[.ca] My Darling Clementine

Amazon.com Essential Video:
The most famous and sublime treatment of the gunfight at the O.K. Corral, John Ford's My Darling Clementine is by any measure one of the most classically perfect Westerns ever made. Henry Fonda plays a hard, serious Wyatt Earp leading a cattle drive west with his brothers when a stopover in the wild town of Tombstone ends in the murder of his youngest brother. Wyatt takes up the badge he had turned down earlier and tames the wide-open town with his brothers (Ward Bond and Tim Holt), all the while waiting for the wild Clantons (led by Walter Brennan's ruthless Old Man Clanton) to make a mistake. Victor Mature delivers perhaps his finest performance as the tubercular gambler Doc Holliday, an alcoholic Eastern doctor escaping civilization in the Wild West. Ford takes great liberties with history, bending the story to fit his ideal of the West, a balance of social law and pioneer spirit. Though the film reaches its climax in the legendary gunfight between the Earps (with Doc Holliday) and the Clantons, the most powerful moment is the moving Sunday morning church social played out on the floor of the unfinished church. As Earp dances with Clementine (Cathy Downs)--Fonda's stiff, self-conscious movements showing a man unaccustomed to such social interaction--Ford's camera frames them against the open sky: the town and the wilderness merge into the new Eden of the West for a brief moment. --Sean Axmaker

A darling of a movie . . . . Clementine will like it too . .:
My Darling Clemintine "My Darling Clementine" is one of those films about which so much has been written(including a good Rutgers "Films In Print" entry),that it seems pointless to belabour it's greatness.I award it five stars only because there are no more available."Clementine" is less a story than a series of incidents,and since the purchase of a video implies repeat viewings,this one is a natural for everyone's permanent collection.I'm all for lean,tightly constructed westerns(of which the James Stewart/Anthony Manns are excellent examples),but the leisurely "Clementine"---austere,relaxed,filled with moments that seem utterly spontaneous---has a roughhewn,unrehearsed quality that's all the more surprising in a major studio "A" western.Since we're dealing with Wyatt Earp and the gunfight at the O.K.Corall,the narrative does eventually assert itself,if only to steer us toward the final confrontation---but the device involving the stolen "Chingadera" and it's reappearance around Linda Darnell's neck,seems almost an intrusion,taking us away from the simpler moments we've enjoyed(for nearly two-thirds of the running time!),and reminding us that there is a story which must be told and now let's get down to the business of telling it.More telling,however,are the many and marvelous details Ford reveals throughout---check out Doc Holliday's room in the hotel---not only do we see his diplomas,but there are photos of a college rowing team on the water---a wonderfully vivid and underplayed glimpse of Doc's past life.There's delightful scenes of people eating meals---big meals---alone and in groups---whereas in so many lesser westerns,all they do is drink whiskey.I love Ward Bond's frequent recitals of what he's just had,or is going to have,for breakfast.The Clantons may be outlaws,but they have framed pictures in their house and potted plants out front---even in town,they move about with familiar ease(check out the way Brennan walks behind the hotel counter to get his own room key).When the Earps are overlooking Tombstone(a stunning shot)just before their initial ride in,Wyatt regards it all quietly for a moment,follows with a resigned "Let's go..",as if knowing something disagreeable lies ahead.The business with the barber and his "sweet smellin' stuff" has been celebrated elsewhere,so I'll only add that the gag works beautifully for me because it's so underplayed---notice how both Tim Holt and Cathy Downs react to Fonda's explanation of the "honeysuckle"---both could have gone for an unsubtle laugh,and in a lesser director's hands,they might have.Several previous films had dealt with the Wyatt Earp legend---two are outstanding---"Law and Order",directed by Edward L.Cahn,and "Frontier Marshall",directed by Alan Dwan.The fact that neither are available on video points up the sorry state of affairs in home collecting these days---such a tiny portion of our great movie past is out there,and with each new technology being so ruthlessy swept away by the next,it seems unlikely that we'll be seeing many new releases of vintage titles in the near future(if at all).Still,there is "Clementine",and if you haven't already keyed it in for purchase,do yourself(and your viewing friends)a favor and buy it now.This is truly a picture you'll want to watch again and again.

