Peter Ford, remembering what happened to him 65 years ago: “A boy, his dog, and Charlie Chaplin”

“It was early 1952, I was seven years old, and silent screen legend Charlie Chaplin lived around the corner from my family in a big house on Summit Drive in Beverly Hills, California.” Those are the first words of a hugely interesting and fascinating essay Peter Ford (b. 1945), son of legendary screen actors and stars Eleanor Powell (1912-1982) and Glenn Ford (1916-2006)—all pictured above—once wrote when reminiscing about what happened to his beloved dog, a German shepherd named Bill, when he was a young boy.

I had the pleasure of meeting Peter Ford on numerous occasions; we became friends, and I visited him regularly when I came over to the U.S. A wonderful family man with a wonderful family—I also remember and cherish our dinners at his home very dearly, enjoying the pleasure of his entire family—while during interview sessions at his home, we talked for hours about the careers of his parents in movies. His mother was Eleanor Powell, best remembered for her incredible tap dance numbers in some of MGM’s most prestigious musicals of the 1930s to the mid-1940s; she was undoubtedly the ‘Queen of Tap Dancing’ on the MGM lot and of her era—and beyond. In 1965, two decades after she virtually retired from acting to raise her son Peter, she was named the World’s Best Tap Dancer by the Dance Masters of America. Click here to see her dancing in one of her many highlights on the screen: from “Broadway Melody of 1940,” this is Ms. Powell and Fred Astaire’ dancing sequence (“Begin the Beguine”), also included in MGM’s astounding compilation feature, “That’s Entertainment” (1974). Watching Ms. Powell and Fred Astaire in this particular sequence—perfection was rarely this perfect.

Next to his mother’s achievements on the screen, Peter Ford’s father, Glenn Ford, had a long and rewarding career as one of Hollywood’s most reliable and talented leading men. With an impressive career on the screen, beginning in the late 1930 to his final appearance in 1991, his numerous highlights include several screen classics. Just to name a few, there’s “Gilda” (1946), co-starring his favorite leading lady Rita Hayworth; Fritz Lang’s “The Big Heat” (1953); “Blackboard Jungle” (1955), about a teacher’s harrowing experiences in New York City’s school system (Mr. Ford played the teacher, Sidney Poitier in an early role played a troubled youth); and the film noir “Ransom!” (1956), remade four decades later by Ron Howard, with Mel Gibson in the Glenn Ford role.

Eleanor Powell, Peter Ford, and Glenn Ford. Photograph: courtesy Peter Ford

The interview I did with Peter Ford appeared a number of years ago in a Flemish academic film journal called Cinemagie and will also be posted here in time to come. A few years ago, Mr. Ford wrote an in-depth biography on the life and career of his father, titled “Glenn Ford: A Life” (2011, published by The University Press of Wisconsin, with a foreword by film historian Patrick McGilligan). The recently deceased Debbie Reynolds once described Mr. Ford as ‘more than an accomplished and brilliant actor. He was a master at his craft: comedy, westerns, drama film noir—everything. I adored working with him.” Voilà, her knowledgeable comment sums it up pretty much.

As a Hollywood insider (click here for his personal website), Peter Ford wrote a few fascinating essays over the years, including about what it was like to grow up in Hollywood during the early 1950s, among neighbors such as David O. Selznick and Charlie Chaplin, in a turbulent era marked by the witch-hunt of the House Committee on Un-American Activities which eventually led to the Hollywood blacklist—with Mr. Chaplin as one of its victims.

The following essay ultimately deals with the death of his dog when Peter Ford was seven, but he puts everything in the right perspective, with a lot of background information and quite a bit of unknown Hollywood history—at times also anecdotical—to give the reader an accurate idea of what the situation in Hollywood was like in those days, and what his life as the young son of two legendary screen actors and stars was like. Here we go.

A boy, his dog, and Charlie Chaplin

It was early in 1952, I was seven years old, and silent screen legend Charlie Chaplin lived around the corner from my family in a big house on Summit Drive in Beverly Hills, California. Mr. Chaplin had recently been under investigation by the FBI for suspected communist activities. He had also suffered under three trials for violations of the Mann Act for immoral conduct with teenage girls, and had felt the pressure of other charges of moral turpitude when he left the U.S. for England to attend the premiere of his latest film, “Limelight.” My first—and only close—encounter with the actor the world knew as the “little tramp” occurred one rainy winter night shortly before his departure for England, a departure that was to mark the beginning of his life-long exile from the United States. The encounter is etched keenly in my memory, partly because my parents convinced me that the tragedy that  happened that night was directly connected to Chaplin’s exile from America. But I am getting ahead of my story.

A New Adventure

When the House Committee on Un-American Activities (HCUA) first convened in February 1947, the career of my father, actor Glenn Ford, was in its ascendancy. The previous year, he had starred in the film “Gilda” with a frequent visitor to our home in those days, Rita Hayworth. My mother, Eleanor Powell, had recently retired from a stellar career at MGM Studios when my parents decided to combine their resources to purchase what was to become our family’s first home—a 22-room “nest” on Cove Way in the heart of Beverly Hills.

Glenn Ford, director Vincent Sherman, and Rita Hayworth, on the set of “Affair in Trinidad” (1952), the fourth of five films Glenn Ford and Rita Hayworth made together | Film Talk Archive

My father had gotten his first big “break” when Bette Davis asked him to  co-star with her in “A Stolen Life” at Warner Brothers, and it was there that dad met one of the pre-eminent Hollywood composers at the time, Max Steiner. He mentioned to dad that he wanted to sell his home. On the heels of scoring such classics as “Gone With the Wind” and “Casablanca,” Mr. Steiner was moving on to bigger “digs,” so dad and mom took the opportunity to buy his home and move the four of us onto the three acres of this incredible estate. We weren’t exactly the Beverly Hillbillies, but for a child moving to a house bigger than some hotels—with grounds to match—it was the beginning of quite an adventure. I mention the “four of us” because, in addition to my parents and me, there was another member of the family who shared our home: Bill, my beloved German shepherd. Sadly, Bill was to play a principal role in the drama that was to unfold between Charlie Chaplin and me.

The David O. Selznicks lived across the street from us in an even bigger house. Mary Pickford lived up the road in a still larger home on Summit Drive called ‘Pickfair.’ And at the bottom of our hill on Benedict Canyon was Harold Lloyd’s huge 22-acre estate aptly named ‘Greenacres.’ Our little ‘spread’ was modest by comparison, but this was the Hollywood I knew as a child.

When the Selznicks stopped by to welcome us to the neighborhood, they offered to introduce my dad to another famous neighbour who lived in the big yellow house a few doors up—Charlie Chaplin. My father told Mr. Selznick that he already had the pleasure.

My father had first met Charlie Chaplin in 1943 when the first of Mr. Chaplin’s legal problems surfaced. I was told Mr. Chaplin had fled his forested palace in Beverly Hills and was in hiding to avoid being subpoenaed regarding his dalliance with a starlet by the name of Joan Barry. He took shelter in the West Angeles home of his friend, producer Eugene Frenke. Mr. Frenke’s wife was actress Anna Stern, who starred with my father in the 1941 film “So Ends Our Night.” In this film my father portrayed a refugee from Nazi oppression, fleeing through Europe to avoid persecution.

