I was just thinking it would be interesting to flip it. Though in Hawks’ films you’d probably have to Fodor violent death rather than somber mourning. It wouldn’t feel as true, in a way, as your juxtaposition here.
But then Hawks’ films are always hangout movies to me. I simply do not feel any sense of pathos or even loss in them (unlike Ford). Perhaps Cary Grant’s attitude to the plane crashes in ONLY ANGELS HAVE WINGS reflects Hawks’ own understating of death and mourning in his films.
Well, I just now came upon this newest post JAFB. I know you had pulled back, and I didn’t receive any notification. Over the last month I’ve gone to a number of wakes and funerals, so Ford’s images here are resonating for me. Great juxtoposition between the two.