Showing posts with label movie. Show all posts
Showing posts with label movie. Show all posts

Saturday 27 August 2011

THE MOVIE THAT PUT IRELAND ON THE TOURIST MAP


My favourite line from my all-time favourite movie is: “He’ll regret it till his dying day, if ever he lives that long.” Fans of The Quiet Man will immediately recognise it as having been uttered by fierce-tempered farmer ‘Red’ Will Danaher, played to blustering perfection by Victor McLaglen.
Danaher is the bullying big brother of beautiful redhead Mary Kate (Maureen O’Hara) who steals the heart of retired boxer Sean ‘Trooper Thorn’ Thornton (John Wayne) who’d killed an opponent in the ring in the States. Despite Danaher’s best spoiling efforts and aided and abetted by the colourful and conniving villagers of fictional Inisfree in the west of Ireland, Sean, who was born there but grew up in Pittsburgh, woos and weds Mary Kate and then has an epic fistfight with his new brother-in-law.
Based on the 1933 short story Green Rushes by County Kerry novelist Maurice Walsh, The Quiet Man was director John Ford’s pet project and his cinematic love letter to his parents’ homeland. “It will never make a penny,” was one snooty studio reader’s opinion of Frank S Nugent’s 179-page screenplay. I hope he enjoyed eating his hat. The film cost $1.75 million to make, took in $3.8 million in its first year and has earned umpteen times that in video and DVD sales and rentals.
Shot in the summer of 1951 mainly in and around Cong, County Mayo, and released the following year, it sparked a phenomenal influx of tourists eager to see the sights so gorgeously portrayed by cinematographers Winton C Hoch and Archie Stout. Their work earned them Academy Awards (Ford, whose real name was Sean Aloysius Feeney, got the Best Director Oscar) and put the town and county on the map.

REV'S RES: The Reverend and Mrs. Playfair's house
Today, the coachloads of Quiet Man pilgrims who descend on Cong year-round are thrilled to find not much has changed since the cast and crew packed up and headed home. Most of the buildings featured in the film, such as the Reverend Playfair’s ivy-covered house, are still there, and you’ll see fans, many of them moist-eyed Irish-Americans, wandering around doing more pointing than a bricklayer.
The house first appears when courting couple Sean and Mary Kate are out walking under the watchful eye of pipe-puffing mischief-maker, matchmaker and bookmaker Michaleen Og Flynn, who’s following in his horse-drawn trap. Fed up with the rigid formality, Sean spots a tandem bicycle propped against a window, tells Mary Kate to jump on and they go racing off down the street. The house is also seen near the end of the film when the Rev Playfair (Arthur Shields) collects his £15 winnings from his boss, the Anglican Bishop (Philip Stainton), who’d foolishly backed Danaher to win the fight.
Playfair, a former amateur pugilist with a big collection of scrapbooks full of boxing articles and pictures, is the only person in the village who knows about Trooper Thorn killing his opponent, but the tragic secret is safe with him.
Look! There’s Pat Cohan’s pub, where Michaleen’s horse, Napoleon, comes to an automatic abrupt halt, nearly catapulting him out of his seat and prompting the line: “I think ye have more sense than meself!”

PAT'LL DO NICELY: The most famous pub in Ireland
Michaleen was played by rubber-faced pixie Barry Fitzgerald, real name William Joseph Shields (brother of Arthur), who won a Best Supporting Actor Oscar for his role as Father Fitzgibbon in the 1944 tear-jerker Going My Way. However, his ‘gold’ statuette came to a sticky end. While practising his golf swing he knocked the head off it (during World War Two they were made of plaster because of metal shortages) and had to glue it back on.
Cohan’s is where Sean and Danaher take a break from their fistfight, which resumes when the latter comes crashing backwards through the closed front door after throwing a pint of porter in the Yank’s face, for which he gets a piledriver of a punch in his own. The pub was actually a dressed-up grocer’s shop and the interiors were shot in Hollywood, so the punch that was thrown in California puts Danaher on his backside 5,000 miles away in the street in Cong. Cohan’s opened as a fully-licensed bar in 2008.
Nearby is the house where dying man Dan Tobin makes a miraculous recovery, springing from his bed while being read the last rites when he hears the crowd outside running to see the big fight. Hopping down the street pulling his trousers on over his long nightshirt, it’s the biggest comeback since Lazarus. White-bearded Tobin was played by Francis Ford, the director’s brother, and the young priest praying by his bedside, Fr Paul, was Maureen O’Hara’s brother, James.

