John Ford Feature #8 – The Quiet Man (1952)

Poster_-_Quiet_Man,_The_01The Quiet Man (1952)
Directed by: John Ford
Written by: Frank S. Nugent (based on The Quiet Man by Maurice Walsh)
Starring: John Wayne, Maureen O’Hara, Barry Fitzgerald, Victor McLaglen, Ward Bond

As you may have read in my brief summary post about why I chose to cover the films of John Ford for an entire month, the man still holds the record for most Academy Awards won for Best Director.  He won the award The Informer in 1935, The Grapes of Wrath in 1940, How Green Was My Valley in 1941, and finally for 1952’s romantic drama The Quiet Man.  The John Wayne and Maureen O’Hara starring film would be released to tremendous critical acclaim and box office success, and is still widely recognized as one of Ford’s greatest films.  It’s perhaps most notable for being such a departure compared to the violent westerns that filled most of his career, and might just shock you by how light and playful it initially comes off.  Instead of focusing on common Ford settings like the desolate western plains or the Pacific, the film takes place entirely in a small Irish community and features a cast full of Irish descendants.  It brings with it John Ford’s subtle sense of humour (perhaps more overt here), impeccable eye for photography, and a cast full of lovable and recognizable faces.  The Quiet Man once against featured the incredible cinematography of the great Winton Hoch, who would once again bring home the Oscar for Best Cinematography in 1952.  On top of bringing home awards for Directing and Cinematography, Ford’s drama was also nominated for Best Picture, Best Supporting Actor, Best Art Direction, Best Sound, and Best Adapted Screenplay.  The inspiration for the film – much like those in the cavalry trilogy – once again came from a story in The Saturday Evening Post, this time written by Maurice Walsh.  On top of starring the team of John Wayne and Maureen O’Hara, The Quiet Man also features John Ford company regulars Victor McLaglen (The Informer), Barry Fitzgerald (The Long Voyage Home), Ward Bond (They Were Expendable), and Francis Ford (The Informer).  Unfortunately for Ford, the film would prove to be his final movie to be nominated for Academy Awards, despite his career continuing on for nearly fifteen years.

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Sean Thornton (John Wayne) is an Irish-American former boxer who has just moved back to his native land in order to reclaim his family’s farm in this tiny community of Inisfree.  Upon his arrival he is met with warm greetings from a townful of odd and interesting characters.  He meets and very quickly falls in love with Mary Kate Danaher (Maureen O’Hara), who has a reputation around town as a fiery young independent woman.  Mary Kate also happens to be the unfortunate sister of the loudmouth bully Will Danaher (Victor McLaglen), who had his sights set on Thornton’s family farm.  After the Widow Tillane (Mildred Natwick) sells the farm to Thornton, an angered and jealous Will Danaher refuses to allow him to marry his younger sister.  After some trickery by the townspeople, Will is led to believe that the Widow Tillane wants to marry Will, but only on the grounds that Mary Kate be out of the house.  After a whirlwind romance, Sean and Mary Kate are quickly married and Will finds out the truth about the Widow.  Enraged, he refuses to allow Mary Kate to take her dowry, which has been passed on to her by her late mother.  Sean, being American and not understanding Irish traditions, refuses to speak with Will on the matter and is branded a coward by his new wife.  The marriage quickly falls apart, and the locals conspire to have Will return Mary Kate’s rightful inheritance to her.  With a coward husband and no dowry, Mary Kate boards a train to leave for greener pastures, but is quite literally dragged away by her husband.  Will the foreign Thornton confront the traditional Will Danaher and get his wife what rightfully belongs to her, or will he stand by and watch his marriage crumble before it could ever even gain steam?  Find out in John Ford’s Academy Award-winning The Quiet Man.

The Quiet Man was a very difficult film for me to review coming off the heels of the thrilling cavalry trilogy that preceded it.  Luckily, what I found was incredibly charming (if old-fashioned), funny, and beautiful film with a great deal to love about it.  Maureen O’Hara once again steals the show, this time as the incredibly strong and independent Mary Kate Danaher, who is an incredibly progressive character for the era the film was made in.  John Wayne’s performance as Sean Thornton is equally impressive, showing off more of his newly recognized acting abilities and proving that he has more range than just playing cranky, cynical men of the old west.  Thornton isn’t exactly a romantic or strong-willed character, but he’s always interesting to watch on screen because the character is quite a mystery for most of The Quiet Man’s runtime.  The former boxer turned Irish immigrant character works well for Wayne, and his brooding, yet charismatic screen presence never fails to compel.  The true standouts of the film are the once again incredible technicolour cinematography from Winton Hoch, coupled with some very restrained direction from John Ford.  His tried and true method of not distracting the audience with overly-complicated camera maneuvers works wonders, and instead the film focuses purely on storytelling and getting the best performances possible out of its cast.  Hoch’s bright and colorful cinematography is perfectly suited to the Irish countryside, and there’s something to marvel at in nearly every frame of the movie.  The film is also very well-written, especially comedically.  It opens with a hilarious example of slapstick humour that still works today, and continues by giving its entire cast of oddball characters their own unique personalities and eccentricities.  I can honestly say that I laughed out loud more than once during my two viewings of The Quiet Man, something that has rarely happened during my Ford marathon.  It’s clear throughout that John Ford is proud of his heritage and very passionate about Ireland, and that passion and interest in the setting and traditions add a great deal of genuine atmosphere to the film.  Unfortunately, there are a few moments that just didn’t work for me throughout.  One scene in particular involves Wayne’s Thornton giving off some awfully rape-y and abusive vibes towards O’Hara’s Mary Kate.  Not only does Sean Thornton corner his new wife in her dark room, but he throws her onto her bed hard enough to break it, staring a hole through her the entire time.  Maybe I’m crazy, but the entire sequence added nothing to the supposed romance between the two leads, and instead felt out of place and old-fashioned in the worst way possible.  Luckily, these moments are few and far between and aren’t enough to derail what is largely a terrific and charming film.  

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The Quiet Man is a restrained deviation from John Ford’s usual work, and is surprising in how successful it is.  The comedy, terrific lead performances, beautiful Irish setting, and subtle direction make for a truly remarkable and memorable film, and one that has absolutely earned its reputation as being one of Ford’s best.  The Quiet Man was a tremendous surprise, and a film I can easily say comes highly recommended.

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