User Reviews

When Herbert J. Yates of Republic Pictures made a deal with John Ford to produce The Quiet Man he first made Ford agree to do one of his cavalry epics with John Wayne because he wanted a surefire moneymaker before taking a chance on The Quiet Man. The cavalry picture was Rio Grande.

He must have been talking to the folks at RKO who lost their collective shirts when the public stayed away in droves from The Fugitive. It got great critical acclaim and no box office at all.

My guess is that The Fugitive was sold all wrong or was made a year or two too early. If it had been sold as an anti-Communist as opposed to a pro-Catholic film it might have done better in those beginning years of The Cold War.

The Fugitive is based on a Graham Greene novel The Power and the Glory and it is about a priest in an unnamed South American country who is a fugitive because of his calling. An anti-clerical government has taken control of the country and they are doing their best to drive the Catholic religion out of the country.

Henry Fonda turns in a good sincere performance as the cleric, but he's about as convincingly Latino as Toshiro Mifune. The other members of the cast are well suited for their roles.

The best performance in the film is from that chameleon like actor J. Carrol Naish who could play any kind of nationality on the planet. He's the informer who rats out Henry Fonda to the police. Very similar to what Akim Tamiroff did to Gary Cooper in For Whom The Bells Toll and Naish's own performance in another Gary Cooper film, Beau Geste.

This was the first of three films Pedro Armendariz did with John Ford in an effort to broaden his appeal beyond Mexican cinema. Dolores Del Rio as his estranged wife was already familiar to American audiences from the silent screen.

The original novel by Greene had the priest as somewhat less than true to all his vows. He's a drinker and a womanizer. Del Rio's character is also quite tawdry. And this from Greene who was a well known Catholic lay person. But this Hollywood in the firm grip of The Code so a lot of what Greene wrote had to be softened by Ford for the screen. It lessened the impact of the film.

And with the whitewashing of Fonda's character came some rather heavy handed symbolism of Fonda as a Christlike figure.

Still The Fugitive might be worth a look for Ford, Greene, and Fonda fans.

This excellent and dramatic movie , a co-production US-Mexico , is based on Graham Greene novel and written by Dudley Nichols . It starts when a priest (Henry Fonda) attempting to flee from a Centroamerican country , because Christianity being pursued by a totalitarian govern . He encounters help by an Indian woman (Dolores Del Rio) with a baby . She gives him direction to port where he could embark towards freedom . Meanwhile , he finds a mean countryman (J Carrol Naish) craving reward and is pursued by an authoritarian officer (Pedro Armendariz). Furthermore , his existence runs parallel a bank robber , The Gringo (War Bond) also relentlessly pursued .

Magnificent movie featuring awesome performances by complete casting . The film develops some John Ford's usual themes , as the sentimental nostalgia , sense of camaraderie , religion , and abound touching scenes . Henry Fonda in a larger-than-life role as a good priest is top-notch , Pedro Armendariz as a nasty general is perfect and War Bond as outlaw wanted by totalitarian police is cool . Fonda (Grapes of wrath , Drums along the Mohawk , Young Mr. Lincoln) and Pedro Armendariz (3 Godfathers , Fort Apache) played several films for John Ford . Besides , there appears Ford's habitual friends , someone uncredited , such as Jack Pennick , Rodolfo Acosta , John Qualen , Fortunio Bonanova , J Carrol Naish, Mel Ferrer's first film and the opening narration is by Ward Bond , who also plays an important role in the film . Luxurious cinematography in lights and darks by Gabriel Figueroa (usual of director Emilio Fernandez , here also producer) . Enjoyable musical score by Richard Hageman , adding Mexican songs with emotive dance included in charge of Dolores Del Rio . The picture shot in Mexico , was produced by Ford's Argosy Production Company , RKO pictures and Merian C. Cooper . Rating : Better than average , well worth seeing for John Ford enthusiasts .

