JohnFord'sFestiveComedy:

IrelandImaginedinTheQuietMan

ByWilliamC.Dowling
Inlate1951,ashisfilmTheQuietManwasbeing
editedintofinalform,directorJohnFordsenta
cautiouslyoptimistictelegramtohisfriendLord
KillanininDublin:"TheQuietManlooksbetterand
better.ThereisavaguepossibilitythateventheIrish
willlikeit."ThoughTheQuietManwouldbe
enormouslypopularinAmerica,itsportraitofrural
Irishlifeinthe1920sstrikingachordofdeep
sympatheticresponseamongmoviegoersofall
religiousandethnicbackgrounds,Ford'shopesfora
similarresponseinIrelandwereinvain.
"Itwasnotverypopularhereatfirst,"Killaninwould
recallyearslater,"andtherewerestrongobjectionsto
thelinefromMayCraig,Here'safinesticktobeatthe
lovelylady'."Initially,asKillanin'sremarksuggests,it
wasthefilm'sportrayalofthetempestuousrelationship
betweenSeanThornton(JohnWayne)andMaryKate
Danaher(MaureenO'Hara)thatmetthestrongest
resistance.
"Tothisday,"saysMargaretNiland,alocalwoman
whowastherewhenTheQuietManwasfilmedin
CountyMayo,"Istilldon'tlikethatbitwherehedrags
heracrossthefields....Thatsceneisnotsonice
becauseIthinkitdoestheIrishdown."
Today,itisTheQuietMan'spictureofapremodernor
preindustrialIrelandanoldersocietyofdowries,cattle
fairsanddonnybrooksthatmoreoftendrawsthe

objectionsof
Irish
commentators.
Acommon
moveisto
portrayFord's
imageof
Ireland"a
nevernever
GoldenAge,"asHarlanKennedydescribesit,"atime
ofsimplepastoralintegrity"asamodeofcultural
imperialism,withHollywoodperpetuatingvariousIrish
stereotypeswhoseoriginslayinlongcenturiesof
Englishpoliticaldomination.
Alongwithoutrightfalsity,remarksJamesMacKillop,
thesinsattributedtoTheQuietManinclude
"sentimentalism,condescension,clichand
gimcrackery."
Takentogether,Kennedyargues,suchqualitiesaddup
toaviewof"Irishness"thatis"notlesspatronizingand
oppressivethanthecollarandleadcolonialismlong
exercisedbyBritain."Inrecentyears,asIrishStudies
hasattemptedtomakeaplaceforitselfinanAnglo
Americanpostcolonialdiscoursedrivenbyidentity
politics,thishasbecomemoreandmorethestandard
line.
Thus,forinstance,LancePettitt'srecentScreening
IrelandapproachesTheQuietManfromaperspective
derivinglessfromfilmstudyorIrishhistorythanfrom
the"postcolonial"theorizingofsuchwritersasHomi
Bhabha,GayatriSpivak,AniaLoomba,andEdward
Said.
InIreland,asensethatAmericancinemarepresentsa
threattoIrishculturalindependenceisnearlyasoldas
therepublic."WecannotbethesonsofGaeland
citizensofHollywoodatthesametime,"wroteone
Irishnationalistinthe1930s.
ThisisthespiritinwhichsomuchcontemporaryIrish
filmmakinghasdefineditselfspecificallyinopposition
toTheQuietMan'simageofIrelandas,inLuke
Gibbons'sphrase,"aprimitiveEden,aruralidyllfree

fromthepressuresandconstraintsofthemodern
world."
ThetruthaboutIrelandisthereforetobesoughtinthe
bleaksocialrealitythatTheQuietMan'spastoralidyll
hidesfromsight,asinwhatTerryByrnedescribesas
the"mindnumbinganddesperatelydepressing"
existenceofthecharactersinJoeComerford'sTraveller
(1978),ortheruralpovertyportrayedinPatO'Connor's
TheBallroomofRomance(1982),orthesqualorofthe
Dublinsquattersocietydrugaddicts,dealers,
prostitutes,pimpsinCathalBlack'sPigs(1984).
EvenacommerciallysuccessfulfilmlikeRoddy
Doyle'sTheCommitments(1991)istakentoprovidea
modicumoftruthinwhatmightbecalledtheCorpo
flatrealismofthescenestakingplaceinDublin's
publichousingprojects:"analternativebodyof
imagery,"asGibbonscallssuchmaterial,thatcanbe
seenasaddressing"therealitiesofIrishlife."
AsGibbons'sphrasingsuggests,hissympathiesareon
thesideofthenewDublinrealistsagainstwhathe
describesasthestraitjacketofstereotype.YetGibbons
hasalso,virtuallyaloneamongIrishcommentators,
graspedthesenseinwhichTheQuietManhasfor
nearlyfiftyyearsbeenservingasamirrorforIrish
culturalanxieties,provokingreactionshavingvery
littletodowiththefilmitself.Hisessay"Romanticism,
RealismandIrishCinema,"whichgoessomeway
towardtakingTheQuietManseriouslyasaworkofthe
artisticorcinematicimagination,anticipatesseveral
pointsIwanttomakeinthisessay.
Nonetheless,myattemptwillbetogetentirelybeyond
thematterof"alienatingimages"ofIreland,asGibbons
callsthem.FormyargumentwillbethatJohnFordsaw
in"Ireland"somethingliketheimaginativeresource
thatYeatsfoundinIrishmyth"asymboliclanguage,"
asYeatshimselfonceputsit,"reachingfarbackinto
thepast"andthatTheQuietManisfarcloserto
Shakespeareanromanticcomedy,andtothepremodern
worldofvillagefestivityandpaganritualweglimpse
initsimmediatebackground,thantoanythinginrecent
Irishculture.