Ford Prints the Legend - Sublimely:
This is arguably the best Western by the best director of Westerns in the history of the genre. Ostensibly the story of the gunfight at the O.K. Corral, the legendary John Ford gives us a vision of the Old West that is violent yet idealized, frightening yet warm, grim yet majestic. Ford has often been called a visual poet, and the sublime "My Darling Clementine" is perhaps the best example of visual poetry that anyone has ever put to celluloid. Forget about comparing this film to actual historical events. While Ford knew Wyatt Earp from his early Hollywood days when Ford was a prop boy, and he claimed that Earp told him how the gunfight really happened, he also said he wasn't trying to make a documentary when he directed "Clementine". The "facts", whatever they may be, don't matter here. As the newspaperman tells Senator Ransom Stoddard in Ford's "The Man Who Shot Liberty Valance", "When the legend becomes fact, print the legend." Henry Fonda's Earp is the classic Ford hero, somewhat distant and removed from society, quietly confident and basically nonviolent, but nevertheless commanding the utter respect of others (partly because of his reputation which has preceded him, and its inherent threat of violence). And, most importantly, he is ultimately unable to share in the peace and security that he makes possible for others. Next to his portrayal of Tom Joad in Ford's "The Grapes Of Wrath", this is perhaps Fonda's finest performance. He has never appeared more cool and comfortable in a role, as he laconically and assuredly inhabits the lawless frontier town of Tombstone. Contrasting Wyatt's sanguine pragmatism, Doc Holliday (Victor Mature) is a haunted, tragic outcast who has uprooted himself from civilization and drifted West. We learn that Doc was once a surgeon (the real Doc Holliday was a dentist, another negligible historical discrepancy), a valuable, functioning member of society, his career presumably cut short by alcoholism, consumption and undisclosed ghosts, which apparently still haunt him. The Clanton family provides the reason for Wyatt's accepting the job as marshal of Tombstone, by murdering his youngest brother, James, and making off with the Earp brothers' cattle. The miscreant Clantons, like the Cleggs family in Ford's "Wagonmaster", are the personification of evil, demented and motherless. The leader of their clan, known only as "Pa" (ominously played by Walter Brennan), would like nothing better than for Tombstone to remain open and lawless and free for the taking. Clementine Carter (Cathy Downs) appears as a civilizing angel from the East, who has come to rescue Doc from himself and bring him back to Boston (Ford's eternal bastion of Civilization in the worst sense, invariably inhabited by bigoted grotesques - though Miss Carter seems to have been spared this characterization). The tempestuous Chihuahua (Linda Darnell), who wants to run away with Doc to Mexico, embodies the wild, open frontier. While the climax naturally takes place at the O.K. Corral, the centerpiece of the film, as in many Ford films, is a dance. Its prelude unfolds majestically as Wyatt and Clementine meet in the lobby of the hotel and begin a stately walk toward the framework of the unfinished "first church of Tombstone", the sound of a tolling church bell and the strains of one of Ford's old favorite hymns, "Shall We Gather at the River" growing louder as the couple approaches the assembled congregation. Like many great moments in great films, the beauty of several elements melding flawlessly to create this sequence defies verbal description. The church, to Ford, helps legitimize the existence of a community, not only for religious reasons, but as a place where people can come together in fellowship, providing a foundation for that community's future existence. The dance, which takes place on the physical foundation of the unfinished church, is the turning point of the film, and provides possibly the most transcendent moment in all of Ford's work. It is the embodiment of the spiritual establishment of a real and lasting community, which, until the arrival of Wyatt and Clementine, and all that they stand for, had no solid foundation. Ford's use of comedy, often criticized for its broadness (but of which he was nevertheless proud), is sparing and deft in "Clementine". It is gentler and more restrained than his usual comedic fare, as in the humorous references to the aroma of the eau de toilette which the enthusiastic proprietor of the Bon Ton Tonsorial Parlor has applied to Wyatt's freshly shaven and coiffed person: "I love your town in the morning, Marshal", says Clementine, as she and Wyatt step out onto the front porch of the hotel; "the scent of the desert flower . . ." "That's me," corrects Wyatt, adding, explanatorily, "Barber." There is also the justly praised bit of business of Wyatt doing his seated "dance" on the front porch of the hotel, as he, somewhat passive aggressively, ignores the shrewish admonishments of Chihuahua. This casual, reportedly spontaneous creation of Fonda's (or Ford's, depending on the source) succinctly captures the essence of the relationship between the two characters. Ford's innately masterful sense of composition and lighting, which he displayed throughout his career, is magnificently displayed in "Clementine". The sweeping diagonal of the bar in the saloon as Wyatt walks to the door after Chihuahua's operation; the expressionistic shadows which constantly envelop the doomed Holliday's face; the somber, monumental tableau of Wyatt and Morgan, bending over the dead body of their brother Virgil in the street at night; all of these images resonate indefinitely in the viewer's memory, and all reveal a visual master in his prime. Many of the reassuringly familiar faces of Ford's legendary "stock company" are faithfully present, as was nearly always the case - with slight variations - over the years. Ward Bond, Jane Darwell, Russell Simpson, Mae Marsh, J. Farrell MacDonald and the ever-present, ever-endearing Francis Ford, John's older brother and former mentor (and a veteran of Hollywood from its infancy), all add their warm, familial qualities, counterbalancing the darker aspects of the film. Of all the Westerns I've seen, "My Darling Clementine" is the most eloquent, the most understatedly awe-inspiring - the most poetic. John Ford printed the legend. Sublimely.

