After spending most of his unhappy life in America, Sean Thornton arrives in the little Irish village of Inisfree to find the peace and paradise his mother used to talk about. The first thing to catch his eye (after the cottage where he was born) is the beautiful and fiery Mary Kate Danaher.
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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.
What is the big goddamned deal with this movie? John Ford has done so much better and this is the one everyone goes batshit over? The Quiet Man wasn't bad but it wasn't great. Either way, seriously overrated...
Tempted to give this five, but four stars will do for now. Slowly grows on you, you gut pulled in to the luscious Ireland Ford creates. A fascinatingly crafted "rom-com" for males. Once again Ford creates a great sense of community, painting every frame beautifully and filling each one with his love for the country.
A bit of a fairy-tale.Eire was dirt poor at the time this film was made with large levels of illiteracy in the rural areas and Eamonn de Valera's Ireland was a rather down-trodden theocracy. .Victor McClaglen rather stole the show from John Wayne.My views only.
Many Irish people see it as Paddywhackery. I don't. It's Ford's hymn to a land he idealised without ever knowing and a people he tried to get to know. As a celebration of community, it's hard to beat. And when it comes to a good old fashioned passionate love story where the sex is suggested rather than shown, a shower of rain was never so well used.
The first half hour of film, with the introduction of Maureen O'Hara's Character and the first arrival to the newly bought house at night, is basically unbelievable. Ford's work on color is, here, as astonishing as in Seven Women, his last picture. Personally, I think this one (towards the other) lacks breath, and goes quietly fading while approaching the end. But that first half is pure bucolic poetry
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...