Myargumentwillbe,ultimately,thatthepowerofThe
QuietManisthepowerofculturalmyth.
II.FordtheIrishmanv.Hollywood
ThemakingofTheQuietManhasitselfbecomea
myth,astoryaboutFord'slongstruggleagainstthe
Hollywoodstudiosystemtomakeafilmthat,thoughit
hadintensepersonalmeaningforhim,wasseenas
havingnocommercialpotential.
Fromthetimein1936thatFordboughttherightsto
MauriceWalsh'sSaturdayEveningPostshortstory
"TheQuietMan"aswellastotheexpandedversion
includedinWalsh'scollectionGreenRushesthisisthe
versionthat,addingsuchcharactersastheshaughraun
(matchmaker)MichaeleenOgeFlynn,wouldbecome
thebasisofFord'sfilmhetriedtointerestproducers
andstudioheadsinthistaleofanAmerican
prizefighterwho,havingkilledanopponentinaboxing
match,returnstohisancestralhomelandinhopesof
findingpeace.
In1935,whenFordhadmadeTheInformerona
Hollywoodsoundstageandaverytightshooting
schedule,themakingofaHollywoodfilmforpersonal
orartisticreasonswasstillpossible.By1945,when
FordreturnedtoHollywoodafterthreeyearsasheadof
awartimeNavyphotographicunit,theideahad
becomevirtuallyunthinkable.
"You'reinIrelandandwe'reinAmerica,"wroteNed
Depinet,anRKOdistributionheadtowhomFord
showedthescreenplayofTheQuietMan,"andI'mnot
goingtopayforthat."
YetFord'sowncareerwarnsusagainsttakingthe
struggletomakeTheQuietManasanysimpleallegory
ofartisticintegrityversustheprofitmotive.Forthekey
toFord'sgeniusasadirectorwaspreciselyhisability
toturntheconstraintsofthestudiosystemtoartistic
advantage.
Hehadlearnedhistradeintheruthlesseconomic
competitionofthesilentfilmindustryandhadcomeof
ageasadirectorofsoundfilmsunderDarrylZanuckat
TwentiethCenturyFox.SuchFordmasterpiecesas
HowGreenWasMyValleyandTheGrapesofWrath

wereproducedunderwhataresometimescalledthe
assemblylineconditionsoftheHollywoodsystem.
Agenuineappreciationoftheartisticpossibilitiesmade
availablebythesystemmaybeheardinFord's
insistence,inaninterviewwithJeanMitry,that"itis
wrongtolikenadirectortoanauthor.""Heis,"Ford
wouldsay,"morelikeanarchitect,ifheiscreative.An
architectconceiveshisplansfromgivenpremisesthe
purposeofthebuilding,itssize,theterrain.Ifheis
clever,hecandosomethingcreativewithinthese
limitations."
Ontheotherhand,onehearsthroughoutFord'scareera
noteoflongingforamorepureorpersonalmodeof
artisticexpression."There'snothingsurprisingabout
thedifficultyofdoingthingsyouyourselfbelieveinin
themovies,"hesaidina1936interviewwithNew
Theatermagazine,"whenyouconsiderthatyou're
spendingsomeoneelse'smoney.Andalotofmoney.
Andhewantsalotofprofitonit."
Ford'slongassociationwithDudleyNichols,a
screenwriterwhosepoliticalsympathieslaywiththe
radicalleft,ispartlytobeexplainedbytheirshared
senseofbeinginvolvedinasortofguerillawarfare
againstthestudiosystemasamachinerelentlessly
gearedtothemaximizationofprofits.
"Another16inchshellintotheMGMglamour
empire,"NicholsjubilantlywroteFordafterseeingthe
finalcutofTheLongVoyageHome,afilmheandFord
hadadaptedfromfouroneactplaysbyEugeneO'Neill.
ThisisthecontextinwhichtheprojectofmakingThe
QuietManwouldcometosymbolizeforFordand
membersofhisfilm"family"mostimportantly,John
WayneandMaureenO'Haraastruggleforartistic
expressionagainstthecommercialimperativesofthe
Hollywoodglamourempire.
AmajorcluetoTheQuietMan'sportrayalofIreland
liesinitsimportancetoWayneandO'Haraandother
membersofwhatissometimescalledtheJohnFord
stockcompany.ForthestockcompanyservedFord
throughouthiscareerasasurrogatecommunityor
extendedfamilyabletoprotecthimasanartistfrom

theotherwisedestructivecommercialpressuresof
Hollywood.
Inthenumerousinterviewsandreminiscencesleftby
itsmembers,itistrue,noonespeaksindirectterms
aboutthewayFord'sfilmfamilyinsulatedhimfrom
commercialpressure.
TheytendtotalkinsteadaboutthesetofaFordmovie
assomethingverylikeamagicalspace,asphere
sustainedbycomplexritualsandceremoniestowhich
newcomersalwaysattheriskofanexplosionfromthe
mercurialIrishmansittinginthedirector'schairhadto
beintroducedinwhispers.
Yetallseemtohaveunderstood,astheirlongloyaltyto
TheQuietManasFord's"Irishproject"makesclear,
thatthemagicalspherehecreatedaroundhimselfwas
forFordtheequivalentofanimaginaryIrishvillageor
family,withitsritualsandjokesandloyaltiesand
feuds,heldtogetherbythetestyandwholly
unpredictablepresenceofFordhimselfaspaterfamilias
orheadoftheclan.
ThestoryofhowFordcametoHollywoodhasbecome
alegend.HegrewupasJohnMartinFeeneyinthe
MunjoyHillsectionofPortland,Maine,thesonof
IrishspeakingparentsinaIrishCatholicimmigrant
community.
HisolderbrotherFrancis,ahandsomescapegrace
drivenoutofPortlandbyabitoflocalscandal,hadlost
touchwiththefamilyforseveralyears,driftingintoan
actingcareerinthefledglingfilmindustryinLos
Angeles,wherehehademergedasanimportant
directoraswellasasuccessfulleadingman.
Meanwhile,backinPortland,theirmotherAbby,who
asanativeIrishspeakerhadneverlearnedtoreadand
writeEnglish,wasanenthusiasticfanofthenewsilent
filmsbeingshownattheEmpireTheater.Ona
weekendin1914,theinevitablehappened.Abby
Feeneyreturnedtoannouncetoherfamilythatshehad
justseenhereldestson,listedinthecreditsasFrancis
Ford,inastarringrole.
TheycontactedFrancisthroughhisstudioandhemade
ashorttriumphalvisittohisoldhometown.Shortly

