IMDB alleges 118 minutes for the UK version. Of course, IMDB also lists a Mankiewicz movie that apparently doesn't exist, so maybe there is no longer version

118 minutes was the runtime given by Doc Films. I honestly have no idea how much that is worth.

Rosenbaum in his short capsule says that the original was cut "by almost a quarter," which corresponds perfectly to 118 -> 91. Of course, he then gives the runtime as 88 minutes.

Plot thickens. Obviously I should have stayed, though.

Bosley Crowther's 1959 review, in which he marvels that Ford made something other than a Western, gives the runtime as 91 minutes. But the All Movie Guide summary says that it was cut to a mere 54 minutes from 91 for the US release, and adds that almost all prints in circulation are the original cut.

I've found a torrent where Gideon of Scotland Yard is named the FullVersion (between brackets) with a download size of 1.31 GB in contrast to the other (truncated?) versions with a size of approximately 700 MB. I don't know whether the difference of 600 MB makes up for the full (+ color?) version.
Another page of the same torrent shows the same download sizes for Gideon's Day from the same providers.

As far as I know, the TCM cablecast (the source for the dvdr in question) is the complete film.
I used to have an IB Technicolor 16mm of GIDEON OF SCOTLAND YARD. Exactly the same as TCM, except full-frame.
It's Bogdanovich's filmography that lists a UK title GIDEON'S DAY; I've never found any confirmation that it ever existed under that title.

91 minutes is the full and proper length.

That's great information - thanks so much. Looks like there's a lot of misinformation floating around for this title!

Donovan's Reef starts so promisingly and so invitingly that for the first fifteen minutes or so, I was convinced I would be seeing Ford's Hatari or To Catch a Thief, a filmed vacation of a movie. Imagine my disappointment when the inconsequential island meanderings were dropped and the plot kicked in with that obnoxious spoiled brat actress trotted out to boot. Plus, what kind of movie has the smarts to cast Jack Warden and then ships him off for 3/4 of the movie? Oh well, the film still was a hell of a lot better than I was expecting, and Ford has the rare privilege of being a director who didn't lose it in the twilight of his career.

Looking back earlier, two '30s crime films, Born Reckless and the Informer are both heavily indebted to the silent cinema tradition. I think, somewhat heretically, that I preferred Born Reckless, as creaky as it gets, for the clarity of plot and the enthusiastic direction. It also contains a great shot that ranks with the best of Ford:


That's not to say that the Informer is a significantly lesser film, but it gets a bit draggy an hour or so in, and the trip to the brothel is thematically redundant and could have been cut to great overall effect. I liked how the McLaglen character never fully understands the severity of his actions, even in the end when he greets his assassin warmly-- the film works more in the abstract as a political piece than as a character one for me.

That's exactly how it feels to me. What did Sarris say about it, that the island was some kind of Valhalla for Tom Doniphan and Liberty Valance? I think that sums it up beautifully. Tag Gallagher writes, "Donovan's Reef is close to a cinematic experience of pure form (particularly its last third), moving stubbornly twixt chaos and (repressive) order toward harmony, inexhaustibly gifted with visual beauty in motion, a love affair with a best of all possible worlds."

I think one reason it hasn't been widely embraced, despite being Ford's penultimate film (not including Young Cassidy) and his final collaboration with Wayne, is because some find it too much of a vacation. Ford's inclinations toward broad humor and drunken camaraderie could be accepted in moderation, but here he allows them to sort of overtake the film. I think it's wonderful, though. He was coming off one of his most staunchly serious and ambitious pictures in Cheyenne Autumn, and so the indulgences here give the film a feeling of ease by comparison that's very satisfying -- and strangely moving, in a way. Plus, Lee Marvin makes a much better drinking partner for Wayne than Victor McLaglen.

Lee Marvin is another great element that gets underused as the plot keeps trying to horn in. His entrance in this movie is phenomenal. But he gets forgotten as Ford focuses on the bratty B, to the film's detriment. It's funny you say it comes off as too loose, because I do feel it should've been looser-- drop the stuck up Bostonian and social commentary and make it about the colorful characters who inhabit the island. That aside, there are some beautiful images beyond the obvious island elements you'd expect, such as the rainstorm in the church, when everyone in unison pulls out their umbrellas!

