The Long Gray Line: John Ford

There's a certain term that gets thrown around a lot whenever directors like Yasujirō Ozu are discussed: mono no aware. It's a Japanese phrase that literally translates to "the pathos of things" but is used to refer to a sense of the "impermanence of things." In other words, it refers to the idea that all things are transient; that nothing is permanent; that all things must come to an end. Mono no aware can be difficult to properly depict, if it can in fact be depicted at all. And yet, one of the finest examples of mono no aware that I have ever seen is John Ford's The Long Gray Line. The film tells the true story of Marty Maher, an Irish immigrant who worked his way up from a waiter to non-commissioned officer at West Point during the first half of the Twentieth century. It charts nothing less than his adult life, depicting his early struggles against racial prejudice, his marriage to Mary O'Donnell, the loss of his first (and only) child, and his rise to becoming one of West Point's most beloved figures. The entire film has a thick sheen of melancholy and gentle resignation that only an older director could properly portray. Make no mistake, The Long Gray Line is John Ford at the peak of his creative powers as a director and filmmaker. Subtle, understated, heart-breaking, and filled with Ford's trademark light, wistful humor, The Long Gray Line evokes a sadness and joy that most filmmakers only dream of.

8/10