John Ford & Harry Carey: Universal Westerns (1917-21)

Introduction

A March 1917 article in “Moving Picture Weekly” (the trade magazine published by Universal Film Manufacturing Company) introduced a young “Assistant Director” who was “coming rapidly on the filmy horizons and making swift progress on the road to fame and fortune.” He was so new that little information had been printed about Jack Ford. (The young Ford used the nickname “Jack” rather than the more formal “John”.) He told the writer that he was born in Portland Maine in 1895 and educated at the University of Maine. His height was 6’2” and his hair and eyes were brown. His screen career had been as an assistant to his brother, Francis Ford, since July 1914. He had been directing his own company for a short time and was currently directing a three-reel picture starring Harry Carey. The older brother “is warned to look to his laurels or the kid will catch up.” This warning was quite prescient, as the kid very quickly “caught up” and went by in a hurry. By 1918, as Jack’s directing career was advancing, Francis was starting on a decline toward his status in the talkies as a minor, often uncredited, character actor.

John Ford was baptized John Martin Feeney (he also gave the alternates Sean Aloysius O’Feeney or O’Fearna). He used “Jack Ford” until 1922. After settling in Hollywood, his older brother Francis put him to work as a property man, stunt rider, assistant cameraman, and grip. The aspiring filmmaker studied the techniques of the cameramen and editors, learning how to cut and edit in the camera. From 1914-1916, Jack played parts in 15 films directed by Francis and collaborated on the script (usually with Grace Cunard) for many of them.

Advanced by the studio to “assistant director”, Jack Ford had a busy first year. He began his career by writing, starring in, and directing a 2 reel film, The Tornado (1917). He wrote, starred in, and directed two more (1917) short films, Trail of Hate and The Scrapper. His first films with Harry Carey, The Soul Herder and Cheyenne’s Pal (both 1917), were also shorts. These short films were well received by audiences and film critics.

In 1917, Universal was advancing production from mostly short to mostly feature films (at least 5 reels). The Ford/Carey partnership proceeded to make features, putting out four in 1917, the first of which was Straight Shooting. With Carey as the star, Jack Ford directed 22 western features.

Their partnership for Universal Studios continued, mostly uninterrupted, for three years, from late 1917 through 1919. In 1920, Carey continued to make westerns for Universal Studios, but none of them were directed by Ford; Ford made his first non-westerns for Universal and signed with Fox Film Corp. In Spring 1921, Ford made three final films with Carey. By 1922, Ford was with Fox. At Fox Films, Ford made westerns, including The Iron Horse (1924), one of the best known of silent westerns. He also directed many silent comedies and dramas with contemporary settings. Carey continued with Universal through 1922, but in 1923 he was with the independent Robertson/Cole Company. Carey made westerns throughout the 1920’s, modestly budgeted films made for independent producers.

Speaking with Peter Bogdanovich in the 1960’s, Ford claimed that the only thing he always had was an eye for composition. He called Harry Carey a great actor and credited Carey with tutoring him in the early years, sort of bringing him along. He described the films with Carey as character stories rather than shoot-em-ups. Star and director made Carey’s character into a sort of a bum, a saddle tramp, instead of a great gun-fighting hero.

Francis Ford

Francis Ford (1881-1953) started in films several years before his brother came to Hollywood. In 1909 Francis began his film career as an actor for the Méliès Manufacturing Company, the American film studio of Georges and Gaston Méliès located in Fort Lee New Jersey. In 1912 he was with The Thomas H. Ince Company directing and appearing in Kay-Bee and Bison pictures. In 1914, Francis joined the Universal Film Manufacturing Co. From 1909 Francis specialized in western shorts, after 1912 collaborating with actor and writer Grace Cunard. In 1914 Francis directed Grace Cunard in Lucille Love: Girl of Mystery, a serial modeled on The Perils of Pauline. From 1916 to 1919, Frances made several serials. With Grace Cunard, he wrote many of his own films. Jack Ford arrived in 1914 and appeared in several of his brother’s movies. Francis continued acting and directing through the twenties, directing his final film in 1929. He was a minor character actor for the remainder of his career. John Ford told Peter Bogdanovich that “Frank was a great cameraman, a really good artist, wonderful musician, a hell of a good actor, and a good director, a johnny of all trades. He just couldn’t concentrate on one thing too long.”

Harry Carey

Carey joined the Biograph Company in 1909. Appropriately, his first film, Bill Sharkey’s Last Game> (1909, directed by D. W. Griffith), was a western. During five years with Biograph, Carey appeared in dozens of short films, many of them directed by Griffith. He was not a major actor in the Biograph stock company, typically playing smaller roles than the more prominent actors, such as Henry B. Walthall or Robert Harron. Carey’s notable films at Biograph include: An Unseen Enemy (1912) the debut of Lillian and Dorothy Gish, The Musketeers of Pig Alley (1912), Griffith’s pioneering examination of inner city gangsters, and Olaf - An Atom (1913) a lead role for Carey.

Harry Carey, 1919

Carey moved to Hollywood with Biograph in 1911. His career as a western star began after he joined the Universal Film Manufacturing Company in 1915. Most of his initial films at Universal were shorts. He first played a character named Cheyenne Harry in a 1916 feature, A Knight of the Range. A pretty twenty year old, Olive Fuller Gordon, Carey’s future wife, and Hoot Gibson were his co-stars. Also in 1916, Carey starred in the first film version of Three Godfathers, directed by Edward LeSaint and based on a 1913 novel by Peter B. Kyne. The novel was adapted subsequently to several films. Carey and John Ford produced a 1919 version, Marked Men. Under the original title are a 1930 version with Charles Bickford, a 1936 version with Chester Morris, and a 1948 John Ford version with John Wayne and Harry Carey Jr. Ford dedicated the film to Carey Sr’s memory.

Carey’s first film with Jack Ford was a three reel short, Soul Herder (1917), Ford’s fourth directorial credit. Hoot Gibson was also in the cast. Straight Shooting, the first feature made by Ford and Carey, was followed by 21 more westerns made by the pair. In many of these films, Carey used the name “Cheyenne Harry” for his character. Although the name was the same, the character in each film was distinct. Carey’s final silent with Ford was Desperate Trails (1921). Unfortunately, most of the Ford/Carey silents are lost films. The intact survivors, including Bucking Broadway (1917) and Hell Bent (1918) feature Carey using the “Cheyenne Harry” name.

