John Ford (1895-1973)
In
1968 Andrew Sarris summed up the career of
one of America's greatest directors : "He developed his craft
in the 20s, achieved dramatic force in the 30s, epic sweep in the 40s
and symbolic evocation in the 50s."
John Ford began his film career at the age of 19 in 1914 when he joined Universal where his older brother Francis was already establishing himself as a writer, director and actor of westerns and serials. Ford worked as a prop man, stunt man, and extra before becoming an assistant director to his brother. He graduated to directing himself in 1917 and his first important film was Straight Shooting appropriately a western the genre he was to reinvent and establish as an A picture of stature. Ford's first western star was Harry Carey, a natural performer whose acting style was to influence John Wayne. Carey's family including son Harry Carey Jnr and wife Olive were to be among Ford's stock company for many years. In The Searchers in which Olive Carey had a part John Wayne in the famous shot standing in the doorway posed as Harry Carey did in those early westerns resulting in tears from Olive.
From his earliest days as a director John Ford had complete control of his films. He wouldn't tolerate interference from producers. When Samuel Goldwyn came on the set of The Hurricane (1937) to ask for more close ups of Dorothy Lamour Ford reacted angrily sending him away.
Not that he had any pretensions about directing as an art. "Anybody can direct a picture once they know the fundamentals," he once said,"Directing is not a mystery, its not an art. The main thing about directing is : photograph the people's eyes." The grand sweep of the landscapes in his westerns betray a technical mastery which appears to have been instinctive as cameraman Arthur Miller said : "He never once looked in a camera when we worked together. You see the man had bad eyes as long as I knew him, but he was a man whose veins ran with the business." Ford as well realised the importance of the visual in cinema, many of his greatest sequences like Hitchcock would have worked just as well in the silents, he said "Don't give actors dialogue unless they have something important to say."
Moving from Universal to Fox Ford directed the studio's answer to Paramount's western epic The Covered Wagon. The Iron Horse depicted the building of the transcontinental railroad revealing Ford's fascination with American history and mania for historical accuracy. His next western though Three Bad Men wasn't a box office success and he abandoned the genre for 13 years. My favourite of his silents Four Sons it tells the story of a German family with a mother and four sons. One of the sons doesn't like the regimentation of the country and goes to live in the US. This gets interesting when the Great War breaks out. The idea of splitting the family having one son in the US was very clever it gave it an extra dimension as an anti-war or even anti-authority movie.Though it is possibly a little convenient for the US brother to discover his brother Andreas (fighting for Germany) dead on the battlefield but this was beautifully acted. After the war the mother is invited to the US by the one surviving son. I liked the depiction of Ellis Island and the mother blundering around New York in a daze in the subway etc. Fascinating to see what the mother had to do to enter the US and how this is almost sent up in the movie.
Arrowsmith based on the Sinclair Lewis novel and starring Ronald Colman was the first of the director's movies to be nominated for a Best Picture Oscar. In 1935 he won the Award for directing Victor McLaglen in The Informer though it wasn't one of Ford's personal favourites. He directed Fox's biggest star Will Rogers in three films before two disappointing loanouts to RKO for The Plough and the Stars and Mary of Scotland. With Wee Willie Winkie he was back on form and for many it is Shirley Temple's best film.
It was Stagecoach though that showed Ford had reached his peak as a director. The films he made between 1939 and 1941 are unmatched by any other Hollywood filmmaker. Orson Welles studied the editing of the Indian attack sequence in Stagecoach in preparation for his first film. Even though he used no big stars Ford gave his characters three dimensional appeal and confronted issues relevant not only to the West but also the 1930s and even today. Principal among these is the notion of outsiders ; Claire Trevor's Dallas tainted by her disreputable past, John Wayne's Ringo sympathetic but vengeful and Thomas Mitchell's drunken doctor.
Ford followed this with another slice of Americana : Young Mr Lincoln starring Henry Fonda as the young President and then his first movie in Technicolor Drums Along the Mohawk with Fonda and Claudette Colbert. Then came his greatest non Western The Grapes of Wrath which won Ford his second directing Oscar and should have won the Best Picture Oscar and a statuette for probably Henry Fonda's best performance as Tom Joad. Ford did win for Best Picture and Director the following year for How Green Was My Valley, a deeply felt study of life in a Welsh coal minig village. This the last film he made before he left Hollywood for war service isn't one of my favourites, I find it dull and over sentimental.
