IMDb RATING
6.3/10
2.6K
YOUR RATING
Anti-Catholic and anti-cleric policies in the Mexican state of Tabasco lead the revolutionary government to persecute the state's last remaining priest.Anti-Catholic and anti-cleric policies in the Mexican state of Tabasco lead the revolutionary government to persecute the state's last remaining priest.Anti-Catholic and anti-cleric policies in the Mexican state of Tabasco lead the revolutionary government to persecute the state's last remaining priest.
- Awards
- 1 win & 2 nominations
Dolores Del Río
- An Indian Woman
- (as Dolores Del Rio)
Pedro Armendáriz
- A Lieutenant of Police
- (as Pedro Armendariz)
Chris-Pin Martin
- An Organ-Grinder
- (as Cris-Pin Martin)
Miguel Inclán
- A Hostage
- (as Miguel Inclan)
Fernando Fernández
- A Singer
- (as Fernando Fernandez)
Rodolfo Acosta
- Policeman
- (uncredited)
Mel Ferrer
- Father Serra
- (uncredited)
Jack Pennick
- Man
- (uncredited)
José Torvay
- Mexican
- (uncredited)
- Directors
- John Ford
- Emilio Fernández(uncredited)
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- GoofsWhen the Priest is on line getting ready to board a ship, he is approached by a young boy that was baptized by him. The boy informs him that his mother is dying and wishes for the priest to come home with him to give her the last rites. What is not explained is how did the boy just happen to know that the priest was in town and getting ready to board a ship at that precise moment and in the third class section.
- Quotes
A Police Informer: [to the priest] He's dying, Father. He wants you to come. You cannot refuse a man who is dying, Father. He has so much to confess.
- ConnectionsFeatured in John Ford (1992)
- SoundtracksBury Me Not on the Lone Prairie
("The Dying Cowboy") (uncredited)
American folk ballad based on an older sea song (1932)
Variation heard as theme for the Gringo (Ward Bond)
Featured review
Dangerous peril
Graham Greene is one of the literary greats, and while the book 'The Power and the Glory' that 1947's 'The Fugitive' is based on is not one of my favourites of his and one can totally see why it was controversial at the time it is an interesting read. John Ford was a truly fine director, one of the best at that time, known for some of the finest Westerns around and he excelled too in non-Westerns (i.e. 'The Quiet Man'). The cast is an interesting one, Henry Fonda being the best known.
'The Fugitive' adaptation-wise is a loose one, and the censorship the film had to endure dilutes the impact somewhat. Two of the biggest differences being Fonda's character being no longer being an alcoholic and the central relationship not being sexual, which if included would have the film quite bold. If included though, it would have made it as divisive as the book. On its own terms, 'The Fugitive' didn't wow me and the potential was there for it to have been a much better film. But it was still not bad at all, actually thought that it was quite good, and there are a fair share of note-worthy good elements.
Coming off best of the many good things is Gabriel Figueroa's outdoor photography. Which is really quite miraculous, so many of the shots leave one in wonder in their beauty and varied technical skill. Oh and the outdoor locations are just stunning. The haunting score doesn't feel too constant or in your face, having the right mood throughout while not over-emphasising too much. Ford does show frequently how great he was as a director, at its best his direction here in 'The Fugitive' is quite masterly.
Some very thoughtful and powerful moments in the script and enough of the story compels and moves. The performances are very good, with a smouldering Dolores Del Rio (though she does have moments where she overacts) and a remarkably nuanced Fonda in a complex role being generally strong. The best performance comes from a both menacing and tortured Pedro Armendariz, who is riveting whenever he appears.
On the other hand, too much of the writing is very melodramatic to an over-cooked degree, as is Del Rio at times. Some of the pace is a bit draggy.
Do agree with those that say that the religious element of the story is very heavy-handed and at times vague. It is focused on too much and it is delivered with little subtlety, the messaging was done in a way that made me feel beaten around the head.
All in all, a lot of note-worthy things but flawed. One of those "appreciated what it tried to do" sort of films while not properly loving it, the divisiveness in opinions is understandable. 6.5/10
'The Fugitive' adaptation-wise is a loose one, and the censorship the film had to endure dilutes the impact somewhat. Two of the biggest differences being Fonda's character being no longer being an alcoholic and the central relationship not being sexual, which if included would have the film quite bold. If included though, it would have made it as divisive as the book. On its own terms, 'The Fugitive' didn't wow me and the potential was there for it to have been a much better film. But it was still not bad at all, actually thought that it was quite good, and there are a fair share of note-worthy good elements.
Coming off best of the many good things is Gabriel Figueroa's outdoor photography. Which is really quite miraculous, so many of the shots leave one in wonder in their beauty and varied technical skill. Oh and the outdoor locations are just stunning. The haunting score doesn't feel too constant or in your face, having the right mood throughout while not over-emphasising too much. Ford does show frequently how great he was as a director, at its best his direction here in 'The Fugitive' is quite masterly.
Some very thoughtful and powerful moments in the script and enough of the story compels and moves. The performances are very good, with a smouldering Dolores Del Rio (though she does have moments where she overacts) and a remarkably nuanced Fonda in a complex role being generally strong. The best performance comes from a both menacing and tortured Pedro Armendariz, who is riveting whenever he appears.
On the other hand, too much of the writing is very melodramatic to an over-cooked degree, as is Del Rio at times. Some of the pace is a bit draggy.
Do agree with those that say that the religious element of the story is very heavy-handed and at times vague. It is focused on too much and it is delivered with little subtlety, the messaging was done in a way that made me feel beaten around the head.
All in all, a lot of note-worthy things but flawed. One of those "appreciated what it tried to do" sort of films while not properly loving it, the divisiveness in opinions is understandable. 6.5/10
helpful•30
- TheLittleSongbird
- May 25, 2020
- How long is The Fugitive?Powered by Alexa
Details
Box office
- Budget
- $1,500,000 (estimated)
- Runtime1 hour 44 minutes
- Color
- Aspect ratio
- 1.37 : 1
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