Several Hollywood directors are just as closely linked to a certain genre as Johnon Ford with the West, but it may be less well known that he has received some of his biggest accolades over his horsepower operas. He still has a proud record for the most awards at the Academy for Best Director, after taking home the highest award for "informant", "grapes of anger", "like green was my valley" and "The quiet man". The second was probably the farthest before his usual cart, a technically romantic comedy filmed in the homeland of his parents in Ireland. He took several of his regular actors (including Ward Bond And, of course, Johnon Wayne) with him for company, however, and the duke considered the obtained picture one of his best movies.

Wayne praised the "quiet man" high among his own broad film. During his infamous interview with Playboy In 1971, he was asked if he thought he was a "real Grit" one of his best films. He replied:

"No, I don't. Two classic Western were better -" Stagecoach "and" Red River " -and a third," search engines ", which I thought they deserved more praise than they got, and the" quiet man "was certainly one of the best.

The "quiet man" was a change in the pace of Ford, who decided he wanted to rest from the West after he ended up filming the lesser -known but highly rated "Wagon Master" with Bond, Ben Nsonson, and Harry Carrie Runior. The Irish novelist would receive a far more substantial compensation after the republic painted Green set fire to the project, but the studio was not convinced of his commercial potential and insisted that Ford first made Rio Grande. Although the third of the so -called Ford's cavalry was the well -known territory for the director, it was, in many ways, a dry escape for the "quiet man" with his central romance pairing Wayne opposite Morin O'Hara for the first time. The duo will star in a total of five pictures together, but none would be well accepted as Ford's Irish-Com. Let's look closely and see how it holds today.

In the 20s of the last century, the "quiet man" starred Johnon Wayne as John Thornton, an attractive Irish-American former boxer, who returns from Pittsburgh to his birthplace, vibrant (invented) village on the West Bank of Ireland, called Innis. He plans to calm down in the community and buy the old family house, and receives a warm welcome from most locals, except Will Danaher (Victor McLeglen), a middle, middle -aged faith, which also wants to buy the property. The battle is ready when the owner, the widow of Tilan (Mildred Natvik), accepts Thornton's offer over Danacher.

Tensions are increasing even more when Thornton is in the fastest sister of his rival, Mary Kate (Morin O'Hara). Thornton quickly proposes, but their chances of marital bliss look weak when Danacher refuses to give his blessing from clean and besides. This is led by the pleasant driver of coach McLean óge Flynn (Barry Fitzgerald) and the Kinduleso Vicar Peter Lonergan (Ward Bond, because Johnon Ford had to fit in somewhere) to play matches between Danacher and the widow.

Everyone looks pink until Danacher realizes he was cheated on Thornton's and Mary Kate's wedding day. Once again he got angry, he refuses to give his sister Miras. Thornton does not care about the money, but his failure to understand her importance for his new bride under the Irish customs immediately drives a wedge among them. Mary Kate accuses him of cowardly when he refuses to fight Danaher on the issue, swore to violence after a tragic incident in the past. But when Mary Kate threatens to leave, Thornton is reluctantly encouraged.

It's easy to see why Wayne was proud of the "quiet man". Better known for his heroism on the screen and macho position in the western, John Thornton's role gave the actor a chance to show a larger range than he was often given credit. He and O'Hara also had good chemistry together, while the rest of the accompanying team gives the film a light charm, with McLeglen adding his Oscar win to Ford's "informant" by achieving another kiw for his huge performance like Danaher. Wayne was a guy, but Fulking's veteran certainly looks like someone who can fit in, as we see in the celebrity struggle for the film's climate.

Despite their reputation as deep conservative figures, Johnon Ford and Johnon Wayne were able to make some surprisingly progressive images together, including the difficult production that was "the man who shot Liberty Walance" (A film that, with its nuanced insight into the democratic process, still feels incredibly relevant today). The "quiet man" is not one of them, however, because it is firmly rooted in old -fashioned gender values ​​and cultural stereotypes.

I see many older movies and I think it's important to have a balanced approach when it comes to things that would be unacceptable in film shot today. I am also very much about trying to separate the art from the artist, so I can enjoy Wayne's films despite his inheritance on the screen as a terrible fanatical. Without a bit of permissibility, you will end up giving up about half the exit of the 20th century in Hollywood. But sometimes the problematic elements are too too much, such as Mary Kate shown in the "quiet man". Morin O'Hara makes a brazen character trying to stand on the field, but she is treated as a property from Thornton and Danaher and turns into an obedient little woman later in the film. Of course, the film is set in a rural community in the 20s of the last century, and this can be a fair idea of ​​gender roles at the time. But what makes it problematic is how sexual violence and family abuse are implied, culminating in a long scene where our hero drags his wife across the country with neck feces in front of fan locals.

Then there is the way the villagers are mostly disgusted and stereotypes with hard drinking. You may think Ford would avoid such clichés given his Irish heritage, but what is a burden on nostalgic Hollywood Blnarni. (Seriously, Barry Fitzgerald can also wear loser clothes in this film.) What is a shame, because the "quiet man" is very well acted and beautiful to Blagnari. Wayne is convincing as a romantic leading man, apparently just as convenient in a tweed and a flat hat, as it was in Stetson and a cavalry uniform, and the lively Irish landscapes are absolutely devastated thanks to the usual cinematography he won by Oscar. Indeed, "The Silent Man" can be Ford's most beautiful movie - it's just a shame that the content dates back so bad.