The Fugitive (1947), dir. John Ford
"You know what's very strange? I'm beginning to not be afraid."
Roll across the film frames above and you restore to the eyes of the soldier and priest the catchlights—the bright spots of light—that director John Ford and cinematographer Gabriel Figueroa invested in them.  
The last priest in a place where soldiers exterminate them, the priest faces execution in the morning. Catchlights in his eyes—and in the eyes of the soldier— intimate the spirit life stirring inside him...and in the soldier.  
In color films, robins twitter, dancers dance, and perpetually in the backyard of the heart the sun glows.  
In black and white movies— mysterious, abstract, and inward—we enter dreamland.