“So Ends Our Night” was the first major film that my father made in his long career, and its subject matter kindled within him a patriotic fervor that continues to this day. Never in his life has wavered in expressing this point of view in his films or in his devotion to his country.

The cover of “Charlie Chaplin Interviews” (2005), edited by Kevin J. Hayes, published by University Press of Mississippi

One day in 1943, dad was invited to stop by the Frenkes’ home for a drink after work, where he found Charlie Chaplin sequestered in the house along with his 17-year-old girlfriend, Oona O’Neill. Theirs was a relationship of which Oona’s father, playwright Eugene O’Neill, disapproved.

By the end of the visit, Mr. Chaplin had discussed with my father his plight in avoiding prosecution under the Mann Act for transporting a minor (Miss Barry) across state lines, his views on the ongoing war, Russia, and the ‘Second Front’ speech he had given in New York in 1942, among other subjects. It was an unusual encounter between my 27-year-old father and the older comic actor who was later to become our neighbor, and my father found that he held few views in common with Chaplin.

The House on the Hill

Four years later, when we moved into the house on Cove Way, Oona O’Neill and Chaplin were married. Our neighborhood was a bustle of parties and excitement. Ronald Coleman, Joan Crawford, Errol Flynn, Lucille Ball, John Garfield, William Holden, and a host of others were regular guests at events up and down the hill during those halcyon days. Much later, I was to learn that things were not quite as innocent in Hollywood as they seemed.

Mr. Chaplin’s big yellow house on the hill looming above us certainly commanded our attention, but there was also gossip at the dinner table in our home about some unusual goings-on there. Hollywood in the late 1940s and early 1950s was a hotbed of politics, and it was almost unfashionable to be apolitical in those days. Our house was always full of activity, and all present were free to express their opinions. Even when I was young, my parents treated me as an adult and talked freely in my presence. I learned that our English neighbor, Charlie Chaplin, was a bit of an eccentric. This, of course, was not unusual in a town made famous by the eccentricities of its inhabitants, but there was more that caught the interest of this seven-year-old’s inquisitive mind.

My mother had renewed her friendship with the lady across the street, David O. Selznick’s wife Irene (the daughter of my mother’s mentor at MGM, Louis B. Mayer), who was no stranger to conservatism. Adolphe Menjou, Robert Taylor, and columnist Hedda Hopper were frequent visitors in our home. Through associations at his work in films at the time, my father often had visitors stop by the house who were of a different political persuasion, such as Edward G. Robinson, David Niven, and directors Fritz Lang and Orson Welles. For a child in his formative years, it was an opportunity to be exposed to a wide variety of ideologies.

But there was more that piqued my young mind, apart from the snippets I had gleaned from adult conversation. At night I heard haunting music coming from the yellow house up the road, and my neighborhood playmates said that Mr. Chaplin didn’t like children. They said he spied on his neighbors from a hidden telescope in the house, and the rumor among us impressionable youths was that Mr. Chaplin was a ‘secret agent from a foreign land.’

Television was a new medium, and our family was one of the first in the neighborhood to get a television set. I soon discovered “Captain Video and His Video Rangers”—the rage among my friends at the time. I was a devotee of the program, and I took very seriously the program’s mandate that the safety of the Universe was dependent on the vigilance of the Video Rangers. I, of course, became a Video Ranger when I strapped on my decoder ring, one of the many products young fans of the program could acquire through the mail. I was prepared to conquer evil wherever I found it, and I believed Charlie Chaplin was the perfect place to start.

In my mind, Charlie Chaplin was the personification of the show’s villainous genius, “Dr. Pauli,” head of the Astroidal Society. After all, hadn’t Mr. Chaplin portrayed Adolf Hitler in “The Great Dictator”?

All of this fuelled my active imagination, and I convinced myself that I must investigate. However, if I were caught on the grounds of his home, there was a distinct possibility of being kidnapped, never to be seen again. Even if I were to take my homemade version of the “Chaplin’s Atomic Rifle” with me on my clandestine sorties, I could not be sure of success. Our neighbor was also well equipped to battle, but I was determined to venture where I was warned not to go—risking it all on scouting parties into the woods around Charlie Chaplin’s estate.

Hollywood Reds

Those readers unfamiliar with the days of the Hollywood Ten and the HCUA’s investigation of the film industry in the 1940s and 50s may have been convinced by the major media’s revisionist myths that there was a no-holds-barred Red witch-hunt going on among actors, writers, directors, and producers. But in truth, the HCUA probe had uncovered undeniable evidence of the Communist Party’s subversive influence in Hollywood.

The cover of David Robinson’s biography “Chaplin: His Life and Art” (1985). Publisher: McGraw-Hill Book Company.

In the early 1920s, Will Hays was appointed head of the newly formed Motion Picture Producers and Distributors Association (MPPDA). It was Hays who established the moral clause in films, which was to become the anathema of civil libertarians and studio heads alike. In 1930, with the guidance of the Roman Catholic Church, Hays presented a ‘Production Code’ that banned some of the perceived immoralities in the films being produced in Hollywood. It was also in the early 1930s that the Legion of Decency was formed under the direction of Joseph Breen, West Coast representative of MPPDA. The Production Code Administration (PCA) was also created and Joe Breen became its director. Without the PCA’s approval, a film could not be exhibited in any legitimate movie theater in America. Overnight, Joseph Breen became one of the most powerful men in the film industry.

FDR’s New Deal socialism, Hitler, Stalin, Mussolini, and the pain of the Great Depression brought on turbulent times. For some, allegiance to the country conflicted with other commitments and was compromised or abandoned altogether. Ours was a nation in the midst of a crisis, and it was dramatically reflected in the arts.

What started in June 1936 as the Anti-Nazi League—an anti-Hitler, pro-communist alliance—was transformed into something less acceptable to many people in the Hollywood community when in August 1939 Stalin and Hitler shocked Western Europe by signing a non-aggression treaty, a pact that Pravda announced as an ‘act of peace.’ A few days later the Nazis invaded Poland and eventually devastated much of Europe. Within a year, Stalin subjugated Lithuania, Estonia, and Latvia and moved against Finland.

During this time there were many communists and fellow travelers at work in Hollywood as writers, producers, directors, and actors—people whose  sympathy went beyond cocktail party rhetoric and found its way into many of the films coming out of Hollywood. The Communist Party, USA (CPUSA) and its many front groups were being closely monitored by the FBI and other agencies who suspected disloyalty to the United States. In coordination with the FBI, the HCUA was trying to determine to what extent communist propaganda existed and who was responsible for it.

When the Nazis attacked the USSR in June 1941, the vehement campaign to create a Second Front to defend Russia became a passion among the Hollywood elite. The brutality of Stalin against his own people was ignored, and defending the Russian motherland became the rage among the cocktail communists and Hollywood Reds. It was in this climate that the CPUSA held considerable influence in Hollywood.

While it is true that Charlie Chaplin’s membership in the CPUSA was never absolutely documented, he nevertheless worked diligently to thwart the objectives of the HCUA, and there is considerable evidence that he was a ‘concealed communist.’ He was identified as such by the managing editor of the Daily Worker, Louis Budenz.

