The Quiet Man (1952) - Directed by John Ford

There are few romantic films that are as beloved and cherished as John Ford’s beautiful and heartwarming classic, The Quiet Man. Intended for years as a pet project, Ford hand selected the story, the stars and the setting of Ireland in order to bring together many elements that meant a great deal to him. Ford’s Irish heritage, and that of Wayne and O’Hara, turned the film into a sort cinematic expression of anthropology, extending the elements of the plot beyond simple mechanics and enlivening the whole film with a passionate and joyful sense of place, family, and tradition (all very consistent with Ford’s career). These elements reached into the lives of those making the film, and in turn, these personal connections become visible to the audience. In a sense, this film is as much a love story between Ford and his fondness for Ireland and for heritage, as much as anything else. But the fact that the film is buoyed by intense chemistry from Wayne and O’Hara, many romantic scenes, and a charming, sexually playful tone, it’s hard to top this film for sheer enjoyment.

Ford had read the short story by Maurice Walsh back in 1933 and had purchased the rights to the story but the film took years to take shape. It’s a story of an Irish-born man named Sean Thornton who has been living in America for much of his life, but who after giving up boxing on account of a fatal bout he participated in, ends up desiring to return to his birth-town of Inisfree to claim his family farm. Upon arriving in Ireland, he finds that another man in town, Will Danaher (Victor McLaglen), wants the land as well. Sean ends up gaining the rights to the farm, but earns an enemy in Will Danaher at the same time. This wouldn’t be so bad, except that Sean quickly has eyes for Will’s fiery sister, Mary Kate Danaher (Maureen O’Hara). Sean soon finds himself in a familial battle of wits, as he pushes against tradition in order to ask Mary Kate’s hand in marriage without consent from Will. Through some trickery from the townsfolk, Sean is able to wed Mary Kate, however Will holds back the dowry that is owed to her. Mary Kate then decides that she’s going to withhold…..ahem…..the goods from Sean until she gets her dowry back. Thus, the film then turns into a sly and farcical bit of romantic shenanigan-ism as the marriage remains unconsummated and the tension between Sean and Will grows. That is until the final showdown between Sean and Will to decide the fate of the marriage and to recoup the fateful dowry.

Even getting this film off the ground took a bit of doing for Ford. It took some time to get financing, and this finally came from Republic Pictures, who needed Ford and Wayne to do a moneymaking picture prior to filming in order to fund the cost of The Quiet Man. They embarked on making Rio Grande, which isn’t just notable for its standing amongst Ford’s westerns and the Cavalry Trilogy, but also because it paired up Wayne and O’Hara for the first time. It’s plain to see in Rio Grande that the two were a match made in cinematic heaven. It’s no wonder that Ford had eyed these two stars for The Quiet Man as well. Ford had of course worked with Wayne often, and with O’Hara years earlier in How Green Was My Valley. But Ford’s brilliant pairing of Wayne and O’Hara makes The Quiet Man into the memorable romantic picture that it is. Many have noted how Wayne and O’Hara make a great onscreen pair and it has to do with each having an equalizing presence upon the other, meaning that it never quite seems like one is overshadowing the other. Their chemistry together in this film forces them to have a physical and demanding experience together, whether swinging punches at each other, scrambling through creeks and over lush countrysides, and then squaring off in the bedroom for the rights to the upper hand. Their passionate quarreling is only rivaled by their passionate kisses. On multiple occasions, this film has some memorable kissing scenes. Probably the most iconic moment is when Sean enters his farm for the first time to find someone has been tidying up, and there’s a windstorm blowing. He manages to scare Mary Kate out of the house and as the door bursts open, she runs to leave, whereby he swings her back through the open door, then pulls her to him for a kiss. Spielberg’s use of this scene in E.T. made it extra iconic, but there are other memorable moments as well, like when the two kiss in the rain in the cemetery. It’s such a lovely quiet moment between the two of them with wordless interplay as O’Hara pulls in close to Wayne, with his shirt soaking wet. Then there’s the scene on the wedding night as Sean breaks down the door, pulls Mary Kate’s hair back and kisses her in a rough moment of passion. And that’s what makes Wayne and O’Hara such a striking match, as their physicality and passion is believable. So much so, that we can imagine what might happen were they to hop into bed. Indeed, the film has lots of fun, stalling out the consummation of marriage as long as it can possibly go for comedic effect. Like when Michaeleen Oge Flyn (Barry Fitzgerald) happens to stop by the house bringing furniture and catches a glimpse of the broken bed after the first night of marriage, saying, “impetuous”, quietly to himself. Little does he realize what caused the broken bed.

