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Delmer Daves (1904-1977) was an American screenwriter, director,
and producer known for his dramas and Western adventures, most
notably Broken Arrow and 3:10 to Yuma. Despite the popularity of
his films, there has been little serious examination of Daves's
work. Filmmaker Bertrand Tavernier has called Daves the most
forgotten of American directors, and to date no scholarly monograph
has focused on his work. In The Films of Delmer Daves: Visions of
Progress in Mid-Twentieth-Century America, author Douglas Horlock
contends that the director's work warrants sustained scholarly
attention. Examining all of Daves's films, as well as his
screenplays, scripts that were not filmed, and personal papers,
Horlock argues that Daves was a serious, distinctive, and
enlightened filmmaker whose work confronts the general conservatism
of Hollywood in the mid-twentieth century. Horlock considers
Daves's films through the lenses of political and social values,
race and civil rights, and gender and sexuality. Ultimately,
Horlock suggests that Daves's work-through its examination of
bigotry and irrational fear and depiction of institutional and
personal morality and freedom-presents a consistent, innovative,
and progressive vision of America.
Delmer Daves (1904-1977) was an American screenwriter, director,
and producer known for his dramas and Western adventures, most
notably Broken Arrow and 3:10 to Yuma. Despite the popularity of
his films, there has been little serious examination of Daves's
work. Filmmaker Bertrand Tavernier has called Daves the most
forgotten of American directors, and to date no scholarly monograph
has focused on his work. In The Films of Delmer Daves: Visions of
Progress in Mid-Twentieth-Century America, author Douglas Horlock
contends that the director's work warrants sustained scholarly
attention. Examining all of Daves's films, as well as his
screenplays, scripts that were not filmed, and personal papers,
Horlock argues that Daves was a serious, distinctive, and
enlightened filmmaker whose work confronts the general conservatism
of Hollywood in the mid-twentieth century. Horlock considers
Daves's films through the lenses of political and social values,
race and civil rights, and gender and sexuality. Ultimately,
Horlock suggests that Daves's work-through its examination of
bigotry and irrational fear and depiction of institutional and
personal morality and freedom-presents a consistent, innovative,
and progressive vision of America.
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