With his plain features and unadorned costumes, Carey appears the conventional movie cowboy. He is distinguished by his forceful persona, intense gaze, and individualized mannerisms.

Carey left Universal in 1922, shortly after Ford moved to Fox Films. Through the 1920’s Carey continued to star in westerns, mostly low budget films made by newly formed production companies, including Robertson-Cole Pictures Corporation and Hunt Stromberg Productions.

Read more about Hell Bent.

A Woman's Fool

Released: August 12, 1918 (Believed lost)

Cast: Harry Carey, Betty Schrader, Molly Malone, Vester Pegg
Writers: George Hively, scenario; Owen Wister, novel: “Lin McLean” (1898)

Carey’s Name and Character: Lin McLean, rancher

Story: Lin McLean, the best hearted man in the west, was a perfect fool where women were concerned. In Denver, Lin meets Katie Lusk, a waitress, and falls for her. Not knowing that Katie has a husband and a child, Lin offers her a home and marries her. A year later, during a drought, Tom Lusk, Katie’s husband, who advertises himself as a rainmaker, appears and offers to make it rain for $1000.00. The rains come, and Lin has to work hard to pay him. After Lin pays, Lusk has money, and Lin is broke. Katie leaves Lin and returns to the rainmaker. Lin is shocked to learn that Katie was already married when he married her. Lin’s heart hardens toward women. Several years pass, and tender-hearted Lin is already softening when he meets pretty Jessamine Buckner, the new station agent. Lin falls for Jessamine, and she likes him. However, when Jessamine learns that he is married, she gives him up. In an act of generosity, Katie sets things right by telling Jessamine the truth about her marriage to Lin.

Comments: The story outline as written above is based on the synopsis in the “Moving Picture Weekly”, the magazine published by Universal Pictures to advertise its films to exhibitors. Reading the synopses of a film in several film magazines usually offers a variation of the story in every magazine. The synopses Lin McLean in Motion Picture Weekly and Exhibitors Herald provide an extreme example of dramatically different endings of a plot. In MPW, Katie tells Jessamine the truth about her marriage to Lin, thus freeing him to marry Jessamine. In EH, Lin rejects Katie when she attempts to reenter his life and subsequently commits suicide. Since the film is believed lost, the correct storyline cannot be determined. A woman’s suicide seems an extreme and melodramatic method of freeing Carey. Unlike any other ending of a Ford/Carey film, a suicide is a somber way to end a film that apparently was intended to be primarily a comedy.

The film, set in the west, is loosely based on incidents in the Owen Wister novel. In the novel, the youthful Lin tires of the hard life of a cowboy and heads east to seek his fortune. As time passes and Lin matures, he loses many of the qualities of a Westerner without settling comfortably into the life style of an Easterner.

In the film, the “Lin” character maintains his cowboy qualities. The film portrays aspects of a rancher’s life in the West. Ford and Carey claimed credit for the first motion picture to show a chuck wagon/portable kitchen. They claimed that the make-up of the wagon was correct to the smallest detail.

Owen Wister, born in Philadelphia and Harvard educated, became fascinated with the lore and landscape of the western country. His most famous work, ‘The Virginian’ (1902), is credited with being the first western novel and originating the archetypal cowboy. “Lin Mclean” (1898), his first novel, moves the action from west to east and is not specifically a western.

Three Mounted Men

Released: October 7, 1918 (Believed lost)
Cast: Harry Carey, Neva Gerber, Joe Harris
Writer: Eugene B. Lewis, story and screenplay

Carey’s Name and Character: Cheyenne Harry, outlaw, robber

Story: In a western penitentiary, the crooked son of the warden is appropriating government money with the aid of a former forger, Buck Masters, who works in the prison office. Cheyenne Harry, another convict, and Masters have been friends, but when Harry objects to Masters stealing government money, they fight. As a punishment for fighting, Harry is sentenced to solitary confinement. The warden’s son obtains a pardon for Masters, who turns around and blackmails him. The warden’s son then obtains a pardon for Harry on the condition that he get Masters rearrested. Upon leaving prison, Harry meets up with his brothers and they travel to the western town where Masters is living. In the town, Harry meets and falls in love with Lola, a dance hall girl and coincidentally Masters’ sister, although Harry does not know that fact. Harry learns that Masters plans to rob a stage. Masters wants the money for his mother and sister, but Harry does not know about Masters’ motivation. Harry informs the law about the stage holdup, and Masters is arrested. Only after the arrest does Harry learn that Masters is the brother of Lola. Harry and his brothers ride after the coach carrying Masters to jail and rescue him. They bring him back to his mother and sister. With her brother saved, Lola plans to marry Harry.

Comments: This film has one of the most unlikely plots of all the Ford/Carey westerns. The story seems designed to feature scenes of Harry and his brothers on horseback against a backdrop of the beautiful western scenery of the Los Angeles region. The “Variety” reviewer noted that the “photography is particularly happy”.

Ford and Carey often included scenes that were unusual and innovative. In this film, the response of Harry’s eyes to light after weeks in the darkness of solitary was emphasized. Harry wears specially darkened glasses as his eyes readjust to the light. Carey in the glasses is seen in a picture in the January 1919 edition of “Motion Picture News”

Roped

Released: January 27, 1919 (Believed lost)
Cast: Harry Carey, Neva Gerber, J. Farrell MacDonald
Writer: Eugene B. Lewis, story and screenplay

Carey’s Name and Character: Cheyenne Harry, millionaire ranch owner

Story: Cheyenne Harry, owner of Broken Bow Ranch, wants to hire a housekeeper. The ranch’s cowboys devise a practical joke and advertise in the New York papers for a wife for their boss. Aileen Judson-Brown, a society belle, is forced by her bankrupt mother to answer the ad. Aileen promises that she would consent to marry the ranchman. Harry goes to New York to meet Aileen. Her mother is shocked by the western appearance of the prospective husband, until she learns that he is a millionaire. Harry and Aileen, mutually attracted, marry. Harry is so kind and good hearted that Aileen soon loves him sincerely. They have a child. Now that Aileen has Harry’s money, her mother schemes to separate them and marry Aileen to a socialite. She tells Harry that Aileen does not want him. She takes the child and tells Harry that the child has died. She tells Aileen that Harry is tired or her. Harry plans to leave but is informed by the butler of the mother’s deceit. Harry returns to see his child and brings his cowboys with gifts. Harry and Aileen meet, and Aileen understands the love of Harry for herself and their child. They are reconciled and move to Harry’s ranch that now has its permanent housekeeper.

