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The Long Gray Line is a 1955 American Cinemascope Technicolor biographical comedy-drama film in CinemaScope directed by John Ford [2] [3] based on the life of Marty Maher and his autobiography, Bringing Up the Brass, co-written with Nardi Reeder Campion. [4]
The Long Gray Line: Yes Columbia Pictures; with Tyrone Power, Maureen O'Hara; filmed in CinemaScope and Technicolor. [158] The Red, White, and Blue Line: Yes A 10-minute film in CinemaScope and Technicolor promoting Americans to buy savings bonds. Filmed on the set of The Long Gray Line. [159] Mister Roberts: Yes
The Long Gray Line: Co-production with Rota Productions; Filmed in CinemaScope: February 10, 1955: Pirates of Tripoli: Co-production with The Katzman Corporation February 24, 1955: Three for the Show: Filmed in CinemaScope: February 1955: Women's Prison: March 19, 1955: Tight Spot: March 27, 1955: Wyoming Renegades: April 19, 1955: Cell 2455 ...
The Long Gray Line, starring Tyrone Power and Maureen O'Hara; Love Is a Many-Splendored Thing, starring William Holden and Jennifer Jones; Love Me or Leave Me, starring Doris Day and James Cagney; Love Never Dies (El Amor nunca muere) – Lucy Gallant (reissued as Oil Town), starring Jane Wyman
Maher was the subject of the 1955 film The Long Gray Line, starring Tyrone Power and Maureen O'Hara. [1] His autobiography was the source material for the film. The film depicts Maher as having been in the U.S. Army for all of his 50 years at West Point; in reality, he was in the Army for 30 years and stayed on for another 20 after retiring.
He also acted in films, including The Long Gray Line (1955), Mister Roberts (1955), Gunfight at the O.K. Corral (1957), Sweet Smell of Success (1957), Marjorie Morningstar (1958), where he was able to draw on his Jewish roots playing the role of Wally Wronkin, Compulsion (1959), and 13 Ghosts (1960).
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Capitalising on his rising star, Francis was cast in They Rode West (once more alongside Wynn), followed by The Bamboo Prison and John Ford's The Long Gray Line. In Ford's film, Francis was given third billing in the screen credits, indicating that Columbia had been projecting him to become a big star.