thereafter,someweeksaftergraduatingfromhigh
school,JohnMartinFeeneywasonhiswaytojoinhis
olderbrotherinLosAngeles.
Virtuallyfromthemomentofhisarrival,Fordsetabout
establishingtheprivateworldwithinfilmmakingthat
wouldsustainhimthroughalongHollywoodcareer.
Withinanastonishinglyshorttime,hehadsurpassed
hisbrotherFrancis'sreputationasagifteddirector,
demonstratingaspecialtalentformakingthetworeel
westernsthatwereastapleofsilentfilmproduction.
Ashasoftenenoughbeenremarked,partofhisgenius
layintranslatingtheculturalvaluesofhisparents'rural
IrelandtoanAmericansetting.Ford'swesterns,as
LukeGibbonshasobserved,"areoftenvitalizedbyan
infusionofIrishthemescollectiveviolence,family
ties,ritualsofsolidarity,alongingforcommunity."
Whatislessoftenremarkedisthatthesesameritualsof
solidarity,meaningfulonlywithinanestablished
community,werecentralaswelltothewayFord
actuallymadehisfilms.
HerelietheoriginsoftheJohnFordstockcompany:
themajorstarsHarryCareyinthesilents,Wayneand
WardBondandVictorMcLaglenandMaureenO'Hara
intheperiodofsoundwhoappearoverandoverin
Ford'sfilms,thegripsandpropmenandstuntmenwho
movedwithFordfromproductiontoproduction,the
writers(DudleyNichols,NunnallyJohnson,Frank
Nugent)andcameramen(GreggToland,JoeAugust,
WintonHoch)whoshowupagainandagaininthe
creditstohisfilms.
InreminiscencesbymembersoftheFordstock
company,eventhesmallestoftheseritualsofsolidarity
assumesamythicimportance.Consider,forinstance,
theaccordionplayingofDannyBorzage,whowould
greetthearrivalonthesetofeachprincipleplayerwith
athemedrawnfromafilmtheyhaddonewithFord
"RedRiverValley"forHenryFonda,"WagonsWest"
forWardBond,"Marquita"forJohnWayneandsoftly
fillinthebackgroundbetweentakeswithFord
favoriteslike"BringingintheSheaves."
Borzage'spresenceoneveryFordsetforoverforty
yearshasagreatdealtodowiththeemotionalquality

ofFord'sfilms."Uponarrivingontheset,"recalls
HarryCarey,Jr.,"youwouldfeelrightawaythat
somethingspecialwasgoingtohappen.Youwould
feelspirituallyawakenedallofasudden....This
feelinghasneverhappenedtomeagainonanyset."
AndCarey,likeeveryoneelse,remembersBorzage's
musicasanessentialpartofthemood:"Hecertainly
wasnotaparticularlygoodaccordionplayer,buthis
musicmovedyou.Itwouldn'tbeaFordsetwithouthis
soundsofplaintivesadnessthatpulledatyourheart,
thatmadeyoufeel,ThankGodI'mheretodoascene
forthatOldManbythecamera'."
TheQuietManassumedsymbolicimportancefor
membersofFord'sfilmfamilynotleastbecauseit
incorporatedsomanyoftheseritualsintoitsownstory.
Thosewhohaveobjectedtothefilmasahopelessly
sentimentalizedpictureofIrishsociety"atourist's
visionofIreland,"asMacKillopsayshave,for
instance,beenespeciallyhardonthemusicinthestory,
asthoughitportrayedtheIrishasahappygolucky
peoplealwaysreadytobreakspontaneouslyintosong
nomatterhowterriblethetribulationsofpovertyand
history.
Afavoriteexampleincondemnationsordismissalsof
TheQuietManisthesceneinCohan'spubwherethe
companylearnsthatthetallAmericanstrangerintheir
midstisSeanThornton,comehomefromthesteel
millsofPittsburghtohisancestralvillageofInnisfree,
atwhichpointanaccordioniststrikesup"Wild
ColonialBoy"andalljoininarousingrenditionofthe
song.
YetthissceneisnotinanysimplesenseaboutIreland.
Itisatsomelevel,asreminiscenceslikeCarey'sremind
us,abouttherealcommunityfromwhichTheQuiet
Manhademergedasaworkofcinematicart,forwhom
DannyBorzage'saccordionwasaconstantreminderof
moodandpurpose.AtsuchmomentsTheQuietManis
gazingthroughorbeyonditsIrishstorytoadeeper
relationbetweenritualandcommunity.
ThestoryofhowTheQuietManatlastcametothe
screendoesreadlikeafableofHollywoodgreed
versusartisticintegrity.ItsvillainwasHerbertB.

