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1926
THE MOTION PICTURE DIRECTOR
37
m:
o
A. MURRAY
Those days had gone by — he had seen the aeroplane and the automobile. But when he had opened his eyes from dreaming of that colorful time, there, before his amazed, far-reaching vision, was being reenacted the scenes of the past ! It was a violation of the evolution that he had watched through the centuries — an evolu
tion so steady that he had learned to hid good-bye to each vanishing epoch as a thing of memory, something gone forever and beyond recall.
Was he still dreaming — or did he see ghosts of the old road-agents gallop madly across the low-lying flat of notorious Jackson’s Hole? There were the unending wagon trains pushing forward in the face of almost impossible difficulties. The towns of tents were there, ruled by the worst of bad men, by force of gun and bowie-knife.
No, here were no ghosts, and he was not dreaming. The lurid history of strife, bloodshed, black deeds and gallant deeds of old was once more transpiring before his eyes, curiously mingled with manifestations of the modern age such as automobiles.
The story of Jackson’s Hole unfolded as he had seen it unfold in real life. There was the time when the rule of the bad men
reached its zenith ; when evil force was supreme and lawlessness was the law. Then came stern justice; retribution, swift and sure; the six-gun became the symbol of law and order.
There were, besides automobiles and other modern equipment, and the things of the old times, curious things that belonged to the new times, yet made it possible to link old times with new; to give to a vast audience over all the world eyes that saw farther than the eyes of Grand Teton himself; age and experience greater even than his. Motion picture cameras. . .
John Ford, a young Fox Films director who put on the screen a picture of giant theme, “The Iron Horse,” and rose by its fame into the first ranks of directors, was responsible for the spectacle that made Old Grand Teton think that he had been dreaming of the past again ; that, more important, will open to the eyes of the world’s great cinema audience one of the most picturesque and thoroughly representative periods and locales of the West’s storied lawlessness.
The new Ford drama is called “The World of Promise,” originally entitled “Three Bad Men” — a tale of empire building, outlawry, and the struggle centering around Jackson’s Hole, Wyoming, and having its period at that critical time when the Indian territories were opened for settlement by whites. The theme is great in scope, and yet the story differs from that of “The Iron Horse” and other