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January 7, 2008
50 Movies You Might Have Missed (31-35)
31. The Quiet Man

John Wayne offers one of the more nuanced performances of his career as Sean Thornton, an American who returns to Ireland to find peace and a new life. What he finds is Mary Kate Danaher (played by Maureen O’ Hara.) The chemistry between not only the actors but also the characters is striking in how organic it feels. Wayne’s usual stoic and slightly belligerent posture is toned down for this piece and he shows that his iconic presence is not some Hollywood creation but a result of his natural charisma. If you know someone who dismisses Wayne as a hack, show them this film. John Wayne nails his role and offers Maureen O’Hara enough room to flower in hers. O’Hara nearly steals the show. O’Hara’s performance is very seductive in its verisimilitude. Think about it, she manages to upstage John Wayne in a John Ford film. This is no small task.

The cinematography by Winton Hoch (Joan of Arc, She Wore A Yellow Ribbon) is breathtaking. The richness of the images on screen are rarely seen in film either back then or today. This film proves without equivocation that the effects of nature’s beauty are more special than any effects George Lucas or Spielberg can muster. Ireland is a stunning place and this movie may be its best travel brochure. The film as a whole has a dream like quality. The Ireland presented in the film is like Eden lined with pubs. I can’t think of a finer place to visit.


32. Sons of the Desert

This feature length Laurel and Hardy film plays to their strengths and fully displays their comical genius. The two hapless heroes are members of a Masons-esque group called the Sons of the Desert. They pledge to go to a convention in Chicago except Ollie's bitter wife refuses to let him go. They develop a ruse where Ollie pretends to have a nervous breakdown and has a "doctor" prescribe a trip to Honolulu. Instead of heading to Hawaii, they go to Chicago. When the ship he was supposed to be on sinks...well, then it gets good.

The film promotes the logical moral "Honesty is the best politics".

As a fan of their work, I can suggest nearly all of their films (except Babes in Toyland, geez, what a stinker). If you're unfamiliar with their work I'd suggest starting here and then perhaps moving on to Brats, Blockheads, Way out West and The Music Box...oh wait, and Busy Bodies and Tit for Tat...Toad in a Hole...then there's Another Fine Mess...Aw heck, just pick one and keep watching all of them until you run out. It's fine entertainment and a great way to spend your spare time - perfect entertainment for the kids I might add!


33. The Evil Dead

Even though it was made on a shoestring budget and with a tongue firmly in cheek, this is one of the creepiest films ever seen. Sam Raimi (Spider-Man) may have been a budding director at the time but his keen talents shine through. Adding Bruce Campbell to the mix doesn’t hurt thing either. Goofy yet frightening, this is a strikingly original feeling film. Well worth a look if you want a cheap scare.


34. Kwaidan

I love, LOVE this film. The movie consists of four Japanese ghost stories with fantastic set work and mouth-dropping cinematography. The four short films are less about the characters being haunted by ghosts than by their own pain, guilt and burdens. This is less a series of horror stories and more of a samurai version of The Twilight Zone. This classic film is a pleasure to watch if you have an ounce of film geek in your veins. If you’re one who doesn’t get into foreign films (foreign in this case meaning non-Western based) and/or hates subtitles you’re best just moving on. Personally, I would place this in one of the better films ever made - but then again, this feeds into some of my more oddball tastes.


35. Winchester ‘73

Following the path of an essentially cursed gun (a coveted Winchester 73) from owner to owner, this film spins a half a dozen short tales about greed and revenge. At the heart of the piece are archenemies Lin McAdam (Jimmy Stewart) and Dutch Henry Brown (Stephen McNally) who compete head to head in a shooting contest in Dodge City for the prized Winchester. The two characters are snarling dogs waiting for the chance to strike. This impending clash between the equally talented marksmen instills a great tension throughout the piece. This focuses the story even when we are left for long periods without either of the main characters on screen.

This is a film that shows the importance of not only scene work but fully developed secondary and tertiary characters. As I mentioned above, there are stretches of time when we do not see either the hero or villain. We are left dealing with the secondary players. The script is so taut and fully realized the film doesn’t suffer from this usually fatal choice. Using the Winchester as a thread to weave the various scenes into a complete piece, director Anthony Mann pulls off a very complicated work.


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