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Quietman biography, Quietman discography
Almost twenty years in the making, THE QUIET MAN (1952) is perhaps the most personal film of director John Ford's long and illustrious Hollywood career as well as one of his great achievements.Sean declares to Micheleen (the local cabbie, bookmaker and matchmaker) who, against his own business interests, advises Sean to forget about her.Inisfree has become another word for heaven to me.Sean has his ancestral lands but has made a devoted enemy in Will Danaher.At Cohan's, the local pub, Dan Tobin (played by Francis Ford, John Ford's brother, at left) reminisces about Sean's father and grandfather (loyal Irish Republicans) and leads the men of Inisfree in bidding Sean welcome home.Sean refuses to fight, and Fr.Last updated:
July 15, 2005.ID of the pipe that fits it.GRAB A BEER, PUT ON DISCOVERY WINGS.Let's start with the drain.Let's drill some more holes...Or lower if it's more convenient.Shown in the picture is the proper procedure for priming the pump.Decided to do the exhaust hose?If you do run the pump on 12 volts, hook it up backwards.Tank installed in my Fish and Dive.That's all for now, if I think of more I will post it.Here is JoeFish's tank, the first one someone else has built!This is JoeFish's Tank, also in a fish N dive.This is SwampRat's installation on his Tarpon.I'll post it here to help others!In late 1951, as his film
The Quiet
Man was
being edited into final form, director John Ford sent a cautiously optimistic
telegram to his friend Lord Killanin in Dublin: "The Quiet Man looks better
and better.Though
The Quiet
Man would
be enormously popular in America, its portrait of rural Irish life in the
1920s striking a chord of deep sympathetic response among moviegoers of all
religious and ethnic backgrounds, Ford's hopes for a similar response in
Ireland were in vain.Initially, as Killanin's remark suggests, it was the film's portrayal
of the tempestuous relationship between Sean Thornton (John Wayne) and Mary
Kate Danaher (Maureen O'Hara) that met the strongest resistance.That scene is not so nice because I think it does the Irish
down."Hollywood perpetuating
various Irish stereotypes whose origins lay in long centuries of English
political domination."We cannot be the sons of Gael and citizens of Hollywood
at the same time," wrote one Irish nationalist in the 1930s.This is the
spirit in which so much contemporary Irish filmmaking has defined itself
specifically in opposition to
The Quiet
Man's
image of Ireland as, in Luke Gibbons's phrase, "a primitive Eden, a rural
idyll free from the pressures and constraints of the modern
world."Even a commercially successful
film like Roddy
Doyle's
The
Commitments
(1991) is taken to provide a modicum of truth in what might be called the
Corpo flat realism of the scenes taking place in Dublin's public housing
projects: "an alternative body of imagery," as Gibbons calls such material,
that can be seen as addressing "the realities of Irish life."As Gibbons's phrasing suggests,
his sympathies are on the side of the new Dublin realists against what he
describes as the straitjacket of stereotype.Yet Gibbons has also, virtually
alone among Irish commentators, grasped the sense in which
The Quiet
Man has
for nearly fifty years been serving as a mirror for Irish cultural anxieties,
provoking reactions having very little to do with the film itself.His essay
"Romanticism, Realism and Irish Cinema," which goes some way toward taking
The Quiet
Man seriously
as a work of the artistic or cinematic imagination, anticipates several points
I want to make in this essay.Nonetheless, my attempt
will be to get entirely beyond the matter of "alienating images" of Ireland,
as Gibbons calls them.The Quiet
Man is
far closer to Shakespearean romantic comedy, and to the premodern world of
village festivity and pagan ritual we glimpse in its immediate background,
than to anything in recent Irish culture.The making of
The Quiet
Man has
itself become a myth, a story about Ford's long struggle against the Hollywood
studio system to make a film that, though it had intense personal meaning
for him, was seen as having no commercial potential.American prizefighter
who, having killed an opponent in a boxing match, returns to his ancestral
homeland in hopes of finding peace.By 1945, when Ford returned to Hollywood after three years as head of a wartime
