Lack of good storyline.

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Worth seeing just to witness how winsome it is.

John Ford's breakthrough Western epic blazed a trail for one of American cinema's major figures, so I really wanted to like it. But this is a film less about history than it is history, a dusty collection of tropes and sentimentality that falls well short of Ford's timeless standard.The movie opens in Springfield, Illinois, where we see a man puffing at his pipe as he looks off in the distance. "Having another of your day dreams about rails across the continent?" his neighbor laughs expositionally. Eventually the dreamer is killed by Cheyenne, but not before finding a deep cut in a mountain range that will simplify the building of a national railroad. It's up to his son to see his father's dream become reality.Silent films don't age equally well. Horror films and comedies hold their value, even improving in some instances. Period dramas and mysteries that require a fair amount of talking to move the plot, on the other hand, often do not. Silent films are great at establishing mood, but often struggle at meaning."Iron Horse" is a good example. Because you can't hear people talking, you need their expressions to tip you off on what's going on. Some silent directors struck a good balance; Ford here doesn't. The opening Springfield section is full of over-emoting, whether it's the scoffing neighbor or the icky tears of a lovestruck girl. One creepy tall guy stares intensely at two children for minutes on end, but it's okay because he's not a perv but our 16th president, just a log-cabin lawyer here but one who shares the dreams of an express to California.Poor Abe never had any luck with theatrical presentations. Here he seems to be trotted out as Ford's seal of approval, a leaden figure who moves through the early story like Christ in a Passion Play. The film also has two dedications to Lincoln, and a bas-relief image of the man superimposed between them. I admire the man enormously, but enough already.As an epic Western, "The Iron Horse" gets as much spectacle in as possible. This includes some memorable shots. One I often see in Ford and western retrospectives is of sunlit boxcars suddenly being darkened by the shadows of Indian warriors. Ford also uses perspective to great advantage, like a slight overhead of a Pony Express rider being chased by Indians, or a buffalo herd stampeding into frame.That buffalo herd is part of the problem, too. It's very loosely connected to the rest of the movie, a bit of explanation about how rail-building crews were fed. Otherwise, you need it as much as a cattle run glimpsed later in the film or the seduction of a character we already know is going to turn out bad. Ford liked to futz around in his movies with various ancillary tangents, but there's something about a silent that makes such an approach very slow viewing.The best thing in the movie by far is star George O'Brien, playing Davy, the son of the dreamer all grown up. When he finally arrives in the 45th or 55th minute (depending on whether you are watching the European or longer American version), he provides a natural, affable presence the movie sorely lacks. Before he comes riding in, you are stuck between the eyelash-batting heroine Miriam (Madge Bellamy) and the eyebrow-cocking comic relief of Casey (J. Farrell MacDonald), representing two poles of very bad acting.The central problem with the movie is how ridiculous its story is. The DVD cover quotes Leonard Maltin approvingly: "This movie invented what later became clichés." Without getting into spoilers, I ask you to ponder the real identity of the lead villain, or the goofy way the heroine decides to hold it against Davy for exposing her fiancé as a lying heel. "You promised me and you've broken - your word" she tells him, whereupon he bows his head mutely.If it was a sound film, he could have chewed her ear off making a case for himself. What you are stuck with here instead is an insipid and uninvolving melodrama relieved occasionally by a cool gun battle or a nice horizon line. "Iron Horse" shows Ford starting out with little more than a good eye and a taste for grand spectacle still somewhat beyond his powers to corral.

I just got to see this and it is a great movie! Classic John Ford! I won't repeat what the other reviews say but rather add some things not pointed out by others: The barroom fight scene is amazing. The crowd hold up lanterns to illuminate the brawl and this creates an amazing effect. The crowd surround the two men fighting so you can't see much of the fight which adds to the realism. Only a very confident director would 'hide' a vicious fist fight inside a crowd scene. The effect makes the fight appear to be viciously real. The voice over implied that Ford goaded George O'Brien, a real life navy boxer, into really fighting the double for the villain ( the double is never shown face front in the fight).The final fight scene and shoot out is also very impressive in it's realism. Ford adds nice touches like the wounded man smoking calmly during the fight and one of the Indians falling to his death with his dog coming up to sit by his dead Indian master. Ford's ability to add tiny details adds to every scene.Most of the scenes are shot in snow and one blizzard and you can often see the breath of the actors in a scene. It must have been very cold but the effects build up and add to the realism that this was filmed in the winter and not the summer.This is a great film and shows John Ford already a master of his game. Everyone should see it and not be freaked out that it is a silent. The music is fantastic and you forget it is a silent. In a silent the visuals rule rather than words anyway and Ford would tear pages of script away. He did not need words.J E F