Move over, Harrison Ford; your namesake John got here first. While comparisons with Andrew Davis' action-packed 1993 thriller are inevitable in discussing 'The Fugitive (1947),' the two films – aside from the similarity described in their shared title – are completely unrelated, and about as different as two films could possibly be. Unlike many of the Westerns that brought director John Ford his greatest fame, 'The Fugitive' is entirely unconcerned with any form of action or dialogue; Ford's film-making is so concentrated on establishing the correct emotional atmosphere for each scene that it occasionally strays into tedium. However, it was obviously a very personal project for the Ford – who once called it "perfect" – and it's difficult to criticise a film into which the director poured so much passion and resolve. The story was adapted from Graham Greene's 1940 novel, "The Power and the Glory" {a.k.a. "The Labyrinthine Ways"} and concerns the plight of a victimised Christian priest, in an unnamed Latin American country where religion has been outlawed.

Perhaps the film's greatest weakness, from my reasoning at least, is that it is so concerned with painting each character as an icon or ideal (few characters are afforded names, and are instead credited with indefinite articles; "a fugitive," "a lieutenant of police," "an Indian woman") that it's hard to sympathise with them. Fortunately, while consistently attempting to maintain each character as a "timeless" figure in the film's ageless story, Dudley Nichols's screenplay avoids the usual stereotypes to which most amateur filmmakers would inevitably resort. The Fugitive (Henry Fonda) is not a courageous, humble pillar of human decency, but a misguided clergy driven by an unconscious self-pride; his adversary, the Lieutenant of Police (Pedro Armendáriz), loves his country and its people deeply, but, guided by a fierce blind patriotism and an illogical hatred of religion, he is often misled towards acts of sheer barbarity. The Police Informer (J. Carrol Naish) is a Judas-like character, betraying The Fugitive to the authorities, and becoming inescapably repentant at the thought of his inhumanity.

Despite not being particularly religious myself, I was sufficiently moved by Christianity's noble plight for survival, though I wasn't overly fond of the film's ultimate assertion that the lieutenant's hatred of religion stems directly from his secretly believing in God but being unwilling to admit it. Nevertheless, if you're going to watch 'The Fugitive,' it will most certainly be for the photography, which is, captured by Mexican cinematographer Gabriel Figueroa, indescribably breathtaking. The opening sequence, in which The Fugitive returns to his former church, the light streaking through the windows as though God himself is reaching into the forsaken depths of the building, is spellbinding in its beauty. While Armendáriz is charismatic, and even slightly sympathetic, in his role of the antagonist, Henry Fonda largely looks awkward in the lead role (though you could argue that this uneasiness is integral to his character), and most of the other players – perhaps due to a language barrier – are similarly stilted. A visual masterpiece this film may be, and certainly an overall interesting watch, but 'The Fugitive' remains inferior Ford.

Hmmm, let's see... we've got a movie about a Catholic priest trying to exercise his ministry in a Latin American country whose government has been taken over by an anticlerical revolutionary party,... he administers the sacraments to the devoutly believing people while trying to stay one step ahead of the law, which has hunted down every other priest in the country,... what do you this movie will be like?

In the hands of the crusty but sentimental John Ford, you might expect this movie to be some kind of hagiography, showing the priest as he performs his pastoral labors with fierce courage as well as with patient devotion, and anticipates his fate with Christian resignation. (This would be particularly apt if Pat O'Brien or Spencer Tracy played the priest.) You might also expect the people he serves will be portrayed as simple God-fearing people with stout hearts and no illusions about the true intentions of their political leaders. The government and its agents will be portrayed as cruel and cynical tyrants, ever ready to beat on the simple folk in the name of the greater good.

Fortunately, this is not the movie that Ford made. The actual movie is a good deal more complicated (and much, much better) than that. This is a balanced, intelligent account of a tragic situation born of centuries of misrule and oppression by tyrannical government working, sad to say, hand in glove with the Church that is supposed to comfort the afflicted and afflict the comfortable. Pedro Amendariz in particular gives a great performance as the revolutionary government official, who, whatever his opinions may be, passionately loves his country, and sincerely wants the best for his beleaguered people. Henry Fonda, as the priest, gives at one point a stunning assessment of his motives for what he does which turns any picture of a heroic shepherd on its ear.