Navy photographic unit, the idea had become virtually unthinkable."He is," Ford would say, "more like an architect,
if he is creative.The
Quiet
Man's
portrayal of Ireland lies in its importance to Wayne and O'Hara and other
members of what is sometimes called the John Ford stock company.Yet all seem to have understood,
as their long loyalty to
The Quiet
Man as
Ford's "Irish project" makes clear, that the magical sphere he created around
himself was for Ford the equivalent of an imaginary Irish village or family,
with its rituals and jokes and loyalties and feuds, held together by the
testy and wholly unpredictable presence of Ford himself as paterfamilias
or head of the clan.Meanwhile, back in Portland,
their mother Abby, who as a native Irish speaker had never learned to read
and write English, was an enthusiastic fan of the new silent films being
shown at the Empire Theater.On a weekend in 1914, the inevitable happened.Abby Feeney returned to announce to her family that she had just seen her
eldest son, listed in the credits as Francis Ford, in a starring role.They
contacted Francis through his studio and he made a short triumphal visit
to his old home town.As has often enough been remarked,
part of his genius lay in translating the cultural values of his parents'
rural Ireland to an American setting.What is less often remarked
is that these same rituals of solidarity, meaningful only within an established
community, were central as well to the way Ford actually made his films.Ford favorites
like "Bringing in the Sheaves."Borzage's presence on every
Ford set for over forty years has a great deal to do with the emotional quality
of Ford's films."Upon arriving on the set," recalls Harry Carey, Jr.This feeling has never happened
to me again on any set."The Quiet
Man assumed
symbolic importance for members of Ford's film family not least because it
incorporated so many of these rituals into its own story.Yet this scene is not in any simple sense about Ireland.The story of how
The Quiet
Man at
last came to the screen does read like a fable of Hollywood greed versus
artistic integrity.Its villain was Herbert B.John Wayne, who after having been lent to directors like
Howard Hawks and John Ford was emerging as a major star.Unable to get out
of his contract with Yates, Wayne attempted to improve his own lot by bringing
Ford to Republic.Ford borrowed Maureen O'Hara from Fox and shot
Rio
Grande.Wayne brought his four children along on location, and Ford gave them
parts in an important scene in the film.McLaglen's son Andrew was
assistant production manager.Charles and James
Fitzsimons play the former IRA commandant Forbes and the young priest Father
Paul.Barry Fitzgerald is the irrepressible shaughraun Michaeleen Oge Flynn,
his brother Arthur Shields the Protestant vicar Mr.This comic structure was
brilliantly analyzed in 1959 by C.Christian
culture, and in many cases from pagan rituals already archaic when Aristophanes
was writing comedies in ancient Athens.An important point in Barber's
analysis is that the rule of authority reversed or inverted during the holiday
interlude need not be that of social hierarchy merely, but may be that of
a rigid moral or religious code demanding an unreasonable purity of motive
and behavior.Maypole, a slender sapling set up in the center of the village to celebrate
the return of spring.Barber quotes in this connection Sir Thomas
Urquhart, who describes this personage as "the King of Misrule, whom we invest
with that title to no other end, but to countenance .Bacchanalian riots
and preposterous disorders."The point of the saturnalian
pattern in Shakespearean comedy, as in the holiday games and customs to which
the plays so frequently allude, is the revelation that the ordinary or workaday
world, which seeks to present its claims to sober morality in exclusive and
unconditional terms, is after all no more than one possible world among others.Against this, Shakespearean
comedy counterposes the vision of an earlier social order in which individual
life had taken on meaning within the communal existence expressed in May
Day or Hocktide ceremonies of misrule, which is why the festive comedies
so often give the effect of "a group who are experiencing together a force
larger than their individual wills."Renaissance
literature, representing "a region defined by an attitude of liberty from
