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.
Released 64 years ago now, perhaps I'm just too detached from the time period, or the culture of Ireland, to relate at all to much of what's going on here. I like the general story and the sense of nobility involved, but the misogyny and treatment of women as an exchangeable commodity just left me with a peculiar look on my face most of the time.
Ford shoots his romantic comedy in the exact same way that he shoots his westerns.
This movie is the source for one of my all time family stories. My grandparents were rewatching this movie during the 70s since it's one of their favorites. One of my grandma's favorite scenes is when Mary Kate locks herself in her bedroom on the night of her wedding to Thornton, and he responds by kicking down the door, grabbing her, and saying "There'll be no locks and bolts between us, Mary Kate... except those in your own mercenary little heart" before he throws her on the bed and walks out of the room. This time while they were watching it, my grandma turns to my grandpa and says "Why don't you ever do anything as romantic as that to…
A nearly perfect production from John Ford, and a brilliantly optimistic film for the romantics out there.
Such colours! Such characters!
Where has this film been all of my life? Quite a few times I found myself giddy, smiling ear to ear, and rubbing my hands together in excitement. The film has this goofy charm that grabs you from frame one with Ward Bond's strange Irish-accented narration. Occasionally Bond even comments on the action that he is himself a part of.
Like any good Ford film, it's really about community, something Wayne's American outsider can't fully process at first. He is the big alpha American individualist and he can't cotton to these strange Irish cultural rites. He doesn't understand that when he marries Mary Kate, he has just married her entire village. So it's a love story between a stoic American…
If I was Irish I think I would hate this film for its cutesy sticky Irishness. Maybe we should try and see its Ireland as a totally fictional land, like Shakespeare’s Illyria or Bohemia, but it doesn’t really work, the Ireland of The Quiet Man being grounded in the stereotypes and clichés that conjure up Ireland in a worn out imagination. So, there isn’t anything to say but try and push all that aside. John Wayne, an Irish-American, returns to the town of his birth – we later find out he is a fighter who has killed his opponent in his last bought: he is now fleeing back to his childhood (and I suppose we could see the Never-Never Land…
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…
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…