This is one of John Ford's lesser known pictures - an unknown masterpiece.

Graham Greene is one of the literary greats, and while the book 'The Power and the Glory' that 1947's 'The Fugitive' is based on is not one of my favourites of his and one can totally see why it was controversial at the time it is an interesting read. John Ford was a truly fine director, one of the best at that time, known for some of the finest Westerns around and he excelled too in non-Westerns (i.e. 'The Quiet Man'). The cast is an interesting one, Henry Fonda being the best known.

'The Fugitive' adaptation-wise is a loose one, and the censorship the film had to endure dilutes the impact somewhat. Two of the biggest differences being Fonda's character being no longer being an alcoholic and the central relationship not being sexual, which if included would have the film quite bold. If included though, it would have made it as divisive as the book. On its own terms, 'The Fugitive' didn't wow me and the potential was there for it to have been a much better film. But it was still not bad at all, actually thought that it was quite good, and there are a fair share of note-worthy good elements.

Coming off best of the many good things is Gabriel Figueroa's outdoor photography. Which is really quite miraculous, so many of the shots leave one in wonder in their beauty and varied technical skill. Oh and the outdoor locations are just stunning. The haunting score doesn't feel too constant or in your face, having the right mood throughout while not over-emphasising too much. Ford does show frequently how great he was as a director, at its best his direction here in 'The Fugitive' is quite masterly.

Some very thoughtful and powerful moments in the script and enough of the story compels and moves. The performances are very good, with a smouldering Dolores Del Rio (though she does have moments where she overacts) and a remarkably nuanced Fonda in a complex role being generally strong. The best performance comes from a both menacing and tortured Pedro Armendariz, who is riveting whenever he appears.

On the other hand, too much of the writing is very melodramatic to an over-cooked degree, as is Del Rio at times. Some of the pace is a bit draggy.

Do agree with those that say that the religious element of the story is very heavy-handed and at times vague. It is focused on too much and it is delivered with little subtlety, the messaging was done in a way that made me feel beaten around the head.

All in all, a lot of note-worthy things but flawed. One of those "appreciated what it tried to do" sort of films while not properly loving it, the divisiveness in opinions is understandable. 6.5/10

With the important Mexican team that did the most famous films of director Emilio Fernandez ("Flores Silvestres", "Maria Candelaria", "Las Abandonadas" ...): Dolores del Rio, Pedro Armendariz and cinematographer Gabriel Figueroa, based on work Graham Greene's "The Power and the Glory" outstanding writer and an actor of the caliber of Henry Fonda for the leading role, everything seemed to assume that it would result in another great drama like that in the 30s and early 40s we had given the remarkable director John Ford.

The story begins with a perfect plane: after wandering a good trip, Henry Fonda comes to the doors of a church in a altosano. When you open the doors, we see from the inside and then pushes the wings leaving a cone of light entering from outside. He stops for a moment with arms outstretched and thus draws a significant cross that serves as a signal to understand that we are facing another martyr. Then his personality is revealed and we know that is a priest, a fugitive from an authoritarian system that pursues anti-clerical.

And then guess the first flaw of the script by Dudley Nichols: Spend a long time before we see a significant gesture that motivates us affection and empathy with the priest or to explain that it is unjust persecution that is being targeted. In addition, certain to appease the church, the writer removes all characters in the work of Greene, recreating the priest as an earthly man, and prefers to characterize it as a man who does not break an egg and is left to manipulate the whole who wants to do. ¡Pure fiction!

Credits, to emphasize the universality of history are made in the manner of Chaplin: Henry Fonda... a fugitive, Dolores del Rio... an Indian woman, Pedro Armendáriz... a lieutenant… And soon we realize: It is neither more nor less than the story of Jesus, moved to the 40s of the twentieth century, which is telling us. Of course! María Dolores is none other than Mary Magdalene and the bounty is the same Judas. The triangle of Nazareth to the mero mero.

Unless the pertinent images Figueroa, nothing relevant that this film offers us nothing in surface waters and quite sugary.