Yates,aformertobaccomagnatewhoseRepublic
Picturesspecializedincheaplyproducedwesternsthe
typicalshootingschedulewasseventofourteendays
andwhoseonlymajorassetwasacontractwithJohn
Wayne,whoafterhavingbeenlenttodirectorslike
HowardHawksandJohnFordwasemergingasa
majorstar.UnabletogetoutofhiscontractwithYates,
Wayneattemptedtoimprovehisownlotbybringing
FordtoRepublic.
Theresultwasadraconiandeal:Fordwouldmake
threefilmswithinatwoyearperiod,nonetoexceed
$1.25millioninbudget.ThelurewasTheQuietMan,a
projectthatYatesdetestedhedescribedittoJohn
Wayneasa"phonyarthousepicture"butthathe
agreedtoletFordmakeifthefirstofthethreefilms
turnedouttomakeaprofit.
WiththerecentsuccessofFortApacheandSheWorea
YellowRibbonbehindhim,Fordchosetobeginwitha
western.Waynewasalreadyundercontractat
Republic.FordborrowedMaureenO'HarafromFox
andshotRioGrande.Itwasaboxofficesuccess,and
theFordfilmfamilywas,atlonglast,readytomoveon
toTheQuietMan.
TheshootingofTheQuietManhaslingeredasalocal
legendinCountyMayoandenvirons,onesuspects,
becauseitwassoobviouslyacelebratoryoccasionfor
membersandrelationsofFord'sextendedfilmfamily.
TopermitFordtomakethefilmwithintherigid
budgetarylimitsimposedbyHerbertYates,John
Wayneagreedtoworkforagreatlyreducedfee.
Waynebroughthisfourchildrenalongonlocation,and
Fordgavethempartsinanimportantsceneinthefilm.
WardBondandVictorMcLaglen,veteranstalwartsof
theFordstockcompany,playedmajorrolesasthe
unsaintlyparishpriestFatherLonerganandthe
blusteringsquireenRedWillDanaher.
Standing,l.tor.FrancisFord,JohnWayne,VictorMcLaglen,JohnFord.Sitting:
BarryFitzgerald

McLaglen'ssonAndrewwasassistantproduction
manager.MaureenO'HaraplayedMaryKateDanaher,
thefierytemperedIrishgirlwithwhomWaynefallsin
loveovertheobjectionsofherbullyingbrother.

O'Hara'sownreallifebrothersCharlesandJames
FitzsimonsplaytheformerIRAcommandantForbes
andtheyoungpriestFatherPaul.BarryFitzgeraldis
theirrepressibleshaughraunMichaeleenOgeFlynn,his
brotherArthurShieldstheProtestantvicarMr.Playfair.
AndFord'sownbrotherFrancis,whoseearlysuccessin
silentfilmshadgivenFordhisstartasadirector,plays
thewhitebeardedvillageelderDanTobin.
TheQuietManisoftendescribedasFord's
homecomingtoIreland,andtoadegreethiswasso.A
reporterfromtheConnaughtTribune,forinstance,was
suitablyastonishedtoheartheHollywooddirectordrop
intoIrishinaninterview,unawarethatFord'sparents
werefromthegaeltacht,orthatIrishhadbeenspoken
inhishomeinPortland,Maine.
ButtherealhomecomingofFordandTheQuietMan
companywasnottoIrelandbuttoInnisfree,thewholly
imaginaryvillageinwhichthestorytakesplace.Itis
Innisfreethatembodiesthesenseofcommunityand
sharedritualthathadpermittedFordandhisfilm
familytocreatetheirownmagicspaceinaHollywood
presidedoverbythelikesofHerbertB.Yates,for
whomtheentiremeaningofafilmwasitsboxoffice
receipts.
ThisisthespaceFredericoFelliniwouldlaterhavein
mindindescribingFordassomeone"whohasmade
outofmotionpicturesafairytaletobelivedby
himself,adwellinginwhichtolivewithjoyous
spontaneity."

ThesubjectofTheQuietManisinthissensenot
IrelandortheIrishbutthesurvivalofartinatimein
which"thefilthymoderntide,"asYeatscalledallthose
forcesofmodernityhostiletomindorspiritor
imagination,hassweptawayallbutafewfugitive
tracesofaworldoncecoherentandwhole.
III.TheGreenWorld
TheQuietManhasagreatdealincommonwith
Shakespeareancomedy.Theresemblancewas
remarkedalmostimmediatelybyLindsayAnderson,
theEnglishfilmdirectorwhoremainsthemost
perceptivecriticofFord'swork.
LikeShakespeare,AndersonwrotetoFordin1953,
referringtobothTheQuietManandFord'snextfilm
TheSunShinesBright,Fordhadsucceededincreating
aworldthatwas"allharmonyandreconciliation,"
exactlylike"oneofthoselateuntidy'magical
comediesWinter'sTaleorCymbeline."
Hisobservationholdsobviouslytrueatthelevelof
plot,whereFord'sfamouslydigressivestyleoffilm
narrationbearsamarkedresemblancetowhat
AndersoncallstheuntidinessofShakespeare'slater
comedies.
Atthedeeperlevelofcomicstructure,however,The
QuietManbearsafarstrongerresemblancetothe
comediesShakespearewroteintheperiodbetweenThe
TamingoftheShrewandAsYouLikeIt,withtheir
characteristicmovementasNorthropFryeoncesays,
thinkinginparticularoftheForestofArdeninAsYou
LikeIt"outoftheworldofexperienceintotheideal
worldofinnocenceandromance."
Thiscomicstructurewasbrilliantlyanalyzedin1959
byC.L.BarberinShakespeare'sFestiveComedy,
whichisolatedintheseplayswhatBarbercallsa
"saturnalianpattern"derivedfromholidaygamesand
customsthathadsurvivedfromanearlierpreChristian
culture,andinmanycasesfrompaganritualsalready
archaicwhenAristophaneswaswritingcomediesin
ancientAthens.

