The USPS has issued a set of four stamps honoring great film
directors and the films for which they are most remembered. The four selected
are: John Ford (The Searchers), John Huston (The Maltese Falcon), Frank Capra
(It’s a Wonderful Life), and Billy Wilder (Some Like It Hot). We will be
exploring the lives and work of these directors over the next several weeks. In
this post LR Simon reviews Young Mr. Lincoln (Criterion Collection).
Young Mr. Lincoln was the first collaboration between John
Ford and Henry Fonda. The fictionalized story follows Lincoln as he establishes
himself as a country lawyer and local politician. The main part of the story
centers on a murder case, with Lincoln representing the defendants.
Ford had a special fascination with the forces that shaped
America and its people, so it’s only fitting that he would explore the life of
Lincoln, in a story that explores the themes of justice and compassion. We are
introduced to Lincoln as he sets out on his political career. Few directors
surpass Ford’s facility with the introduction of the hero, and his introduction
of Lincoln is no exception—the camera emphasizes Lincoln’s height, then gives
way to the young future President’s quiet eloquence.
After a political setback, Lincoln practices law in a small
firm, eventually representing two men unjustly accused of murder. The film
becomes a courtroom drama at this point, showing Lincoln’s dedication to truth
and justice, using an Almanac to show that the conditions at the scene of the
crime were not as described by the main witness for the prosecution. Throughout
the trial, there are moments of real humor and wit, as well as challenges that
don’t seem easy to overcome.
The only problem with the portrayal of Lincoln is that he
seems to have no flaws (inability to dance well is not a character flaw)—any
humanity he has is a direct result of Fonda’s performance. Most of the heroes
in Ford’s films are unambiguously the “good guys,” but they’re rarely perfect.
Ford probably had some hero worship of his own underpinning the portrayal of
the young Lincoln, if the closing montage is any indication, but when a
character begins in a state of perfection and remains there, it is left to the
other characters to provide the film with an arc.
Young Mr. Lincoln is a beautifully shot film (a Ford
hallmark), and a few scenes do provoke serious thought. While it is far from
Ford’s best work, it is still a worthy effort.
References
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