In his interviews with such well-meaning young aesthetes as Peter Bogdanovich, John Ford always chose to play dumb --portraying himself as a tough no-nonsense, hard-drinking old Irishman who just happened to "make Westerns." That lovable wise man with his mono-syllabic answers to their solemn questions, the drink in hand, the patch over one eye, pretended to have no idea whatsoever what those intellectuals from film school and glossy magazines were talking about. But as this film demonstrates, under that gruff exterior old man Ford obviously had once had a hidden desire to do what all the kids were trying to do a generation later -–i.e. make Cinema Art with a capitol "C" and a capitol "A." This film made under the banner of his own Argosy Productions is, sad to say, not Ford at his best. It's too bad because at his best, at his greatest, he was a supremely gifted visual story-teller who rarely drew attention to himself and his effects. This ponderously paced film, aglow with the heavenly light created by the Mexican cinematographer, Gabriel Figueroa, and the syrupy old-fashioned symphonic score by Richard Hageman is always on the brink of sentimental piety and artistic pretension; often it falls flat on its face or over the edge. Figueroa who started as an Edward Tisse's assistant on Eisenstein's Mexican experiment "Che Viva Mexico" indulges in the same lined-faces of the noble peons style of photography that we see in that arty Russian film. How different then is the work of Ford's occasional collaborator, the great Greg Toland (said to have mentored Figueroa as well) who photographed "Long Voyage Home" and "Grapes of Wrath," as well as Welles' "Citizen Kane." In those films, the shadows and light serve the story, but in this one Figueroa's photography, however beautiful to see, simply overtakes the film by exaggerating all the absurd Sunday School symbolism.

The Fugitive is directed by John Ford and adapted to screenplay by Dudley Nichols from the Graham Greene novel The Labyrinthine Ways. It stars Henry Fonda, Dolores del Rio, Pedro Armendáriz, J. Carrol Naish, Leo Carrillo and Ward Bond. Music is by Richard Hageman and cinematography by Gabriel Figueropa.

Latin America and anti-cleric policies render the last remaining priest in this particular state a fugitive...

Depending on which side of the fence you sit, this is either a turgid bore or one of John Ford's masterpieces. Ford himself claimed it to be one of his favourites of his own movies, but that may well just have been him standing tall in the face of criticism. Undeniably it's a visual treat as the great director blends his landscape skills with expressionistic stylings, but the religio allegory of the narrative is quite frankly dull and often too oblique for its own good. It doesn't help that Fonda is miscast either, the great director unable to steer Fonda to a performance to off set the staid screenplay he's forced to work with. While the other characters just come off as artificial.

Interesting to look at and with some commentary (biblical/repression) in the mix, but it's an experiment from one of America's greatest directors that doesn't work. It's not hard to see why it was a box office stiff. 5/10

There are essentially two ways in which to view this movie.

The first one is to compare and contrast this film with the novel from which it is loosely inspired, "The Power and the Glory" by Graham Greene. This would unfortunately lead to disappointment and a poor understanding of John Ford's motives in making this movie. While the characters and situation are indeed taken from the book, The Fugitive is radically different, not just in the manner in which the main characters are treated, but more importantly, in the message it carries. While Greene's masterpiece described how even the most outwardly depraved and despicable of human beings can be redeemed by their last actions of faith and sacrifice, John Ford was more concerned with showing how circumstances may transform a cowardly priest into a martyr for the faith. While these two themes may be related, they reveal a difference in their respective author's world view and understanding of faith and redemption. It may be argued that the code of those days would not have permitted the showing of an alcoholic and adulterous priest on screen, but this would be misunderstanding the fundamental philosophy of John Ford, whose relatively conservative views in matters of morality would have recoiled at such an idea.

This brings us to the second way in which this movie can be enjoyed and appreciated, namely as John Ford's labour of love and guilty pleasure. It has been said that, of all the masterpieces he created with Henry Fonda and others, and there were many, The Fugitive was one of his all-time personal favorites, even though it was never a popular, nor critical success. Ford projected in his version of the story many of his personal trips regarding his faith. Allegories, and barely subtle Christ references abound in this movie, though never in a simple, nor trite manner. Rather, it is a beautifully-made story of a man's journey from fear and doubt to a better understanding of his role, no matter how modest, in the grand affairs of the world.

