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Young Mr. Lincoln (The Criterion Collection)
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Additional DVD options | Edition | Discs | Price | New from | Used from |
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Format | Dolby, Black & White, Multiple Formats, Full Screen, NTSC |
Contributor | Judith Dickens, Eddie Collins, Ward Bond, Arleen Whelan, Henry Fonda, Pauline Moore, Marjorie Weaver, Donald Meek, Richard Cromwell, Lamar Trotti, Eddie Quillan, Alice Brady, John Ford, Spencer Charters See more |
Language | English |
Runtime | 1 hour and 40 minutes |
Color | Black & White |
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Product Description
Product Description
Illinois lawyer Abraham Lincoln becomes known for his honesty and solves a murder with a courtroom trick. Directed by John Ford.
Amazon.com
Has Young Mr. Lincoln--the first cardinal masterpiece of director John Ford's career, and the finest film of that epochal Hollywood year 1939--been neglected because people fear it's a stodgy history lesson? Even Henry Fonda, drafted to play the title role, was reluctant till Ford testily explained, "This isn't 'The Great Emancipator,' for God's sake--it's a movie about this jackleg lawyer...." And so it is: a small, slow-gathering village tale about a young man whose biggest moments--such as losing the love of his life--occur between scenes, and whose emergence as a historic figure is decades away. Yet the essential Lincoln is being forged in luminous scenes that unfold with the simplicity of fable, only no one knows it's a fable yet. The French title for the movie says it beautifully: Toward His Destiny.
The script, by Lamar Trotti, introduces Lincoln as a frontier storekeeper and drolly inadequate politician. In an early scene, we see Abe receiving his first books of law in a casual transaction with a pioneer family on their way to make a new home in the wilderness. But was it Trotti or the director who decided that this same family should circle back into Abe's life years later for the dramatic heart of the film, a murder trial in which his wit, ingenuity, and bedrock decency shape Lincoln's first public triumph--and that neither Lincoln nor the family recognize they have met before? That's typical of the movie, in which what is most important, most definitive, most valuable, is always outside the frame, out of reach, beyond naming. Even triumph is imbued with a heartbreaking sense of loss.
This transcendently beautiful film was a modest production, without the Pulitzer Prize cachet of Abe Lincoln in Illinois (not a Ford picture) the following year. Fonda, in his first of six collaborations with Ford, is the only marquee name in the cast, though Alice Brady is radiant as the pioneer matriarch (her final performance), and Ford stalwart Ward Bond has a key role. Sergei Eisenstein, no less, wrote a lucid and impassioned appreciation of the film, hailing it as "a movie I would like to have made"--and proved it by stealing a few visual tropes for his own Ivan the Terrible! This is a great, great motion picture, eminently deserving of the Criterion treatment on DVD. --Richard T. Jameson
Product details
- Aspect Ratio : 1.33:1
- Is Discontinued By Manufacturer : No
- MPAA rating : Unrated (Not Rated)
- Product Dimensions : 0.7 x 7.5 x 5.4 inches; 4 ounces
- Item model number : CRRN1617DVD
- Director : John Ford
- Media Format : Dolby, Black & White, Multiple Formats, Full Screen, NTSC
- Run time : 1 hour and 40 minutes
- Release date : February 14, 2006
- Actors : Henry Fonda, Alice Brady, Marjorie Weaver, Arleen Whelan, Eddie Collins
- Language : English (Dolby Digital 1.0)
- Studio : Criterion
- ASIN : B000BR6QIM
- Writers : Lamar Trotti
- Number of discs : 2
- Best Sellers Rank: #120,441 in Movies & TV (See Top 100 in Movies & TV)
- #8,897 in Kids & Family DVDs
- #18,435 in Drama DVDs
- Customer Reviews:
Customer reviews
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- Reviewed in the United States on February 23, 2009It is not one of Ford's best films, but it's a beautiful masterpiece nonetheless. That tells you how much better Ford was to any other director on this planet. About that time he also did 'Tobacco Road', which I like even better, and it's about country folk too. The interest of this story is obviously centered in one character, Lincoln, played by Henry ford. So you notice that to build up that first ingredient into a fully fledged movie is going to be a challenge. Well, Ford succeeds wonderfully. We get to love his characters, even the mean type, the murderer in the story gets some pity from us. That's how wonderful Ford was, he hated sin but not the sinner. The story is all about young man Lincoln at the time he decides to take up law, and his first steps in this business, which get him into a case. The case, a murder, takes three quarters of the film, and the success of Ford was that he lifted the story -dignifying it- even above the main character, Lincoln; he made the story shine by itself, gloriously, so Lincoln works around the story and its other characters and not the other way round. The folk are treated respectfully, as I said, which doesn't mean there's no humor, of course there is, and plenty. As much as there is tenderness, love, family ties, friendship... It's a cocktail of emotions. Ford is about humanity, which includes the bad and the good within it, one cannot be blamed without blaming the other, as they are both part of the same human heart. Ford just encourages us to realize this inner battle, to discern what is good from what is evil within us. Ford is not like the rich city dweller teaching country folk how to be civic and liberal; he is one of us, no better and no worse. Like Jesus, he doesn't throw the first stone either. So why should anybody else?
