Showing posts with label John Ford. Show all posts
Showing posts with label John Ford. Show all posts

Thursday, July 31, 2025

90-second Book Review: Four Winds by Kristin Hannah is a Fine book About The Dust Bowl Years

 Kristin Hannah's novel, The Four Winds, published in 2021, is a fine book on the Dust Bowl years in America's Heartland.

I like the book for two reasons. First, Hannah's description of what it was like to live on a Dust Bowl farm is harrowingly accurate. I wasn't born until after the Great Depression, but my mother grew up on a farm in northwestern Oklahoma during the Dust Bowl years. Her description of that time confirms the accuracy of Hannah's narrative.

The sky turned black when the dust storms rolled through, and visibility was restricted to just a few feet. Although my mother's family stuffed bits of newspapers around the windows and door sashes to keep the dust out of their farm home, it got in anyway, covering every surface with a layer of fine, gritty sand.

My grandfather had a small herd of cows but no forage. Finally, he was forced to sell them to the government for a pittance. 

To reduce the glut in cattle, government shooters came onto the family farm, gathered up grandfather's cows, and shot them. My mother saw that happen, and she remembers a line of cars filled with scavengers who followed the shooters and harvested the meat.

My mother's family often went to bed hungry. The drought made it impossible to grow a vegetable garden, and their fruit trees died for lack of water.

My grandfather came to Oklahoma from Nebraska in a covered wagon, and he prospered for a few years when the price of wheat was high. He owned three horse-drawn harvesting machines. I remember those old relics rusting away in front of his home.

As a child, I imagined those machines as Christopher Columbus's ships: the Pinta, the NiƱa and the Santa Maria. And I remember walking through one of my grandfather's pastures. No cows; nothing but sagebrush and sand.

The Great Depression broke my grandfather's spirit. He spent his last days sitting in a rocking chair and masticating Swisher Sweet cigars like chewing tobacco. I don't recall ever having a conversation with him.

I also liked Hannah's book for its description of the reception the Dust Bowl refugees got when they migrated to California. My mother's family stuck it out, but over a quarter of a million Oklahomans migrated to California in the 1930s.


Californians tried to keep them out, and when they got in anyway, California's big landowners hired them to pick fruit, vegetables, and cotton for starvation wages. Whole families worked all day just to buy their daily food.

Any review of Four Winds must include a comparison with John Steinbeck's Pulitzer Prize-winning novel, The Grapes of Wrath. Both books have a feminist theme. Elsa Martinelli, Hannah's protagonist, goes to California as a single mother with two children. By the novel's end, Elsa becomes radicalized and helps organize a farm workers' strike.

In The Grapes of Wrath, Ma Joad assumes the leadership of her extended family after the menfolk break under the strain of their flight to California. When the going gets really tough, Steinbeck implies, you gotta rely on the women to survive,

Every American should read The Grapes of Wrath and The Four Winds to understand rural Americans' desperate lives during the 1930s. They should also see John Ford's epic movie, The Grapes of Wrath, which won two Academy Awards in 1941.

It is fashionable today to view all Americans living in the Heartland as "white Christian Nationalists" who have prospered by exploiting people of color. Of course, that's not true. Most people in  Flyover Country work hard, practice their religion, and lead modest lives.

Moreover, the descendants of the Dust Bowl refugees claim a heritage of suffering, exploitation, and unbearable hardship--as harsh as any American has suffered in the twentieth century--regardless of color. This is my heritage, and I'm proud of it.



















Thursday, July 25, 2024

Bone Tomahawk revives the Western movie genre

 I grew up in the golden age of Western movies. I saw dozens of Westerns as a child and watched hundreds of Western episodes on television: Gunsmoke, Bonanza, High Chapparal, Have Gun Will Travel, The Roy Rogers Show, Rawhide—I saw them all.

Why did I love this genre? The Western desert appealed to me--the beauty of a long vista, with its ever-present sense of danger and adventure. Mostly, however, I loved to see stories of good guys on horseback as they struggled against insensate evil. I knew the good guys would eventually win, and in the movies, they almost always did.

John Ford's Westerns were my favorites. Without realizing it, I was a movie critic in elementary school. I realized that The Searchers, She Wore a Yellow Ribbon, and The Man Who Shot Liberty Valence were the genuine article and far superior to the cheap imitations.

Beginning in the 1960s, the Western movie genre fell into decline. I hoped Missouri Brakes, starring Marlin Brando, and The Shootist, starring John Wayne, would revive it, but those movies were disappointments.

Eventually, I realized that Western movies set in modern times are just as thrilling as films about the Old West. Lonely Are the Brave, Hud, and No Country for Old Men were authentic contributions to my beloved genre.  Hell or High Water, starring Jeff Bridges, Ben Foster, and Chris Pine, is equal to Shane, even though the victory over evil was nuanced.

Last night, I watched Bone Tomahawk on Netflix, and I was gratified to see a Western movie that is equal to the films I saw as a kid. The plot is simple: four men of uneven temperament ride out to rescue a kidnapped damsel in distress. By the movie's end, the good guys complete their mission, but two of the four saviors are dead.

Kurt Russell plays the laconic, relentless, and totally dedicated lawman. Mathew Fox plays Brooder, the Western dandy who hates Indians. Patrick Wilson is the faithful husband who endures almost unbelievable pain and hardship to be reunited with his wife, played by Lili Simmons.

Richard Jenkins is cast in the scene-stealing role of Chicory, the self-proclaimed "backup deputy" who is simple-minded but loyal and brave. If there is a hall of fame for Western movie sidekicks, Jenkins deserves a place next to Gabby Hayes, Slim Pickens, and Andy Devine.

I always judge a Western movie's portrayal of Native Americans. Until I saw Bone Tomahawk, I gave Wes Studi top billing for his role as the malignant Magua in The Last of the Mohicans. Now, there was an Indian with a chip on his shoulders.

Wes Studi, however, is a Presbyterian compared to the aborigines in Bone Tomahawk, who are bone-chillingly scary. I won't say more because I want movie movers to feel the horror I experienced when the bad-ass Native Americans showed up in Bone Tomahawk.

Bone Tomahawk is an almost perfect Western--the old-fashioned struggle of good against evil set against the backdrop of the stark and pitiless landscape of the American West.  My faith in Westerns has been renewed,

Going after the Bad Guys