All the films from all the editions, including those subsequently removed, presently totalling 1187. 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.
Great cinematography, good old-fashioned romance between O'Hara and Wayne and even though it began to drag for me I really liked the third act. Victor Mclaglen was robbed of an Oscar.
People like this movie? It's like. Wtf. Fuck traditions man. Buncha bull shit.
Its satisfying to see Ford finally get to cut loose on the Irish countryside, some appropriately lush cinematography. Also fascinating to look at what this movie is getting at, yes its sort of a standard fish out of water scenario, but there's this strange subtext that suggests the values we've ostensibly turned our back on as Americans are alive and well in Ireland, a simpler place that reflects the unavoidable naivete of small town America pre-the world wars (maybe cuz Ireland its so indebted to Catholicism?)
Otherwise, yr mileage with this one is gonna depend upon how much yr willing to cast off into the depths of historical context. The conclusion is dumb and vile, with Wayne (in a role…
He wasn't that quiet tbh.
I appreciate applying Ford's knack for beautiful long shots to an Irish setting, but man does this movie have a slow first half. And can Mary be any more unlikable?
The flashback scene was incredible though.
Ireland looks nice, Maureen O'Hara is pretty great and John Wayne is slightly more tolerable than usual.
I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honey-bee;
And live alone in the bee-loud glade.
And I shall have some peace there, for peace comes dropping
Dropping from the veils of the morning to where the cricket
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.
John Ford swooped his historically fourth BEST DIRECTOR win for THE QUIET MAN in the Oscars, a record very much likely will never be matched, to say nothing of being surpassed. But it was his only win from a Ford-Wayne picture, THE SEARCHERS (1956) was wholesomely snubbed, but it is not a conventional Ford-Wayne picture either, its locale is deviant from their usual Western landscape.
Wayne plays Sean Thornton, an Irish-born American from Pittsburgh, returns to his homeland, a backwater town called Inisfree (a fictional place) in the 1920s, he reclaims his family land from widow Sarah Tillane (Natwick) and falls for an ardent ginger Mary-Kate Danaher (O’Hara), after locking horns with her eldest brother Squire Will Danaher (McLaglen), a…
J'appréhendais un peu la réécoute de ce film, considérant ma piètre opinion de ce dernier. Évidemment, ne serait-ce qu'en raison de la restauration (la copie DVD était particulièrement horrible, les trois bandes du Technicolor ne semblaient notamment pas toujours alignées!) mon écoute fut plus agréable. Mais je reste sidéré du nombre de fans invétérés de ce film... considérant que c'est en fait une comédie romantique assez standard. Pas que j'ai quelque chose contre ce genre, mais en général, les fans de ce film sont souvent des critiques assez snobs, qui eux n'hésite pas a vilipender Bridget Jones et consort. Pour en revenir au film, John Wayne m'a cette fois-ci étonné par sa sensibilité dans ce rôle romantique. Et bien que…
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
This list is the Letterboxd version of The Oxford History of World Cinema.
The book celebrates and chronicles over one…