In 1922, a secret convention of the top U.S. communists and their Moscow handlers was being held at a farm near Bridgman, Michigan, when it was raided by local, state, and federal authorities. Captured along with the participants were numerous documents detailing the communist plans for subversion and revolution in America. One of those in attendance was Communist Party leader William Z. Foster. Shortly before the Bridgman convention, Foster had been in Los Angeles, where he was the guest of honor at a reception given by Chaplin.

Many experts on communist tactics believe that Chaplin was not carried on the ordinary rolls, but was directly controlled by the Central Committee, without direct ties to the local Party organization in Hollywood.

In his films, speeches, associations, and personal life Chaplin certainly fit the profile of a ‘Party’ man. As Kenneth S. Lynn points out in his brilliant book, “Charlie Chaplin and His Times,” on December 3rd, 1942 in a speech in New York sponsored by the Arts to Russia committee of Russian War Relief, Chaplin “told seven hundred guests that the American people were finally beginning to understand the Russian purges, and what a wonderful thing they were.” This was the beginning of the end of America’s love affair with Chaplin. Ten years later, he left the U.S. in exile and eventually moved to Switzerland to live out his last days, dying in 1977.

Tragic Encounter

Peter Ford with his German shepherd, Bill | Peter Ford

It was the winter before Chaplin’s departure from his big house on the hill that Bill, my German shepherd, and I were to play a dramatic part in Mr. Chaplin’s life.

It was late at night and raining. I was seven years old and asleep in my bed when I was awakened by the ringing of our doorbell. As a curious young lad, I was not about to remain in bed when someone was at our door at such a late hour, especially when I heard voices of consternation. I recognized my parents’ voices, but there was someone else. As it turned out, the other person was Charlie Chaplin. He explained to my parents that there had been an accident—he had hit and killed my dog Bill with his car. I rushed downstairs and saw Bill on the front steps just beyond the open front door. To his credit, Chaplin had carried Bill’s lifeless body through the rain to deposit it on our front doorstep. Chaplin dutifully reported the sad news to my parents.

I was grief-stricken and would not be consoled. I had never met our neighbor before, but I had seen him walking at times alone late at night in the neighborhood. Additionally, my father kept chickens on a part of our property, and it was my job not only to care for them but to gather the eggs they laid. My father had made arrangements to sell eggs to Charlie and other neighbors. Chaplin had benefited from my labor, I thought, and the thanks I received was that he had killed my best friend, Bill. I would not rest until my parents could explain how someone could take the life of my dog and not be punished. Charlie Chaplin was, indeed, the incarnation of the nefarious Dr. Pauli!

At my door that night was the last time I saw Mr. Chaplin. I was intent on retribution for his crime, heightened, no doubt, by all the gossip the neighborhood children had been spreading about him. I’m sure his reputation was not enhanced by what I had heard about him at home, and I was convinced that I was extremely lucky not to have been discovered by him lurking in the woods by his house.

All summer, I anguished over what had happened to my dog. In September, I suppose, my parents read in the paper that as Charlie Chaplin was traveling to England, he was told that he would be denied re-entry into the United States. However, that is not what they told me. I learned from them the real reason Chaplin was not allowed to come back to his house on Summit Drive, and it had nothing to do with his tax problems, his violations of the Mann Act, the paternity suit involving Joan Barry, the charges of moral turpitude, or his affiliations with the Communist Party.

No, these were not the reasons Charlie Chaplin was exiled for the rest of his life from the United States. I was finally placated when my parents, in their loving attempt to protect their son’s feelings and assuage his sorrow, told me that Mr. Chaplin would not be coming back to the neighborhood because he had killed my dog, Bill. Justice, I thought, had finally been wrought.


QUEEN HIGH (1930) DIR Fred C. Newmeyer PROD Frank Mandel, Laurence Schwab SCR Frank Mandel (play by Edward Peple; musical play by Laurence Schwab, Buddy G. DeSylva, Lewis E. Gensler) CAST Charlie Ruggles, Frank Morgan, Ginger Rogers, Stanley Smith, Helen Carrington, Eleanor Powell (Party Guest [uncredited])

GEORGE WHITE’S 1935 SCANDALS (1935) DIR – PROD George White SCR Jack Yellen, Patterson McNutt CAST Alice Faye, James Dunn, Ned Sparks, Lydia Roberti, Cliff Edwards, Arline Judge, Eleanor Powell (Marilyn), Emma Dunn, George White, Jane Wyman

BROADWAY MELODY OF 1936 (1935) DIR Roy Del Ruth PROD John W. Considine, Jr. SCR Sid Silvers, Jack McGowan (story by Moss Hart) CAST Eleanor Powell (Irene Foster), Robert Taylor, Jack Benny, Una Merkel, Sid Silvers, Buddy Ebsen, June Knight, Frances Langford, Gertrude Astor

BORN TO DANCE (1936) DIR Roy Del Ruth PROD Jack Cummings SCR Sid Silvers, Jack McGowan (story by Sid Silvers, Jack McGowan, Buddy G. DeSylva) CAST Eleanor Powell (Nora Paige), James Stewart, Virginia Bruce, Una Merkel, Sid Silvers, Frances Langford, Raymond Walburn, Buddy Ebsen, Reginald Gardiner

BROADWAY MELODY OF 1938 (1937) DIR Roy Del Ruth PROD Jack Cummings SCR Jack McGowan (story by Jack McGowan, Sid Silvers) CAST Robert Taylor, Eleanor Powell (Sally Lee), George Murphy, Binnie Barnes, Buddy Ebsen, Sophie Tucker, Judy Garland, Robert Benchley, Charley Grapewin, Billy Gilbert, King Baggot, Carole Landis

ROSALIE (1937) DIR W.S. Van Dyke PROD William Anthony McGuire SCR William Anthony McGuire (play by William Anthony McGuire, Guy Bolton) CAST Nelson Eddy, Eleanor Powell (Rosalie), Frank Morgan, Edna May Oliver, Ray Bolger, Ilona Massey, Billy Gilbert, Reginald Owen, Virginia Grey

HONOLULU (1939) DIR Edward Buzzell PROD Jack Cummings SCR Herbert Fields, Frank Partos (story by Herbert Fields, Frank Partos) CAST Eleanor Powell (Dorothy March), Robert Young, George Burns, Gracie Allen, Rita Johnson, Clarence Kolb, Jo Ann Sayers, Eddie ‘Rochester’ Anderson, Sig Ruman, Ruth Hussey

BROADWAY MELODY OF 1940 (1940) DIR Norman Taurog PROD Jack Cummings SCR Leon Gordon, George Oppenheimer (story by Jack McGowan, Dore Schary) CAST Fred Astaire, Eleanor Powell (Clare Bennett), George Murphy, Frank Morgan, Ian Hunter, Florence Rice, Lynne Carver, Irving Bacon, Mel Blanc

LADY BE GOOD (1941) DIR Norman Z. Leonard PROD Arthur Freed SCR Jack McGowan, John McClain, Kay Van Riper (story by Jack McGowan) CAST Eleanor Powell (Marilyn Mash), Ann Sothern, Robert Young, Lionel Barrymore, John Carroll, Red Skelton, Virginia O’Brien, Tom Conway, Reginald Owen, Phil Silvers, Doris Day

