In all of these films, the subject is played for broad comedy.

Directors often compared to Ford,  and , liked tails and regularly employed them in their films.

Ford films are full of , which characters see, and sometimes enter.

Thisis long before Castro's rise to power in Cuba, and the film involvesnone of the political complexities that the subject of US-Cubanimmigration holds now.

Ford's huge body of silent films are mainly either lost or inaccessible.

Ford films are full of elaborate manners.

Before that, in Lewis' feature film Western , the hero was also a Cavalryman unjustly accused ofbeing responsible for an Indian massacre, this time, no less thanCuster's Last Stand.

The multi-lingualhero seems to have disappeared from contemporary American films,however, with an isolationist, anti-foreigner attitude takingits place, it often seems.


(1939) is one of Ford's finest films.

Gorcey plainly had the skills necessary for a Hollywood film of the studio era: he could stay in character, deliver snappy lines of dialogue, and emote believably.

They tend to be the heart of Ford films in which theyappear.

One might speculate that Lewis did indeed direct thefilm, in the sense that he was the official contracted director,but that for some now obscure reason he had little actual creativeinput into the film.

Visual analysis and thinking pop up in other Ford films too.

Furthermore, while sidekick Dub Taylor does a good job, and occasionally gets off a funny comment, the film does not stop for any comedy-relief set pieces by him.

But it appears less often infilm criticism.

In , a simple hidden asset is on the ranch (silver ore), while in later Lewis films the whole town is about to experience an economic transformation, such as the arrival of the telegraph or the railway.

This is one of the few "film within a film" sequences in Ford.

Later Lewis films will still have characters fascinated by militaristic life styles, but they will either associate such lifestyles with non-military organizations (, ), or present a pacifist critique of how the military uses militarism to lure people into huge disasters ().

Ford's film version of emphasizes the role Captain Flagg and Sgt.

Also, the film offers an idealized version of (peacetime) military life, with brotherhood, uniforms, officer's clubs, heroism and congratulating commanders.

Ford's films are full of military-style parades.

Not all of this plot hangs together seamlessly - as we said, the polo scenes are not as logically connected to the new spy material as they should be - but it does make for a plot-rich film.