John Wayne felt that this last century was one of his best films

A few Hollywood filmmakers are closely related to a certain type such as John Ford with the West, but it may be known to have received some of his greatest references behind his commercial horse opera. He still holds the proud record for the most Academy Awards for Best Directors, after receiving the Best Award “The Informer”, “The Grapes of Wrath” and “How Green was Valley” and “The Head Man”. The latter was the farthest outside his usual home, a romantic comedy in the homeland of his parents in Ireland. Many ordinary actors (including Ward Bond Of course, John Wayne) With him for the company, and the Duke considered the resulting picture One of his best films.

Wayne praised the “calm man” greatly among his wide films. During his notorious interview with Playboy In 1971, he was asked if he was considered “true grasum” one of his best films. He answered:

“No, I no, there were two classical Westerners who were better -” Stagecoach “and” Red River ” – and the third,” researchers “, who thought he deserved praise more than he got, and” The Head Man “was definitely one of the best.

The “Head Man” was a change in the Ford pace, who decided that he wanted to take a break from Westerners after he finished shooting at “Wagon Master” with the least well -known but high -ranking with Bond, Bin Johnson and Harry Carrie Junior, and then, he took his attention early to his interest early. The Irish novelist will receive more fundamental fees as soon as the Green Green Republic depicted the project, but the studio was not convinced about its commercial capabilities and insisted that Ford made “Rio Grande” first. Although a third of the alleged trilogy of Ford was more than a familiar area of ​​the director, it was, in many ways, dry for “The Head Man” through the central romantic conjugation Wayne against Maurin O’Hara for the first time. The duo played a role in five pictures together in total, but it wouldn’t be well received like ROM-Com in the Irish Ford. Let’s take a closer look and see how you are today.

In the twenties of the twentieth century, the stars of “The Center Man” John Wayne in the role of Sean Thornton, the former Irish -American boxer who returns from Pittsburgh to his hometown, a picturesque (fictional) village on the western coast of Ireland. He plans to settle in society and buy ancient family hut, and receives a warm welcome from most of the local population regardless of Will Danhir (Victor Mujalin), which is an average middle age and also wants to buy the property. Battle lines are drawn when the owner, Tylan’s widow (Meldid Nateuk), is accepted, Thornton displayed on Dannices.

Tensions rise further when Thornton falls in love with his roll -up sister, Mary Kate (Moreen Ohara). Thornton suggests quickly, but their chances of marital bliss seem slim when Danhran refuses to give his blessing though. This leads the driver of Bozi, Michaeline, Flynn (Barry Fitzgerald), and the pulse Peter Longjan (Ward Bond, because John Ford had to suit him somewhere) to play mountain makers between Danhir and the widow, and his deception to believe that she would only marry her once she left Mary Kate at home.

Everything seems pink until Danaher realizes that he was deceived on the wedding day of Thornton and Mary Kate. Anger again, refuses to give his sister her dowry. Thornton does not care about money, but his failure to understand his importance to his new bride under Irish customs is immediately pushing a wedge between them. Mary Kate accuses him of cheese when he refuses to fight Danhir on this issue, after he divided the violence after a tragic incident in his past. But when Mary Kate threatens to leave, Thornon is reluctantly driven.

It is easy to see why Wayne was proud of the “calm man.” He was famous for his periodic on the screen and his commission stances in the Westerners, and he gave Sean Thornton’s role to the actor an opportunity to show more than he was giving him the credit often. Ho and Ehra also had good chemistry together, while the rest of the supportive actors gave the movie an easy charm, as Maklagalin added his Oscar win over the “The Informer” by Ford by recording another gesture of his seller’s performance like Danaher. Wayne was a young man who was slowing down, but it is certain that the chronic veteran looks like a person who could match him for collapse, as we see in the famous climatic fist of the film.

Despite their reputation as very conservative characters, John Ford and John Wayne were able to make some progressive photos, Including the difficult production that was “the man who shot freedom” (A film, with his accurate vision of the democratic process, still feels incredibly appropriate today). The “quiet man” is not one of them, because he is rooted firmly in ancient sexual values ​​and cultural stereotypes.

I watch a lot of old films, and I think it is important to follow a balanced approach when it comes to things that will be unacceptable in today’s movie. I am also a lot about trying to separate art from the artist, and for this reason I can enjoy Win’s movies despite his legacy outside the screen as a terrible fanaticism. Without a little leniency, you will end up to cancel about half of Hollywood output in the twentieth century. But sometimes the problematic elements are too much, such as how Mary Kate is photographed in the “calm man”. Mourin Uhar makes her a quarrelsome figure who tries to stand on her home, but she is treated like property by Thornton and Danhir and turns into a young woman obedient later in the movie. Certainly, the film was appointed in a rural society in the twenties of the twentieth century, and this may be a fair representation of the roles of the sexes at that time. But what makes it annoying is how implicit sexual violence and home abuse are played for comic value, as it reached its climax in a long scene where our hero with his wife with parts of the country withdrew by her neck in front of the local population chants.

Then there is the way the villagers are often arduous and drinking stereotypes. You might think that Ford would have avoided such clichies by looking at its Irish heritage, but up to a load of Hollywood Blarani nostalgia. (Seriously, Barry Fitzgerald may wear leprosy clothes in this movie.) He is a shame, because the “quiet man” is a very good look. Where is a romantic pioneer as a romantic man, apparently comfortable in Tuid and a flat hat as it was in Steston and a unified uniform, and the lush Irish landscape highlights completely thanks to the Oscar -winning cinematic filming. In fact, the movie “The Head Man” may be the most beautiful Ford movie – it’s a shame that the content is very poorly dated.