The Iron Horse (1924)

 John Ford's "The Iron Horse"

After the massive success "The Covered Wagon" had in 1923, studios were itching to make another great American Historical Epic centering on the Old West. The construction of these types of films required, not only a great budget, but lots of extras, many moving pieces, and a vision that encompassed the large scale of the Old West. Because of this, skilled leadership was crutial. The president of Fox Film Corporation, William Fox, enlisted a 29 year old director to helm such an undertaking. Many might scoff at the president choosing such a young talent, but this 29 year old had already made more than 50 films. This level of expertise and mastery over the film medium had impressed the studio, so they felt assured the production was in good hand. The 29 year old's name was John Ford, and his direction of "The Iron Horse" would become the ignition point for a renowned filmmaking career. Dispite his 50 films prior, which were mostly B-picture Westerns, this big budget goliath would guarantee Ford's trajectory to high level filmmaking. 

With a script penned by Charles Kenyon, John Russell, and Charles Darton, "The Iron Horse" recounts the construction of the first transcontinental railroad in American history. During the mahem of the civil war, Lincoln chose to sign the bill that focused on the future success of the county, the economic funding of a railroad that would unite America. After his assassination, this railroad began construction, consisting of a culturally diverse workforce: Irish, Italian, and Chinese immigrants working alongside Americans to accomplish the most groundbreaking feat of technological advancement in the country's history. The film introduces us to opposition to this advancement in the form of a vile businessman, Deroux, who masquerades as a Cheyenne. After many attempts to circumvent the construction, Deroux inflames tensions with the Cheyenne so that they will attack the construction lines. After an epic, climatic battle, the train lines are protected and the railway gets built. 

What Ford does in "The Iron Horse" is nothing short of simplistic. This simplicity would becomes Ford's signiture style throughout his career, but this film allowed him to work on his craft. There are many aspects of the film that can be spotted as being very precient of what Ford would do later. Ford easily flows between multiple types of shots like close-ups that illustrates individual characters' emotional reactions, wide shots that showcase the vast landscapes that the characters inhabit, and medium shots of the interpersonal dynamics between them. Ford often likes to put the viewer right at the center of what's happening. When fights break out, the frenetic movements and editing of the camera place the viewer amongst the action. During speeding train sequences or scenes involving a chase on galloping horses, Ford employs tracking shots that allows the camera and the viewer to move parallel to quick movement. 

Another element of Ford's direction is the dimensionality he instills in the story. With a story about something so epic and ranging in scale and scope, you would think the characters would only be used as a piece of the larger puzzle. However, Ford cares as deeply about the individualism of the story as he does about the bigger picture collectivism. To achieve a sense of dimensionality in this far reaching tale, Ford spends time illustrating different characters personalities, quirks, and aspirations. The romance between two characters, Davy and Miriam lies at the heart of the story and showcases an interpersonal dynamic that represents the forming together of an American republic. Many details are added to side characters that allow those characters to become more formed within the story. Characters like Slattery, Casey, and Shultz follow along with the action without ever becoming the center of it. Ford likes to include scenes of these types of characters assisting the protagonists, showcasing their bravery; or anxities about going to the dentist, which showcases their humananity; as well as scenes of squabling that showcases an element of tension brought about by the grueling work. These scenes seem almost throwaway, however, their importance to the overall structure of the story cannot be understated. Additional flourishes of dimensionality include workers refusing to work because they have not been paid, a man killed in the commotion of packing up and moving headquarters, or a dog laying beside a dead Native American who had just been shot. These scenes provide a sense of realism. These touches by Ford provide an element of dimension to characters that could very well have been two dimension stand ins for the large scale production.

Showcasing how these varied individuals came together to accomplish the foundation of American unity demonstrates an element to Ford's work that would continue in his career. This foundation is that of America itself. Ford uses history as well as the blank slate of the American West to demonstrate the values of American society. These values focus on the unity of difference. With the varied cultural differences between the characters, as well as their varied perspecitves, this film showcases a nation of  diverse individuals working in harmony to establish an empire. The interdispersed squabbles and differences are inevitable steps on the journey to togetherness. Despite these conflicts, the end result is that of an America united, focused on the progress of the future and the brining together of a nation that was once divided.