All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The Quiet Man
Action...Excitement...Romance...Fill the Screen !
A disgraced American boxer retires to Ireland, where he finds love.
Irish Stereotype Checklist:
Did I mention Drunk?
Yet it all looks so gay and joyous. In this film John Wayne plays an American, born in a small village in Ireland, that is returning to his birthplace. Upon arrival he sees and instantly falls for a stunningly red-headed Maureen O'Hara. Only her brother despises Wayne and won't allow her to be courted.
This is a movie about the customs and traditions of times gone past. It is also about ugly Americans and how we think that everything should function "our way". That is where the drama, and much of the humor, is found in this film.
For a John Ford directed film, I found this to be a…
Listed among Films Nominated for Best Picture
This film was supposedly going to be John Ford's swan song. It wasn't, of course, but it has all the hallmarks of a director making a career-concluding highly personal film. Ford, of course, was born into an Irish immigrant family and given the birth name John Martin "Jack" Feeney. It had long been a dream of his to do a film in Ireland. In fact, he bought the rights to the short story that inspired this film, Maurice Walsh's "The Green Rushes," back in 1933, but war in Europe made it impossible to get backing or the opportunity to shoot on location.
It was only after the successful release of "Rio Grande" for…
Lush technicolor vistas and deeply warm sentiment, tempered by sly humor and taut sexual tension - and I'm left swooning, laughing, and heated up, all at once. In a word, irresistible.
(Note for the record: This is the film that has made me finally fall for John Wayne. I get it now.)
Now what else would I be watching on St. Patrick's Day?
Don't know what's mistier in this film: the Irish hills or Ford's eyes, yet even this double scoop of sentiment has a careful study of community that almost lends reality to what would otherwise be the Irish equivalent of Brigadoon. Ford may be in love with Eire, but he also tempers that with the realities that pierced the subjectivity of his own visits. The communal spectatorship of individual life feels as suffocating as quaint, as does the manner in which men drink and scuffle to create and maintain bonds. More importantly, though, Maureen O'Hara's hair is why Technicolor had to be invented.
**Part of the Best Picture Project**
A strange outing for John Ford if you ask me.
I've grown to admire Ford over the past couple of years. Along with his films being gorgeously shot (and this is certainly no exception), they all manage to tell great stories of characters facing conflicts they might not be ready for. Whether its the tragic The Informer, the sprawling drama The Grapes of Wrath, the exciting Stagecoach, or even the family epic drama How Green Was My Valley, his films are substantially rich.
Which is quite strange when you come to The Quiet Man, a hailed classic, and it's rather simply passable entertainment and that's it. The film is very funny, mainly due to…
Gorgeously shot, brilliantly acted, and well told, this is among John Ford's best non-westerns. I'm glad that I finally got to see it.
"The Quiet Man" turns out to be a much lighter film than I had ever expected. It seems that anytime you put John Wayne with John Ford, you have gold, but Maureen O'Hara certainly holds her own in the film. The rest of the cast is brilliant and it's hard not to love this film, however there is a level of physicality between Wayne and O'Hara's characters that is a bit distracting to say the least. Then again, one of the themes of this movie is presently boldly when Wayne's Thornton is scolded about Americans always thinking that things should be done the way that we are accustomed to in this country. Still, it's easy to see why this is considered a classic film.
That flare of red on the bottom of Maureen O’Hara’s dress against the green meadow. She’s life and fire. Sometimes the brazen choice is the right one.
My review -- this romantic/sports/comedy/drama film title is now on DVD and yes it does have a small profit margin of roughly $2 million. The basic plot is this [the year is 1920 Ireland,] the audience sees this train pulling into the train station where we meet this American/Ireland born man getting out of the train and he is asking directions to the small village where the majority of the storyline takes place. Whilst our main character is on a very slow ride [horse and carriage] to this location we quickly find out that this man has big plans on his return home to Ireland and this film takes us the audience throughout his journey. I should just point out…
Romantic my ass. John Wayne does everything but punch Maureen O'Hara in the face to get with her. The movie suggest that she's into it, but her character doesn't make sense. She goes from skiddish retard to shouting bitch to swooning ingenue in an indistinguishable pattern of behavior. Not only that, but neither of the leads know anything about one another. We never get to see them fall in love. According to The Quiet Man, if you're the two best looking people in town, you're getting married.
Wayne seems to be a liberator of sorts to O'Hara's character. In their Irish custom, she cannot be wed unless the man of the house, her brother, approves. The accuracy of this tradition…
Very funny. The fistfight is hilarious. Ford's lush cinematography can't be beat. Maureen O'Hara maintains her buoyant dignity, even when being manhandled by the oafish John Wayne.
The Killing of a Chinese Bookie deflates masculinity more to my tastes, though.
Ford plays with clichés of tradition too much without ever successfully deflating them in my eyes. Just take a gander at that final montage sequence, so sickly it is in its sweet banalities.
Wow, this cinematography is incredible.
John Ford's passion for this production is apparent. The Irish setting comes alive through the gorgeous cinematography and the various interactions between the members of this very fiery community. With that, the film can be jarring at times, given how the values of a 1920s village in Ireland can differ wildly from those in 21st century America. But what helps the film rise above that is the spirited, tender rapport between Wayne and O'Hara that dominates the film, giving each the chance to display welcome vulnerability.
Nota = 5,5
Moving and incredibly beautiful, Wayne and O'Hara have incredible chemistry; I'd never really seen her in a great role before but she is brilliant. Also has a striking flashback sequence that's probably the wildest and most expressionistic thing Ford ever shot.
Probably underrating this movie; despite a career full of Westerns this is the most overt display of myth making in Ford's oeuvre. So pleasurable and intoxicating a viewing experience, with a sincerity behind it that's hard to not be won over by.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!