DAN DOMAIN: 'Dying' man Dan Tobin's cottage
Ashford Castle, on the near outskirts of Cong, is one of Ireland’s poshest, most palatial and magnificent hotels, and for the several weeks of filming it was home to Ford, Wayne and O’Hara. It was also home last weekend to me and my pal John Morrison, another lifelong Quiet Man fan, when we made a pilgrimage we’ve been promising ourselves for years. This was our base while we toured Cong and the surrounding countryside, visiting the places seen in the movie.
The castle dates from 1228 when the Anglo-Norman de Burgo clan who’d recently kicked the backsides of the native O’Connors decided they liked it there and put down roots. Three-and-a-half centuries later, in 1589, the de Burgos got a taste of their own medicine when English nobleman Lord Bingham and his boys decided they liked it, too, and sent them packing. In 1715 the Oranmore-Browne family took over, and in 1852 Sir Benjamin Lee Guinness of the brewing dynasty moved in, extending the estate to 26,000 acres and adding two Victorian-style extensions either side of the French-style chateau. In 1939 the castle became a luxury hotel, and in 1970 a large part of the grounds were given over to a golf course.

WHERE STARS STAYED: Stately Ashford Castle hotel
The management are to be applauded for finding and recruiting the most professional, courteous and attentive staff I’ve ever encountered anywhere. As is the case with any successful business, the people customers deal with are the most valuable asset, and Ashford has hired the best of the best.
Several scenes in the film were shot on the castle estate, including that in which fly-fishing parish priest Father Peter Lonergan (Ward Bond) almost hooks the monster salmon he’s been after for years (out of shot, local man Jim Morrin was in the river tugging on the line). If only Mary Kate hadn’t come along moaning about her new husband bunking down in a sleeping bag – “with buttons!” – Fr Lonergan might have landed it. Bond, an epileptic who was rejected by the draft during WW2, was a close friend of Wayne and bequeathed to him the borrowed shotgun with which his buddy had once accidentally shot him.
Danaher’s house, looking much as it did except for the addition of a front door porch and garage door, is on the estate, too. This is where Sean comes calling with flowers in hand and Michaleen in tow to seek the irascible squire’s permission to court his sister, only to be sent off with a flea in his ear as a tearful Mary Kate looks forlornly from the left hand upstairs window. The third fairway of the castle golf course, which didn’t exist in 1951, is where Sean first spots the barefooted Mary Kate herding sheep with a black and white collie (Jacko, owned by local shepherd John Murphy).

MUCH THE SAME: Will and Mary Kate Danaher's house
This area is also seen in the run-up to the big fight when Sean, who’s had enough of Mary Kate’s bickering over her unpaid dowry, drags her along the ground by the collar, followed by the crowd. In a continuation of this scene but in a different location close to the Danaher house known as the Meadow Field, Sean dumps his wife at the feet of her brother who’s harvesting the hay with his workers and says: “You can take your sister back. It’s your custom, not mine. No fortune, no marriage. We call it quits.”
St. Mary’s Protestant church, whose exterior was used in the “patty fingers” scene where Sean is told off by Michaleen for scooping holy water from the font for Mary Kate to bless herself, is on the road out of the estate into Cong. But sadly, wealthy widow Sarah Tillane’s (Mildred Natwick) house, where Sean seals the deal to buy White O’ Mornin’, the cottage in which he and seven generations of his family were born, no longer exists, having been demolished years ago to make way for a car park for visitors to the estate. Saddest of all, the long-neglected White O’ Mornin’, by the Failmore River 13 miles west of Cong, has been reduced to a barely recognisable pile of rubble. It’s a crying shame.
Ten miles southwest of Cong between Maam Cross and Oughterard is Leam Bridge, also known as the Quiet Man Bridge and unchanged in 60 years. This is where Sean sits and views White O’ Mornin’ while his late mother’s voice reminisces: “Don’t you remember, Seanie, and how it was? The road led up past the chapel and it wound and wound. And there was the field where Dan Tobin’s bull chased you. It was a lovely little house, Seaneen. And the roses! Well, your father used to tease me about them, but he was that proud of them, too.” It would bring a tear to a glass eye.

