Click on the image to enlarge.
Visually, shot for shot, this one of John Ford’s most beautiful films. The cinematography of Gabriel Figueroa is consistently amazing.
The film itself is both suspenseful and deeply moving, a rare feat indeed for a work which is so overtly religious. All of Ford’s films are religious, though rarely overtly so, because he was essentially a religious artist — service, sacrifice, forgiveness and redemption were his perennial themes. But he was wise enough to disguise these themes through indirection. Overtly religious themes make people nervous.
There’s something defiant in The Fugitive — an insistence on calling a spade a spade, spiritually speaking. You get a sense that Ford identified intimately with the film’s protagonist, a priest in a nameless country where religion has been outlawed, a man hunted, persecuted and eventually executed for his beliefs.
The film was a total flop commercially, and doesn’t hold a high place in the critical canon of Ford’s work. It was perhaps a self-fulfilling prophecy — Ford saying, “If I tell you what my films are really about, you’ll hate them.” Point taken. If you want to love Ford’s work while ignoring its religious content, you don’t really love Ford’s work at its thematic core.
Sadly, Ford tried to hedge his bets with The Fugitive, supplying it with a truly terrible score, which tries to inflate its simple, fable-like narrative with trite, overblown cues that in fact undermine its radical simplicity. The score tries to sell us a conventional suspense melodrama which bears no resemblance to the film Ford made, a flawed masterpiece, but a masterpiece all the same, and a very courageous one.
Blu-ray is to DVD what vinyl is to CD — that is, it offers an incremental increase in quality that somehow takes the viewing or listening experience into a new realm. Vinyl sounds more like live music than a CD can, Blu-ray looks more like a projected 35mm print than a DVD can.
The Blu-ray quality is more important for some films than for others — beautifully lit films with shots composed in depth, like The Searchers, take your breath away on Blu-Ray.
It makes a great difference with a film like Rear Window, much of which takes place in a single room. Hitchcock works hard, through lighting and composition, to make that room seem like an interesting place to be confined. It feels bigger and more inviting when seen in a Blu-Ray presentation, offering the compensations Hitchcock counted on for limiting his male star’s presence to one relatively small space.
I won’t say that every shot in John Ford’s Rio Grande is brilliantly lit, composed and choreographed, an example of cinematic craft at its highest pitch of elegance and beauty. Perhaps five percent of the shots in the film don’t fit that description. On the other hand, neither Citizen Kane nor Vertigo achieves that level of perfection from shot to shot, and very few films exceed it, Seven Samurai, Chimes At Midnight and The Conformist being among the few that come readily to mind.
Click on the image to enlarge.