Thusitis,onBarber'saccount,thatShakespeare's
romanticcomediesaresofilledwithallusionsto
Englishvillagegames"morrisdances,sworddances,
wassailings...mummings,disguisings,masques"
associatedwiththeprocessionofholidays"Shrove
Tuesday,Hocktide,MayDay,Whitsuntide,
MidsummerEve"thatforlongcenturieshadgoverned
therhythmsoftheEuropeanmedievalyear.
TheiressenceiscaughtinBarber'snotionofa
saturnalianpattern,SaturnaliahavingbeentheRoman
festivalduringwhichnormalsocialhierarchywas
invertedandmasterswaitedontheirservants.The
pointofthepatternliespreciselyintheprincipleof
ritualizeddisordercalledmisruleortheworldturned
upsidedown,amomentofcollectivefreedomfromthe
ruleofanunvaryingobediencetoauthoritythatmight
otherwisethreatentobecomeintolerable.
AnimportantpointinBarber'sanalysisisthattherule
ofauthorityreversedorinvertedduringtheholiday
interludeneednotbethatofsocialhierarchymerely,
butmaybethatofarigidmoralorreligiouscode
demandinganunreasonablepurityofmotiveand
behavior.
Thusitis,forinstance,thatavaluablesourceof
informationabouttheholidaygamesandcustomsof
Shakespeare'sdaycomesnotfromthevillage
merrymakersbutfromtheirPuritancritics,who
correctlysawinthemasurvivalofpaganritualsin
whichtheordinaryrulesofcontinenceandsexual
moralityweretemporarilysuspended.
AparticularobjectofPuritandetestationwastheMay
Daycustomsassociatedwith"bringinghometheMay,"
inwhichyoungmenandwomenwentintothewoods
togetheracertainamountofsexualdalliancebeing
expectedandtoleratedtoreturnwiththeMaypole,a
slendersaplingsetupinthecenterofthevillageto
celebratethereturnofspring."Theystrewtheground
roundabout,"wrotethePuritanPhillipStubbs
disgustedlyinapolemicentitledTheAnatomyof
Abuses,"bindgreenboughsaboutit...andthenfall
theytodanceaboutit,likeastheheathenpeopledidat
thededicationoftheIdols."

AsStubbsandhisfellowPuritansclearlyunderstood
itiswhatStubbsmeanstogetatintalkingabout
"Idols"and"heathenpeople"thegreenboughs
strewedaroundtheMaypoleweresurvivalsofan
ancientfertilityworshipforwhichtherebirthofnature
inspringtimebespokeamysteryofregeneration
DylanThomas's"forcethatthroughthegreenfuse
drivestheflower"sopowerfulastotemporarilysweep
awayconventionalmorality.
ThearchetypeoftheMayDayritualasitexistedin
Shakespeare'stime,nodoubt,wastheBacchicritualof
theancientGreekandRomanworld,inwhichdrinking
andsexuallicensecombinedtocreatesomethinglikea
completesuspensionofordinarysocialrules.
AstrongelementofBacchicreleasesurvived,atany
rate,intheElizabethancustomsthatpermittedagreat
dealofdrinkingandverbalandphysicalbellicosity
duringtheperiodofholidaylicense,usuallyunderthe
directionofaLordofMisrulechosentopresideover
thefestivities.
BarberquotesinthisconnectionSirThomasUrquhart,
whodescribesthispersonageas"theKingofMisrule,
whomweinvestwiththattitletonootherend,butto
countenance...Bacchanalianriotsandpreposterous
disorders."
ThepointofthesaturnalianpatterninShakespearean
comedy,asintheholidaygamesandcustomstowhich
theplayssofrequentlyallude,istherevelationthatthe
ordinaryorworkadayworld,whichseekstopresentits
claimstosobermoralityinexclusiveandunconditional
terms,isafterallnomorethanonepossibleworld
amongothers.
ThisisthepointmissedbyPuritanslikePhillipStubbs,
whotreatstheveryideaofcommonholidays,ortime
takenoutfromworkorbusinessanddevotedto
festivity,asanoffensetoGodandman.
InaworklikeStubb'sAnatomieofAbusesweare
alreadyveryclose,asBarberpointsout,tothat
emergentsocialandeconomicorderdescribedbyMax
Weber'sfamousessayontheProtestantethicorby
R.H.TawneyinReligionandtheRiseofCapitalism"a

worldofisolated,busyindividuals,eachprudently
decidinghowtomakethebestuseofhistime."
Againstthis,Shakespeareancomedycounterposesthe
visionofanearliersocialorderinwhichindividuallife
hadtakenonmeaningwithinthecommunalexistence
expressedinMayDayorHocktideceremoniesof
misrule,whichiswhythefestivecomediessooften
givetheeffectof"agroupwhoareexperiencing
togetheraforcelargerthantheirindividualwills."
ThecomicstructureofTheQuietManisverycloseto
thisShakespeareanpattern.Themajordifferenceisthat
inShakespearethesymbolicoppositionbetweenthe
worldofsobermoralityandthatofholidayfreedomis
normallymadeinternaltotheplay.
Thus,forinstance,inAsYouLikeIttheElizabethan
oppositionbetweenStubb'sPuritanvaluesandthoseof
theMayDaymerrymakersisreproducedinthe
oppositionbetweenthecourt,ruledoverbythe
usurpingDukeFrederickandhisfollowers,andthe
ForestofArdenthegreenworld,asitisusuallycalled
byscholarsofRenaissanceliterature,representing"a
regiondefinedbyanattitudeoflibertyfromordinary
limitations."
InTheQuietManthegreenworldisIreland,oratleast
theversionofIrelandthatFordlocatesintheimaginary
villageofInnisfree,countingonhisaudienceto
recognizetheYeatsianorpoeticovertonesofthename.
TheopposingworldthatcorrespondstoStubb'sPuritan
values,ontheotherhand,especiallyasthesehaveled
inmoderntimestoadissolutionofcommunityinthe
nameofarelentlesseconomicindividualism,isthat
absentordistantAmericafromwhichSeanThornton
hasreturnedtoInnisfree.
TheQuietMan'sstoryrevolvesaroundadeep
underlyingtensionbetweentheopposingworldviews
ofInnisfreeandtwentiethcenturyAmerica.Thisis
posedatthebeginningofthestoryasaproblemabout
romanticloveandtraditionalmarriagecustoms,
originatingintheoverwhelmingromanticattraction
betweenSeanandMaryKate,whichcorrespondsinthe
filmtotheoverpoweringly"natural"forcessetloosein