SHIP AHOY (1942) DIR Edward Buzzell PROD Jack Cummings SCR Harry Clork (story by Matt Brooks, Bert Kalmar, Bradford Ropes) CAST Eleanor Powell (Tallulah Winters), Red Skelton, Bert Lahr, Virginia O’Brien, William Post Jr., James Cross, Eddie Hartman, Tommy Dorsey, Frank Sinatra

I DOOD IT (1943) DIR Vincente Minnelli PROD Jack Cummings SCR Sig Herzig, Fred Saidy CAST Red Skelton, Eleanor Powell (Constance Shaw), Richard Ainley, Patricia Dane, Sam Levene, Thurston Hall, Lena Horne, Hazel Scott, Jimmy Dorsey, John Hodiak, Butterfly McQueen

THOUSANDS CHEER (1943) DIR George Sidney PROD Joe Pasternak SCR Paul Jarrico, Richard Collins (story ‘Private Miss Jones’ by Paul Jarrico, Richard Collins) CAST Kathryn Grayson, Gene Kelly, Mary Astor, John Boles, Ben Blue, Mickey Rooney, Judy Garland, Red Skelton, Eleanor Powell (Herself), Ann Sothern, Lucille Ball, Virginia O’Brien, Frank Morgan, Lena Horne, Marsha Hunt, Marilyn Maxwell, Donna Reed, Margaret O’Brien, June Allyson, Gloria DeHaven, Cyd Charisse

SENSATIONS OF 1945 (1944) DIR Andrew L. Stone PROD Felix Jackson SCR Andrew L. Stone, Dorothy Bennett (story by Frederick J. Jackson) CAST Eleanor Powell (Virginia ‘Ginny’ Walker), Dennis O’Keefe, W.C. Fields, Sophie Tucker, Eugene Pallette, C. Aubrey Smith, David Luchine, Mimi Forsythe, Cab Calloway

DUCHESS OF IDAHO (1950) DIR Robert Z. Leonard PROD Joe Pasternak SCR Dorothy Cooper, Jerry Davis CAST Esther Williams, Van Johnson, John Lund, Paula Raymond, Clinton Sundberg, Connie Haines, Mel Tormé, Amanda Blake, Lena Horne, Eleanor Powell (Herself), Mae Clarke, Red Skelton


HEAVEN WITH A BARBED WIRE FENCE (1939) DIR Ricardo Cortez PROD Sol M. Wurtzel SCR Dalton Trumbo, Leonard Hoffman, Ben Grauman Kohn CAST Jean Rogers, Raymond Walburn, Marjorie Rambeau, Glenn Ford (Joe), Ward Bond, Irving Bacon

MY SON IS GUILTY (1939) DIR Charles Barton PROD Jack Fier SCR Harold Shumate, Joseph Carole (story by Karl Brown) CAST Bruce Cabot, Julie Bishop, Glenn Ford (Barney), Bruce Bennett, Edgar Buchanan

CONVICTED WOMAN (1940) DIR Nick Grinde PROD Ralph Cohn SCR Joseph Carole (story by Alex Gottlieb, Martin Mooney) CAST Rochelle Hudson, Frieda Inescort, June Lang, Lola Lane, Glenn Ford (Jim Brent), Iris Meredith, Lorna Gray

MEN WITHOUT SOULS (1940) DIR Nick Grinde PROD Wallace MacDonald SCR Robert D. Andrews, Joseph Carole (story by Harvey Gates) CAST Barton MacLane, John Litel, Rochelle Hudson, Glenn Ford (Johnny Adams), Don Beddoe, Cy Kendall

BLONDIE PLAYS CUPID (1940) DIR Frank R. Strayer PROD Robert Sparks SCR Karen De Wolf, Richard Flournoy (story by Karen De Wolf, Charles M. Brown; comic strip characters by Chic Young) CAST Penny Singleton, Arthur Lake, Larry Simms, Jonathan Hale, Danny Mummert, Irving Bacon, Glenn Ford (Charlie)

BABIES FOR SALE (1940) DIR Charles Barton PROD Ralph Cohn SCR Robert D. Andrews (story by Joseph Carole, Robert Chapin) CAST Rochelle Hudson, Glenn Ford (Steve Burton, a.k.a. Oscar Hanson), Miles Mander, Joe De Stefani, Isabel Jewell, Georgia Cane, Eva Hyde, Selmer Jackson

THE LADY IN QUESTION (1940) DIR Charles Vidor PROD B. B. Kahane SCR Lewis Meltzer (screenplay ‘Gribouille’ by Marcel Achard) CAST Brian Aherne, Rita Hayworth, Glenn Ford (Pierre Morestan), Irene Rich, George Coulouris, Evelyn Keyes, Curt Bois.

SO ENDS OUR NIGHT (1941) DIR John Cromwell PROD Albert Lewin, David L. Loew SCR Talbot Jennings (novel ‘Flotsam’ by Erich Maria Remarque) CAST Fredric March, Margaret Sullavan, Frances Dee, Glenn Ford (Ludwig Kern), Anna Sten, Erich von Stroheim, Allan Brett.

TEXAS (1941) DIR George Marshall PROD Samuel Bischoff SCR Lewis Meltzer, Michael Blankfort, Horace McCoy (story by Lewis Meltzer, Michael Blankfort) CAST William Holden, Glenn Ford (Tod Ramsey), Claire Trevor, George Bancroft, Edgar Buchanan, Don Beddoe

GO WEST, YOUNG LADY (1941) DIR Frank R. Strayer PROD Robert Sparks SCR Karen De Wolf, Richard Flourney (story by Karen De Wolf) CAST Penny Singleton, Glenn Ford (Sheriff Tex Miller), Ann Miller, Charles Ruggles, Allen Jenkins, Jed Prouty

THE ADVENTURES OF MARTIN EDEN (1942) DIR Sidney Salkow PROD B. P. Schulberg SCR W. L. River (novel ‘Martin Eden’ by Jack London) CAST Glenn Ford (Martin Eden), Claire Trevor, Evelyn Keyes, Stuart Erwin, Dickie Moore, Ian MacDonald

FLIGHT LIEUTENANT (1942) DIR Sidney Salkow PROD B. P. Schulberg SCR Michael Blankfort (story by Richard Carroll, Betty Hopkins) CAST Pat O’Brien, Glenn Ford (Danny Doyle), Evelyn Keyes, Jonathan Hale, Minor Watson, Larry Parks, Lloyd Bridges

THE DESPERADOES (1943) DIR Charles Vidor PROD Harry Joe Brown SCR Robert Carson (story by Max Brand) CAST Randolph Scott, Claire Trevor, Glenn Ford (Cheyenne Rogers), Evelyn Keyes, Edgar Buchanan, Guinn ‘Big Boy’ Williams

DESTROYER (1943) DIR William A. Seiter PROD Louis F. Edelman SCR Frank Wead, Lewis Meltzer, Borden Chase (story by Frank Wead) CAST Edward G. Robinson, Glenn Ford (Mickey Donohue), Marguerite Chapman, Edgar Buchanan, Leo Gorcey, Regis Toomey

GILDA (1946) DIR Charles Vidor PROD Virginia Van Upp SCR Marion Parsonnet (adaptation by Jo Eisinger; story by E. A. Ellington) CAST Rita Hayworth, Glenn Ford (Johnny Farrell), George Macready, Joseph Calleia, Steven Geray

A STOLEN LIFE (1946) Dir Curtis Bernhardt PROD Bette Davis SCR Catherine Turney (adaptation by Margaret Buell Wilder; novel ‘Uloupeny Zivot’ by Karel J. Benes) CAST Bette Davis, Glenn Ford (Bill Emerson), Dane Clark, Walter Brennan, Charles Ruggles, Bruce Bennett

GALLANT JOURNEY (1946) DIR – PROD William A. Wellman SCR William A. Wellman, Byron Morgan CAST Glenn Ford (John J. Montgomery), Janet Blair, Charles Ruggles, Henry Travers, Jimmy Lloyd, William Wellman, Jr.