Comments: The setting changes from a western ranch to New York City where Carey’s cowboy millionaire marries a girl of New York’s smart, but poor, set. The reviewer in “Variety” gave the film a rating of “fair”. He wrote that the film lacked spirit for Carey and Gerber and poorly blended the West with 5th Ave. He commented that the film was a universal special only in being 6, rather than 5, reels.

A Fight For Love

Released: March 24, 1919 (Believed lost)
Cast: Harry Carey, Neva Gerber, J. Farrell MacDonald, Joe Harris
Writer: Eugene B. Lewis, story and screenplay

Carey’s Name and Character: Cheyenne Harry, cattle rustler, range rider

Story: Cheyenne Harry, wanted for cattle rustling, escapes into Canada. He drifts into an Indian camp and becomes friendly with the Chief and his daughter. Black Michael, a half-breed, sells liquor to the Indians. Michael is pursuing the Indian girl and clashes with Harry over her, Michael informs the Mounted Police that Cheyenne Harry is in the camp. Harry flees in a canoe. He makes his way to the settlement run by a local office of the Hudson’s Bay Company. The Hudson’s Bay factor buys whiskey from Black Michael. Harry becomes friendly with Kate, the factor’s lovely daughter. Michael tries to make love to Kate, who rejects him, and Harry runs him off. At the Indian camp, Harry and the local priest fight a white gang of whiskey runners. The Chief is killed, and Harry is accused of the murder. He flees again. At the Hudson’s Bay settlement, Michael kidnaps Kate. Harry pursues them. At the edge of a cliff, Harry and Michael have a terrific fight. Michael plunges over the cliff. Before he dies, Michael confesses to the killing of the Chief. Harry is exonerated and united with Kate.

Comments: The Canadian setting provided the filmmakers with picturesque locations, such as a lake in the woods, snow scenes in mountains, and the Natives catching fish in a pool. This forested scenery was unlike the open country of the American west where Cheyenne Harry usually roamed. The reviewer in “Variety” complimented the gorgeous long-distance photography. Although the setting is Canada, the film was probably mostly or entirely shot in the higher altitudes of the mountains surrounding Los Angeles.

Ford and Carey mixed comedy, romance, and pathos with plenty of action. The action included escapes by horseback and canoe, a big fight with the whiskey runners, and the final fierce fight at the edge of a cliff. A humorous characterization was provided by the affable J. Farrell McDonald as the fighting priest. The drunken Harry and Chief beat a rhythmic serenade on whiskey barrels.

The social code of the time allowed Harry to carry on a mild flirtation with the Indian girl, but he could only unite with a white woman. A union between the white woman and the half-breed would have been unthinkable, a disgrace for her under any circumstances.

Bare Fists

Released: April 5, 1919 (Believed lost)
Cast: Betty Schade, Joe Harris, Vester Pegg
Writers: Eugene B. Lewis, Bernard McConville

Carey’s Name and Character: Cheyenne Harry, range rider

Story: Cheyenne Harry’s father, the town marshall, is killed trying to quell a saloon brawl. Harry promises his grieving mother that he will never carry a gun again and will use only his bare fists if he has to fight. It is difficult for Harry to keep this promise; it costs him both the respect of his friends and the fear of his enemies. His cattle are stolen, but he is able to punish the rustlers with his fists only. The leader of the rustlers and Harry are interested in the same girl. She favors Harry. To get rid of Harry, the rustlers frame him for the shooting of an unarmed man. Tried and convicted, Harry is sentenced to be hanged. He is allowed to visit his mother, but he does not tell her of his fate. His young brother, left to protect the ranch, discovers the rustlers at work. They brand him on the chest. This act is too much for Harry; he returns to the jail but immediately escapes with the sheriff’s gun. He confronts and kills the rustlers. Returned to jail, he is about to hang, when a witness comes forward and exonerates him.

Comments: Lawrence Reid writing in the “Motion Picture News” headlines his paragraph about the film “Character study of primitive emotion and act of self defense.” Reid characterizes the plot as an example of simple love and devotion; a quantity of sentimental interest and pathos is attached to Harry’s mother and brother. Schade provides the usual love interest. In the end the hero must use a gun.

Although this is Bernard McConville’s only credit for a Ford/Carey film, he wrote nearly 100 stories and scenarios in a 30 year career that began in 1915. During the silent era, McConville wrote stories for a variety of film genres. After 1929, his scenarios are nearly all for B-westerns.

Riders of Vengeance

Released: June 9, 1919 (Believed lost)
Cast: Harry Carey, Seena Owen, J. Farrell MacDonald, Joe Harris, Vester Pegg
Writers: John Ford and Harry Carey, story; Eugene B. Lewis, scenario

Carey’s Name and Character: Cheyenne Harry, cattleman, outlaw

Story: Cattleman Cheyenne Harry is marrying the girl of his heart. As the couple leave the church, the enemies of Harry and his family, lead by Buell, local strongman, saloon owner and cattle rustler, attack the wedding party killing the bride and Cheyenne’s parents. Harry mourns and vows vengeance. Several years pass, and Harry returns to kill the murderers. He posts their names and sets out to kill them, one by one. His attacks are temporarily put aside when he rescues a pretty young woman, the only survivor of an Apache attack on a stagecoach. The grateful girl tells him that she has come to marry Sheriff Thurman, who Harry believes, mistakenly, to be the leader of the massacre. He thinks of harming the girl in revenge on the sheriff, but is deterred by her innocence. He takes her back to town. Harry identifies Buell as the actual leader of murderers and cleverly arranges Buell’s death at the hands of his own confederates. Harry’s killings have made him a wanted outlaw pursued by Sheriff Thurman. Harry and the sheriff meet in the desert. Before the sheriff can attempt an arrest, they are attacked by Apaches. During the fight, the sheriff convinces Harry of his innocence in the wedding killings. Both men are wounded, and Harry struggles to bring the sheriff back to the Girl. The Sheriff dies after they get back to town. Eventually, Harry is exonerated. He and the Girl find love and plan to marry.