ElizabethanMayDayrevelryorthegreenworldof
Shakespeareancomedy.
EarlyinTheQuietMan,forinstance,thissenseof
releasegivesusthescenewhereSeanimpulsively
kissesMaryKate,andwhere
sheslapsandthenafew
momentslaterkisseshimjust
asimpulsivelyinreturn,asthe
windhowlsaboutthewindows
andbangstheshuttersofan
asyetuntenantedWhiteo'
Morncottage.
Laterinthestory,thesameoverflowofbarely
controlledromanticpassionsetsinmotionthejubilant
"escape"ofSeanandMaryKatefromthefussy
proprietyofMichaeleenOgeFlynninhisroleas
shaughraun,endinginthefamousthunderstormscene
inthegraveyardwherewindandrainriseupasifin
responsetotheelementalforceoftheattraction
betweenthelovers.
ThegreatpuzzleofInnisfreethusbecomes,foran
altogethermystifiedSeanThornton,howsopowerfula
passioncanbeblockedbymerecustomortradition,
hererepresentedbyRedWillDanaher'srefusaltolet
hissistermarrytheAmericanstranger.
ForinAmericawhere,asSeanonceplaintivelysays,
allamanhastodoishonkhishornoutsidethehouse
andthegirlcomesrunningoutbrothersorparentsor
familyorcommunityhavenopartinsuchmatters.A
painfulundercurrentofpureemotionalbafflement
alwaysrunsjustbeneaththecomicsurfaceofThe
QuietMan,attimescomingveryclosetotippingthe
storyoverintopersonalheartbreak.
Nowhereisthispossibilitymoreobviousthaninthe
scenewhereanuncharacteristicallygraveMichaeleen
OgeFlynnmustexplaintoSeanThorntonthatin
IrelandhisproposalofmarriagetoMaryKatemeans,
byitself,exactlynothing:"ThisisIreland,Sean,not
America.Withoutherbrother'sconsent,shecouldn't
andwouldn't."
Theneartragicundertoneofthesceneliesasmuchin
theheartbrokendignityofMaryKate'sspeechbefore

sherunsupstairs"SeanThornton,Ithankyouforthe
asking"asintheimageofhertearstainedface
watchingattheupstairswindowasherloverdeparts.
AmajorcomplicationinthiscontextisMaryKate's
independenceofspirit.ForhadSeanThorntonsimply
hadthemisfortunetofallinlovewithawomanweakly
submissivetosocialdemands,therewouldbea
problemforhimbutnoneforthestory.ButMaryKate
Danaheris,asweseealmostfromthebeginning,the
veryoppositeofsuchawoman.Theresemblance
betweenTheQuietManandShakespeare'sTheTaming
oftheShrewhasbeennotedoftenenough.
Itisnowheremoreobviousthaninthosesceneswhere
MaryKaterespondstoanyhintofmaledomination
withafearlessphysicaldefiance:aimingaferocious
blowatSeanThorntonwhenhepresumestokissherin
theWhiteo'Mornscene,threateningherbrotherwitha
heavypieceofcrockerywhenhemovesasifto
chastiseherphysically"Youdo,"shesays,"and
there'llbeafinewakeinthehousethisnight"or
takingawildroundhouseswingatSean,tothegreat
delightoftheonlookingvillagers,inthe"dragging"
scene.
MaryKateis,likeShakespeare'sKate,abarely
controlledelementalforce,andacentralquestionposed
byTheQuietManiswhyshethenchoosestosubmit
herselftocustomortradition.
TheQuietManwillresolvethisproblembygiving
primaryimportancetoarelationbetweenmarriageand
propertythatwasasurvivalfromearlyorpreChristian
Irishlaw.
ThefilmbringsintoviewapaganIrelandtheworldof
thefineorkinshipgroupanditsallembracingclaims
ontheindividualthatservesmuchthesamepurposein
Ford'sstoryasdotheholidaycustomsofMayDayor
Hocktide,withtheirinsistentremindersofanearlier
paganEurope,inShakespeare'sromanticcomedies.
ConradArensbergandSolonKimball'sFamilyand
CommunityinIreland,aclassicsociologicalstudy
revealinghowmarriageandkinshipinruralIrelandare
shapedbyabodyofcustomandtraditiondatingfrom
earlyIrishlaw,servesasanespeciallyusefulguideto

thewayTheQuietManinvokesthisearliersocial
order.
Fortheirstudywasamongthesmallgroupofbooks
thatFordorderedtobesenttohisscreenwriterFrank
NugentothersincludedanEnglishIrishdictionary
andLiamO'Flaherty'sLandaspreparatoryresearch
forwritingthefinalshootingscriptofTheQuietMan.
FamilyandCommunityinIrelanddescribesruralIrish
marriageasatransactionbetweenfamiliesorkinship
groupsinwhichpropertyfunctionsmuchmoreasa
symbolicmediumofgroupconsolidationoralliance
thanasamediumofexchangeinthemodernsense.
ItispreciselythisconceptionofpropertythatSean
Thornton,asanewlyreturnedAmerican,isinitially
unabletograsp,justasheisunabletograspthenotion
ofcommunityorcollectivesolidaritythatexplains
MaryKate'sotherwisemystifyinginsistencethathe
claimherdowryfromherbrother.
ForbehindMaryKate'sinsistence,asbehindtherituals
ofmarriagenegotiationreportedinArensbergand
Kimball'sstudy,liestheoldernotionofkinshipalliance
describedinstudieslikeAlwynandBrinleyReeses'
CelticHeritage:"InmedievalIrelandandWales,the
mosthighlyesteemedformofmarriagewasacontract
betweenconsentingkingroupsmarriagebygiftof
kin'...andbetweenpartnersofcomparablestatus,
withproperarrangementsaboutmarriagepayments....
Theapprovedunion,evenamongcommonpeople,was
amatch'negotiatedbytwofamilies."
InTheQuietMan,ofcourse,therecanbenoconsent
betweenfamilies,forSeanThornton'sparentsaredead
andhehasnosiblings.(ThusthemenofInnisfree,who
recognizehisancestralrightto"Thorntonland,"will
assumethestatusofasurrogatefamilyorkinship
groupinrelationtoSean,takinghissideinthequarrel
withRedWillDanaherandevenfightingforhisrights
intheweddingnightsequencewhereDanaherrefuses
tobestowonhissisterthefurnituresheinheritedfrom
hermotherandgrandmother.)
ButtheunderlyingissueintheconflictbetweenSean
andhisbrideisabreakdownofcustomthatshefeelsas
amatterofdeeppersonalshameandhefindswholly