SPANTASTIC: Leam Bridge, aka The Quiet Man Bridge
Drive 22 miles southeast of Cong and you’ll come to the now disused but still accessible Ballyglunin railway station which in the film was called Castletown. It’s here that Sean gets off the green steam train at the start and is immediately surrounded by curious rail staff and villagers as narrator Fr. Lonergan clears his throat and sets the scene in voiceover, saying: “Now then, I’ll begin at the beginnin’. A fine soft day in the spring it was when the train pulled into Castletown, three hours late as usual, and himself got off. He didn’t have the look of an American tourist at all about him. Not a camera on him. And what was worse, not even a fishing rod.”
After asking directions to Inisfree and being sent off in all directions, first by the conductor (“Do you see that road over there? Don’t take that one, it’ll do you no good”) and then by a fishwife (“My sister’s third young one is living at Inisfree, and she’d be only too happy to show you the road — if she was here”), Michaleen appears, lifts Sean’s case and says: “Inisfree? This way.” And so they set off from the station in Michaleen’s trap and the adventure begins, to the comedic melody of “The Rakes Of Mallow”.

WHERE IT BEGINS: Disused Ballyglunin railway station
If you want to see Lettergesh Beach, where the Inisfree horse race meeting was filmed, drive 25 miles west of Cong to Renvyle, where the best view is from in front of Lettergesh post office. It’s during the races that Michaleen and Fr. Lonergan launch their plot, on which the movie hangs, to persuade Danaher to let Sean court Mary Kate.
The Quiet Man isn’t everyone’s cup of tea — or in Michaleen’s case, glass of whiskey. There are those who dismiss it as a mawkish dip into an over-romanticised world of shenanigans and blarney that never existed except in John Ford’s mind, but stroll through Cong on any day of the week and you’ll see there are many more devotees than detractors, all walking around with movie locations maps in their hands and a smiles on their faces.
Yesterday, the biggest smile in Cong was worn by Maureen O’Hara herself as the 91-year-old screen legend joined thousands of fans celebrating the film’s 60th anniversary. Fittingly, by her side were John Wayne’s daughter Marisa and his granddaughter Laura Monoz Bottini, and watching from the sidelines was 78-year-old local man John Joe Mullin, who in 1951 worked in Ashford Castle and served Ms O’Hara her breakfast every morning in the same room she slept in last night. “It was a lovely job and she was a lovely lady,” said an emotional John Joe. “Very, very gracious in her manners.”
Six decades after the cameras stopped rolling, the film clearly occupies a special place in the hearts of the people of Cong because, like Trooper Thorn, and the scenery so spectacularly portrayed in Ford’s fond salute to Ireland, The Quiet Man still packs a punch.

TAKE THAT: Sean lands a right hook to Danaher's chin
I’ll leave you with an anecdote I was told in Pat Cohan’s pub. On a day off from filming, John Wayne travelled to Croke Park in Dublin with a member of the crew to see the fiercely-fought All Ireland hurling semi-final between Wexford and Galway. At half-time, the crewman said to him: “Youre a big athletic man, I bet you’d love to be down there with a hurley in your hand.” Wayne took a drag from his cigarette and drawled: “Well, I sure as hell wouldnt like to be down there without one.”