During the war Ford directed two Oscar winning documentaries and They Were Expendable, his most significant sound war film. In his post war films his two major stars Henry Fonda and John Wayne continued to develop as actors and deliver strong performances under his direction : Fonda was excellent as Wyatt Earp in My Darling Clementine and as a Custer like figure in Fort Apache. John Wayne gave one of his most sympathetic performances as the retiring Captain Nathan Brittles in She Wore a Yellow Ribbon. Wagonmaster had no stars but was his definitive tribute to the pioneers.
After The Quiet Man some commentators have said Ford's heroes became less sympathetic as the world changed. Certainly Ethan Edwards in The Searchers is a much more driven and psychologically complicated individual. The movie finishes though with the character's redemption, it reflected the director's revulsion of and yet respect for the Indians and the end of their way of life. The Man Who Shot Liberty Valance is tinged with the feeling that the end of the Old West is at hand, it was Ford's last great film. He retired from filmmaking in 1966 after Seven Women.
John Ford was a hard taskmaster with actors but he was also highly respected for his ability to get incredibly natural performances from them. The dichotomy was summed up by Henry Fonda : "He had an instinctively beautiful eye for the camera. But he was also an egomaniac." Charles Higham argued Ford's directorial style emerged "from a personal response to people : affectionate, warm with a rural decency and intimacy."
In
1968 Andrew Sarris summed up the career of
one of America's greatest directors : "He developed his craft
in the 20s, achieved dramatic force in the 30s, epic sweep in the 40s
and symbolic evocation in the 50s."John Ford began his film career at the age of 19 in 1914 when he joined Universal where his older brother Francis was already establishing himself as a writer, director and actor of westerns and serials. Ford worked as a prop man, stunt man, and extra before becoming an assistant director to his brother. He graduated to directing himself in 1917 and his first important film was Straight Shooting appropriately a western the genre he was to reinvent and establish as an A picture of stature. Ford's first western star was Harry Carey, a natural performer whose acting style was to influence John Wayne. Carey's family including son Harry Carey Jnr and wife Olive were to be among Ford's stock company for many years. In The Searchers in which Olive Carey had a part John Wayne in the famous shot standing in the doorway posed as Harry Carey did in those early westerns resulting in tears from Olive.
From his earliest days as a director John Ford had complete control of his films. He wouldn't tolerate interference from producers. When Samuel Goldwyn came on the set of The Hurricane (1937) to ask for more close ups of Dorothy Lamour Ford reacted angrily sending him away.
Not that he had any pretensions about directing as an art. "Anybody can direct a picture once they know the fundamentals," he once said,"Directing is not a mystery, its not an art. The main thing about directing is : photograph the people's eyes." The grand sweep of the landscapes in his westerns betray a technical mastery which appears to have been instinctive as cameraman Arthur Miller said : "He never once looked in a camera when we worked together. You see the man had bad eyes as long as I knew him, but he was a man whose veins ran with the business." Ford as well realised the importance of the visual in cinema, many of his greatest sequences like Hitchcock would have worked just as well in the silents, he said "Don't give actors dialogue unless they have something important to say."
Moving from Universal to Fox Ford directed the studio's answer to Paramount's western epic The Covered Wagon. The Iron Horse depicted the building of the transcontinental railroad revealing Ford's fascination with American history and mania for historical accuracy. His next western though Three Bad Men wasn't a box office success and he abandoned the genre for 13 years. My favourite of his silents Four Sons it tells the story of a German family with a mother and four sons. One of the sons doesn't like the regimentation of the country and goes to live in the US. This gets interesting when the Great War breaks out. The idea of splitting the family having one son in the US was very clever it gave it an extra dimension as an anti-war or even anti-authority movie.Though it is possibly a little convenient for the US brother to discover his brother Andreas (fighting for Germany) dead on the battlefield but this was beautifully acted. After the war the mother is invited to the US by the one surviving son. I liked the depiction of Ellis Island and the mother blundering around New York in a daze in the subway etc. Fascinating to see what the mother had to do to enter the US and how this is almost sent up in the movie.