Comments: The reviewer in “Variety” describes the film’s plot as “a regular, corking, snorting, melodramatic story”, “full of action, suspense, and excellent detail” “Seena Owen fails to make the most of her part; she is more suited to drawing room roles than to light innocence.” Owen appeared in few westerns and was better suited for contemporary roles in which her make-up and costumes were showier than would be appropriate for a demure, western school teacher. She only made one film with Carey. Patsy Smith in her “Variety” column, “Among the Women”, described Owen as an attractive schoolmarm, appropriately in period with her velvet dress and cape. Smith appreciated the character work of an older actress, “a real, old fashioned prosperous, half-foreign country woman in voluminous brocade, lace collar, and long ear pendents, a pipe in her mouth and a heavy cane clasped in strong hands, a truthful portrayal of the type.“ Characters in westerns were rarely given any notice in “Among the Women” or similar columns.

Harry Carey in The Outcasts of Poker Flat (1919)

The Outcasts of Poker Flats

Released: June 29. 1919 (Believed lost)
Cast: Harry Carey, Cullen Landis, Gloria Hope, J. Farrell MacDonald, Vester Pegg, Joe Harris
Writer: H. Tipton Steck; Bret Harte, short story: “Outcasts of Poker Flat”

Carey’s Name and Character: John Oakhurst/Square Shootin’ Harry Lanyon, square gamblers

Story: Thomas Lanyon watches the girl he loves with his adopted son. Their happiness is of paramount importance to him. Although she cares for Thomas, he thinks that the girl would be happier with the younger man. He feels an obligation to the boy, the son of his best friend. Thomas picks up a book, Bret Harte’s “Outcasts of Poker Flat”. The book is about the romantic triangle of John Oakhurst and the youngsters, Sophy and Tommie. Thomas’s case is similar to that of Oakhurst, the square gambler of the Polka Saloon: Oakhurst had rescued Sophy from the lecherous Stratton and brought her to safety. Tommie, Oakhurst’s protegee, has fallen in love with her. Stratton had followed Oakhurst and Sophy and made unwelcome advances to the girl. Tommie attacks Stratton who shoots him. Sophy nurses Tommie. Oakhurst shoots Stratton. Although she loves Oakhurst, Sophy decides to marry Tommie. Oakhurst gives her up to the boy. Some time after the wedding, Sophy, Tommie and Oakhurst are caught in a fierce storm. Oakhurst sacrifices himself to save the young couple. Lanyon shuts the book. He says to himself that it was great to read, but Oakhurst was a fool, even if noble and self sacrificing. He, Thomas Lanyon, will not follow the same path. He loves the girl and will plead his own case. Thomas goes to her and finds that she was his all the time. The film ends on a clinch.

Comments: The story of “The Outcasts of Poker Flat” as portrayed in the film is greatly altered from the plot of the short story as written by Bret Harte. The only shared story points are the name of the gambler, John Oakhurst, and the snow storm that traps the characters. In the short story, four people, two prostitutes, the town drunkard, and Oakhurst, a gambler, are put out of the town of Poker Flat. An engaged couple join the four outcasts. The drunkard runs off with their mules, leaving the others trapped in the snow. The young man goes off to get help. The women die of cold and hunger. Oakhurst, despairing of escape, commits suicide. Harte describes Oakhurst as the strongest and the weakest of the outcasts of Poker Flat.

The screenwriter has rewritten the plot into two conventional love triangles with the story involving Oakhurst embedded in the main storyline. Carey plays a self sacrificing gambler and a successful lover, but neither persona is found in the original story. Carey’s characterization as a professional gambler, rather than his usual range rider, meant a change in his costume. Advertising pictures for the film show Carey in a white shirt and tie, dark suit and rakish hat, flourishing a cigar.

Born in Albany New York in 1836, Bret Harte moved to California in 1853. He wrote about the gold mining camps and the people who lived in them. Harte returned East in 1871. He lived many years in Europe. He wrote about many different places and people but his success and fame rest on his stories about gold rush California.

Ace of the Saddle

Released: August 18, 1919 (Believed lost)
Cast: Peggy Pearce, Joe Harris, Duke R Lee, Vester Pegg
Writer: George Hively, Frederick J. Jackson, story

Carey’s Name and Character: Cheyenne Harry Henderson, cattleman

Story: In Yucca County, Arizona, Sheriff Loughlin and his confederates are rustling Harry’s cattle. Harry goes to Pinkerton Co to ask the assistence of Sheriff Faulkner. He meets the sheriff’s daughter, Madeline, and falls for her. She does not like guns and convinces Harry to put his guns aside. At Harry’s ranch, Loughlin poisons the water, and his gang raids Harry’s ranch house. To avoid using his guns, Harry has purchased dynamite. When he sets it off, the gang flees in all directions. Harry and his cowboys capture two of the raiders. One of them is Loughlin. Loughlin is put on trial. During the trial, his gang incites a melee and Loughlin escapes. Loughlin wants vengeance, and his gang kidnap Madeline from her home. Harry pursues the kidnappers and rescues Madeline. Harry decides to oust the villainous sheriff of Yucca Co and nominates his foreman for sheriff. After the foreman wins, peace and law prevail in Yucca Co. Harry and Madeline marry.

Comments: After the complex plot and production requirements of The Outcasts of Poker Flats, Ford and Carey produced a film with a simple plot and production methods.

The Rider of the Law

Released: November 3, 1919 - believed lost
Cast: Harry Carey, Gloria Hope, Joe Harris, Vester Pegg, Duke R Lee
Writer: G. B. Lancaster, H. Tipton Streck

Story: Jim Kyneton, a member of the Mounted Police, is stationed in a mining district. He is ordered to capture the thieves who have been robbing the mines. The thieves include Nick, Jim’s foster brother, and The Kid, the brothers’ new friend, who has come west for his health. Despite his attachment to this pair, Jim arrests them along with the other thieves. In his private life, Jim has a complicated relationship with two young women. Roseen, a dance hall girl, is in love with him, but he does not return her affection. Roseen is jealous of Betty, an orphan girl who Jim’s mother has been raising. Jim is in love with Betty but hides his affection because he thinks she loves Nick. The angry Roseen releases the prisoners from jail. Jim recaptures two of them, but his brother and The Kid escape. Jim pursues them and captures The Kid. Nick, repentent and unable to face jail, rides his horse off a cliff. Jim sorrowfully returns home to tell his mother and Betty of his brother’s death. Although Betty is sad that Nick is dead, she is not devastated. She has always loved Jim, who gains some happiness from her unexpected return of his love.

