Seven Oscar nominations and wins for photography and Best Director—John Ford’s sixth and last Oscar. After a mishap in the ring, American boxing champ John Wayne returns to his native Ireland and falls for the charms of fiery redhead Maureen O’Hara. Her shifty brother Victor McLaglen is eager to marry her off, but when McLaglen fails to deliver the dowry, O’Hara informs Wayne there’ll be no peace until he gets it for her—amid much comic mayhem. —American Film Institute
Maine-born John Ford (born Sean Aloysius O’Fearna) originally went to Hollywood in the shadow of his older brother, Francis, an actor/writer/director who had worked on Broadway. Originally a laborer, propman’s assistant, and occasional stuntman for his brother, he rose to became an assistant director and supporting actor before turning to directing in 1917. Ford became best known for his Westerns, of which he made dozens through the 1920s, but he didn’t achieve status as a major director until the mid-‘30s, when his films for RKO (The Lost Patrol 1934, The Informer 1935), 20th Century Fox (Young Mr. Lincoln 1939, The Grapes of Wrath 1940), and Walter Wanger (Stagecoach 1939), won over the public, the critics, and earned various Oscars and Academy nominations. His 1940s films included one military-produced documentary co-directed by Ford and cinematographer Gregg Toland, December 7th (1943), which creaks badly today (especially compared with… read more
Ford's masterpiece? Maybe, but why narrow it down to one. It's beautiful vision differs from that of his other masterpieces, but it just may be his (or anyone else's) most perfectly executed film.
A lot of people, Shamus, are incapable of dealing positively with stereotypes. Futhermore, many Americans especially cannot see beneath John Wayne's surface. Mary Kate is not a victim in this film, nor indeed is O'Hara a victim in any of her Ford-Wayne films. //// And thanks for fanning "Can't Live". Gives you a good idea of what I really really like!
Hilarious! Like a cartoon. I love Maureen O'Hara so much here. She is absolutely radiant! The charisma she brings to the role triumphs that of Wayne's. If Fellini is the definitive director that catches Italy's spirit most expressively and honestly, then Ford is the definitive director that catches Ireland's spirit most expressively and honestly. Porco Rosso must have been inspired by this film in some way.
Ford was a true poet of the cinema, and this is his ode to the mythical Ireland (that exists in songs and poems/not the actual place). Wayne, who was the embodiment of everything Ford ever wanted to convey about masculinity in his pictures is near perfect here. The relationship that buds between Wayne and O'Hara is a mature one of equals. Great supporting cast all around, but Barry Fitzgearald steals the movie...
A film festival isn't just a way to see movies; it is, inevitably, a film festival. If you show a hundred or so features, even if they're