All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
The Quiet Man
Action...Excitement...Romance...Fill the Screen !
Sean Thornton has returned from America to reclaim his homestead and escape his past. Sean's eye is caught by Mary Kate Danaher, the beautiful spinster and younger sister of ill-tempered "Red" Will Danaher. The riotous relationship that forms between Sean and Mary Kate, punctuated by Will's pugnacious attempts to keep them apart, form the plot, with Sean's past as the dark undercurrent.
it's been 10 years or more since i last tried to watch this - and found it a garish mess of blatant stereotypes and macho posturing, condescending and far too sentimental. barry fitzgerald's character might as well be a leprechaun in this fairy tale place. certainly the charms of john wayne eluded me. but a dozen ford films and as many years later it's a completely different experience. the green world is a mythic plane - like monument valley or tombstone. the music spins a web of community - one whose rites the american doesn't understand. the duke's physical grace has rarely been so apparent as when he strides across the fields seething with barely contained rage after his bride…
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…
This is probably the Ford film which has taken me the longest to get around to - I've always been aware of it's subtext and critique, but it never fully clicked with me until now. Maybe it was the poor quality of previous home video versions of the movie, coupled with the jarring jump to this new one. But under this viewing I found it to be among one of Ford's most complex and audacious films - more than mere Irish "blarney," this is another film on issues of representation, and if it is not quite as successful as something like Fort Apache in this regard, it's merely because it's not as jarring, and dares to be entertaining at times…
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.)
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…
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.
John Wayne plays an American man, Sean Thornton, who returns to Ireland to buy his childhood home, in the process falling in love with Mary Kate Danaher (Maureen O'Hara), sister of neighbour and rival Will Danaher (Victor McLaglen). John Ford's film unravels on the strength of its greatest scene where, in a dialogue-free limbo between dream and flashback, Sean's reason for coming to Ireland is revealed. Once the character and the film's uneasy relationship with violence is shown out in this way, its resolution is inevitably pat. The extended third act fight scene and its denouement, the last shot of the film of a happy smiling man and wife, ring hollow and can never quite convince.
A combination of other…
Me when it finally ended: www.youtube.com/watch?v=SaHLYU8aeQk
Charming, but not easy to accept some of the more obtuse Irish customs. And why didnt he just tell her about his history?
I love technicolour melodrama, I really like John Wayne and I'm even quite partial to a good Irish stereotype, so it's no real surprise this piece of escapism of totally worked for me.
A radically human film—and what’s more is that it’s so consistently radical in its humanness. But lest these terms be relegated to the jargon that they often become, allow me to unpack these sentiments a bit.
Ford presents an idyllic community, but one that doesn’t erase conflict or tension, rather it requires them to function, struggle precedes growth, antagonisms build the bedrock for relationships. Unlike many of the Fords I’ve seen, the ensemble of the community here takes a more central role. There is always the issue of balance between the ‘hero’ and the supporting community, but here Sean Thornton is a member of a group, not its leader or its savior. And the group is so dynamic: there isn’t…
How did John Ford manage to work with John Wayne a million bajillion times and only get a good performance out of him in Liberty Valance?
I had severe video playback problems while trying to watch this film which, I think prevented me somewhat from enjoying it quite as much as I might otherwise have done.
John Ford's love-letter to Ireland is more than a bit fawning and replete with stereotypes, but it is jaw-droppingly beautiful. It presents a view of the emerald isle, that never was and never could be, where religious animosity is comedic, all Irishmen simple-minded and when in the rare occasions they're not drinking, fighting, but it is warm-hearted and made with total conviction. The visual storytelling is often brilliant, with the flashback (not to give anything away) for instance being truly remarkable, but at other times the story jumps forward just…
John Ford's technicolor beauty is a fun film, full of comedy and stereotypes that manage to be endearing despite occasionally descending into the ridiculous. Maureen O'Hara is often hilarious and John Wayne is, well, he's John Wayne. The end result is a film which is perhaps a little too long for the substance on display but which nevertheless tells a decent story of love and redemption.
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
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