With many exterior shots filmed in Ireland, the film has a strong sense of place, and a beautiful, lush look to it. The wonderful cinematography of Winton C. Hoch adds much to the film and the on-location shooting is enlivened wih elegant framing. Victor Young’s score incorporates many elements of Irish tunes, giving the film a bouncing and jovial quality. Ford’s cast of familiar characters like McLaglen, Ward Bond, and Mildred Natwick add color and warmth to their roles, and many other parts were given to locals in Ireland as well as various bit parts to family members of Wayne, O’Hara and Ford. It’s Wayne and O’Hara that make everything shine, though, and their performances are some of the finest of their careers. A couple moments are noteworthy. Wayne has just had a beer tossed on his face and says in a rather matter of fact tone, “bar towel”. He wipes his face and then asks for the time. He’s told it’s half past five, and then proceeds to punch McLaglen. He does all this with such perfect tone that it confirms that Wayne’s sense of comedic timing was one of his most underrated skills. My favorite moment of O’Hara’s is the moment when Wayne comes to the door to come courting. She nervously comes talking to her brother at the table to ask for permission to go out with him. Her tone of voice here, and the way she is almost out of breath with anxiousness and nervousness seems real. You can hear the sexual charge within her, as she’s desperate to go out with Sean, but can hardly contain her nerves. Beautiful acting.

In the realm of cinematic pairings, the best ones are the ones in which you can believe the two really have eyes for each other, or at least create characters whom you believe really want each other. In the final moments of the film, Wayne and O’Hara are seen happily waving at Rev. Playfair from the edge of their farm. This moment to me is one of the brilliant examples of what makes this film work. Watching closely, we witness O’Hara whisper something into Sean’s ear. They’re both grinning and then she turns and begins to jaunt back to the house, with Sean soon running and tumbling after. And in my mind, there’s only one place where they could possibly be headed.

She Wore a Yellow Ribbon (1949) - Directed by John Ford

Note: This review appears at Wonders in the Dark in the Top 50 Western Countdown, placing at #24. 

"Sentimental" is often a pejorative term used to describe a certain kind of art that wears its heart on its sleeve. Regarding film in particular, Ford, Capra and Spielberg have had the term flung at them in condemnation at times. Sentiment is actually neither good nor bad in and of itself though. It is simply a mode for conveying a certain feeling that the director is trying to express, but more often than not, the term has significant negative connotations for some. John Ford was certainly fond of sentiment, or nostalgia or whatever you want to call it, and She Wore a Yellow Ribbon is probably his greatest use of it in westerns at least, wrapping the film with a heartwarming charm. As the second film in The Cavalry Trilogy (and best to my mind), it followed Fort Apache and came before Rio Grande. It’s significantly memorable for several reasons even among Ford's films. Among them the beautiful cinematography by Winton C. Hoch, in color, as he made iconic use of Monument Valley and incorporated imagery borrowed from the paintings of Frederic Remington; furthermore, this just might be the prime example of Ford’s “kitchen sink” approach to making westerns….meaning everything but the kitchen sink….where he weaves action, romance, sentiment, comedy into the plot and often turns on a dime to switch gears. And I would be remiss if I didn't mention the most memorable thing about the film: John Wayne’s epic and beautiful evocation of traditional Fordian values as he portrays an aging hero, cavalry officer Captain Nathan Brittles.

Wayne stars as Brittles, Cavalry Captain of a troupe of men stationed in the southwest at Ft. Starke. He is a week away from retirement and is charged with one final task, which is to escort the Major’s wife Abby (Mildred Natwick) and niece Olivia (Joanne Dru) to a stagecoach post where they will be catching transportation back east. As added backdrop to the storyline, General Custer has just been killed at the Little Bighorn and many of the American Indian tribes are joining efforts, becoming a threat in the area. There’s also a charming subplot that has Olivia being courted by two cavalry gentleman named Flint Cohill (John Agar) and Ross Pennell (Harry Carry Jr.). When Brittles leads the troupe to the stage coach post, he finds that it’s been attacked by the American Indians as part of the uprising and he retreats back to the fort, failing in his mission and feeling like he has let everyone down. On his final day on the job, he redeems himself by fending off a potential war, stampeding the tribe's horses out of their camp, forcing their retreat to the reservation.

