Wayne once famously said he preferred to work with men, “except for Maureen O’Hara. She’s a great guy”. In 1991, O’Hara said of Wayne: “We met through Ford, and we hit it right off. I adored him, and he loved me. But we were never sweethearts. Never, ever.
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.
The Quiet Man, fantàstica. Com va dir el periodista David Torres en aquest magnífic post (http://www.hotelkafka.com/blogs/david_torres/?p=948), potser l’única pel•lícula en la que em quedaria a viure.
Una pel.lícula única i homèrica que et fa venir ganes d´agafar la maleta i anar a veure que queda del mític Innisfree. Sé que hi ha un documental de José Luis Guerín sobre L´home tranquil. Sempre l´he volgut veure i mai no n´he tingut l´oportunitat. L´article del David Torres, fantàstic!