Comments: G. B. Lancaster was the pseudonym of Edith Joan Lyttelton, who was born in Tasmania and grew up in New Zealand. Edith Lyttelton was the most widely read New Zealand author of the first half of the 20th Century. She wrote novels and hundreds of short stories, mostly about Australia, New Zealand, or Canada. Several of her stories were adapted for films. This film, however, has an original screenplay that she wrote with H. T, Streck, her only screenplay for a Ford/Carey film.

The “Variety “ reviewer wrote….“the film hits the high spots all the way, action, mystery, love, excellent photography, capable direction. Ford overlooks few bets in handling Carey who has dignity, force and is the master of his roles.”

The reviewer also notes that the brother’s suicide by riding his horse over a cliff thrilled the audience.

A Gun Fightin' Gentleman

Released: November, 29, 1919 - three reels survive
Cast: Harry Carey, Kathleen O’Connor, J. Barney Sherry, Duke R Lee, Joe Harris
Writer: Harry Carey, John Ford, story; Hal Hoadley, scenario

Carey’s Name and Character: Cheyenne Harry, ranch owner

Story: Systematically cheated by businessman John Merritt, the head of a big packing company, Cheyenne Harry is determined to keep his ranch against the land-grabbing Merritt. A hired assassin ambushes Harry and attempts to push him off a cliff. Harry kills the attacker in self defense. Harry is arrested but acquitted at trial. He loses his ranch to Merritt who cheats him out of his title. Angered, Harry goes to the city to settle accounts. When Harry arrives at Merritt’s home, a dinner party is in progress. Helen, Merritt’s daughter, decides to invite the uncouth westerner to the dinner as an amusement for the guests. His behavior, however, is exemplary, and she finds him interesting and good hearted. Also at the dinner is a British Earl who is courting Helen with her father’s approval. Back home, Harry robs Merritt’s pay-rolls to get back the value of his stolen ranch. He sends receipts to Merritt for the money. Helen and the Earl visit the ranch. The Earl hires the outlaw, Cheyenne Harry, to kidnap the girl. The Earl plans a dash to her rescue. Harry kidnaps Helen and keeps her a prisoner. His behavior is perfectly gentlemanly while she is with him. The wrongs committed against him win her sympathy and support. When a gunman attempts to take Helen, Harry saves her but is wounded. Helen nurses him. Helen’s father regrets his actions and returns Harry’s property. Helen, who has come to love Harry, refuses to return home, and they plan a wedding.

Comments: Despite the title’s reference to Harry as a gunfighter, the film had less action and greater emphasis on domestic interactions than was usual for a Ford/Carey film. By this point they had developed a lot of scenarios for Carey, and new approaches were probably difficult to work up. Ford and Carey wrote the story; Harold (Hal) Hoadley wrote the scenario. Hal was the son of scenarist C, B, Hoadley who wrote the scenarios for nearly fifty shorts. Hal Hoadley wrote scenarios for only eight feature films. Both Hoadleys had ceased writing by 1921.

Harry Carey in Marked Men (1919)

Marked Men

Released: December 21, 1919 - believed lost
Cast: J. Farrell MacDonald, Joe Harris, Winifred Westover
Writer: H. Tipton Steck, scenario; Peter B. Kyne, novel: “Three Godfathers”

Carey’s Name and Character: Cheyenne Harry, outlaw, robber

Story: Harry and his pals are in prison for train robbery. They break jail and ride away, carrying on a running gun battle with the prison guards. They separate and plan to meet later at a mining camp. While waiting, Harry meets and falls in love with a waitress in a dance hall. She warns him that the sheriff is suspicious. Joined by his pals, they plan a bank robbery. The girl pleads with Harry not to rob the bank, but he feels that he owes loyalty to his friends. They pull off the robbery and flee into the desert with the sheriff and his deputies in pursuit. Fleeing across the desert, the trio come upon a wrecked wagon. In the wagon, a woman has given birth to a baby girl. The dying woman requests the men to be three godfathers to the child and carry her to safety. She asks them to bring the child up to be as good as they are themselves. The trio promise to carry the baby to the nearest town. After days of suffering from little water and frequent sandstorms, two have died. Harry trudges on and reaches a town. His girl and the sheriff are waiting for him. The baby saves Harry. A bible that he has carried with the child shows the sheriff that the baby is his niece. For his selfless actions to save an innocent child, Harry is pardoned by the governor.

Comments: The film was released during December 1919. In his notes for exhibitors, the author of the service page in “Moving Picture Weekly” promotes the film is an artistic production appropriate for the Christmas season. As an example of an artistic touch, the reviewer mentions the cross shaped giant cactus before which the three godfathers swear to cherish the baby.

The story was adapted from a 1913 novel, “Three Godfathers” by western novelist Peter B. Kyne. The novel has been adapted for the screen several times. Carey starred in a 1916 version, named 3 Godfathers, directed by Edward LeSaint. The first talkie version Hell's Heroes (1929) starred Charles Bickford, directed by William Wyler. In 1936, Chester Morris starred in 3 Godfathers, directed by Richard Boleslawski.

Ford told Peter Bogdanovich that Marked Men was a favorite of his early films, and he remembered it very well. They put 31/2 weeks into making it, longer than usual. He liked the story so well that he wanted to remake it. Ford’s 1948 remake, titled 3 Godfathers starred John Wayne, with Harry Carey Jr. as one of the three men. The title sequence dedicates the film “To the memory of HARRY CAREY, Bright Star of the early western sky.” In the background a horseman, his clothes and hat the same as Carey wore, rides up a slope, stops, rises slightly in his saddle, takes off his hat and rubs his head, sits back with a hand on the horse behind the saddle, and moves around slightly.

Peter B. Kyne, American novelist, published 25 novels and 1000 short stories between 1909 and 1940. His wide ranging literary interests included war stories, sea stories, westerns, hunting stories, business romances, and horse racing stories. More than 100 films have been made from his work, beginning in 1914. “The Valley of the Giants” (1918), a story of the California redwoods, has also been adapted to multiple films. Silent star Wallace Reid starred in a 1919 version.