unintelligible.SolongasMaryKatehasmarrieda
husbandin"American"termsthatistosay,asaunion
oftwoisolatedorunattachedpersonsoperatingina
socialvoidshewillremainawomaninexilefromher
owncommunity,anunintegratedfigurecutofffrom
communallifeandvalues.Shewillalsoremain,in
termsofancientIrishlawandcustom,anunequal
partnerinherownmarriage.
Thenotionofmaritalequalityhere,thoughithasbeen
mistakeninfeministcommentaryonTheQuietManfor
genderequalityofthemodernsort,goesbackonce
againtoanotionofbalanceorequalitybetween
kinshipgroups.Propertyservesinthisinstanceasa
symbolicmediumforestablishingwhatNerys
Pattersoncallsthe"legallydefineddegreesof
relationshipaccordingtowhichawomanwasmoreor
lessvestedwithrightsinherhusband'shouseholdand
fine."
Thereweresevenordersofmarriageorconnubium,
withthehighestbeingLanamnascomthinchuir
"connectionofequal,orjoint,property,"asPatterson
explains,inwhichthetermforpropertyhas"ageneral
meaningofequipment,'andalsoaspecialsenseof
householdgoods,"andinwhichthemarriageproperty
wascontributedbybothpartnersandthenext,already
farinferiorintherightstowhichitentitledthewoman
withinthehousehold,thelanamnasfirforbantinchur,
"arelationshipinwhichthewomanwassupportedon
thepropertyoftheman."ThelatteriswhatMaryKate
hasinmindwhenshetellsSeanthatwithoutherdowry
sheisonlytheservantshehadalwaysbeeninher
brother'shouse.
InTheQuietManMaryKate'sinsistenceonherrights
ofdowryculminatesinthescenewhere,herbrother
havingbeenatlastshamedintohandingoverher
fortune,shemovesinperfectconcertwithSean,
throwingopenthedoorofthethreshingfurnaceashe
picksthebanknotesupoffthegroundandthrowsthem
intotheflames.Herewewitnessnotsimplythe
immolationofthebanknotes,butofSean'sfalse(or
American)understandingofproperty,andthusofhis
earliermisunderstandingofMaryKate'smotivesas
havingbeen,asheoncebitterlyputsit,"mercenary."

IntermsofanolderbodyofIrishcustomortradition,
MaryKate'sinequalityintheirmarriageisimmolated
aswell.Inafilmfilledwithunforgettablemoments,the
inexpressiblejauntinessofMaureenO'Hara'swalkas
thecrowddividesandshestridesofftowardtheir
cottage,awomanatlastperfectlyreintegratedintoher
owncommunityandatpeaceinhermarriage,isamong
themostunforgettable.
Yetthethreshingfiresceneisamerepreludetothe
greatdonnybrookepisodethatfollows,forwhich
everythingelseinthestoryhasbeeninamannerof
speakingapreparation.Thedonnybrooksequence
expressesinnearlypuretermsastandardthemein
Ford'sfilms,theideathatthecommunalenergies
releasedininnocentorludicviolencehaveapowerto
redeemcommunity,purgingoldantagonismsand
wideningthecircleofsocialacceptancetoincludeeven
thosepreviouslybanishedtoorleftontheoutside.
HereTheQuietManisclosesttoShakespeareanfestive
comedy,aresemblancewhollyattributabletothesense
ofsaturnalianorBacchicrelease,orwhatweearlier
heardSirThomasUrquhart,speakingofthevillage
revelsofhisownandShakespeare'stime,call
Bacchanalianriotsandpreposterousdisorders.Asin
Shakespeare,moreover,themoodoffestiveorholiday
releaseismeanttoincludetheaudience,who,as
BarbersaysinrelationtoplayslikeLove'sLabour's
LostandAMidsummerNight'sDream,"havegoneon
holidayingoingtoacomedy."
OnlytheReverendMr.Playfair,acompulsivecollector
ofsportsmemorabilia,knowsaboutSean'shaving
killedamaninthering,leadingtohisvowneverto
fightagain.Thetremendousdriveofthedonnybrook
sequence,itssenseofaacceleratingrhythmso
powerfulthatitcanonlyendbysweepingalongevery
memberofthecommunity,derivesfromthewaythis
secretfunctionsasatabooorritualblockage,asource
ofbehaviorthatevenSean'sstrongestsupporters
amongthevillagersfindmysteriousorunaccountable.
ItisMr.Playfair,himselfafeatherweightboxerduring
hiscollegedays,whoatlastsucceedsinmakingSean
understandwhyhisrefusaltofightRedWillDanaher
willlosehimhiswife'slove."It'sanoldcustom,anda