To be clear, I don't think it's too loose, it's just my perception that many others do, and that this is the primary reason why it isn't considered a major Ford.

I do agree with you that the first several scenes are the best in the film, but if it had continued in that vein for the entire runtime, the novelty may have worn thin as the film went on. It's a flawed film, but it's also a beautiful one, and to me it does have the feeling of a "filmed vacation," which you were yearning for but didn't find. This is probably enhanced for me by it's position in Ford's career. His work in the preceding years consisted of Cheyenne Autumn, the Civil War segment in How the West Was Won, The Man Who Shot Liberty Valance, Two Rode Together, and Sergeant Rutledge -- I think this is unquestionably the darkest, most humorless stretch of his career. So Donovan's Reef's lightness is enormously impacting in that context, and it does feel like a vacation of sorts. A great artist at the close of his career who is happily making a picture for himself and his friends. I don't really have a quarrel with any of your misgivings with the film, they just don't seem to bother me as much.

Minor point... isn't Cheyenne Autumn Ford's penultimate film, Donovan's Reef filmed the year before? Concluded by 7 Women (which I think is his best by a mile). And I agree about the heightened importance of the film in question with its position in his career.

You're right, matt. I was relying on my memory, which is apparently faulty.

at the re-premiere of the restoration of Upstream tonight, the head of Fox's something or other said they'll be sending the movie (which is damned good) around the world on tour (festivals and the like, I think he meant), and will make prints available for the regular circuit of repertory houses as well. After that, he said there are positive noises being made to releasing Upstream on home video, with the possibility of assembling another small box set of titles that didn't make it into the the Ford at Fox set. While he didn't sound too positive that would happen, he was hopeful. Before that he mentioned that everyone at Fox catalog/home video divisions were mad about Fox (due to all the effort that went into the Ford at Fox set) and this title, Upstream, has generated a tremendous amount of excitement internally at Fox. So at the very least we'll probably see Fox release Upstream on DVD individually, perhaps with the Ford at Fox banner.

And if we don't get that (and I'm still doubtful we'll see it released domestically by Fox), I imagine MOC will probably license it and put it on bluray/DVD across the pond. but that's just my personal speculation.

It's always nice to hear that people in positions of authority are actually concerned, if not excited with releasing older stuff. Sure, Ford's a big name, but still.

Great stuff movielocke, have any thoughts on the film you'd like to share? I'm really hoping this one will find its way on dvd.

This made me laugh

Well, if Fox is ever going to release more early Ford, the buzz around Upstream definitely provides the best possible opportunity for doing so. A nice little three disc, five or six film, set of silents with Upstream as its centrepiece would be most welcome.

lol, typos, yes, mad about Ford, not fox.

The film itself is quite funny, imbued with a love of the theatre, and has a lot of Ford touches in subtle ways (building a family around the theatrical boarding house, complete with Fordian dinner table) it's also distinct from any other ford film I've seen. It makes me really want to finish going through my fox and warner set watching the lesser known ford's I've not yet seen. I would say it definitely compares favorably in quality to Hangman's House and Three Bad Men.

and just going by the trailer I feel like we lost a gem with Strong Boy. iconic stuff, like McLaglen on top of a speeding train.

Great stuff!
How was the print quality?

Wonderfully sharp and detailed, large grain typical of 20s print stock, vintage tinting in place, obviously substantial damage in sections where the very beginnings of nitrate decomposition (set in only in the last few years and primarily at the head of reels and in sections with a specific color of tinting whose chemical composition apparently caused some of the decomposition). But overall, it was comparable to some of the more beat up silents from Ford at Fox, not nearly as bad looking as the silent ozu or there was a father/only son sets.

It looked so fantastic on the big screen and the audience was so into it, it made me wish for an entire series of Ford's silents, because your sense of the damage disappears when the image is so big.

Of course it was aided by the best projection in the city of los angeles at the samuel goldwyn, so ymmv.

On January 18, TCM is airing John Ford's 1955 episode of Screen Directors Playhouse, Rookie of the Year, starring John Wayne, Vera Miles, and Ward Bond, filmed on break from shooting the Searchers. Sounds very interesting!

Theyshootpictures has it listed as HIGHLY RECOMMENDED

Top tier Ford for me, not much consensus on his best films though really.

There are times when I think it's my favorite Ford

Second only to Tobacco Road as worst Ford film