Freeze Out

Released: April 9, 1921 - believed lost
Cast: Helen Ferguson, Joe Harris, J. Farrell MacDonald
Writer: Harry Carey, George C. Hull, story and screenplay

Carey’s Name and Character: Ohio, the Stranger, gambler

Story: In the town of Broken Buckle the gambling hall is run by Denver Red and Headlight Whipple. Public school teacher Zoe Whipple, the foster sister of Headlight, loathes everything about the gambling hall. Ohio, a stranger in town, meets a cleaned-out gambler who warns him that the gambling hall is crooked. Ohio announces to the town that he intends to open an honest gambling hall. Headlight laughs at this announcement, and Zoe is indignant that another gambling den will open. Soon, Ohio and his partner, Bobtail McGuire, the town drunk, begin to build. In retaliation, Denver and Headlight burn the building and give whiskey to Bobtail. Undaunted, Ohio continues building. Despite her indignation, Zoe forms a friendship with Ohio. Headlight and Denver pick a fight with Ohio who challenges them in turn. Ohio whips the gamblers, threatens to shoot them, and drives Headlight and Denver out of town. When the doors of the new building open, it proves to be a school and library. Ohio and Zoe get together.

Comments: McElliott, reviewer of the Moving Picture Weekly, pointed out the “homely angularity” of Carey’s features and the “sincere honesty” of his behavior. “A rough diamond who has his corners polished off by a pretty, fiery and earnest maiden. She burns to reform the town and also the stranger.”

The Wallop

Released: May 9, 1921 -believed lost
Cast: Harry Carey, Mignonne Golden, J. Farrell MacDonald, William Gettinger. Joe Harris
Writer: George C. Hull, scenario; Eugene Manlove Rhodes, story: “Girl He Left Behind Him”

Carey’s Name and Character: John Wesley Pringle, wandering range-rider

Story: John Wesley Pringle, adventurer, returns after five years to reunite with Stella Vorhis, the girl he left behind. Pringle meets with Stella and accepts that she is now in love with another man, Chris Foy. Foy is the opposing candidate for sheriff against incumbent Sheriff Matt Lisner. Sheriff Lisner, determined to be reelected, intends to use the enmity between Foy and a neighboring rancher, Dick Marr, to gain the advantage. The sheriff’s men shoot Marr on his way home. The Sheriff arrests Foy for the killing and plants the gun used in the killing on him. Pringle is determined to help Foy who obviously has been framed. Pringle holds up the Sheriff and allows Foy to escape. Foy hides out. Pringle proves that the sheriff’s men shot Marr. The sheriff’s deputy arrests the sheriff for the murder of Marr. Pringle smiles as Stella rides off with Foy.

Comments: Mignonne Golden, playing Stella, was Carey’s sister-in-law. She appeared with him on stage in his vaudeville act. This is one of the few Ford/Carey films without a love interest. Probably, Carey did not want to be romantically involved with his sister-in-law, even if only in a movie.

Eugene Manlove Rhodes, American writer, lived in New Mexico during the early years of cattle ranching. Rhodes worked on a ranch and observed the ways of the cowboy. His novels and short stories, mostly westerns, depict the lives of working cowboys.

Desperate Trails

Released: June 1921 - believed lost
Cast: Irene Rich, Barbara La Marr, George Siegmann
Writer: Elliott J. Clawson; Courtney Ryley Cooper, story: “Chistmas Eve at Pilot Butte” published in “Red Book Magazine”, January 1921

Carey’s Name and Character: Bart Carson, range rider, cowboy

Story; Bart Carson builds a cabin for Lady Lou, whom he loves. Enroute to Rawlings, where Lou lives, Bart stops at the isolated cabin of Mrs Walker and her two children. He tells Mrs Walker that he is on his way to marry Lou, “the finest girl in the world”. Bart arrives in Rawlings to find a man in Lou’s room. She tells him that the man is her brother who has robbed a train to buy her pretty clothes in which to be married. To protect Lou, Bart assumes the guilt for the robbery and is sentenced to prison for 16 yrs. Word comes to the prison through underground channels that the man, Walter A. Walker, and Lady Lou are lovers. Moreover, the man is the worthless husband who has deserted Mrs Walker and their children. Angered, Bart escapes in a packing case and goes after Walker and Lou. He finds them on a train leaving the area. Bart and Walker fight, and Walker plunges to his death from a trestle. Bart escapes. On Christmas Eve with the sheriff in pursuit, he arrives at Mrs Walker’s house. The impoverished family cannot afford Christmas presents for the children. Bart promises a present for each of them. He tells the boy to put cuffs on him. The boy goes along because he thinks that they are playacting. However, Bart intends that when the sheriff comes the boy can claim the reward. The friendly sheriff arrives; he tells Bart that Lou has confessed the robbery and the frame-up. It is indicated that a trial judge will treat Bart fairly.

Comments: The snow scenes with the train were shot on the scenic Southern Pacific RR tracks near the town of Truckee in the Sierra Nevada. Courtney Ryley Cooper had a varied career as a American circus performer, newspaper reporter, publicist, and a writer of over 30 novels, many short stories, magazine articles, and non-fiction works. Many of his stories concerned either the circus or urban crime. His interest in crime brought him a friendship with J. Edgar Hoover, and he published books and articles about the new Federal Bureau of Investigation. This film is based on a western Christmas story written for Red Book Magazine.

Ford's Actors

Nine actors appeared in multiple Ford/Carey films. Molly Malone and Neva Gerber played Carey’s love interest in several films. The characters played by Vester Pegg, Duke Lee, and Joe Harris varied greatly from film to film, from uprightness in one film to utter villainy in the next.

Neva Gerber

Neva Gerber was 21 years old in 1912 when her film career began with the Kalem Film Company. She joined the Universal Film Company in 1916 and was Carey’s costar in four films. Pleasant and attractive, her substantial presence and self assurance made her a forceful costar for Carey. In the 1920’s Gerber teamed with actor-director Ben F. Wilson to make a series of action movies, mostly serials and westerns. Gerber appeared in two talkies directed by Wilson. After his death in 1930, she left the screen.

Hoot Gibson

Hoot Gibson’s film career began in 1910 with a few films for the Biograph Company interspersed among rodeo competitions. In 1914 he was a stuntman for the serial, The Hazards of Helen, doubling the serial’s star Helen Holmes. His stunts included fights on trains and transfers from a train to a horse. He had supporting roles in numerous western shorts, including playing the villain in Knights of the Range (1916) opposite Harry Carey. Hoot appeared in three of the 1917 westerns made by Carey and Ford: Straight Shooting, The Secret Man, and A Marked Man. Hoot’s starring career at Universal Studios was launched in two films directed by Ford, Action (1921) and Sure Fire (1921). In these films, Hoot plays a wandering cowboy who rescues his co-star from outlaws. Hoot became a popular western star for Universal. Films with titles such as Ridin’ Wild (1922), Thrill Chaser (1923), Hit and Run (1924), Hurricane Kid (1925), and Galloping Fury (1927) guaranteed Hoot’s fans five reels of action and fun. Hoot’s easy going approach gave his films a lighthearted tone. A deft comedian, he featured as much comedy as drama.