The photography is truly a work of art, masterfully using light and shadows, brightness and dark, close-ups of faces distorted by anguish and halos of figures resembling statues in church alcoves. Fonda's performance, always perfect, reaches new heights here. His mastery at containing emotions, while letting them seep through the audience, undiluted, gives this particular characterization extraordinary strength and complexity. It would have been tempting to interpret the priest as an almost static character, given the subject matter. Instead, while his priest was neither alcoholic, nor adulterous, he displays an even greater weakness and flaw of character: lack of faith, profound self-doubt and abject cowardice. His fears, doubts and anguish and his gradual descent into debasement, are in many ways more disturbing since they are in direct conflict with the sacrifices and moral strength demanded of a priest during religious persecution.

Dolores del Rio is magnificent in her Mary-Magdalena characterization, as Pedro Amendariz, superb as the perennial Judas torn by love, hate, jealousy, and fear. There is very little dialogue, and unlike many of Ford's movie, very little of the usual comic relief which often balances dramatic moments. Yet, there is never a dull or unnecessary scene.

John Ford has crafted in this movie something better than a faithful rendition of "The Power and The Glory". Indeed, The Fugitive is a beautiful, heartfelt story about humanity's frailty and its struggle to find strength and redemption in times of crisis. In this sense it is after all a wonderful tribute to Graham Greene's novel.

John Ford made this another great film classic for future generations and a great learning film. Henry Fonda(Priest/and Fugitive) gave a wonderful performance along with Dolores del Rio (An Indian Woman). This black and white film made the horrors of prison life very real and uncomfortable. J.Carrol Naish(Police Informer) ran after Fonda throughout the entire picture. Leo Carrillo(Chief of Police)(famous for his acting in the Cisco Kid Movies) ruled his corrupt jail with an iron fist. Ward Bond had to make an appearance as (El Gringo) and if you look real fast, you will see Mel Ferrer as Father Serra) All of John Ford's films were great in the 30's and 40's and will always remain so.

It's easy to see why THE FUGITIVE was a critical and commercial box-office failure. For some reason, none of Graham Greene's novels transfer well to the screen. The somber stories are all too melodramatic and heavy-handed, and this is no exception. Furthermore, in the role of the fugitive priest south of the border, HENRY FONDA looks decidedly uncomfortable throughout.

This time John Ford struck out. The story is drab, downbeat and depressing--and both HENRY FONDA and DOLORES del RIO seem to be acting for the camera in a style that approaches silent screen acting in the worst possible way--especially during the opening scene. Del Rio is so artificial, she seems to be posing dramatically for every close-up.

Even PEDRO ARMENDARIZ overdoes the villainous swagger and sneer and J. CARROL NAISH overacts in the role of an informant. Between acting styles and the extravagant use of symbolism, this is a film of many flaws, most of them in the direction and heavy-handed script.

A critical failure at the time, it is in no way the masterpiece some are calling it among the user comments here.

No Ford film would be complete without WARD BOND turning up as "El Gringo". At least he gives the film a touch of grim realism. The busy background score by Richard Hageman is no help at all and seems more appropriate for the score of a silent film.

"The Fugitive" was considered by Ford to be one of his best; most critics, including many Ford afficionados, disagree. While I wouldn't rank it up there with his best either, I think the film (like Ford's final film "Seven Women") has gotten an undeserved bad rap. Sure, the religious iconography gets way out of hand at times and the pace is a bit wobbly but there's much to offset the film's shortcomings. Most obviously - and no one will deny this - it is a beautiful film to look at. It is one of the great photographic achievements in cinema history. The moody expressionism that finally got somewhat oppressive and dull in Ford's "The Informer" is here counterbalanced by exquisite outdoor scenery of the Mexican countryside where "The Fugitive" was shot. The film also features an odd, mopey performance from Henry Fonda that works quite well within the context of the story. Although in the end it's a bit simplistic it does have an undeniable poetry in it that is in the league of the director's finest work.