ordinary limitations."In
The Quiet
Man the
green world is Ireland, or at least the version of Ireland that Ford locates
in the imaginary village of Innisfree, counting on his audience to recognize
the Yeatsian or poetic overtones of the name.The opposing world that corresponds
to Stubb's Puritan values, on the other hand, especially as these have led
in modern times to a dissolution of community in the name of a relentless
economic individualism, is that absent or distant America from which Sean
Thornton has returned to Innisfree.Without her brother's consent, she couldn't and wouldn't."Mary Kate's independence of spirit.For had Sean Thornton
simply had the misfortune to fall in love with a woman weakly submissive
to social demands, there would be a problem for him but none for the story.But Mary Kate Danaher is, as we see almost from the beginning, the very opposite
of such a woman.Sean, to the great delight
of the onlooking villagers, in the "dragging" scene.The Quiet
Man is
why she then chooses to submit herself to custom or tradition.Ford's story as do the holiday customs of May Day or Hocktide,
with their insistent reminders of an earlier pagan Europe, in Shakespeare's
romantic comedies.The approved union, even among common people,
was a match' negotiated by two families."In
The Quiet
Man,
of course, there can be no consent between families, for Sean Thornton's
parents are dead and he has no siblings.In
The Quiet
Man Mary
Kate's insistence on her rights of dowry culminates in the scene where, her
brother having been at last shamed into handing over her fortune, she moves
in perfect concert with Sean, throwing open the door of the threshing furnace
as he picks the banknotes up off the ground and throws them into the flames.Here we witness not simply the immolation of the banknotes, but of Sean's
false (or American) understanding of property, and thus of his earlier
misunderstanding of Mary Kate's motives as having been, as he once bitterly
puts it, "mercenary."In terms of an older body
of Irish custom or tradition, Mary Kate's inequality in their marriage is
immolated as well.In a film filled with unforgettable moments, the inexpressible
jauntiness of Maureen O'Hara's walk as the crowd divides and she strides
off toward their cottage, a woman at last perfectly reintegrated into her
own community and at peace in her marriage, is among the most
unforgettable.The tremendous
drive of the donnybrook sequence, its sense of a accelerating rhythm so powerful
that it can only end by sweeping along every member of the community, derives
from the way this secret functions as a taboo or ritual blockage, a source
of behavior that even Sean's strongest supporters among the villagers find
mysterious or unaccountable."It's an old custom, and a good custom," says Mr.Bosch or Grunewald paintings
where leering faces seem to jump out at the viewer from an unnaturally flattened
perspective.He killed Tony Gadelo, he says bitterly
to Mr.It is a
revelation not only about prizefighting but about the power of money in a
country where human values have been eroded or dissolved by a remorseless
economic individualism."Is that all you Danahers
ever think about?"Bosch or Grunewald, who climb through
the ropes once the ringside physician has pronounced death.By morning, we understand, their pictures will be splashed over the sports
pages of mass circulation newspapers in an America where death and personal
agony are important mainly as they can be used to sustain advertising
revenues.The Quiet
Man's
great countermovement toward a vision of innocent or ludic violence begins
in the scene by the riverbank where Mary Kate switches into Irish while
describing her unhappy marital situation to Father Lonergan.Playfair has tried to prepare
him by pointedly remarking that he considers Sean now to be "in training"
for the fight with Danaher, it will take Sean Thornton some hours yet to
understand that he is operating in an altered social
dispensation.Bacchic release, certain ritualized forms of violence or abuse have a power
to regenerate community.The culminating theme of
redemptive violence begins in the "dragging" scene in which Sean Thornton
forcibly marches Mary Kate the five miles from the Castletown train station
to her brother's fields.Thus, for instance, "in parts of Ireland,
on the day of bringing home the bride, the bridegroom and his friends would