As talkies arrived, Hoot continued as a western star, but with lower budgets from producers such as M.H. Hoffman Inc (distributed on a state rights basis by Allied Pictures Corporation) and Walker Futter Productions (Diversion Pictures). In 1935, Hoot co-starred with Harry Carey in Powdersmoke Range, advertised by RKO as the “Barnum and Bailey of Westerns” (whatever that means). The cast list of this “all star” (B western stars) film included Bob Steele, Guinn “Big Boy” Williams, Tom Tyler, William Farnum, and other westerners from the silent era. Hoot made a final set of program westerns in 1944 and retired from the screen.

Mignonne Golden

Mignonne Golden had a brief screen career. She only appeared in six films, 1920-1923, all starring Harry Carey. The Wallop (1921) was directed by Ford. The other five were directed by Val Paul, three at Universal and two at Robertson-Cole. Mignonne was Carey’s sister-in-law, the sister of Olive Golden Carey. Besides supporting Carey in six films, Mignonne appeared with him in his stage act. In the 1920s, Carey made several vaudeville tours featuring Western sketches with Mignonne in support .

Joseph Harris

Most of Joe Harris’s films were westerns. Harris began his screen career in 1914 and had made over 60 shorts by 1916. Harris appeared with Carey in approximately twenty films. In 1918 he played the villain in Hell Bent, the first of his seven Carey/Ford film roles. While at Universal, Harris also appeared in Ford directed films starring Frank Mayo and Hoot Gibson. In 1922 at Fox Films, he appeared in Ford directed films starring Buck Jones and Tom Mix. His final two films in 1923 starred Carey.

Harris was a lifelong friend of Harry Carey. After his movie career ended, he worked for Carey and lived with the Carey family, presumably on Carey’s ranch. Carey had been dead for several years when Harris died in 1953, reportedly at the home of Harry Carey Jr.

Gloria Hop

Gloria Hope has 27 credited film appearances from 1917 to 1926. A pretty blond, her roles were frequently as the sister or the youthful love interest of the star. Beside Universal, She acted for Ince, Triangle, Paramount and Goldwyn. She was the much younger love interest of Carey in two 1919 films, The Outcasts of Poker Flat and The Rider of the Law. In 1920, she was the love interest of Tom Mix in The Texan. In 1922, she had a featured role in the Mary Pickford vehicle Tess of the Storm Country. In 1926, Gloria married actor Lloyd Hughes and retired. The marriage lasted 32 years until Hughes’ death in 1958.

Duke R. Lee

Duke R. Lee was active from 1914 to 1946. A hearty-looking actor with an open, unpolished manner, Lee made a jovial and lively friend or a menacing enemy. Almost all his films were westerns. He was in many Carey films, six of them directed by Ford. He also appeared with notable silent westerners Tom Mix, Jack Hoxie, Art Accord, Hoot Gibson and Jack Holt. Lee continued into talkies, mostly in uncredited roles, in films starring Ken Maynard, Bob Custer, Tom Tyler, Hoot Gibson and Gene Autry. He was uncredited in four John Ford talkies, Judge Priest (1934), Prisoner of Shark Island (1936), Stagecoach (1939) and My Darling Clementine (1946), Lee’s final film.

J. Farrell MacDonald

After his graduation from Yale University in 1903, J. Farrell MacDonald started his acting career on the stage and came to films after extensive theatrical experience. MacDonald was heavy set and plain featured, with a round face and nearly bald head. Despite a stern demeanor, his film characters were usually sociable and fatherly. Talkies revealed a gravely voice that lent itself to roles as policemen and clergymen.

In 1910, MacDonald started at Biograph and was an actor and director at a variety of early film studios, including Imp, Triangle, Sennett, and Pathe. He was in seven of the Ford/Carey features. He acted for Ford at Fox Studios and had prominent roles in The Iron Horse (1924) and Three Bad Men(1926), Ford’s most important silent westerns. After 1929, MacDonald made many westerns but also was frequently cast, in contemporary settings, as an Irish policeman. MacDonald’s was in six Ford talkies, including My Darling Clementine (1946) and When Willie Comes Marching Home (1950).

Molly Malone

Molly Malone’s relatively short screen career, 1916-1929, was confined to silent films. An older actress she was nearly 29 when she appeared in her first Ford/Carey film, The Soul Herder (1917). She acted in the first eight Ford/Carey features. She was Carey’s love interest in Straight Shooting. After leaving Universal, Malone was with several small film companies, including Nester and Selznick. By 1921, she was mostly down the cast list, playing character roles.

Vester Pegg

Vester Pegg was thin and somewhat sharp featured with a small dark mustache. His looks enhanced his frequent roles as devious, sulking villains. Pegg’s film career began in 1912, and he had small roles in Griffith’s The Birth of a Nation and Intolerance. He appeared with Carey in several shorts including the two directed by Ford, Soul Herder and Cheyenne’s Pal. He appears in many Carey/Ford features, including a prominent role in Straight Shooting where he and Carey stalk each other through the streets of a western town. In the twenties Pegg had small parts with many western stars including Jack Mower, Franklyn Farnum, Hal Taliaferro, Buck Jones and Jack Holt. By 1928 he was in uncredited roles, usually playing henchmen. He continued into talkies playing uncredited henchmen in films with stars such as Buck Jones and George O’Brien. He was in Ford’s 1930’s films Steamboat Round the Bend, Prisoner of Shark Island, and plays one of the Plummer boys who have a shootout with John Wayne in Stagecoach In the early forties he is in Roy Rogers westerns. His final film was an uncredited role in the Columbia Pictures production Best Man Wins (1948).

William Steele (William Gettinger)

From the start of his film career in 1912 until his final film in 1956, William Steele appeared almost exclusively in westerns. Tall, well built, and good looking, Steele filled the background of a scene where he looked good, but was not required to act. His birth name was William Gittinger. Early in his career he used several variations on Gittenger. In his six roles in Ford/Carey westerns he is named in the cast list as William Gettinger. He assumed the screen name William Steele in 1921. During the twenties, Steele appeared with cowboy stars such as Jack Hoxie, Buck Jones, and Hoot Gibson. During the thirties, Steele appeared uncredited in many programer westerns, frequently with Buck Jones. From the late thirties, Steele began to appear, uncredited, in high budget westerns such as Destry Rides Again (1939), San Antonio (1945), and Calamity Jane (1953). He had roles in two John Ford talkies, She Wore a Yellow Ribbon (1949) and The Searchers (1956). In The Searchers, Steele’s final film. his named character, Nesby, is a member of a posse led by Ward Bond.