I love Ford's films. They are so rich in humanity, so unpretentious, so close to the real people, the working people, to the humble. His films are so often called poetic because simply no one can show hope, love, tenderness, friendship, loyalty, honor, courage, mercy and kindness better than him. He is no Pharisee, Ford.
Take the scene of the lynching for instance. Is Ford spiteful of the wild crowd? In that scene I saw myself portrayed as one of the crowd, just as Ford meant it to be. Only Lincoln stands up to the occasion and brings the mirror to our faces. Any one who would consider himself better than any in the lynching crowd is worse than the murder in the story himself, that's my consideration. Because his pride and self-righteousness will never let him see his own sin and repent.
The second disc has some interesting things. I'll just mention the interview made by the British to Henry Fonda -I think it was in the 1980's. It was both sad and illustrative to see and hear Mr Fonda talk about himself and how he got into the movie business. When he talked about a lynching crowd he once witnessed, he let out his hatred and despising for those people, the '[........]', he called them. If not hatred, at least his despising was noticeable when referring to the majority of voters in Nebraska who still vote Republican. I continued listening, though already disappointed by the self-righteousness of this unchristian preacher talk, when he revealed another gem of his characterization: his aversion for horses, riding, guns, and all things country-like. Oh, boy! I'd exchange my European passport for his 'execrable' American one w/o blinking. As Jim Goad says in his 'Redneck Manifesto': "The 'nice' kids with nice teeth from the nice side of town, have no solid explanation for white trash's existence beyond the purely behavioral. They just shake their heads ... wondering how anyone could act that way."
Both sentiments of sympathy for the great actor and of pity for the man's soul mingled in my heart. If there is one thing I can't cope with is self-righteousness and loftiness. Why is it so hard for some people to put themselves in the skin of others? And why is it so easy to judge those whose circumstances you have never known, nor cared to? Jesus called this type of people hypocrites. Perhaps Fonda thinks he's better than Jesus too.
- Reviewed in the United States on December 28, 2024very good movie buy.
- Reviewed in the United States on July 2, 20061939 is universally accepted as the greatest year in Hollywood history, with more classic films released than in any other, and John Ford directed three of the best, "Stagecoach", "Drums Along the Mohawk", and this beautiful homage to frontier days and a young backwoods lawyer destined to eventually save the Union, "Young Mr. Lincoln".
With the world plunging into a war that America dreaded, but knew it would be drawn into, Abraham Lincoln was much on people's minds, in 1939, as someone who had faced the same dilemma in his own life, and had triumphed. On Broadway, Robert E. Sherwood's award-winning "Abe Lincoln in Illinois", with Raymond Massey's physically dead-on portrayal, was playing to packed houses (it would be filmed in 1940). Carl Sandburg's continuation of his epic biography, "Abraham Lincoln: The War Years", was published, and quickly became a best seller. President Roosevelt frequently referred to Lincoln in speeches, and the Lincoln Memorial, in Washington, D.C., became the most popular landmark in town (a fact that Frank Capra made good use of, in "Mr. Smith Goes to Washington").
All this was not lost on Darryl F. Zanuck, at 20th Century Fox; as soon as he read Lamar Trotti's screenplay of Lincoln's early days as a lawyer, he designated it a 'prestige' production, and assigned John Ford to direct, and Henry Fonda, to star.
Fonda did NOT want to play Lincoln; he felt he couldn't do justice to the 'Great Emancipator', and feared a bad performance would damage his career. Even a filmed make-up test, in which he was stunned by how much he would resemble Lincoln, wouldn't change his mind. According to Fonda, John Ford, whom he'd never worked with, cussed him out royally, at their first meeting, and explained he wasn't portraying the Lincoln of Legend, but a young "jackanape" country lawyer facing his first murder trial. Humbled, Fonda took the role. (John Ford offered a different scenario of the events, but the outcome was the same!) Obviously, they found a chemistry together that worked, as nearly all of their pairings would produce 'classics'.
Unlike the introverted, melancholia-racked Lincoln of "Abe Lincoln in Illinois", Ford's vision was that of a shy but likable young attorney, who made friends easily, and misses the mother he lost, too young (resulting in a bond with a pioneer mother that becomes a vital part of the story). Injustice riles him, and he speaks 'common sense' to quell violence, interlaced with doses of humor. Both productions play on Lincoln's (undocumented) relationship with Ann Rutledge; in Ford's version, the pair are truly in love, and committed to each other. After her death, Lincoln would frequently visit her grave, to share his life with her 'spirit' (a theme Ford would continue in "She Wore a Yellow Ribbon").