Arrowsmith based on the Sinclair Lewis novel and starring Ronald Colman was the first of the director's movies to be nominated for a Best Picture Oscar. In 1935 he won the Award for directing Victor McLaglen in The Informer though it wasn't one of Ford's personal favourites. He directed Fox's biggest star Will Rogers in three films before two disappointing loanouts to RKO for The Plough and the Stars and Mary of Scotland. With Wee Willie Winkie he was back on form and for many it is Shirley Temple's best film.
It was Stagecoach though that showed Ford had reached his peak as a director. The films he made between 1939 and 1941 are unmatched by any other Hollywood filmmaker. Orson Welles studied the editing of the Indian attack sequence in Stagecoach in preparation for his first film. Even though he used no big stars Ford gave his characters three dimensional appeal and confronted issues relevant not only to the West but also the 1930s and even today. Principal among these is the notion of outsiders ; Claire Trevor's Dallas tainted by her disreputable past, John Wayne's Ringo sympathetic but vengeful and Thomas Mitchell's drunken doctor.
Ford followed this with another slice of Americana : Young Mr Lincoln starring Henry Fonda as the young President and then his first movie in Technicolor Drums Along the Mohawk with Fonda and Claudette Colbert. Then came his greatest non Western The Grapes of Wrath which won Ford his second directing Oscar and should have won the Best Picture Oscar and a statuette for probably Henry Fonda's best performance as Tom Joad. Ford did win for Best Picture and Director the following year for How Green Was My Valley, a deeply felt study of life in a Welsh coal minig village. This the last film he made before he left Hollywood for war service isn't one of my favourites, I find it dull and over sentimental.
During the war Ford directed two Oscar winning documentaries and They Were Expendable, his most significant sound war film. In his post war films his two major stars Henry Fonda and John Wayne continued to develop as actors and deliver strong performances under his direction : Fonda was excellent as Wyatt Earp in My Darling Clementine and as a Custer like figure in Fort Apache. John Wayne gave one of his most sympathetic performances as the retiring Captain Nathan Brittles in She Wore a Yellow Ribbon. Wagonmaster had no stars but was his definitive tribute to the pioneers.
After The Quiet Man some commentators have said Ford's heroes became less sympathetic as the world changed. Certainly Ethan Edwards in The Searchers is a much more driven and psychologically complicated individual. The movie finishes though with the character's redemption, it reflected the director's revulsion of and yet respect for the Indians and the end of their way of life. The Man Who Shot Liberty Valance is tinged with the feeling that the end of the Old West is at hand, it was Ford's last great film. He retired from filmmaking in 1966 after Seven Women.
John Ford was a hard taskmaster with actors but he was also highly respected for his ability to get incredibly natural performances from them. The dichotomy was summed up by Henry Fonda : "He had an instinctively beautiful eye for the camera. But he was also an egomaniac." Charles Higham argued Ford's directorial style emerged "from a personal response to people : affectionate, warm with a rural decency and intimacy."
Filmography
1914 LUCILLE LOVE, GIRL OF MYSTERY performer, property master
1914 THE MYSTERIOUS ROSE (short) performer
1915 THE BROKEN COIN performer
1915 THE DOORWAY OF DESTRUCTION (short) performer, assistant director
