a single shot – for example at one point we see a mother mourn her son at his grave in the foreground, while a heavily loaded train passes through in the background.

Another typically Fordian element is the precedence he gives to the comic relief characters. On location they were largely working without a script, so Ford could spin their scenes out as long as he wanted. As with many of his later pictures, charming though it is, the comedy business threatens to unbalance the real story. We can also see in "Drill ye terriers" a forerunner to the group singsong that is a staple of even the earliest John Ford talkies.

A nod to the actors is also due. This was George O'Brien's first lead role and he doesn't do badly, considering he got the part mainly for being a good-looking newcomer who could ride a horse. He doesn't emote too convincingly, but he moves well which is the most important thing for a picture like this. The other standout is J. Farrell MacDonald, who played the kind of roles for Ford in the silent era that would later be filled by Victor McLaglan in the talkies – basically a comical Irish drunk. But like McLaglan he hid real dramatic talent under the act, and he emerges as the most genuine player in this piece.

Ford's confidence and passion for the genre make the Iron Horse a classic, but it's worth remembering that The Iron Horse is also a triumph of post-production. Cast and crew had gone on location without a complete shooting script and large chunks of it are more or less improvised. As well as directing Ford took one of his earliest credits of producer and, would thus have been able to continue supervising the product after shooting was over. It's hard to imagine what any other producer or editor would have made of the footage he brought back from location. It's unlikely they would have kept so much of the comic diversions and "oirishness", and it's perhaps with The Iron Horse that we have - for better or for worse - the earliest example of an unbridled John Ford.