young mr. lincoln

THE FLICK: John Ford had as much hand in shaping American culture as he did reflecting it through the lens of a camera. His films captured the idealized community spirit of a burgeoning country and projected it into cinematic history so successfully that it’s Ford’s vision of events we recall most clearly. His accuracy might be questionable, but his intentions were always honorable; a description which fits his first exercise in Americana, Young Mr. Lincoln starring Henry Fonda, to a tee. Rather than deliver a staid version of Lincoln’s latter-day accomplishments set against a suitably patriotic backdrop, Ford chooses to follow Abe as a struggling lawyer, a man of the people with a gift for language and a well-timed joke. Indeed, Lincoln may be the ultimate American in Ford’s lexicon, a man of words and action, who’s as comfortable with his fists as he is with the law. No other figure in the director’s films, not Ethan Edwards in The Searchers, not Ransom Stoddard in The Man Who Shot Liberty Valance, not even Fonda’s Wyatt Earp in My Darling Clementine manages to pull off this balancing act, a long-running dichotomy present in almost every Ford production. As a transitional figure from savagery to civilization, Ford’s Abe Lincoln is a voice of reason speaking language of the people. No scene more clearly defines this than Fonda’s folksy speech at the county jail, convincing a raging mob that frontier justice isn’t the moral, ethical or even most entertaining way to punish two suspected murderers...who also happen to be Abe’s clients. “We sometimes do things together we’d be mighty ashamed to do by ourselves,” he says to the crowd who, ropes in hand, turn and head back to their homes. It’s a moment that never fails to produce goosebumps, due in equal parts to Ford’s delicate handling and Fonda’s impeccable delivery. With a minimum of make-up and subtle posture adjustments, Fonda turns in a career defining performance as the future 16th President of the United States. Filled with a sense of impending destiny, much of Abe can be seen in the actor’s subsequent roles, particularly in Ford’s aforementioned My Darling Clemetine where Earp’s calm authority while balanced on the legs of a chair are a direct reference. It’s a perfect match of actor and material. Similarly, Ford’s simple approach brings out the “character” in his character actors. These are American’s at their best and worst, inhabiting a country on the cusp of greatness. This is history filled with humor and humanity. And, quite possibly, this is John Ford’s best expression of all three. THE FEATURES: As part of the Criterion Collection (spine #320, if you’re interested), Young Mr. Lincoln includes a bevy of valuable extras for both the Ford scholar and first-time viewer. Part One of the 1992 BBC program Omnibus, a 45-minute profile of John Ford written and presented by British director Lindsay Anderson is the first of the supplemental features. Superbly produced and carefully narrated, this is an objective look at both Ford’s genius and his flaws, running from his early career in the silent era up to his involvement in the war. It leaves you absolutely begging for “part two.” From the 1975 BBC talk show Parkinson, Henry Fonda appears for a 45-minute segment that runs through the highlights of his career, including a memorable story about his witness to a lynch mob while growing up in Omaha. Fonda also appears on one of two brief audio interviews conducted by Dan Ford, which also includes an excerpt from John Ford himself. The Academy Award Theater’s radio adaptation of Young Mr. Lincoln is presented in its entirety (with Fonda reprising his role) and also available for download on an MP3 player. And finally, the Gallery section includes excerpts from Lamar Trotti’s screenplay, original poster art and a fan letter from Sergei Eisenstein to John Ford.The Russian director also contributes to the DVD liner notes with a reprinting of his article “Mr. Lincoln By Mr. Ford,” which complements the more contemporary comments from critic Geoffrey O’Brien.