1915 THE HIDDEN CITY (short) performer
1915 THREE BAD MEN AND A GIRL performer
1916 THE BANDIT'S WAGER (short) performer
1916 CHICKEN-HEARTED JIM (short) performer
1916 THE LUMBER YARD GANG (short) performer
1917 BUCKING BROADWAY director
1917 CHEYENNE'S PAL director, story
1917 A MARKED MAN director
1917 THE SCRAPPER performer, director, screenwriter
1917 THE SECRET MAN director
1917 THE SOUL HERDER director
1917 STRAIGHT SHOOTING director
1917 THE TORNADO performer, director, screenwriter
1917 THE TRAIL OF HATE performer, director, screenwriter
1918 DELIRIUM director, screenwriter, story
1918 HELL BENT director, screenwriter, story
1918 THE PHANTOM RIDERS director
1918 THE SCARLET DROP director, story
1918 THIEVES' GOLD director
1918 THREE MOUNTED MEN director, producer
1918 WILD WOMEN director
1918 A WOMAN'S FOOL director
1919 THE ACE OF THE SADDLE director
1919 BARE FISTS director
1919 BY INDIAN POSTS (short) director
1919 A FIGHT FOR LOVE director
1919 THE FIGHTING BROTHERS (short) director
1919 A GUN FIGHTIN' GENTLEMAN director, story
1919 GUN LAW (short) director
1919 THE GUN PUSHER director, story
1919 THE LAST OUTLAW (short) director
1919 THE OUTCASTS OF POKER FLAT director
1919 THE RIDER OF THE LAW director
1919 RIDERS OF VENGEANCE director, story
1919 ROPED director
1919 THE RUSTLERS director
1920 THE BIG PUNCH director, screenwriter
1920 THE GIRL IN NUMBER 29 director
1920 HITCHIN' POSTS director
1920 JUST PALS director
1920 MARKED MEN director
1920 THE PRINCE OF AVENUE A director
1920 UNDER SENTENCE story
1921 ACTION director, director
1921 DESPERATE TRAILS director
1921 THE FREEZE OUT director
1921 JACKIE director
1921 SURE FIRE director, producer
1921 THE WALLOP director, producer
1922 LITTLE MISS SMILES director
1922 NERO director
1922 SILVER WINGS director
1922 THE VILLAGE BLACKSMITH director
1923 CAMEO KIRBY director
1923 THE FACE ON THE BARROOM FLOOR director
1923 HOODMAN BLIND director
1923 NORTH OF HUDSON BAY director
1923 THREE JUMPS AHEAD director, screenwriter
1924 HEARTS OF OAK director
1924 THE IRON HORSE director
1925 THE FIGHTING HEART director
1925 KENTUCKY PRIDE director
1925 LIGHTNIN' director
1925 THANK YOU director
1926 THE BLUE EAGLE director
1926 THE SHAMROCK HANDICAP director
1926 THREE BAD MEN director
1926 WHAT PRICE GLORY? director
1927 SEVENTH HEAVEN director
1927 UPSTREAM director
1928 FOUR SONS director
1928 HANGMAN'S HOUSE director
1928 MOTHER MACHREE director
1928 NAPOLEON'S BARBER director
1928 RILEY THE COP director
1929 BIG TIME performer
1929 THE BLACK WATCH director
1929 SALUTE director
1929 STRONG BOY director
1930 BORN RECKLESS director
1930 MEN WITHOUT WOMEN director, story
1930 UP THE RIVER director
1931 ARROWSMITH director
1931 THE BRAT director
1931 SEAS BENEATH director
1932 AIR MAIL director
1932 FLESH director, producer
1933 DR. BULL director
1933 PILGRIMAGE director
1934 JUDGE PRIEST director
1934 THE LOST PATROL director
1934 THE WORLD MOVES ON director
1935 THE INFORMER director
1935 STEAMBOAT 'ROUND THE BEND director
1935 THE WHOLE TOWN'S TALKING director
1936 THE LAST OUTLAW story
1936 MARY OF SCOTLAND director
1936 THE PLOUGH AND THE STARS director
1936 THE PRISONER OF SHARK ISLAND director
1937 THE HURRICANE director
1937 WEE WILLIE WINKIE director
1938 THE ADVENTURES OF MARCO POLO director
1938 FOUR MEN AND A PRAYER director
1938 SUBMARINE PATROL director
1939 DRUMS ALONG THE MOHAWK director
1939 STAGECOACH director
1939 YOUNG MR. LINCOLN director
1940 THE GRAPES OF WRATH director
1940 THE LONG VOYAGE HOME director
1941 HOW GREEN WAS MY VALLEY director
1941 SEX HYGIENE (short) director
1941 TOBACCO ROAD director