QUOTABLE QUOTES
1. Fr. Lonergan:Now then, here comes myself. Thats me there, walking. That tall, saintly-looking man. Peter Lonergan, parish priest.
2. Fr. Lonergan: Ah, yes. I knew your people, Sean. Your grandfather, he died in Australia, in a penal colony. And your father, he was a good man, too.
3. Fr. Lonergan (to villagers): Now, when the Reverend Mr Playfair, good man that he is, comes down, I want us all to cheer like Protestants.
4. Fishwife (to Sean): Sir! Sir! Heres a good stick, to beat the lovely lady.
5. Danaher (to Sean): “Yer widow, me sister, she coulda done a lot worse.”
6. Michaleen (to Mary Kate): Is this a courting or a donnybrook? Have the good manners not to hit the man until hes your husband and entitled to hit you back.
7. Mary Kate: “Would you be stepping into the parlour? The house may belong to my brother, but what’s in the parlour belongs to me.” Michaleen: “I will then, and I hope there’s a bottle there, whoever it belongs to.”
8. Mary Kate:Could you use a little water in your whiskey?Michaleen:When I drink whiskey, I drink whiskey, and when I drink water, I drink water.
9. Feeney (Jack MacGowran, to Mary Kate):I saw him today, as I passed by the chapel, a tall handsome man.Mary Kate:If you passed the pub as quickly as you passed the chapel, you’d be better off, you little squint!
10. Feeney (to Mary Kate): “Is that a bed or a parade ground? A man would have to be a sprinter to catch his wife in a bed that big.
˜ See www.ashford.ie and www.discoverireland.ie
˜ Author Des MacHale’s meticulously-researched books are a must-read for all fans of The Quiet Man. See the amazon website, where you can also buy the DVD, and Booker Prize winner Roddy Doyle’s novel, The Dead Republic, about a fictional IRA veteran hired by Ford as an advisor on the movie.

Sunday 1 May 2011

Movie Review: A Matter of Taste



What Eric Ripert says about Paul Liebrandt's food, I apply to A Matter of Taste--"Yeah it is good. I would recommend."

Accumulating over 200 hours of footage and shooting for over nine years, Director Sally Rowe captures the Liebrandt's fall from grace and subsequent revival in the New York dining scene. I am not sure what movie she set out originally to make, but the fickle restaurant business created just the right kind of compelling story set in 68 minutes.

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In many ways, A Matter of Taste is similar to Jiro Dreams of Sushi, the other Tribeca Film Festival movie I saw last week. Both are about the key central figure, a man with uncompromising talent and drive. Yet in Jiro's case, the story was nearing its end. The adversity in his establishment at the top had long passed. For Liebrandt on the other hand, the nadir of his career is thrown on the screen. In fact, I could imagine the documentary Liebrandt Dreams of Cooking in fifty years being very similar to Jiro Dreams of Sushi.

Yet the comparisons with Jiro soon fall apart. This isn't a food porn movie. In that sense, as a human story, it has a broader appeal than to just foodies. While Liebrandt's dishes are visually appealing, the real work on display is Director Rowe's story telling. She wonderfully portrays Liebrandt as struggling against the tide, going from gastronomic masterpieces to grilling up burgers and fries. His struggle with the elusive New York Times reviewer Frank Bruni creates suspense. The audience follows along with Liebrandt's roller coaster life, all the while crossing its fingers and hoping for success.

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Monday 25 April 2011

Movie Review: Jiro Dreams of Sushi

Jiro Dreams of Sushi - Teaser from David Gelb on Vimeo.


Persistence, determination, perfection, pressure. All those aspects came across in this documentary recently screened at the Tribeca Film Festival. While I enjoyed the movie, it lacked any real conflict that could have made it more stimulating. For food porn enthusiasts, it's certainly 81 minutes of close-ups and slow-motion sushi plating.

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Coming from the perspective of someone who has enjoyed one of these types of lavish sushi dinners before (Urasawa), the film made me nostalgic for that experience once again. To me, it didn't seem outrageous to pay for a meal like this, but I can imagine that the audience may not come from the same view. In one scene, a wanderer enters the restaurant and is quickly rebuffed when told that the starting price is $300 per person. A few audience members gasped, although fewer than I would imagine at a regular screening considering this was a New York film festival. To me, I was doing a quick price comparison with my meal at Urasawa in my head. For reference, my dinner at the U started at $350 two years ago, but had twice as many courses. Sukiyabashi Jiro Honten only serves about 20 courses of sushi, while Urasawa also does a kaiseki portion.