FRAMED (1947) DIR Richard Wallace PROD Jules Schermer SCR Ben Maddow (story by John Patrick) CAST Glenn Ford (Mike Lambert), Janis Carter, Barry Sullivan, Edgar Buchanan, Karen Morley, Jim Bannon

THE MATING OF MILLIE (1948) DIR Henry Levin PROD Casey Robinson SCR Louella MacFarlane, St. Clair McKelway (story by Adele Comandini) CAST Glenn Ford (Doug Andrews), Evelyn Keyes, Ron Randall, Willard Parker, Virginia Hunter, Jimmy Hunt, Mabel Paige

THE MAN FROM COLORADO (1948) DIR Henry Levin PROD Jules Schermer SCR Robert D. Andrews, Ben Maddow (story by Borden Chase) CAST Glenn Ford (Owen Devereaux), William Holden, Ellen Drew, Ray Collins, Edgar Buchanan

THE LOVES OF CARMEN (1948) DIR – PROD Charles Vidor SCR Helen Deutsch (novel ‘Carmen’ by Prosper Mérimée) CAST Rita Hayworth, Glenn Ford (Don José Lizarabengoa), Ron Randall, Victor Jory, Luther Adler, Arnold Moss.

THE RETURN OF OCTOBER (1948) DIR Joseph H. Lewis PROD Rudolph Maté SCR Melvin Frank, Norman Panama (story by Karen De Wolf, Connie Lee) CAST Glenn Ford (Professor Bentley Bassett, Jr.), Terry Moore, Albert Sharpe, James Gleason, Dame May Whitty

LUST FOR GOLD (1949) DIR – PROD S. Sylvan Simon SCR Ted Sherdeman, Richard English (novel ‘Thunder God’s Gold’ by Barry Storm) CAST Ida Lupino, Glenn Ford (Jacob ‘Dutch’ Walz), Gig Young, William Prinze, Edgar Buchanan, Will Geer

THE UNDERCOVER MAN (1949) DIR Joseph H. Lewis PROD Robert Rossen SCR Sydney Boehm (article ‘Undercover Man: He Trapped Capone’ by Frank J. Wilson) CAST Glenn Ford (Frank Warren), Nina Foch, James Whitmore, Barry Kelley, David Wolfe

SOFT TOUCH (1949) Dir Gordon Douglas, Henry Levin PROD Milton Holmes SCR Orin Jannings (story by Milton Holmes) CAST Glenn Ford (Joe Miracle), Evelyn Keyes, John Ireland, Beulah Bondi, Percy Kilbride, Ted de Corsia

THE DOCTOR AND THE GIRL (1949) DIR Curtis Bernhardt PROD Pandro S. Berman SCR Theodore Reeves (story ‘Bodies and Souls’ by Maxence Van der Meersch) CAST Glenn Ford (Michael Corday), Charles Coburn, Gloria DeHaven, Janet Leigh, Bruce Bennett, Warner Anderson

CONVICTED (1950) DIR Henry Levin PROD Jerry Bresler SCR Fred Niblo, Jr., William Bowers, Seton I. Miller (play ‘Criminal Code’ by Martin Flavin) CAST Glenn Ford (Joe Hufford), Broderick Crawford, Millard Mitchell, Dorothy Malone, Carl Benton Reid, Will Geer

THE WHITE TOWER (1950) DIR Ted Tetzlaff PROD Sid Rogell SCR Paul Jarrico (novel by James Ramsey Ullman) CAST Glenn Ford (Martin Ordway), Alida Valli, Claude Rains, Oscar Homolka, Cedric Hardwicke, Lloyd Bridges

THE FLYING MISSILE (1950) DIR Henry Levin PROD Jerry Bresler SCR Richard English, James Gunn (story by Harvey S. Haislip, N. Richard Nash) CAST Glenn Ford (William A. Talbot), Viveca Lindfors, Henry O’Neill, Carl Benton Reid, Joe Sawyer, John Qualen

FOLLOW THE SUN (1951) DIR Sidney Lanfield PROD Samuel G. Engel SCR Frederick Hazlitt Brennan (also article) CAST Glenn Ford (Ben Hogan), Anne Baxter, Dennis O’Keefe, June Havoc, Larry Keating, Roland Winters

THE REDHEAD AND THE COWBOY (1951) DIR Leslie Fenton PROD Irving Asher SCR Liam O’Brien, Jonathan Latimer (story by Charles Marquis Warren) CAST Glenn Ford (Gil Kyle), Edmond O’Brien, Rhonda Fleming, Alan Reed, Morris Ankrum, Edith Evanson

THE SECRET OF CONVICT LAKE (1951) DIR Michael Gordon PROD Frank P. Rosenberg SCR Oscar Saul (adaptation by Victor Trivas; story by Anna Hunger, Jack Pollexfen) CAST Glenn Ford (Jim Canfield), Gene Tierney, Ethel Barrymore, Zachary Scott, Ann Dvorak, Barbara Bates

YOUNG MAN WITH IDEAS (1952) DIR Mitchell Leisen PROD Gottfried Reinhardt, William H. Wright. Scr Ben Barzman, Arthur Sheekman CAST Glenn Ford (Maxwell Webster), Ruth Roman, Denise Darcel, Nina Foch, Donna Corcoran

THE GREEN GLOVE (1952) DIR Rudolph Maté PROD Georges Maurer SCR Charles Bennett (also story) CAST Glenn Ford (Michael ‘Mike’ Blake), Geraldine Brooks, Cedric Hardwicke, George Macready, Gaby André, Jany Holt, Juliette Gréco

AFFAIR IN TRINIDAD (1952) DIR – PROD Vincent Sherman SCR Oscar Saul, James Gunn (story by Virginia Van Upp, Berne Giler) CAST Rita Hayworth, Glenn Ford (Steve Emery), Alexander Scourby, Valerie Bettis, Torin Thatcher, Howard Wendell

TIME BOMB (1953) DIR Ted Tettzlaff PROD Richard Goldstone SCR Kem Bennett (also novel ‘Death at Attention’) CAST Glenn Ford (Major Peter Lyncort), Anne Vernon, Maurice Denham, Harcourt Wiliams, Victor Maddern, Harold Warrender