I was attracted to this movie because of Henry Fonday, Dolores del Rio, and John Ford, all of whom I'm a fan. But this movie was just so WEIRD. From the start, I felt like I had joined the movie in the middle. The dramatic music along the walk and as he enters the church - it feels like a crucial point in a movie, but we don't even know what's going on yet. There are long periods with no dialogue, almost has the feel of a silent movie at times.

I found the whole movie depressing without any redeeming character development that would have made me sympathize with the characters. Why is Fonda, a white priest, even in this country in the first place? It's never explained. And he lets everyone take the fall for him. He's not likable or relatable in any way to me.

This is an interesting film because the original story/novel its based on, "The Power and the Glory" by Graham Greene (considered one of the best novels of the 20th century), tells a very similar story but completely diferent. The novel takes place in Mexico during the 'War of the Cristeros' where after the Mexican Revolution the goverments of certain states in Mexico (Chiapas in the book) decide to rid themselves of bad priests (priests who drank, extortioned, and had several families of their own), which happened to be almost every priest. The novel and the John Ford movie tell almost the same story, but with the huge difference that the priest character (Henry Fonda) is not an alcoholic, has not fathered a son with the peasant woman, and instead of cowardly he is somewhat of a martyr. On the other hand the lieutenant of police, played very well by Pedro Armendariz, although still ruthless is now seen as being 'bad' because he is hunting down a priest.

Overall the movie has great acting (particularly Armendariz), great direction, and is beautifully photographed by Mexican great Gabriel Figueroa. Its a shame that the producers decided to compromise Graham Greenes original story.

John Ford's adaptation of Graham Greene's "The Power And The Glory" captures perfectly the potential for the seven deadly sins in all of us. It is an incredibly and understatedly raw and emotional and downright earthy movie. The entire supporting cast is brilliant, and Fonda, of course, is excellent, if not precisely ideal. This is in all senses, a quintessential study in soul-searching.

A nameless Mexican state is under revolutionary rule where anti-Catholic rules make any priest a fugitive. A nameless priest (Henry Fonda) returns to his burnt out church and finds Maria Dolores there alone with her baby. She wishes for her daughter to be baptized. He rings the bell and the villagers come out of hiding. Revolutionary commander Juan Rafael is hunting for the priest and institutes a ruthless plan to take a villager hostage threating to execute him in the priest's place. The priest decides to escape and encounters wanted criminal El Gringo.

This is legendary director John Ford's cinematic flair for the camera work and a pro-religion work of art. Fonda has one facial expression in this movie and a general muteness which allows him to deliver some great lines in the climax. Rafael is a bewildered tyrant. The problem is that he's drawn too broadly. It's a role that needs care but it is more like a hammer being swung around in a china shop. He has an interesting personal story with Maria but it feels repetitive. It doesn't help that they randomly meet again later in the movie. He has an overwhelming cluelessness which makes him a cartoon character. He is a forced creation rather than good drama. In a way, that's this movie. Ford is using his cinematic skills to push through a point of view inside a movie. The final scene with the backlit cross is very reminiscent of the doorway in The Searchers. This is a movie of superior skills.

I would consider this among the poorest of John Ford's films. This is odd, as before I saw it again recently, I remembered it as being a pretty decent film.

The movie is an obvious message about the dangers of communism. While this word is not used and the film is wrapped more in the guise of a Central American revolution, it's obvious that the film was intended by the studio to be an indictment against the godless communists. Because of this, it was very timely for the 1940s but today it comes off more as dated and as propaganda.

Apart from the poor story (it's just way too obvious) the film is a melange of mediocrity. While there are some accomplished Mexican actors in the movie, there also are some Americans who put on thick fake accents and some who just sound like Americans--making the viewing experience strange to say the least. It's also a rather slow and heavy-handed picture--one that is easy to skip. The only real plus is the great camera-work and inventive camera angels and lighting--that DID make the picture at least look really nice.