1942 THE BATTLE OF MIDWAY (documentary) commentary, director of photography, editor, director
1942 TORPEDO SQUADRON (short) director
1943 DECEMBER 7TH (short) director
1943 WE SAIL AT MIDNIGHT (short) director
1945 THEY WERE EXPENDABLE director, producer
1946 MY DARLING CLEMENTINE director
1947 THE FUGITIVE director, producer
1948 3 GODFATHERS director
1948 FORT APACHE director, producer
1949 EVERYBODY DOES IT performer
1949 MIGHTY JOE YOUNG co-producer
1949 PINKY director
1949 SHE WORE A YELLOW RIBBON director, producer
1950 RIO GRANDE director, producer
1950 WAGON MASTER director, producer
1950 WHEN WILLIE COMES MARCHING HOME director
1951 BULLFIGHTER AND THE LADY uncredited editor
1951 THIS IS KOREA director
1952 THE QUIET MAN director, co-producer
1952 WHAT PRICE GLORY? director
1953 HONDO 2nd unit director
1953 MOGAMBO director
1953 THE SUN SHINES BRIGHT director, producer
1955 THE LONG GRAY LINE director
1955 MISTER ROBERTS director
1955 THE RED, WHITE AND BLUE LINE (short) director
1956 THE SEARCHERS director
1957 THE GROWLER STORY (short) director
1957 THE RISING OF THE MOON director
1957 THE WINGS OF EAGLES director
1958 GIDEON OF SCOTLAND YARD/ GIDEON'S DAY director, producer
1958 THE LADY TAKES A FLYER director
1958 THE LAST HURRAH director, producer
1958 SO ALONE (short) director
1959 THE HORSE SOLDIERS director
1959 KOREA (short) director, producer
1960 SERGEANT RUTLEDGE director
1961 TWO RODE TOGETHER director
1962 HOW THE WEST WAS WON co-director—"Civil War" episode
1962 THE MAN WHO SHOT LIBERTY VALANCE director
1963 DONOVAN'S REEF director, producer
1964 CHEYENNE AUTUMN director
1965 YOUNG CASSIDY director
1966 7 WOMEN director
1914 LUCILLE LOVE, GIRL OF MYSTERY performer, property master
1914 THE MYSTERIOUS ROSE (short) performer
1915 THE BROKEN COIN performer
1915 THE DOORWAY OF DESTRUCTION (short) performer, assistant director
1915 THE HIDDEN CITY (short) performer
1915 THREE BAD MEN AND A GIRL performer
1916 THE BANDIT'S WAGER (short) performer
1916 CHICKEN-HEARTED JIM (short) performer
1916 THE LUMBER YARD GANG (short) performer
1917 BUCKING BROADWAY director
1917 CHEYENNE'S PAL director, story
1917 A MARKED MAN director
1917 THE SCRAPPER performer, director, screenwriter
1917 THE SECRET MAN director
1917 THE SOUL HERDER director
1917 STRAIGHT SHOOTING director
1917 THE TORNADO performer, director, screenwriter
1917 THE TRAIL OF HATE performer, director, screenwriter
1918 DELIRIUM director, screenwriter, story
1918 HELL BENT director, screenwriter, story
1918 THE PHANTOM RIDERS director
1918 THE SCARLET DROP director, story
1918 THIEVES' GOLD director
1918 THREE MOUNTED MEN director, producer
1918 WILD WOMEN director
1918 A WOMAN'S FOOL director
1919 THE ACE OF THE SADDLE director
1919 BARE FISTS director
1919 BY INDIAN POSTS (short) director
1919 A FIGHT FOR LOVE director
1919 THE FIGHTING BROTHERS (short) director
1919 A GUN FIGHTIN' GENTLEMAN director, story
1919 GUN LAW (short) director
1919 THE GUN PUSHER director, story
1919 THE LAST OUTLAW (short) director
1919 THE OUTCASTS OF POKER FLAT director
1919 THE RIDER OF THE LAW director
1919 RIDERS OF VENGEANCE director, story
1919 ROPED director
1919 THE RUSTLERS director
1920 THE BIG PUNCH director, screenwriter
1920 THE GIRL IN NUMBER 29 director
1920 HITCHIN' POSTS director
1920 JUST PALS director
1920 MARKED MEN director
1920 THE PRINCE OF AVENUE A director
1920 UNDER SENTENCE story
1921 ACTION director, director
1921 DESPERATE TRAILS director
1921 THE FREEZE OUT director
1921 JACKIE director
1921 SURE FIRE director, producer
1921 THE WALLOP director, producer
1922 LITTLE MISS SMILES director
1922 NERO director
1922 SILVER WINGS director
