You got that right!The Sign of the Ram (TCM) 1948. I had seen this film many years ago (must have been a better print since this one was very lacking). Peters was very good. Thaxter was wasted. Guffey's lighting was very good. Peggy Ann Garner must be institutionalized at once; boarding school will never cure her warped mind.
I've seen Seven Women only once and I liked it although at that time it was fashionable to sneer at it. I'd love to see it again but only if the presentation is good.A John Ford triple feature, all revisits:
The Last Hurrah (Indicator BD ZONE B LOCKED) 1958. I saw this when it came out. Wee lad then and, although I remember liking it, I'm sure most of it went right over my head. I next remember seeing it in NYC in the mid-'70s and liking it very much. It was another gorgeous 35mm print and I was struck by the extraordinary B&W images (courtesy of Charles Lawton, Jr.) and the wonderful acting. This time around, in addition to those two elements still in evidence in this great transfer, I was able to savor the story much better in light of the politics of today. "Better a rogue than a fool," as the bishop says. Often funny, sometimes dirty (it's politics, after all), sentimental, but earns its tears. Recommended.
The Long Gray Line (Indicator ZONE B LOCKED) 1955. I also saw this when it was somewhat newish. Not in '55 because our theater was not yet equipped for 'Scope. I enjoyed it then and I enjoyed it, particularly since this is the first time I've seen it in its OAR of 2.55 and in 3-channel stereo, and in what's called a 4K "restoration." Episodic retelling of Marty Maher's "life" at West Point, full of humor, Irish blarney, pathos, love of country, sacrifice, family ties: all Fordian themes. Even the end is a reprise of the ending of How Green Was My Valley with two of the same actors showing up! It's still as effective. Recommended. BTW, this was Ford's first 'Scope film, a format he hated, but Lawton, Jr., also provided the cinematography and it is well-lit and composed.
7 Women (TCM app) 1966. Ford's final film was a critical and box-office failure. Of course, the French critics knew better...Anyway, I saw it when it came out and liked it. Saw it again around the time I saw The Last Hurrah in NYC (I just can't remember whether it was at MoMA during Ford's retrospective or at the Carnegie Hall Cinema; regardless, it was a 35mm print), and liked it even more. The TCM print is an abomination: old, non-anamorphic transfer; even the trailer is anamorphic! Bu the movie and Ford's touches still shine through. People trapped and besieged react very differently; some rise to the occasion while others fall. There's enough psychological and pathological behavior going on here beneath the surface, somewhat unusual and very modern for Ford. Much maligned in its time and not widely seen since then, this film needs a reappraisal. A proper remastering is required and a BD ASAP.