It's been written somewhere that the cruelest thing you can say to an artist is that his work is flawless. John Ford thought of the Fugitive as, despite not being a box-office success, a perfect film and one of his very favorites. It's perhaps more than prudent then to point out some of the criticisms one would have of the film (which, perhaps, is moot since he's been dead for decades). As a fan of the Ford work I've seen there are some times when he's touched perfection (Grapes of Wrath and the Searchers are it for me), and sometimes not so much, which goes without saying he directed many films. With the Fugitive it's recognizable to me why it's split its audience: some hail it as being totally underrated and a brilliant depiction of religious allegory and suffering, and some say that it's a total crock for being far too heavy-handed and acted over-the-top.

Both sides have their right points; it is an underrated picture, if only for its technical feats of cinematography (Gabriel Figueroa is just right for this kind of material for Ford) and Ford's usual talents as a basic storyteller with a tendency for pure cinema expression (i.e. lack of dialog is a plus with the emotion expressed through the camera and actors. But it is also not well-acted in a couple of instances, notably the beautiful but overbearing Delores Del-Rio as the woman living in the town who's baby is baptized by the Priest played by Henry Fonda. For Fonda, it should be said, he at least gives all he can for a performance that possibly other actors could have played with more magnificence. In fact it's for him that some of the picture is most watchable, as he flexes his emotional chops for a scene where it's required for complexity like when he misses the boat and is asked to bless someone dying only to realize there is no wine and must go to ask from a vulgarian for wine (which, as it turns out, is drunken with brandy and all by him).

While it might not be the Fonda we all know and love from Grapes of Wrath or My Darling Clementine he does what he can with the part, and it's a tribute to him and Ford that they make it engrossing on a very simple level that carries some complex connotations. When focusing on the actual chase and flight from the Mexican police it works very well (particularly with a hammy but effective informer played by J. Carrol Nash). It's just when Ford over-indulges in the spiritual aspect of the picture, which is only made clearer towards the end, that it loses its footing. Indeed the start of the picture kind of threw me off for a little bit as Fonda comes in with the Christ-like symbolism highlighted on the wall, and the townspeople come in with tears in their eyes and a somber song to sing and Fonda blesses and baptizes others. I wondered: is this a little TOO much in the way of what Ford does best, which is telling the story? He can be brilliant in throwing in his deep-rooted Catholic ideas as pure visions on the screen, and once or twice in the Fugitive he does... and then other times it falls flat or goes too high where it starts to become a full-blown religious picture as opposed to a societal thriller.

Should Ford fans see it? Of course; even a lessor Ford picture will have something interesting. Will everyone like it? Surely not. Yet it is usually fine, traditional work and shouldn't be completely dismissed.

Of all of the John Ford films I've seen, this is the only one that I would classify as "artsy." That isn't to say his other films have no artistic merit. Absolutely not. He's got a long list of films that are artistically brilliant as well plenty of popcorn films too. But this is the only one where it feels like Ford got lost in experimenting and trying something different instead of making a more solid film with a good story. The plot is about a priest (Henry Fonda) in some fictional Latin American country trying to get away from a government that has denounced religion and is looking to eliminate all religious leaders.

There's a lot of Christian symbolism in this one. If The Quiet Man was Ford's love letter to his Irish roots, this is Ford's love letter to his Catholicism. Both are deeply personal films for the director. The art-house feel of the film with the overtly religious nature of the story and its symbolism unfortunately will turn some viewers off. Some of the vitriol I've seen directed at this film on this basis is truly disturbing. I get not connecting with someone's religious or spiritual beliefs, but why react with hatred towards it? I don't get that. Nothing in this film warrants that kind of reaction. It's not offensive in the slightest. At its worst its simply dull.

Bizarre, fascinating, and a very different film for Ford. Admittedly it's heavy-handed at times but I think it has value. It's certainly a beautiful-looking film. If you're a fan of Ford or Fonda, you really should see it at least once. It's different enough to warrant you try it.

Not John Ford's finest hour. "The Fugitive" was his 1947 adaptation of Graham Greene's "The Power and the Glory" and like "The Informer" it suffers from a heavy dose of Expressionism and worse, 'religiosity'; this is enough to turn the best Catholic to paganism. Filmed in Mexico and, presumably, set there, though the opening narration informs us it's a 'nameless state'. It's about a place where religion is banned and where priests must hide out and become fugitives.