THE BIG HEAT (1953) DIR Fritz Lang PROD Robert Arthur SCR Sydney Boehm (Saturday Evening Post serial by William P. McGivern) CAST Glenn Ford (Det. Sgt. Dave Bannion), Gloria Grahame, Jocelyn Brando, Alexander Scourby, Lee Marvin, Jeanette Nolan

PLUNDER OF THE SUN (1953) DIR John Farrow PROD John Wayne, Robert Fellows SCR Jonathan Latimer (novel by David Dodge) CAST Glenn Ford (Al Colby), Diana Lynn, Patricia Medina, Francis L. Sullivan, Sean McClory, Eduardo Noriega

THE MAN FROM THE ALAMO (1953) DIR Budd Boetticher PROD Aaron Rosenberg SCR D. D. Beauchamp, Steve Fisher (story by Niven Busch, Oliver Crawford) CAST Glenn Ford (John Stroud), Julie Adams, Chill Wills, Victor Jory, Hugh O’Brien, Guy Williams, Dennis Weaver

APPOINTMENT IN HONDURAS (1953) DIR Jacques Tourneur PROD Benedict Bogeaus. SCR Karen De Wolf (story by Jack Cornall, Mario Silvera) CAST Glenn Ford (Steve Corbett), Ann Sheridan, Zachary Scott, Rodolfo Acosta, Jack Elam, Ric Roman

HUMAN DESIRE (1954) DIR Fritz Lang PROD Lewis J. Rachmil SCR Alfred Hayes (novel ‘La Bête Humaine’ by Émile Zola) CAST Glenn Ford (Jeff Warren), Gloria Grahame, Broderick Crawford, Edgar Buchanan, Kathleen Case, Peggy Maley

CITY STORY (1954) DIR William Beaudine PROD Paul F. Heard SCR Margaret Fitts (story by John Duff Stradley) CAST Ann Doran, Warner Anderson, Charles F. Keane, Don Shelton, Lela Bliss, Glenn Ford (Narrator)

THE AMERICANO (1954) DIR William Castle PROD Robert Stillman SCR Guy Trosper (story by Leslie T. White) CAST Glenn Ford (Sam Dent), Frank Lovejoy, Cesar Romero, Ursula Thiess, Abbe Lane, Rodolfo Hoyos, Jr.

THE VIOLENT MEN (1955) DIR Rudolph Maté PROD Lewis J. Rachmil SCR Harry Kleiner (novel by Donald Hamilton) CAST Glenn Ford (John Parrish), Barbara Stanwyck, Edward G. Robinson, Dianne Foster, Brian Keith, May Wynn

BLACKBOARD JUNGLE (1955) DIR Richard Brooks PROD Pandro S. Berman SCR Richard Brooks (novel by Evan Hunter) CAST Glenn Ford (Richard Dadier), Anne Francis, Louis Calhern, Margaret Hayes, John Hoyt, Sidney Poitier, Vic Morrow, Paul Mazursky, Jamie Farr

INTERRUPTED MELODY (1955) DIR Curtis Bernhardt PROD Jack Cummings SCR Marjorie Lawrence, Sonya Levien, William Ludwig CAST Glenn Ford (Thomas ‘Tom’ King), Eleanor Parker, Roger Moore, Cecil Kellaway, Peter Leeds, Evelyn Ellis

TRIAL (1955) DIR Mark Robson PROD Charles Schnee SCR Don M. Mankiewicz (also novel) CAST Glenn Ford (David Blake), Dorothy McGuire, Arthur Kennedy, John Hodiak, Katy Jurado, Rafael Campos, Robert Middleton, Elisha Cook, Jr.

RANSOM! (1956) DIR Alex Segal PROD Nicholas Nayfack SCR Cyril Hume, Richard Maibaum CAST Glenn Ford (David G. Stannard), Donna Reed, Leslie Nielsen, Juano Hernandez, Robert Keith, Richard Gaines, Mabel Albertson

JUBAL (1956) DIR Delmer Daves PROD William Fadiman SCR Delmer Daves, Russell S. Hughes (novel by Paul I. Wellman) CAST Glenn Ford (Jubal Troop), Ernest Borgnine, Rod Steiger, Valerie French, Felicia Farr, Charles Bronson, Jack Elam

THE FASTEST GUN ALIVE (1956) DIR Russell Rouse PROD Clarence Greene SCR Russell Rouse, Frank D. Gilroy (story by Frank D. Gilroy) CAST Glenn Ford (George Temple / George Kelby, Jr.), Jeanne Crain, Broderick Crawford, Russ Tamblyn, Leif Erickson, Noah Beery, Jr.

THE TEAHOUSE OF THE AUGUST MOON (1956) DIR Daniel Mann PROD Jack Cummings. Scr John Patrick (also play; book by Vern J. Sneiber) CAST Marlon Brando, Glenn Ford (Captain Fisby), Machiko Kyô, Eddie Albert, Paul Ford, Jun Negami

3:10 TO YUMA (1957) DIR Delmer Daves PROD David Heilweil SCR Halsted Welles (story by Elmore Leonard) CAST Glenn Ford (Ben Wade), Van Heflin, Felicia Farr, Leora Dana, Henry Jones, Richard Jaeckel, Robert Emhardt

DON’T GO NEAR THE WATER (1957) DIR Charles Walters PROD Lawrence Weigarten Scr Dorothy Kingsley, George Wells (novel by William Brinkley) CAST Glenn Ford (J. G. Max Siegel), Gia Scala, Earl Holliman, Anne Francis, Keenan Wynn, Eva Gabor, Russ Tamblyn, Mickey Shaughnessy

COWBOY (1958) DIR Delmer Daves PROD Julian Blaustein SCR Edmund H. North (Dalton Trumbo, originally uncredited; book ‘My Reminiscences as a Cowboy’ by Frank Harris) CAST Glenn Ford (Tom Reese), Jack Lemmon, Anna Kashfi, Brian Donlevy, Dick York, Victor Manuel Mendoza

THE SHEEPMAN (1958) DIR George Marshall PROD Edmund Grainger SCR William Bowers, James Edward Grant (adaptation by William Roberts, story by James Edward Grant) CAST Glenn Ford (Jason Sweet), Shirley MacLaine, Leslie Nielsen, Mickey Shaughnessy, Edgar Buchanan, Willis Bouchey, Pernell Roberts, Slim Pickens

IMITATION GENERAL (1958) DIR George Marshall PROD William B. Hawks SCR William Bowers (story by William Chamberlain) CAST Glenn Ford (Murphy Savage), Red Buttons, Tiana Elg, Dean Jones, Kent Smith, Tige Andrews, John Wilder

TORPEDO RUN (1959) DIR Joseph Pevney PROD Edmund Grainger SCR William Wister Haines (stories by Richard Sale) CAST Glenn Ford (Lt. Cmdr. Barney Dole), Ernest Borgnine, Diane Brewster, Dean Jones, L. Q. Jones, Philip Ober

IT STARTED WITH A KISS (1959) DIR George Marshall PROD Aaron Rosenberg SCR Charles Lederer (story by Valentine Davis) CAST Glenn Ford (Sgt. Joe Fitzpatrick), Debbie Reynolds, Eva Gabor, Gustavo Rojo, Fred Clark, Edgar Buchanan, Harry Morgan