ride out and meet the bride and her friends at the place of treaty.When he catches her,
the bridegroom " leads her in triumph and the scene is concluded with feasting
and festivity'."But the point remains the same: their marriage can be made
"real" within its community only through a cleansing ritual of innocent or
ludic violence.The ritual quality of the
dragging scene
in The
Quiet
Man,
which as Ford conceives of it is inseparable from its comic character, is
signaled throughout by the hilarious counterpoint of elaborate politeness,
suitable to the drawing room or Sunday parlor, with the knockabout physicality
of the march across the meadows.Thus the villagers and train crew, for instance,
madly on the run to catch a view of Sean and Mary Kate as they start on their
epic walk, nonetheless pause momentarily to tip their hats or curtsy to the
visiting Protestant bishop looking wonderingly on from his car.In a setting where
violence is so obviously and inevitably moving toward an ultimate reconciliation,
the speech is in effect the village woman's way of welcoming Mary Kate Danaher
back into her own community.This is the moment that
Mary Kate, with the triumphant air of a woman who has at last seen her world
come right, exits the scene as the crowd parts before her.This is, he announces in the tone of
someone who expects to be obeyed, a private fight, in which third parties
have not been invited to participate.He then adds, altogether less hopefully,
that when the main bout resumes it should be conducted according to Marquis
of Queensbury rules.As the donnybrook sequence
gathers momentum, betting on the outcome gradually becomes an activity equal
in importance to the fight itself, supplying a mode of vicarious participation
that serves to channel the energies and emotions of the entire community
into the common drive toward saturnalian release.The famous last scene of
The Quiet
Man has
been derided as another element in the film's idyllic fantasy about an Ireland
that never existed.Father Lonergan organizes the villagers of Innisfree
to "cheer like Protestants" as the bishop is driven through the village,
thus convincing him that the Reverend Mr.The Quiet
Man's
vision of benign and mutually respectful relations between Catholics and
Protestants belongs also to its festive theme, and in particular to the notion
that violence,
when
it has occurred within a more fundamental context of communal values, may
have the power to bring about a redemption or reconstitution of
community.American
neighborhood in the United States.Ford's cinematic genius will instead see in
The Quiet
Man evidence
of his enormous power to visualize, as Northrop Frye says in speaking of
the archetypal power of literature, "the world of desire, not as an escape
from reality,' but as the genuine form that human life tries to
imitate."The special claim of
The Quiet
Man,
perhaps, produced against the massive resistance of a Hollywood geared to
the making of profits, incorporating the ethos and rituals of Ford's film
family into the very texture of its story, and lingering lovingly on its
image of Ireland as a green world so far magically exempt from the remorseless
economic individualism of the America in which Sean Thornton killed an opponent
for a piece of the purse, is that it is a festival for our own
time.In an age of American cultural
hegemony and accelerating global consumerism one may perhaps say about Ford
in
The Quiet
Man,
as Evelyn Waugh once did about P.IRELAND:
An Interdisciplinary Journal of Irish
Studies.Welcome to the Quiet Man Irish Pubs website.The Quiet Man is famous in Melbourne and beyond for its genuine Irish Food, Music and Ambience.John Wayne, Maureen O'Hara and Barry Fitzgerald was
made.Fax: + 353 (0) 94 954 6448
Email: quiet.And "real" she
was, our Mary Kate Danaher, when she first laid eyes on young Sean Thornton
in that picturesque meadow in Ireland.The cult followers of "The
Quiet Man" would challenge any scene in cinema history to be quite as glorious
as the sight of Mary Kate, herding her sheep in a breathtaking panorama
of shades green with shafts of sunlight flowing through the trees.Add to this the musical score of Victor Young and the scene takes you at
once to Ireland and the romance about to unfold.How could you look at
the scene capture above and not feel the electricity generated by these
actors.Maureen O'Hara and John Wayne did not win Oscars for
