After being removed from a film and ruining his friendship with Henry Fonda, John Ford begins to openly challenge his previous work. He deconstructs the Western and, for the first time, makes films specifically about Indians and women. But his power in Hollywood dwindles, and he soon finds himself out of work, a living legend living off his savings. As Ford enters his 70s, his movies are rediscovered and he is showered with honors and accolades, even as he denies his own artistry every chance he gets. Though he does accept one major award... from none other than the President of the United States.

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At the height of his powers, John Ford directs his masterpiece, an anti-racist Western called The Searchers. It’s a movie of contradictions: John Wayne plays the hero, but he's driven by hate and revenge. He’s searching for his niece, with the intent to kill her. Behind the scenes, Ford continues to use Monument Valley as a generic backdrop for the West without once acknowledging that it’s sacred Navajo land. And while Ford considered himself a friend to the Navajos, his portrayal of Native Americans is fraught with stereotypes. But these damaging images were used in service of creating a complex, fascinating film that dared to condemn bigotry and has mesmerized generations of film fans.

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After D-Day, Ford goes on a historic bender then heads home... not to Hollywood but to Monument Valley, a secluded land with incredible scenery. There, he creates his own kingdom, a place he can work and create art without being under the thumb of studio executives. His stock company follows him from film to film, and Ford rewards his loyal subjects, but he’s not a kind ruler. He mercilessly picks on actors and pits them against each other, sometimes in the cruelest ways possible.

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This week, Ben traces the mystery of John Ford's missing D-Day documentary. The one time Ford talked about it, he claimed it was buried in a government film vault, too disturbing for public view. This sends Ben on a globe-trotting journey, following clues in the US, England and Russia. He encounters fellow seekers, as well as skeptics who question whether the footage was lost in battle… or if Ford made the whole thing up. But when new evidence comes to light, Ben's quest takes him to an unexpected final stop, where new revelations await.

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Ford is finally in the military and his first assignment is… to make a sex ed film for soldiers! Soon he sees real combat and is injured while filming the battle of Midway. He’s nursed back to health with the help of John Wayne, while his Midway movie wins an Oscar and becomes a favorite of President Roosevelt. Ford then recuts December 7th, a movie directed by his friend and colleague Gregg Toland, to make it less racist. It wins him yet another Oscar. The brass recruit Ford for the assignment of his career: to cover the largest invasion in history. Ford goes to Normandy Beach to film D-Day, but his film detailing the invasion goes missing.

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John Ford buys a yacht, where he cavorts, drinks and vacations. But he also keeps an eye on the looming threat in Europe, and uses his new vessel to enlist in the Naval Reserve. He rises through Hollywood and turns his friends into stars, including John Wayne – though he's increasingly abusive towards them on the set. As the ‘30s dissolve into the ‘40s, Ford directs a remarkable string of movies, winning back-to-back Oscars (though he doesn’t show up to the ceremonies). Then war breaks out, and he’s shipped overseas to cover the front.

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John Ford was born in Maine as Sean Aloysius O’Feeney… or so he says. His birth records say differently, and it would not be the last time he changes his name. As a child, he visits Ireland and falls in love with his heritage, and later fights at the University of Maine when confronted with an Irish slur. He rediscovers his long-lost brother Francis on the big screen and follows him to Hollywood, where he works as a stunt double until fibbing his way into directing. As silent movies transition to talkies, Ford befriends the man who would become his friend, his muse, and his enabler, a young football player named John Wayne.

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Meet John Ford, the curmudgeon with an eyepatch who just happened to be the greatest filmmaker of the 20th Century. Ford was a bully and a drunk who ruled Hollywood for five decades, making dozens of seminal movies – though he was incredibly hard to pin down. His behavior swung wildly from loyalty to cruelty, without notice. He won more Oscars than any director in history, but never showed up to accept an award. And he rewrote American history, painting the country with images so beautiful that people wished they were real. John Ford defined the attitudes of his time, ideas about masculinity and heroism that we're still grappling with today. Join host Ben Mankiewicz for a new season of The Plot Thickens, starting June 6.

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While we're hard at work on the next season of The Plot Thickens, we're excited to share Ben Mankiewicz's new podcast, Talking Pictures. The first guest on Talking Pictures is writer director Nancy Meyers (Something’s Gotta Give, It’s Complicated, The Holiday). Recorded at her home, Meyers talks about casting Jack Nicholson and Diane Keaton, getting script advice from Sunset Boulevard director Billy Wilder, and what it’s like to become famous for her interiors. Spoiler: it’s frustrating! Nancy Meyers also answers our Super 8 questionnaire and reveals which film had her running from the theater in absolute terror.

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We’re sharing a bonus episode from our friends at American Masters: Creative Spark, the PBS podcast that goes in-depth with an iconic artist about the creation of a single work. This episode is about John Waters, a filmmaker who loves to break the rules and make you laugh along the way. The iconoclast has been doing just that over the past six decades with provocative and perverse films like Pink Flamingos, Hairspray, and Female Trouble. Now enshrined as the king of transgressive cinema, Waters breaks down the creative process behind his first novel, Liarmouth: A Feel-Bad Romance.

This episode includes derogatory epithets used in an artistic context. Listener discretion advised.

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