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Top Fifty Films of the 40s — Number Seven

#7 — The Grapes of Wrath (John Ford, 1940) I stand by my longtime belief that John Steinbeck’s The Grapes of Wrath is the tome most deserving of the well-worn honorific The Great American Novel. The appeal of F. Scott

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Top Fifty Films of the 40s — Number Thirty

#30 — She Wore a Yellow Ribbon (John Ford, 1949) One of the pleasures of examining the long swath of Hollywood film history is considering the ways in which the long-lasting masters of the form adapted to the technological changes

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Top Fifty Films of the 40s — Number Forty-Five

#45 — My Darling Clementine (John Ford, 1946) I have an abiding fascination with and appreciation for those directors who have an uncommon mastery of the language of film narrative. Much as I might ply my modest critical acumen against

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Top Fifty Films of the 40s — Number Forty-Eight

#48 — 3 Godfathers (John Ford, 1948) A common and entirely apt complaint about modern Hollywood filmmaking is the evident pronounced disinterest in the pursuit of originality in favor of figuring out ways to cram familiar brands into the CGI-shaped

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Ford, Hancock, Huston, McDonagh, Robespierre

The Treasure of the Sierra Madre (John Huston, 1948). Huston’s famed exploration of greed tainting a slapdash partnership of aspiration gold miners in the Mexican mountains is so deviously ingenious that the director booming cackle virtually echoes through the most

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Abrahamson, Ford, Lang, Moodysson, Saulnier

While the City Sleeps (Fritz Lang, 1956). This noirish drama from director Fritz Lang takes aim at the seediness of the newspapers and the cutthroat competitiveness of those in the media, tiltimng at both with equal vigor. When the newspaper

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Top Fifty Films of the 50s — Number Seventeen

#17 — The Searchers (John Ford, 1956) Westerns, long a staple of Hollywood filmaking, were absolutely huge in the post-War years. According to Glenn Frankel’s book on the making of The Searchers, by the time John Ford’s iconic film was

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