THE GAZEBO (1960) DIR George Marshall PROD Lawrence Weingarten SCR George Wells (story by Alec Coppel, Myra Coppel; play by Alec Coppel) CAST Glenn Ford (Elliott Nash), Debbie Reynolds, Carl Reiner, John McGiver, Mabel Albertson, Martin Landau

CIMARRON (1961) DIR Anthony Mann PROD Edmund Grainger SCR Arnold Schulman (novel by Edna Ferber) CAST Glenn Ford (Yancey ‘Cimarron’ Cravat), Maria Schell, Anne Baxter, Arthur O’Connell, Russ Tamblyn, Mercedes McCambridge, Vic Morrow, Robert Keith, Edgar Buchanan

POCKETFUL OF MIRACLES (1961) DIR – PROD Frank Capra SCR Hal Canter, Harry Tugend (story by Robert Riskin; story ‘Madame la Gimp’ by Damon Runyon) CAST Glenn Ford (Dave Conway), Bette Davis, Hope Lange, Arthur O’Connell, Peter Falk, Edward Everett Horton, Mickey Shaughnessey, Ann-Margret, Barton MacLane

EXPERIMENT IN TERROR (1962) DIR – PROD Bake Edwards SCR Gordon Gordon, Mildred Gordon (novel ‘Operation Terror’ by Gordon Gordon, Mildred Gordon) CAST Glenn Ford (John ‘Rip’Ripley), Lee Remick, Stefanie Powers, Roy Poole, Ned Glass, Anita Loo

FOUR MEN OF THE APOCALYPSE (1962) DIR Vincente Minnelli PROD Julian Blaustein. Scr Robert Ardrey, John Gay (novel by Vicente Blasco Ibáñez) CAST Glenn Ford (Julio Desnoyers), Ingrid Thulin, Charles Boyer, Lee J. Cobb, Paul Lukas, Yvette Mimieux, Karlheinz Böhm, Paul Henreid

THE COURTSHIP OF EDDIE’S FATHER (1963) DIR Vincente Minnelli PROD Joe Pasternak SCR John Gay (novel by Mark Toby) CAST Glenn Ford (Tom Corbett), Shirley Jones, Stella Stevens, Dina Merrill, Ron Howard, Jerry Van Dyke, Clint Howard, Andrew Stevens

LOVE IS A BALL (1963) DIR David Swift PROD Martin Poll SCR David Swift, Frank Waldman, Tom Waldman (novel ‘The Grand Duke and Mr. Pimm’ by Lindsay Hardy) CAST Glenn Ford (John Lathrop Davis), Hope Lange, Charles Boyer, Ricardo Montalban, Telly Savalas

DEAR HEART (1965) DIR Delbert Mann PROD Martin Manulis SCR Tad Mosel (also story) CAST Glenn Ford (Harry Mork), Angela Lansbury, Geraldine Page, Michael Anderson, Jr., Barbara Nichols, Patricia Barry, Charles Drake

FATE IS THE HUNTER (1964) DIR Ralph Nelson PROD Aaron Rosenberg SCR Harold Medford (book by Ernest K. Gann) CAST Glenn Ford (Sam C. McBane), Nancy Kwan, Rod Taylor, Suzanne Pleshette, Jane Russell, Wally Cox, Nehemiah Persoff

ADVANCE TO THE REAR (1964) DIR George Marshall PROD Ted Richmond SCR William Bowers, Robert Carson, Samuel A. Peebles (novel ‘The Company of Cowards’ by William Chamberlain, Jack Schaefer) CAST Glenn Ford (Jared Heath), Stella Stevens, Melvyn Douglas, Jim Backus, Joan Blondell, Andrew Pine, Alan Hale, Jr.

THE MONEY TRAP (1965) DIR Burt Kennedy PROD David Karr, Max E. Youngstein SCR Walter Bernstein (novel by Lionel White) CAST Glenn Ford (Joe Baron), Elke Sommer, Rita Hayworth, Joseph Cotten, Ricardo Montalban, Tom Reese, James Mitchum

THE ROUNDERS (1965) DIR Burt Kennedy PROD Richard E. Lyons SCR Burt Kennedy (novel by Max Evans) CAST Glenn Ford (Ben Jones), Henry Fonda, Sue Ane Langdon, Hope Holiday, Chill Wills, Edgar Buchanan, Kathleen Freeman, Denver Pyle, Barton MacLane

PARIS, BRÛLE-T-IL?, US title: IS PARIS BURNING? (1966) DIR René Clément PROD Paul Graetz SCR Francis Ford Coppola, Gore Vidal (book by Larry Collins, Dominique LaPierre) CAST Jean-Paul Belmondo, Charles Boyer, Leslie Caron, Jean-Pierre Cassel, George Chakiris, Claude Dauphin, Alain Delon, Kirk Douglas, Glenn Ford (Lt. Gen. Omar N. Bradley), Gert Fröbe, Yves Montand, Anthony Perkins, Michel Piccoli, Simone Signoret, Robert Stack, Jean-Louis Trintignant, Orson Welles

RAGE (1966) DIR – PROD Gilberto Gazcon SCR Gilberto Gazcon, Fernando Méndez, Teddi Sherman (story by Gilberto Gazcon, Guillermano Hernández, Jesús Velásquez) CAST Glenn Ford (Doc Reuben), Stella Stevens, David Reynoso, Armando Silvestre, Ariadna Welter

A TIME FOR KILLING (1967) DIR Phil Karlson PROD Harry Joe Brown SCR Halsted Welles (novel ‘The Southern Blade’ by Nelson Wolford, Shirley Wolford) CAST Inger Stevens, Glenn Ford (Tom Wolcott), Paul Peterson, Timothy Carey, Kenneth Tobey, Harrison J. Ford, George Hamilton, Max Baer, Jr., Harry Dean Stanton

THE LAST CHALLENGE (1967) DIR – PROD Richard Thorpe SCR John B. Sherry [Albert Maltz], Robert Emmett Gina (novel ‘Pistolero’s Progress’ by John B. Sherry [Albert Maltz]) CAST Glenn Ford (Dan Blaine), Angie Dickinson, Chat Everett, Gary Merrill, Jack Elam, Delphi Lawrence

DAY OF THE EVIL GUN (1969) DIR – PROD Jerry Thorpe SCR Charles Marquis Warren, Eric Bercovici (story by Charles Marquis Warren) CAST Glenn Ford (Lorne Warfield), Arthur Kennedy, Dean Jagger, Don Anderson, Paul Fix, Harry Dean Stanton.

SMITH! (1969) DIR Michael O’Herlihy PROD Bill Anderson SCR Louis Pelletier (book by Louis St Pierre) CAST Glenn Ford (Smith), Nancy Olson, Dean Jagger, Keenan Wynn, Warren Oates, Chief Dan George, Frank Ramírez

HEAVEN WITH A GUN (1969) DIR Lee H. Katzin PROD Frank King, Maurice King SCR Richard Carr CAST Glenn Ford (Jim Killian), Carolyn Jones, Barbara Hershey, John Anderson, David Carradine, J. D. Cannon, Noah Beery, Jr.

