The Quiet Man

**One of those films that was very successful but is currently struggling to capture new audiences.** We are used to seeing John Wayne associated with Western films, yet here is the actor making a small and modest romantic film about a retired boxer with great physical presence who, after returning to the land where he was born, falls in love with a redhead with a strong personality, leading to serious disagreements with her brother, who is not happy with their dating. It is one of those films that was a commercial and critical success in the time it was released and even collected awards, such as the Oscars for Best Cinematography in Color and Best Director. It's a remarkable achievement, and it's strange that better and more memorable films never achieved any of this and had to wait years (sometimes decades) to find an audience that knew how to appreciate them. Some things, I suppose, that even a movie guru cannot fully explain! Currently, it is one of those films that is a bit lost, and which is in serious danger of becoming one of those films that only appears in collections or on TV channels of old films. Why? First, for its lack of definition: it is not a drama, but neither is it funny enough to consider it an effective and interesting comedy. Humor is based on the love-hate relationship of the main characters, and that's not enough. Another problem with the film is the actors. We have a cast of heavy hitters, yet none of them are particularly good, and the film remains a minor piece of work in their career. John Wayne is a safe bet because, despite any antipathy or sometimes not looking as manly as would be desirable, he is full of charisma and talent. Here, he is playing with Maureen O'Hara, who does some talented work and has good dialogues. Victor McLaglen doesn't disappoint either, while the other actors just wander around the scene doing different things. For me, the biggest problem with the film is the amount of stereotypes about Ireland, portrayed essentially as a rural place, very green, very backward, with somewhat primitive customs and where people are almost all redheads and alcoholics. I don't know what Irish people think about this, but I would be a little uncomfortable. Technically, I think it's fair to highlight, on the positive side, the vibrant beauty of the colors and scenery and rural landscapes, which are very idyllic. The film really is eye candy. What spoils the experience? It's a really long film for the plot it brings with it, and the action drags on, sometimes painfully.

I think what I enjoyed most about this gentle romantic drama is that John Ford allowed much more screen time to an ensemble of cast members who had all been instrumental in helping to establish John Wayne as the star he was. He's the former boxer "Thornton", returned to rural Ireland to a mixed welcome from those in his hometown as he plans to set up home on land once owned by his family. He manages to outbid local grandee "Danaher" (Victor McLaglen) with the widow "Sarah" (Mildred Natwick) and on settling in discovers the sheltering "Mary Kate" (Maureen O'Hara) who just happens to be the sister of his new-found nemesis. His presence is starting to polarise the villagers, but with the mischievous assistance of "Flynn" (Barry Fitzgerald) and local priest "Lonergan" (Ward Bond) he begins to court the woman in earnest. Loads of daft escapades ensue as she proves his equal in just about every way and her brother digs his heels in before a denouement that's amongst the most fun in cinema history. The colourful photography is straight out of "Glocca Morra" and Wayne shows us a slightly more versatile aspect to his otherwise rather more rudimentary acting style as he and an on form O'Hara spat away merrily. That said, it's really very much a film for the others to offer characterful support for a couple of hours that creates a comical and engaging community atmosphere and though it's remarkably light and fluffy, it's still a good watch.