Without that sticker shock value, I wonder if I may not be the target for this documentary. If this documentary was for those who dine extravagantly, then the food isn't anything they haven't seen before. If it was for the non-initiated, then it's much more ephemeral, or fantastical. In fact, with the multitude of slow motion shots, I feel like the the target audience was more of the latter than the former. "Look at how much care these people put into their food. Isn't it fascinating?" But for anyone who has been exposed to the laborious presentations of fine dining, this aspect is somewhat lost.

However, this movie isn't only about high-end sushi. The story is simple; as the title suggests, it is a movie about a man and his single ambition to make good sushi. It's a sweet story and the characters certainly are endearing. Centrally, it is a story about the old man behind the counter with much more vigor than his body can provide and the son, groomed for twenty years to take over but with more pressure than Prince Charles.

While documentaries are commonly criticized for artificially creating drama through staged events or creative editing, that is what makes many of them compelling. A documentary avoid its stigma as a snoozefest when you see conflict. In this aspects, Jiro Dreams of Sushi is lacking. I can see the conflict brewing on the horizon--the inevitable day when the son must take over the restaurant, but there is not much in the film that needs to be overcome.

As a movie about a passionate octogenarian and the son in his footsteps, it is touching. If you want to watch the film just to see shots of fancy sushi, you'll be pretty satisfied as well.


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Friday 18 July 2008

Movie Tangent: The Dark Knight

It's not often I deviate from the purpose of this blog, to explore good food, but it's not often that a movie comes out that makes me feel so inclined to review it. Last night I went to the midnight premiere of The Dark Knight, the next installment in director Christopher Nolan's reimagined Batman franchise. I daresay this is by far the best Batman movie, not to mention one of the best movies I've ever seen. It transcends genre, leaving behind the fanboys and embracing a larger audience ready for more mature subject matter to evolve from a hijacked comic book figure. Batman is the Dark Knight after all, and too long have I bemoaned his denigration to 1970s camp. This new movie understands that title clearly and the moral ambiguities that come with it as well. Ultimately, I would be hard-pressed to call this a comic book movie rather than the crime thriller that it really is.

There has been an astounding abundance of hype surrounding the late Heath Ledger's role as the maniacal Joker. I went into the movie expecting much, and I'm glad to say I was not let down. If acting is an art, then he truly is a virtuoso in the performance. Although I don't know if he will be the second person to win an Oscar posthumously, I do believe he deserves the nomination. Joker is an insanely satisfying villain, the counterbalance to the dark avenger. Forget the super-human abilities, his prowess is in sheer terror. In fact, the movie as a whole is deeply emblamatic of balances and two sides of the same coin, a trope richly explored in Harvey Dent (Eckheart). This is the first Batman movie not to have Batman in the title, and rightly so. Although Batman/Bruce Wayne is the protagonist, he is delegated to more of a supporting role for Joker and Dent. It is these two other figures that captures the attention of the audience, these two figures who truly resonate.

Visually, this is another stunning movie. The hospital explosion scene in particular looked amazing. Gotham is not as dark as the first movie, reflecting the mood of optimism led by Dent's crime clean-up. The obligatory chase scenes manage to avoid banality, and the introduction of the Bat-cycle is a giddy thrill for the fanboys. Still, the Bat gadgets are kept to a minimum, Batman doesn't even use the Batarang to my knowledge. Like Casino Royale, the gadget are dropped in favor of brutal action, making the movie much easier to stomach.

Batman is not a happy comic book. This movie is certainly not happy either. Don't bring the kids. Reading some of the rotten review on Rotten Tomatoes, I find the consensus seems to be the audience's willingness to swallow the pessimism of the movie. Instead, I find that pessimism to be the driving force of the film. I came out acutely aware I watched a tragedy more than an action movie. The script and performances were masterful, moving, poignant, and except from the wickedly bad Batman voice Bale provides, perfect.