SANTEE (1973) DIR Gary Nelson PROD Caruth C. Byrd, Deno Paoli, Edward Platt SCR Brand Bell, Thomas W. Blackurn CAST Glenn Ford (Santee), Michael Burns, Dana Wynter, Jay Silverheels, Harry Townes

MIDWAY (1976) DIR Jack Smight PROD Walter Mirisch SCR Donald S. Sanford CAST Charlton Heston, Edward Albert, Henry Fonda, James Coburn, Glenn Ford (Raymond A. Spruance), Hal Holbrook, Tishoro Mifune, Robert Mitchum, Cliff Robertson, Robert Wagner, Robert Webber, Monte Markham, Christopher George, Pat Morita, Dabney Coleman

SUPERMAN (1978) DIR Richard Donner PROD Alexander Salkind, Pierre Spengler SCR Mario Puzo, David Newman, Leslie Newman (story by Mario Puzo) CAST Marlon Brando,  Gene Hackman, Christopher Reeve, Ned Beatty, Jackie Cooper, Glenn Ford (Jonathan Kent), Trevor Howard, Margot Kidder, Jack O’Halloran, Valerie Perrine, Maria Schell, Terence Stamp, Phyllis Thaxter, Susannah York

THE VISITOR (1977) DIR Guilio Paradisi PROD Ovidio G. Assonitis SCR Lou Comici, Robert Mundi (story by Guilio Paradisi, Ovidio G. Assonitis) CAST Mel Ferrer, Glenn Ford (Det. Jack Durham), Lance Henrickson, John Huston, Joanne Nail, Sam Peckinpah, Shelley Winters

DAY OF THE ASSASSIN (1979) DIR Brian Trenchard-Smith PROD Robin Lubin, Ika Panajotovic, Carlos Vasallo SCR Robert Avard Miller CAST Chuck Connors, Susana Dosamantes, Glenn Ford (Christakis), Bo Miller, Jorge Rivero, Richard Roundtree, Henry Silva

FUKKATSU NO HI, a.k.a. DAY OF RESURRECTION (1980) DIR Kinji Fukasaku SCR Kinji Fukasaku, Kôji Takada, Gregory Knapp (novel by Sakyo Komatsu) CAST Chuck Connors, Glenn Ford (President Richardson), Olivia Hussey, George Kennedy, Edward James Olmos, Henry Silva, Bo Svenson, Robert Vaughn

HAPPY BIRTHDAY TO ME (1981) DIR J. Lee Thompson PROD John Dunning, André Link SCR John Saxton, Peter Jobin, Timothy Bond (story by John Saxton) CAST Melissa Sue Anderson, Glenn Ford (David Faraday), Lawrence Dane, Sharon Acker, Frances Hyland.

CASABLANCA EXPRESS (1989) DIR Sergio Martino PROD Pietro Innocenzi SCR Sergio Martino, Ernesto Gastaldi, Roberto Leoni CAST Jason Connery, Francesco Quinn, Jinny Stefan, Manfred Lehmann, Jean Sorel, Donald Pleasance, Glenn Ford (Maj. Gen. Williams)

BORDER SHOOTOUT (1990) DIR – PROD C. T. McIntyre SCR C. T. McIntyre (novel by Elmore Leonard) CAST Charlene Tilton, Josef Ranier, Stanley Grover, Glenn Ford (Sheriff John Danaher)

RAW NERVE (1991) DIR David A. Prior PROD Ruta K. Aras SCR David A. Prior, Lawrence L. Simeone CAST Glenn Ford (Capt. Gavin), Sandahl Bergman, Randall ‘Tex’ Cobb, Ted Prior, Traci Lords, Jan-Michael Vincent


THE BROTHERHOOD OF THE BELL (1970) DIR Paul Wendkos CAST Glenn Ford (Andrew Patterson), Rosemary Forsyth, Dean Jagger, Maurice Evans, Will Geer

JARRETT (1973) DIR Barry Shear CAST Glenn Ford (Sam Jarrett), Anthony Quale, Forrest Tucker, Laraine Stephens, Richard Andreson, Yvonne Craig

THE DISAPPEARANCE OF FLIGHT 412 (1974) DIR Jud Taylor CAST Glenn Ford (Pete Moore), Bradford Dillman, David Soul, Robert F. Lyons, Dean Stockwell

THE GREATEST GIFT (1974) DIR Boris Sagal CAST Glenn Ford (Rev. Holvak), Julie Harris, Lance Kerwin, Harris Yulin, Charles Tyner, Dabbs Greer, Cari Ann Warder

PUNCH AND JODY (1974) Dir Barry Shear CAST Glenn Ford (Peter ‘Punch’ Travers), Pam Griffin, Ruth Roman, Kathleen Widdoes, Parley Baer

THE 3,000 MILE CHASE (1977) DIR Russ Mayberry CAST Cliff de Young, Glenn Ford (Paul Dvorak / Leoard Staveck), Blair Brown, David Spielberg, Priscilla Pointer

NO MARGIN FOR ERROR (1978) DIR Virgil W. Vogel CAST James Farentino, Ron Masak, Glenn Ford, Elinor Donahue, Harry Guardino

EVENING IN BYZANTIUM (1978) DIR Jerry London CAST Glenn Ford (Jesse Craig), Eddie Albert, Vince Edwards, Patrick Macnee, Gregory Sierra, Harry Guardino, Simon Oakland, Gloria DeHaven, James Booth

THE SACKETTS (1979) DIR Robert Totten CAST Sam Elliott, Tom Selleck, Jeff Osterhage, Glenn Ford (Tom Sunday), Ben Johnson, Gilbert Roland, John Vernon, Ruth Roman

BEGGARMAN, THIEF (1979) DIR Lawrence Donehy CAST Jean Simmons, Glenn Ford (David Donnelly), Lynn Redgrave, Tovah Feldshuh, Andrew Stevens, Bo Hopkins

THE GIFT (1979) DIR Don Taylor CAST Kevin Bacon, Glenn Ford (Billy Devlin), Julie Harris, M. Emmett Walsh

MY TOWN (1986) DIR Gwen Arner CAST Meredith Salenger, Glenn Ford (Lucas Wheeler), Kate Mulgrew, Mary Jackson, Parker Jacobs, Laraine Newman

LAW AT RANDADO (1989) DIR Chris McIntyre CAST Glenn Ford, Charlene Tilton, Jeff Kaake, Michael Horse, Russell Todd, Cody Glenn, Sergio Calderón

FINAL VERDICT (1991) DIR Jack Fisk CAST Treat Williams, Olivia Burnette, Glenn Ford (Rev. Rogers), Ashley Crow, Barton Heyman, Raphael Sbarge, Lance Kerwin


ONCE AN EAGLE (1976) DIR Richard Michaels, E.W. Swackheimer CAST Sam Elliott, Cliff Potts, Darleen Carr, Amy Irving, Glenn Ford (George Caldwell), Ralph Bellamy, Dane Clark, Andrew Duggan, Linda Day George, Gary Grimes, Clu Gulager, Kim Hunter, Juliet Mills, John Saxon, Barry Sullivan, Andrew Stevens, Melanie Griffith, Stacy Keach, Sr.