their performances as well as the film being named as best picture."High Noon" Shirley Booth won best actress for "Come Back
Little Sheba.And maybe, after all is said and done,
that is what is really important.Duke, Maureen and Ford made a secret
pact that they would
never
reveals those words.Maureen, Duke,
and
her brother Charles on the TQM set.The "hug" picture is my favorite because I think
this pose embodies their
long and durable friendship, their energy, their
chemistry and their love for one another.There were exceptions, of course, like some
of the scenes shot at the cottage after the wedding."Joyce" was living in the cottage at the time.This was Paddy's dream and he
worked tirelessly to make it come true.This is understandabe when, despite his tenacity, he
could not gain the proper support he needed.God Bless you always Paddy."The Quiet Man" I have realized that the opening verse of this beautiful
song sums up my feelings more than any words that I can articulate myself.Belfast and teach Classical Music at the City of
Belfast School of Music.Belfast full of excitement and anticipation with my mind full of the memorable
images, wonderful performances and beautiful music that all contribute
to make "The Quiet Man" such a magical film.The
next day I did finally get to see the cottage of my dreams.I'll begin at the beginning....After
I returned home to Belfast I began to formulate an embryonic concept to
restore the cottage.Over
the next few months I developed the idea of creating a Charitable Trust
which would buy the site, restore the cottage and make sure that any money
generated from visitors to the site (of which there are so many) would
be given to charitable causes.Two
key people I have managed to make contact with an Irish Government Minister
and an American Embassy Official in Dublin .Galway and some in the Ministers office in the
Dail (at his invitation).They have both taken my project on board
in a personal and professional capacity and have been a great source of
encouragement and support.Now
that the project is beginning to gain some momentum one Irish Government
Minister will be working with me to prepare a more formal proposal to drive
the project forward.He has suggested a dinner party in the Ambassadors
residence in Dublin to bring together what he considers key people who
could provide support for the project.Government Minister at a business function in Belfast and with some
hesitation decided to introduce myself and my proposal to him fully expecting
to be "passed over."The Minister als wishes to sit on the Board of the Trust.For
several months there has been little progress to report.However,
within the last two weeks I have been talking to the owners of the property
(who up until now have refused to consider selling the site) and there
is
some
sign of movement."Their kindness was overwhelming
and in a million years I could never thank them enough.Gerry Collins and their family welcome you to their
website.Automatic Anthems (CD)
Dreaming Of You (Quiet...Oye Como Va (12", Promo)
Oye Como Va (Quietman ...The Best Of British Melodic Trance (2xLP)
Tribute 97 (Quietman R...Tribute 97 (12")
Tribute 97 (Quietman R...Tribute 97 Remixes (CD, Maxi)
Tribute (Quietman Remi...Dreaming Of You (12")
Dreaming Of You (Quiet...Dreaming Of You (CD, Maxi)
Dreaming Of You (Quiet...Monuments (CD)
The Awakening (Quietma...Interpretations By Jerry Bonham (CD)
Tribute (Quietman Remi...Summertime (12")
Summertime (Quietman R...Outer Phazer (12")
Outer Phazer (Quietman...Oye Como Va (CD, Maxi)
Oye Como Va (Quietman ...Magik Three: Far From Earth (CD)
The Awakening (Quietma...Music For The Year 2000 Part 2 (2xCD)
Summertime (Quietman R...Oye Como Va (CD, Maxi)
Oye Como Va (Quietman ...Oye Como Va (12")
Oye Como Va (Quietman ...Oye Como Va (12", Promo)
Oye Como Va (Quietman ...Trance Anthems (2xCD)
Dreaming Of You (Quiet...Trance Pioneers 3 (4xCD)
Fortunes Fool (Quietma...Corestar One (12")
Corestar One (Quietman...A2 After Hour Compilation Vol.Platipus (2xCD)
The Sleeper (Man With ...Platipus Records Volume Four (CD)
Sleeper (Man With No N...Underground Beats (Volume 9) (2xCD)
The Sleeper (Man With ...The Best Of Platipus (2xCD)
Sleeper (Man With No N...CD)
The Sleeper (Man With ...CD)
Now And Zen, Sleeper (...The Art Of Chill (2xCD)
Summit Temple, Celesti...My Discogs
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