1922 THE VILLAGE BLACKSMITH director
1923 CAMEO KIRBY director
1923 THE FACE ON THE BARROOM FLOOR director
1923 HOODMAN BLIND director
1923 NORTH OF HUDSON BAY director
1923 THREE JUMPS AHEAD director, screenwriter
1924 HEARTS OF OAK director
1924 THE IRON HORSE director
1925 THE FIGHTING HEART director
1925 KENTUCKY PRIDE director
1925 LIGHTNIN' director
1925 THANK YOU director
1926 THE BLUE EAGLE director
1926 THE SHAMROCK HANDICAP director
1926 THREE BAD MEN director
1926 WHAT PRICE GLORY? director
1927 SEVENTH HEAVEN director
1927 UPSTREAM director
1928 FOUR SONS director
1928 HANGMAN'S HOUSE director
1928 MOTHER MACHREE director
1928 NAPOLEON'S BARBER director
1928 RILEY THE COP director
1929 BIG TIME performer
1929 THE BLACK WATCH director
1929 SALUTE director
1929 STRONG BOY director
1930 BORN RECKLESS director
1930 MEN WITHOUT WOMEN director, story
1930 UP THE RIVER director
1931 ARROWSMITH director
1931 THE BRAT director
1931 SEAS BENEATH director
1932 AIR MAIL director
1932 FLESH director, producer
1933 DR. BULL director
1933 PILGRIMAGE director
1934 JUDGE PRIEST director
1934 THE LOST PATROL director
1934 THE WORLD MOVES ON director
1935 THE INFORMER director
1935 STEAMBOAT 'ROUND THE BEND director
1935 THE WHOLE TOWN'S TALKING director
1936 THE LAST OUTLAW story
1936 MARY OF SCOTLAND director
1936 THE PLOUGH AND THE STARS director
1936 THE PRISONER OF SHARK ISLAND director
1937 THE HURRICANE director
1937 WEE WILLIE WINKIE director
1938 THE ADVENTURES OF MARCO POLO director
1938 FOUR MEN AND A PRAYER director
1938 SUBMARINE PATROL director
1939 DRUMS ALONG THE MOHAWK director
1939 STAGECOACH director
1939 YOUNG MR. LINCOLN director
1940 THE GRAPES OF WRATH director
1940 THE LONG VOYAGE HOME director
1941 HOW GREEN WAS MY VALLEY director
1941 SEX HYGIENE (short) director
1941 TOBACCO ROAD director
1942 THE BATTLE OF MIDWAY (documentary) commentary, director of photography, editor, director
1942 TORPEDO SQUADRON (short) director
1943 DECEMBER 7TH (short) director
1943 WE SAIL AT MIDNIGHT (short) director
1945 THEY WERE EXPENDABLE director, producer
1946 MY DARLING CLEMENTINE director
1947 THE FUGITIVE director, producer
1948 3 GODFATHERS director
1948 FORT APACHE director, producer
1949 EVERYBODY DOES IT performer
1949 MIGHTY JOE YOUNG co-producer
1949 PINKY director
1949 SHE WORE A YELLOW RIBBON director, producer
1950 RIO GRANDE director, producer
1950 WAGON MASTER director, producer
1950 WHEN WILLIE COMES MARCHING HOME director
1951 BULLFIGHTER AND THE LADY uncredited editor
1951 THIS IS KOREA director
1952 THE QUIET MAN director, co-producer
1952 WHAT PRICE GLORY? director
1953 HONDO 2nd unit director
1953 MOGAMBO director
1953 THE SUN SHINES BRIGHT director, producer
1955 THE LONG GRAY LINE director
1955 MISTER ROBERTS director
1955 THE RED, WHITE AND BLUE LINE (short) director
1956 THE SEARCHERS director
1957 THE GROWLER STORY (short) director
1957 THE RISING OF THE MOON director
1957 THE WINGS OF EAGLES director
1958 GIDEON OF SCOTLAND YARD/ GIDEON'S DAY director, producer
1958 THE LADY TAKES A FLYER director
1958 THE LAST HURRAH director, producer
1958 SO ALONE (short) director
1959 THE HORSE SOLDIERS director
1959 KOREA (short) director, producer
1960 SERGEANT RUTLEDGE director
1961 TWO RODE TOGETHER director
1962 HOW THE WEST WAS WON co-director—"Civil War" episode
1962 THE MAN WHO SHOT LIBERTY VALANCE director
1963 DONOVAN'S REEF director, producer
1964 CHEYENNE AUTUMN director
1965 YOUNG CASSIDY director
1966 7 WOMEN director
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Written content of the Golden Age of Hollywood Website (except where indicated) copyright Derek McLellan, 2007.