Henry Fonda is 'the fugitive' of the title, a priest trying to keep one step ahead of the law, represented here by Pedro Armendariz. No-one is given a name but simply a title, 'a figitive', 'an Indian woman' (that's Dolores del Rio), 'a Lieutenant of Police' and so on. Symbolism is the order of the day and Fonda's priest is decidedly Christ-like, (we also have a Judas, a Magdalene, a Barabbas etc.), and for a country where religion is banned on pain of death the peasants seem to embrace it and to burst into song at every opportunity. The superb black and white cinematography of Gabriel Figueroa is the only plus.

For 5 years beginning in 1926, the Republic of Mexico waged all out war against Catholic armies in several states in Mexico until 1931. The movie made by John Ford, follows the massive effect this Catholic repression had on Mexicans and their society over this time period. The baptisms, the hostage taking, the executions, the effect this repression had on all classes of Mexican society, were part of this understated but brilliant depiction of Mexico during the Cristero Rebellion.

The fact that John Ford used the creme of the creme of Mexican films; Emiliano "El Indio" Fernandez, an iconic figure in Mexico's Golden Age of Cinema, as an associate producer, Fernando Fernandez, an accomplished singer in Mexican cinema, Miguel Inclan (the hostage), who would go on to achieve fame as the blind man in Bunuel's "Los Olvidados", Gabriel Figueroa, by far the most accomplished Mexican cinematographer of all time, Delores Del Rio and Pedro Armendariz, two of the top stars of Mexican films, to support one of America's finest movie stars Henry Fonda, speaks volumes on John Ford's efforts to craft a movie for the ages.

This film has the angst found in German films, the methodical cadence characterizing films from Great Britian, the lights and shadows of Mexico, with a good helping of an American western, thanks to another great tough guy performance by Ward Bond. The lighting, camera angles, scenic shots; Gabriel used Mexico's two most important and sacred mountains in his scenery, Popocatepetl, and Iztaccihuatl.

In closing, for all you film buffs, there is a triangle relationship between this film and one of the greatest films (if not the greatest) of all times, Citizen Kane. Everyone knows that Delores Del Rio was having a relationship with Orsen Wells, during the filming of Citizen Kane. The cinematographer of Citizen Kane, Gregg Toland, was a mentor for Gabriel Figueroa in Hollywood during the 1930's!

Directed by John Ford, "The Fugitive" from 1947 is based on the Graham Greene novel and concerns a priest (Henry Fonda) in Central America trying to escape the authorities. Christianity has been denounced, and all the priests have been shot.

The priest meets an Indian woman (Delores del Rio) who has an illegitimate baby, and she explains that none of the babies in the town have been baptized. He baptizes them, but the next day, the authorities see the water in the font and that the candles have been burned and heighten their search.

The priest has now disguised himself and goes to Puerto Grande, where he can board a ship for America. However, he winds up on the run again.

Not one of Ford's top films, but highly recommended because it is Ford and his amazing artist's eye for framing a shot. The photography is breathtaking; of course, it's hard to go wrong with the gorgeous Delores del Rio. She gives a wonderful performance, as does Fonda as a haunted, hunted man.

There are a lot of chases, some singing, not a lot of dialogue, and it's a somber film. There are other Ford films I like better, but all of his work is worth seeing.

John Ford was a career director and did not see himself as a purveyor of "art" films, yet here he is making one. Looking at this film from a 21st century perspective, when the Mexican history in question is no longer in the public memory, we take this film less for it's gesture and more for what it is. It's a true story that tries to be "timeless" as the voice over introduction says, to the point of simplifying characters to a ridiculous degree, simplifying the story (it's based on what's probably a much better novel - by Graham Greene), and going to overkill with the "artistic" photography, symbolism and general sense of being anywhere but an historical period. Some of the shots of Dolores Del Rio hamming it up are very embarrassing. To the extent that the film allows him to do anything, Fonda puts in a passable performance. Pedro Armendariz is adequate. Apparently Ford liked this movie. Closet artist that he was.