Beautifully Paced Western:
I have always put"My Darling Clementine" in my top-ten westerns as do some critics,and after viewing it recently on the excellent DVD version I am considering it to be the best! The alternative version on the disc might not be to everyones taste but westerns should be slow paced(check out the excellent "Open Range")not just shoot-ups added for padding every 20 minutes or so. One of the best scenes in this movie or any other western is the excellent dance scene,especially the moment when Henry Fonda asks Kathy Downes to dance. Definetely Ford at his best and Victor Mature,s best hour as well. Kudos to all for a well produced DVD package

Shakespeare in Tombstone:
Of the many movies that I love and own, this is one of the DVDs I would grab if the house was on fire. My Darling Clementine is fundamentally about the shootout at the OK Corral, arguably the most famous 30 seconds in American history. But in John Ford's loving hands, the story takes its time getting there and, in the process, becomes as graceful and easily beautiful a piece of film-making as you will ever see. In this age when movie goers prize realism, sheer violence, and de-mythology, Ford has become something of a whipping boy for those who point out the glaring historical inaccuracies present in Hollywood's traditional portrayal of the American West. These folks miss the larger picture and are the poorer for their narrow, fashionable view. In this archetypal story of Wyatt Earp, Doc Holiday, and the Clanton family, Ford was not interested in historical detail. He was creating legends, not historical accounts for the archives. Ford was a film maker. When a movie lover approaches a Ford film, it becomes necessary to give oneself over to the power of film. Once one does that, tremendous pleasures await. Such as: the townspeople of Tombstone having a dance around the skeletal frame of a half-built church while the huge, flat buttes of Monument Valley tower in the background; or Henry Fonda as Earp watching with great sympathy as Victor Mature (Doc Holiday) recites Hamlet's suicide soliloquy in a barroom (as hokey as this sounds, it is Fonda's expression that will move you, I guarantee). Other images worth mentioning: Fonda/Earp walking alone through the rain of Tombstone at night; or the final shot of Clementine (meaningless in the film other than as a perfect symbol of all the things men love but can never have) standing framed against the Arizona sky and a picket fence - or the way Walter Brennan as Old Man Clanton, flashes through his scenes like a rattler's hiss. Loving a John Ford Western is a bit like believing in a religion: it requires a leap of faith - a belief in something that might not be tangible reality, but is instead an ideal no less worthy of love. This DVD is an absolute must for Ford fans, Western fans, or movie lovers. As an extra bonus, the special feature commentary by Ford biographer, Scott Eyman, is absolutely superb. Mr. Eyman's concise and rich commentary is nearly as enjoyable as the film itself. All in all, a real treasure for John Ford fans. -Mykal Banta

A Really Good Movie:
MY DARLING CLEMENTINE There has been a number of movies made about the gunfight at OK Corral, however this one happens to be my favorite. I personally enjoy classic black and white movies and I am an avid fan of Victor Mature, who plays Doc Holliday in this movie. One thing that makes this movie especially interesting is the development of the characters, for example, Wyatt Earp's misgivings about the town, the apparent conflict between Chihuahua (Doc Hollidays's girlfriend, played by Linda Darnell) and Wyatt Earp (played by Henry Fonda) and the conflict between Doc Holliday and Clementine (played by Cathy Downs), all of which add a human element to this film. I highly recommend adding this film to your collection.