Ford's Cinematographers

Film reviewers praised the fine photography of the Ford/Carey films in almost every review. Cinematography featuring the spectacular scenery of the American West was an important component of Ford’s films from the beginning of his directorial career and greatly enhanced his films with Carey. The fine photography of the Ford/Carey films was mostly the work of two cameramen, Benjamin F. Reynolds and John W Brown.

Benjamin F. Reynolds

Benjamin F. Reynolds

Ben Reynolds was shooting newsreels for Universal Animated Weekly and was an assistant cameraman on low budget dramatic productions at the time he was assigned to shoot Ford’s first film, The Scrapper. Ford took Reynolds to shoot Soul Herder and then Straight Shooting. His skills made him a valuable member of the Ford/Carey troupe. He filmed 12 Ford/Carey features. Reynolds remained with Universal after the departures of Ford and Carey. In 1919, he photographed Erich von Stroheim’s first feature Blind Husbands and subsequently became von Stroheim’s chief cinematographer, filming all of his major productions, including Foolish Wives (1922) and Greed (1924). During the 1930’s, at Paramount, Reynolds photographed several of the studio’s Zane Gray adaptations starring Randolph Scott, directed by Henry Hathaway. He also was cameraman on two WC Fields films, Tillie and Gus (1933), and The Old Fashioned Way (1934). Ill health forced his retirement in 1935.

John W. Brown

John W Brown, who also went by Jack Brown, accumulated 71 credits during his short, 1915 to 1926, career as a cinematographer. He worked with Ben Reynolds on six of the early Ford/Carey films and was the principle cameraman on most of the films made in 1919. None of the Ford/Carey films he photographed are known to survive.

References: The Tornado. March 3, 1917. “Motography”; The Trail of Hate. April, 1917. “Moving Picture Weekly”; Bison Films. The Trail of Hate. April 28, 1917. “Motion Picture World”; The Scrapper. June 9, 1917. “Moving Picture World”; Something About The Scrapper. June 1917. “Moving Picture Weekly”; Jack Ford in “The Scrapper”. July 7, 1917. “Moving Picture Weekly”; “The Soul Herder”. July 1917. “Moving Picture Weekly”; “Cheyenne’s Pal”. August 1917. “Exhibitors Herald”; Peter Milne. The Secret Man. October 13, 1917. “Motion Picture News”; Genevieve Harris. The Secret Man. October. 1917. “Motography”; Secret Man. October 13,1917. “Motion Picture News”; Robert C. McElravy. The Marked Man. November 10, 1917. “The Moving Picture World”; Film Reviews. Phantom Raiders. February 1, 1918. “Variety”; Phantom Riders. “February 1918. “Moving Picture Weekly”; Wild Women. February 25, 1918. “Moving Picture Weekly”; Wild Women. March 2, 1918. “The Moving Picture World”; Thieves’ Gold. March 30, 1918. “Motion Picture Weekly”; Peter Milne. Thieves’ Gold. March 30, 1918. “Motion Picture News”; Samuel C. Palmer. Scarlet Drop. April 27, 1918. “Motion Picture News”; Scarlet Drop. April 22, 1918. “Exhibitor’s Herald”; The Harry Carey Special Production “Hell Bent”, July 1918. “Moving Picture Weekly”; A Woman’s Fool. August 10, 1918. “Exhibitors Herald”; Press Sheet for Harry Carey in “A Woman’s Fool”. August 14, 1918. “Moving Picture Weekly”; Prairie Kitchen Makes Bow in Carey’s “A Woman’s Fool”. August 14,1918.“Moving Picture Weekly”; Three Mounted Men—Universal Special. October 12, 1918. “Motion Picture News”; Three Mounted Men. October 21, 1918. “Wid’s Daily”; Film Reviews. Three Mounted Men. November 1,1918. “Variety”; Roped—Universal Special. January 4, 1919. “Motion Picture News”; Film Reviews. Roped. January 31, 1919. “Variety”; Story and Publicity Matter for “A Fight For Love”. March 1919. “The Moving Picture Weekly”; A Fight For Love. March 9, 1919. “Wid’s Daily”; Film Reviews. A Fight For Love. March 21,1919. “Variety”; Bare Fists. April 20, 1919. “Wid’s Daily”; Lawrence Reid. Bare Fists—Universal. April 26, 1919. “Motion Picture News”; Riders of Vengeance — Universal. May 31, 1919. “Motion Picture News”; Riders of Vengeance. June 9, 1919. “Wid’s Daily”; Riders of Vengeance. June 13, 1919. “Variety”; Patsy Smith. Among the Women. June 13, 1919. “Variety”; Outcasts of Poker Flat Service Page. May 1919. “Moving Picture Weekly”; Special Service Section for Harry Carey in “Ace of the Saddle”. August 16, 1919. “Motion Picture News”; Western Meller With Good Story Foundation. October 12, 1919. “Wid’s Daily”; Rider of the Law. November 14, 1919. “Variety”; Service Page for “A Gunfighting Gentleman”. November 1919. “Moving Picture Weekly”; Service Page for “Marked Men”. December 1919. “Moving Picture Weekly”; Service Page for “The Freeze Out”. March 1921. “Moving Picture Weekly”; McElliott. A Western Gunman Provides Various Anxious Moments. March 31, 1921. “Moving Picture Weekly”; Service Page for “The Wallop”. May 7, 1921. “Moving Picture Weekly”; Service Page for “Desperate Trails”. June 25, 1921. “Moving Picture Weekly”; Obituary. J. Farrell MacDonald. August 6, 1953. “Variety”; Peter Bogdanovich. JOHN FORD. 1968. University of California Press; Albin Krebs. John Ford, The Movie Director Who Won 5 Oscars, Dies at 78. September 1, 1973. “New York Times”; David Kiehn. Hell Bent. 2019. San Francisco Silent Film Festival Booklet

John Ford & Harry Carey

Their Westerns for Universal Studios, 1917-21