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The Fugitive (1947 film)

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Title: The Fugitive (1947 film)  
Author: World Heritage Encyclopedia
Language: English
Subject: Emilio Fernández, Cinema of Mexico, Gabriel Figueroa, John Ford, Pedro Armendáriz
Collection: 1940S Drama Films, 1947 Films, American Drama Films, American Films, Black-and-White Films, English-Language Films, Estudios Churubusco Films, Films About Catholic Priests, Films About Roman Catholicism, Films Based on British Novels, Films Based on Novels, Films Based on Works by Graham Greene, Films Directed by John Ford, Films Set in a Fictional South American Country, Films Shot in Mexico, Mexican Drama Films, Mexican Films, Mexican-American Films, Rko Pictures Films, Screenplays by Dudley Nichols
Publisher: World Heritage Encyclopedia

The Fugitive (1947 film)

The Fugitive
Directed by John Ford
Produced by Merian C. Cooper
Emilio Fernández
John Ford
Written by Dudley Nichols
Based on The Power and the Glory 
by Graham Greene
Starring Henry Fonda
Dolores del Río
Pedro Armendáriz
Music by Richard Hageman
Cinematography Gabriel Figueroa
Edited by Jack Murray
Distributed by RKO Pictures
Release dates
November 3, 1947 (1947-11-03)
Running time
104 minutes
Country United States
Language English
Budget $1.5 million[1]

The Fugitive is a 1947 drama film starring Henry Fonda and directed by John Ford, based on the novel The Power and the Glory by Graham Greene. The film was shot on location in Mexico, and utilised the skills of Mexican cinematographer Gabriel Figueroa.


  • Plot 1
  • Cast 2
  • Reception 3
  • Accolades 4
  • References 5
  • External links 6


A nameless and conflicted

External links

  1. ^ Blondell, McCrea Team; Twins' Subject Chosen Schallert, Edwin. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 19 Mar 1946: A3.
  2. ^ Gallagher, Tag (1986). John Ford: The Man and His Films. University of California Press. p. 234.   Page numbers don't correspond exactly to the printed version.
  3. ^ Wood, Bret. "The Fugitive". Turner Classic Movies. 


The film gained the prize of the Venice Film Festival in 1948. According to this jury, this was a film "most capable of contributing to the revival of moral and spiritual values of humanity".


Bret Wood has written, "Ford is best remembered today for his boisterous adventure films, such as The Quiet Man (1952), The Searchers (1956) or She Wore a Yellow Ribbon (1949); and for his crusty, unpretentious demeanor, often denying the existence of thematic subtext in his work and refusing to discuss his artistic intentions as a director. But The Fugitive belongs to an earlier, lesser known faction of his work, self-consciously 'arty' films that demonstrated his interests in German expressionism, English literature and religious ideology. Films such as The Informer (1935), The Prisoner of Shark Island (1936) or The Long Voyage Home (1940), remind us that beneath Ford's growling machismo were a sophisticated mind and a brilliant visual sense, even though Ford was later to deny both gifts ('I make Westerns' is how he typically summarized his career). The Fugitive is perhaps Ford's last great 'art film', a high-minded show of faith, a lovingly crafted paean to his own Catholicism."[3]

Tag Gallagher has written an extended discussion of the film in his book, John Ford: The Man and His Films (1986). He summarizes The Fugitive and its place in Ford's career as follows: "... once in Mexico, Ford jettisoned most of the script and, giving leave to his fancy, made a highly abstract art film. The Fugitive lost considerable money, caused a rift between [writer Dudley] Nichols and Ford, and has posed problems even for Ford’s most devoted followers. Only the director himself consistently defended it. 'I just enjoy looking at it.' 'To me, it was perfect.' And in terms of composition, lighting and editing, The Fugitive may be among the most enjoyable pictures."[2]


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