Iron Horse, The (1924) ** 1/2 (out of 4) John Ford's first epic was a massive production for Fox who pretty much spent a ton of money hoping that the film would bring people in, which it eventually did. The film made a ton of money for Fox but more important it took Ford out of the gutters of "B" Westerns and made him a director to be reckoned with. The film tells the "true" story of the first transcontinental railroad as Davy Brandon (George O'Brien) tries to fulfill the dreams of his father who was killed by Indians years earlier. Davy must also try to win the heart of a former love (Madge Bellamy) while fighting off a man who wants to see the railroad fail. There's no question that Ford and Fox pretty much threw everything into this film and you can tell because it's story is all over the place. While I think the film isn't nearly as good as its reputation you still can't help but be impressed by many of the visuals. According to legend there were over 6000 people employed on the production with most of them being extras to give all the scenes a more epic look. I'd believe this legend because the scenery is downright beautiful to look at and there's no question that it has the look of a mammoth epic. The highlight for me were all the scenes where we see the railroad being built as the boards are placed and railings hammered down. There were many future films that dealt with the railroad but I must say this one here makes it look the most realistic. We get many other great action scenes including countless fights with the Indians where once again you can see the large scale with the amount of people, horses and of course stunt men. I think what really hurts the film is the fact that it really doesn't tell a clear story. I'm not sure if the film originally ran much longer but the 135-minute running time feels way too long but the reason for this is that so much happens and often times it doesn't really connect together. Instead of telling one full story, it seems the screenplay bounces all over the place and tries to tell as much as possible. One minute we're dealing with the railroad and then we jump to some town being built up. One moment we're dealing with the Indians but the next moment we're worried about the dress Bellamy is going to wear. It feels as if we're just getting countless vignettes pieced together without much need to bring everything together. Perhaps Fox was going for a Cecil B. DeMille type epic but this here didn't fully work. The film starts off saying that the history is true but that's clearly not the case as there are certain historic figures used in the film that had no place in the original events (like Buffalo Bill). Both O'Brien and Bellamy are good in their roles as are Cyril Chadwick, George Waggner, Will Walling and Charles Edward Bull who plays President Lincoln. THE IRON HORSE is certainly worth watching once for its importance to film history and while there are many impressive moments on the whole I think the film comes up a tad bit short.

Previous to directing The Iron Horse, John Ford had been known as the director of a few dozen B westerns, most of them probably lost by now and most of them starring Harry Carey. In getting the assignment for The Iron Horse, Ford got his first really big budget to work with from Fox Films. The end result was a film which along with Paramount's The Covered Wagon became the models for the big epic westerns. And it launched a whole new career for John Ford that netted four Oscars as a Best Director, though not one of them was for a western.The story of The Iron Horse begins here in Springfield, Illinois where the children of Will Walling a contractor and surveyor James Gordon are playing while their fathers are meeting with none other than Abraham Lincoln at that time just a state legislator. Both would like to see a transcontinental railroad and Gordon is going to make good on it by going west and surveying the best route through the Rocky Mountains. But out west the surveyor is killed by hostile Indians led by a white man with only two fingers on his right hand. But the boy hides and is missed and grows up to be frontiersman George O'Brien.Twenty years later in the midst of the great Civil War, President Abraham Lincoln signs the legislation authorizing the building of such a railroad though the real work doesn't start until the war is over. By that time Will Walling is working on building the Union Pacific and his daughter has grown up to be Madge Bellamy. She's engaged to Cyril Chadwick another surveyor, but Chadwick has some mixed loyalties.Those of you who saw the epic DeMille production Union Pacific will recognize from this point some of the same plot situations. No doubt Cecil B. DeMille borrowed quite a bit from The Iron Horse, but I will say DeMille wrecked his train during the Indian attack and it was a beauty. But Ford with all the extras involved could say that his was to use the cliché, a cast of thousands.The real evil villain here just as Brian Donlevy was in Union Pacific is Fred Kohler. He's behind a lot of the scheming as he's a large landowner where the Cheyenne Indians seem to function as a personal army. Now that was a bit much to swallow. As was the fact that when the grown up George O'Brien first makes his appearance he is identified as a Pony Express rider. Everyone knows that the Pony Express was a year long phenomenon that the Civil War closed down and the telegraph and railroad put out of business permanently. But Ford was also interested in the poetry of the west rather than the facts. Still the action of The Iron Horse holds up remarkably well today and the careers of both John Ford and George O'Brien were made with this film.