Production
The film was something of a departure for Wayne and Ford, who were both known mostly for Westerns and other action-oriented films. It was also a departure for Republic Pictures, which backed Ford in what was considered a risky venture at the time. It was the first time the studio, known for low budget B-movies, released a film receiving an Oscar nomination, the only Best Picture nomination the studio would ever garner.
Ford read the story in 1933 and soon purchased the rights to it for $10. Republic Pictures agreed to finance the film with O'Hara and Wayne with Ford directing, only if all three agreed to film a western with Republic. All agreed and after filming Rio Grande they headed for Ireland to start shooting.
One of the conditions that Republic Pictures placed on John Ford was that the film came in at under two hours total running time. The finished picture was two hours and nine minutes. When screening the film for Republic Studio executives, Ford stopped the film at approximately two hours in: on the verge of the climactic fight between Wayne and McLaglen. Republic executives relented and allowed the film to run its full length. It was one of the few films that Republic filmed in Technicolor; most of the studio's other color films were made in a more economical process known as Trucolor.
The film employed many actors from the Irish theatre, including Barry Fitzgerald's brother, Arthur Shields, as well as extras from the Irish countryside, and it is one of the few Hollywood movies in which the Irish language can be heard.
Filming commenced on June 7, 1951. All of the outdoor scenes were shot on location in Ireland. The inside scenes were filmed toward the end of July at Republic, Hollywood.
The story is set in Innisfree, a place in Lough Gill on the Sligo-Leitrim border made famous by poet William Butler Yeats. Many scenes for the film were actually shot in and around the village of Cong, County Mayo, on the grounds of Cong's Ashford Castle. Cong is now a wealthy small town and the castle a 5-star luxury hotel. The connections with the film have led to the area becoming a tourist attraction. In 2008, a pub opened in the building used as the pub in the film (it had actually been a shop at the time when the movie was shot); the pub hosts daily re-runs of the film on DVD. The Quiet Man Fan Club holds its annual general meeting in Ashford Castle each year. Other locations in the film include Thoor Ballylee, Co. Galway, home of poet W.B. Yeats for a period, Ballyglunin railway station near Tuam Co. Galway, which was filmed as Castletown station, and various places in Connemara Co. Galway and Co. Mayo. Among those are Lettergesh beach, where the race scene was filmed, the Quiet Man Bridge, signposted off the N59 road between Maam Cross and Oughterardand the "White O'Morn" cottage. The latter is located on R336 south of Maam, but has long fallen into ruin.
The film also presents John Ford's depiction of an idealized Irish society, with no social divisions based on class or religion. The Catholic priest, Father Lonergan and the Protestant Rev. Playfair maintain a strong friendly relationship throughout the film - which represented the norm in what was then the Irish Free State. (Religious tensions occurred in the 1930s, but were the norm only in Northern Ireland). The only allusions to Anglo-Irish animosity occur after the happy couple is married and a congratulatory toast expresses the wish that they live in "freedom", and before the final donnybrook when Thornton demands his wife's dowry from Danaher. Danaher asks one of the men in the crowd if the IRA had a hand in this, to which the reply was "If it were, not a scorched stone of your fine house would be left standing."
Roddy Doyle's 2010 novel "The Dead Republic" deals tangentially with this film.
Read more about this topic: The Quiet Man
Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
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