A murder trial is the centerpiece of the film, and shows the prodigious talents of the star and director. Fonda deftly portrays Lincoln's inexperience, yet earnest belief in justice tempered with mercy, and Ford emphasizes the gulf between the big-city 'intellectuals' (represented by pompous D.A. Donald Meek, and his slick 'advisor', Stephen Douglas, played by a young Milburn Stone), and the informal, rule-bending country sense of Lincoln. With Ford 'regular' Ward Bond as a key witness, the trial is both unconventional, and riveting.
With the film closing as Lincoln strides away into the stormy distance, and his destiny (dissolving into a view of the statue at the Lincoln Memorial), audiences could take comfort in the film's message that if a cause is just, good would ultimately triumph.
"Young Mr. Lincoln" is a truly remarkable film, from an amazing year!
- Reviewed in the United States on October 26, 2022Pauline Kael:
"One of John Ford's most memorable films, and not at all the tedious bummer that the title might suggest. The film is an embroidery (by the scenarist Lamar Trotti) on an actual murder trial in which Lincoln was the defense lawyer. Henry Fonda, in one of his best early performances, is funny and poignant as the drawling, awkward young hero, and Alice Brady plays the mother of the two defendants, Richard Cromwell and Eddie Quillan. With Pauline Moore as Ann Rutledge, Marjorie Weaver as Mary Todd, and Arleen Whelan, Ward Bond, Donald Meek, Robert Lowery, and assorted members of the Ford stock company. 20th Century-Fox."
NOTE: Spans10 years in Lincoln's life. It’s Alice Brady’s final film with her courtroom scene still absolutely chilling. On stage in1931 she had played Lavinia Mannon in the premiere of Eugene O’Neill’s MOURNING BECOMES ELECTRA.
Top reviews from other countries
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Larry the WestReviewed in Italy on May 29, 2024
5.0 out of 5 stars ALBA DI GLORIA.
Film storico per “fordiani incalliti” come il sottoscritto. La vita in tribunale del giovane avvocato Lincoln nell’Illinois degli anni ’30 dell’Ottocento narrata dal “Grande Maestro” Il barile di libri che esce dal carro Conestoga mi ha colpito molto; d’altronde Lincoln era un intellettuale, nonostante fosse un campagnolo, autodidatta. Ci sono anche Marjorie Weaver (Mary Todd) e Milburn Stone (Stephen A. 'Steve' Douglas). Le “storielle” che raccontava sono famose. Un capolavoro da vedere e collezionare.
Larry the WestALBA DI GLORIA.
Reviewed in Italy on May 29, 2024
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- Stéphane ChauvetteReviewed in Canada on August 14, 2018
5.0 out of 5 stars Five Stars
Great Product! Fast Delivery! AAA+++
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CinematekReviewed in Spain on November 13, 2018
4.0 out of 5 stars Cine que empieza a ser clásico
Es la posibilidad de volver a recuperar un titulo que en su día tuvo su exito.
- Tom HoltReviewed in the United Kingdom on October 28, 2006
5.0 out of 5 stars The ultimate biopic
Arguably one of the most capable Hollywood actors, Henry Fonda could sometimes come across as somewhat detached from his part, even cold and emotionless. Hence Leone's brilliant casting of him as the sadistic killer in "Once Upon a Time in the West". As Lincoln, however, Fonda is utterly immersed in the role; so much so that you see Lincoln on screen, not Fonda.
When invited by John Ford to take the part, Fonda's response was "Well, to me, that was like being asked to play Jesus Christ" - he jumped at it. This huge emotional and intellectual tie with his part pays dividends with an actor of Fonda's class. He becomes Lincoln; he makes you understand all the early motivations, the struggle for an education, the intelligence, courage, wit, and humanity of this possibly greatest of all American Presidents. Fonda was helped enormously, of course, by Ford's immense talent as a director. Here, Ford was tackling some of his favourite themes: the moral integrity of America's farming class, the triumph of this homespun integrity over "city slickers", and how the courage of your convictions can carry you through adversity. This time though, Ford had a real rags-to-riches story, proof positive that his optimistic philosophy works without being in the least sentimental. As a result, this film works brilliantly, so well that you cannot imagine it being done better by a different director or a different lead.
The story covers Lincoln's passage from farmer/storekeeper to self-taught lawyer in Springfield. Aside from a series of highly entertaining cameos illustrating the development of Lincoln's political skills, the bulk of the action centres around a trial which appears to be grounded in myth. It doesn't matter, it's one of the best trial scenes on film, extremely moving and, if it isn't true, it should have been.
By any measure, this is a great film. You can admire it for Ford's artistry and intuitive understanding of his subject, probably more evident in this film than in his better known works. Or you can marvel at Henry Fonda's acting skills and his total empathy with his character. This is method acting, ten years before it was invented! Even better, just sit down and enjoy it, for the first time of many.
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noiaReviewed in Spain on December 18, 2017
3.0 out of 5 stars dvd
La película está bien, pero la calidad de imagen no es muy buena, aunque por el precio, creo que no se puede pedir más