Ford has a way of emphasizing the rituals of daily cavalry life, infusing a knowing recognition of tradition, values, and nostalgia into the story. Early on in the film, we see flags and bugle calls, the early morning assemblies and inspection of the troupes. We also see the picture display on Nathan’s desk of his late wife and daughters. This touching memorial sets off another type of tradition, whereby Nathan seems to spend every evening out in the little adjacent cemetery where the three of them are buried. Their tombstones read their death was in 1867, and knowing that the current year is 1876 (Custer’s Last Stand was this year), that means Brittles has been doing this little ritual for 9 years. It is these rituals and traditions and the camaraderie of the troupes on display that make the film so uniquely Fordian, as one of his defining traits as a director was his emphasis on upstanding values…..heroism, loyalty, sacrifice, determination. These aspects lend themselves toward the sentimental side of things, but the film succeeds because of it, not in spite of it, generating a significant amount of sincere emotion and warmth from the American spirit on display and a sort of homespun catharsis begins to form. Comedy helps offset the sentiment, and Ford weaves in a great deal of comedy relief courtesy of Irish actor Victor McLagen as the often drunk Sergeant Quincannon, allowing for Wayne’s comedic sense of timing to play off him nicely… “You got a breath on ya like a hot mince pie!”.

Photographer Winton C. Hoch won the Academy Award for best color photography for 1949, and his work here at framing individuals with Monument Valley in the background is often breathtaking. You could just press pause once in a while and look at it like a painting. I particularly love the way that Hoch framed and filmed the scene where Wayne sits and talks with his late wife on the ridge of the cemetery with the rose-colored hues of a sunset bathing the scene in a lovely pink color. Of particular note is the interesting scene filmed on the plains during a thunderstorm, which was apparently not pre-planned, but Ford wanted to keep filming once the storm came up, forcing Hoch to continue filming in the darkening light, something uncommon considering this was a Technicolor film (and at a cost of $1.6MM, the most expensive western ever made up until that point). But it’s one of the most memorable scenes in the film, perfectly capturing the flailing mood of Brittles and his troupe at that critical moment in the film. Richard Hagemen (a Ford favorite) donated a wonderful score to this film, as he captures the myriads of moods on, going from jaunty and comedic to melancholy and sentimental, flipping the tone as deftly as Ford is able to do, even incorporating snippets of Irish music and the lovely strains of “Dixie” at one point.

Last but certainly not least, is Wayne’s performance, which has to be one of his very best, even among performances in Red River, Rio Bravo, The Searchers, and The Man Who Shot Liberty Valence. In this challenging role, Wayne plays a man about 20 years older than he was, with graying hair, a mustache and a few extra wrinkles on display at times. He is able to incorporate many of his masterful acting traits throughout the film, from his commanding sense of leadership and duty, to comedic timing, to romantic sentiment, it’s all here on full display and he rarely ever expressed such brilliant range as in this film. There are even a few critical moments, like when Brittles receives that silver watch, or when he is talking of his failures with the Major, that tears begin to well up in his eyes. One can see that Wayne really put a lot of effort into this one. I was talking with my 5 year-old daughter a week ago and she told me her favorite actor was John Wayne. I said that’s a great choice. We sat down and watched this film together, and in the middle of the film, she remarked, “John Wayne is such a good actor.” My personal favorite moment is when Wayne gets upset at the two young soldiers for preparing to fight over the love of Olivia with a poor choice of timing. 

Brittles: "Button your shirt Mr. Pennell. Thought better of you. 4 years out here and still acting like a wet eared "kaydet" on the Hudson. What is this all about Mr. Cohill?"
Cohill: "Sir I decline to answer…..respectfully."

Brittles: "Mr. Cohill. It is a bitter thing indeed to learn that an officer who has nine years experience in the cavalry…. The officer to whom I am surrendering command of this troupe in 2 more days…. Should have so little grasp of leadership….. as to allow himself to be chivied into a go at fisticuffs…. while taps still sounds over a brave man’s grave..... God help this troupe when I’m gone."

Wayne uses his inflections and his eyes tremendously during this scene and I could literally watch this scene over and over again. Some may complain that the film is too sentimental for its own good, but I would hearken to say that with the sensitive portrayal by Wayne and the careful balancing act of the script and Ford's handling of values, that Ford was intending everything with a high degree of sincerity, and not taking shortcuts. Some also may complain about the portrayal of the American Indians in the film. I would agree that the portrayal certainly isn't all that enlightened, but the film isn't really about them or about personalizing their story. That would come much later in Cheyenne Autumn. It's about Brittles and the Cavalry and about military tradition and honor. Everything in this film comes together for this to be one of the most Fordian of all Ford films, as it contains so many elements that make Ford great and is a prime example of his effective storytelling. It’s simply a lovely film that gets better every time I see it.