Independent Exhibitors Film Bulletin (1952)

THE QUIET MAN' GREAT ENTERTAINMENT Rates • • + generally Republic 129 minutes John Wayne, Maureen O'Hara, Barry Fitzgerald, Ward Bond, Victor McLaglen, Mildred Natwick, Francis Ford, Eileen Crowe. . May Craig, Arthur Shields, Charles Fitzsimons, James Lilburn, Sean McGlory, Jack McGowran, Joseph O'Dea, Eric Gorman, Kevin Lawless, Paddy O'Donnel, Web Overlander. Directed by John Ford. "The Quiet Man" is an outstanding motion [picture, in many ways a great one. The [critics and the public will love it. It is by [far the finest film Republic has made and |among the very best from any studio in recent years. It is a definite "Oscar" contender. It is great because it will give picture business a shot-in-the-arm. It is great lecause it will play to packed houses everywhere, and to every kind of audience. It is :reat because it combines rich Irish humor, providing both chuckles and belly laughs, las a constant heart throb, is musically fas■inating, scenically inspiring and is acted, [produced and directed superbly. It is great jecause the plot, based on a "Saturday evening Post" story by Maurice Walsh is beautifully constructed and well told; because Maureen O'Hara. the luscious redheaded little witch who was born in Ireland liives her performance more than she has K'er given the screen before; because the [ntire cast, including Victor McLaglen, Barrv Fttzgerald, Ward Bond and a group of Abbey Theatre players back her up so well, and because the whole thing moves swiftly along, with never a dull second, tons of rough-and-tumble action, and scores of deft little touches of direction. It was made in the little village of Cong, County Mayo, Ireland, not far from the place where director John Ford's ancestors lived. Two of Miss O'Hara brothers, members of the Abbey Theatre appear, Wayne's four children Toni, Melinda, Patrick and Michael are in one of the sequences. Ford's brother Francis ar.d son Pat worked in the film. This is the kind of picture with so many colorful personalities that every filmgoer will want to make his own choice of his favorite character. Your critic's selection is Barry Fitzgerald, as the impish Michaeleen Flynn who varies his job as horse cab-driver with a bit of matchmaking on the side, who is also the village bookie and is a divil of a lad when, as nearly always, he has wrapped himself around a pint of black beer. The Technicolor photography is truly beautiful and special marks must also go to Victor Young for arranging the music. But basically it remains a triumph for director Ford. STORY: John Wayne returns from Pittsburgh to his native Irish village to buy the thatched cottage where he was born. He is challenged by Victor McLaglen, the village bully, who has been trying to buy it from widowed Mildred Natwick, on whom he also has his eye. Wayne gets the cottage in spite of McLaglen's opposition but he does not PAULA' SOAP-OPERA TEARJERKER FOR THE DUALS lates • • generally as dualler -olumbia jf.O minutes ^oretta Young, Kent Smith, Alexander [nox, Tommy Rettig. Otto Hulett, Will fright, Raymond Greenleaf, Eula Guy. Mrected by Rudolph Mate. An unabashed tear-jerker, aimed directly |t the handkerchief brigade, "Paula" will By a moderate degree of success on the |ual bills. Its biggest asset is the marquee lull of Loretta Young in the sort of role that |er fans like. Although the screenplay by imes Poe and William Sackheim is someling right out of stock soap-opera files, Ludolph Mate's direction and good produclon values help life the film's appeal for poviegoers, but not enough to attract the more discriminating. The latter, and the males, will squirm in spots with embarrassment at the bald melodramatics that involve a childless woman's attempt to make amends to a young boy she believes she has made speechless in a hit-and-run accident. Pitched at the women, "Paula" will comfortably fill the dual spot, but it's too weak to stand alone. Loretta Young gives it all she's got, but even her capable ministrations fail to doctor up the improbabilities in the plot. The rest of the cast does well enough under the circumstances, with young Tommy Rettig. Kent Smith and Alexander Knox making favorable impressions. Buddy Adler's physical production is far superior to the material that goes into it. iRAVE WARRIOR' ROUTINE TECHNICOLOR ites as dualler, more for action 3lumbia minutes m Hall, Christine Larsen. Jay Silverheels, ichael Ansara, Harry Cording, James Seay, )rge Eldredge, Leslie Denison, Rory Malison, Rusty Westcoatt, Bert Davidson, rected by Spencer G. Bennet. |We hear from big city exhibitors that the Ixoffice bloom is off westerns even the big for jobs. If that's the case, an undisguished Technicolor western like "Brave spots, small towns Warrior" doesn't figure to attract much business, except, perhaps, in the straight action houses. It should do well in smaller towns. A Sam Katzman production for Columbia, this one offers nothing new. The Technicolor's fine, but the screenplay by Robert E. Kent is trite and Spencer G. Bennet's direction is loose. What action this offers is of the familiar Indians vs. whites type. In brief, "Brave Warrior" is routine all the way, but adequate enough to satisfy the avid western fans. get the latler's beautiful redheaded sister, Maureen O'Hara, with whom he has fallen in love. Ward Bond, the local priest, and Barry Fitzgerald, the village marriage broker, put together a little scheme to aid the course of true love. They lead McLaglen to believe that if he allows Wayne to court Maureen he is bound to hook the wealthy widow for himself. After an exciting horserace over the sands, part of the priest's little plot. McLaglen discovers he has been tricked and though by this time the lovers have been married. Maureen finds herself without a dowry. This is so alien to local folklore that though she loves her husband, she will not share his bed. Wayne mistakes her pride and when he refuses to ask McLaglen for her dowry she decides to leave him. By this time Wayne is ready to fight McLaglen for his bride, but is deterred by an incident in his past. In America he had been a prize fighter and had killed an opponent in the ring. Arthur Shields, the village vicar, finally induces Wayne to battle for his rights. He drags Maureen to her brother's farm and. while the entire village watches, does battle with the bully in a tremendous fist fight, while Barry Fitzgerald is busy taking wagers from everyone, including the parsons. Over the cobbled streets the fight sways back and forth until both men fall exhausted and unconquered. When it is over, they find a new respect for each other and arm in arm. bruised, battered and beery, they go to the little white cottage where Maureen, her self respect restored, is waiting. COULTER STORY: Loretta Young and her husband, Kent Smith, both want children, but she is unable to have any. She believes she has run down in her car a young boy. Tommy Rettig, who, as a result of the accident, loses the power of speech. Spurred by remorse and mother instinct, Loretta decides to devote her life to teaching the youngster to talk again. Only one person knows the truth about the accident, family doctor Alexander Knox. A bigoted old rancher. Will Wright, however, denounces Loretta as the hit-andrun driver and the boy, who is making satisfactory progress turns on her. Just as the police are closing in on her, however, she is saved from jail, and the boy, realizing the truth after all. makes amends by returning her love. YORK The marquee will have to feature Technicolor and Jon Hall, in that order. No other names in the cast worth mentioning. STORY: Just before the war of 1812 Jon Hall, a Government emissary, is given the job of unmasking some British sympathizers who are stirring up the Indians. He finds support from Jay Silverheels, as Tecumseh, the Shawnee chief. After a good deal of feathers and dust, and some villanous scowling by Michael Ansara, the traitors get their just deserts. LEON AY 19, 1952