goodcustom,"saysMr.Playfairaboutthedowry,thus
openingthewaytoreleaseofthepentupenergiesthat
culminateinthedonnybrook.
YetevenMr.Playfairisnotpermittedtoseewhatthe
film'saudiencehasseen:thenightmareflashbackin
whichSean,flooredbyRedWillDanaher'spunch
duringtheearlierweddingparlorscene,isinhisgroggy
statevisitedbyavividinvoluntarymemoryofkilling
hisopponentinaprofessionalboxingmatch.
Theprizefightflashbackisatechnicaltourdeforce.Its
pitilesslightingandintercutcloseupscombineto
produceaneffectthatisononelevelharshly
"realistic"thisindirectandcalculatedcontrasttothe
romanticorpastoralmistinessofHoch'sTechnicolor
photographyintheoutdoorIrishscenesandon
anothersurrealorhallucinatoryinthemannerofthose
BoschorGrunewaldpaintingswhereleeringfaces
seemtojumpoutattheviewerfromanunnaturally
flattenedperspective.
CommentatorsonTheQuietManhaveusuallytaken
theflashbackasanexplanationofSean'sfailureto
understandhiswife'sattitudetowardherfortune.He
killedTonyGadelo,hesaysbitterlytoMr.Playfair,for
money:"lousymoney,apieceofthepurse."Itisa
revelationnotonlyaboutprizefightingbutaboutthe
powerofmoneyinacountrywherehumanvalueshave
beenerodedordissolvedbyaremorselesseconomic
individualism.
FromthatperspectiveSeanpersistentlymistakesthe
meaningthatherdowryhasforMaryKate"Money!"
heexclaimsatoneparticularlyexplosivemoment:"Is
thatallyouDanaherseverthinkabout?"aviewof
moneyorpropertythat,quiteasmuchasanysimple
objectiontoviolence,liesbehindhisresolvenotto
fightDanaher.
Thenightmareflashbackinvolvesamuchharsher
condemnationofAmericaneconomicindividualism
thanSeanThornton,whosethoughtsarefocused
entirelyonthedeathofhisopponent,willeverbe
askedtounderstand.Thetrulynightmarishelementin
theflashbacksequenceisnotthedeathofTony
Gadelothatis,asthegentleReverendMr.Playfair

remarks,"justoneofthosethings,"thesortofaccident
thatmighthappeninanysportinvolvingstrong
physicalcontactbutthepressphotographers,figures
updatedfromBoschorGrunewald,whoclimbthrough
theropesoncetheringsidephysicianhaspronounced
death.
Withhatsontheirheads,cigarettesdanglingfromtheir
lips,eyeswearywithcynicism,theyfireflashbulbafter
flashbulbatthecorpseonthefloornow,atlast,witha
towelmercifullydrapedoveritsfaceandthenatthe
stunned,stupefied,halfcomprehendingagonyofSean
Thorntonwatchinghelplesslyfromhiscorner.By
morning,weunderstand,theirpictureswillbesplashed
overthesportspagesofmasscirculationnewspapersin
anAmericawheredeathandpersonalagonyare
importantmainlyastheycanbeusedtosustain
advertisingrevenues.
TheQuietMan'sgreatcountermovementtowarda
visionofinnocentorludicviolencebeginsinthescene
bytheriverbankwhereMaryKateswitchesintoIrish
whiledescribingherunhappymaritalsituationto
FatherLonergan.Thesceneisitselfacomedyofludic
violence:FatherLonergan'sbattlewiththegreat
salmonhehasbeentryingtocatchfortenyears,which,
afteragreatdealofsplashingandshoutingand
thrashingabout,thefishwins.
ButtheceremonyofMaryKate'sconfessioninIrish,
theGaelicspeechofthatolderIrelandthatpredatedthe
comingofChristianity,iswhollyseriousasitsignalsa
breakorruptureinculturaltime.ThoughtheMr.
Playfairhastriedtopreparehimbypointedly
remarkingthatheconsidersSeannowtobe"in
training"forthefightwithDanaher,itwilltakeSean
Thorntonsomehoursyettounderstandthatheis
operatinginanalteredsocialdispensation.
YetfromthemomentthatMaryKateswitchesfrom
EnglishtoIrish,therulesgoverninglifeinInnisfree
willbethoseofanearlierIrishsocietywhereproperty
hasnomeaningoutsidecommunalvaluesandwhere,
withinacloselyrelatedcontextoffestiveorBacchic
release,certainritualizedformsofviolenceorabuse
haveapowertoregeneratecommunity.

Theculminatingthemeofredemptiveviolencebegins
inthe"dragging"sceneinwhichSeanThornton
forciblymarchesMaryKatethefivemilesfromthe
Castletowntrainstationtoherbrother'sfields.Aswe
haveseen,theepisodedrewagreatdealofangry
commentinIrelandwhenTheQuietManwasreleased.
Insubsequentyears,asAngloAmericanfilmcriticism
hasbeenmoreandmoreinfluencedbyfeminist
ideology,ithasassumedthesamevirtually
unmentionablestatusastherideoftheKuKluxKlanin
Griffith'sBirthofaNation.
YetthevillagersofInnisfreeunderstand,asdoesMary
KateDanaherherself,thatthedraggingsceneisnot
somegratuitousdisplayofmaleviolence,butaritualof
communitymeanttoputrighttheviolatedkinship
relationsthatSeanThornton,withhisAmerican
understandingofpropertyandmarriage,hasuntilthis
momentutterlyfailedtograsp.Itisaritualmeantas
welltoreintegrateRedWillDanaher,whoasa
gombeenmanoracquisitivepurchaserofotherpeople's
propertyhasthroughoutthefilmdisplayedproto
AmericantendenciestowardwhatC.B.Macpherson
labeledtheideologyofpossessiveindividualism.
TheQuietManisclosesttoearlyIrishcustominthe
draggingscene,whichdirectlyechoesvariousmarriage
ritualsmeanttodispelantagonismsbetweenkinship
groupsthroughwhattheReesesinCelticHeritagecall
"displaysofmockhostility."Thus,forinstance,"in
partsofIreland,onthedayofbringinghomethebride,
thebridegroomandhisfriendswouldrideoutandmeet
thebrideandherfriendsattheplaceoftreaty.Having
comeneartoeachother,thecustomwasofoldtocast
shortdartsatthecompanythatattendedthebride,but
atsuchadistancethatseldomanyhurtensuedyetitis
notoutofthememoryofmanthattheLordofHowth,
onsuchanoccasion,lostaneye'."
InWales,themeetingofthetwopartiesledtoa"mock
scuffle,"whereuponthebride'spartyrodeawaywith
thebridegroomandhisfriendsinpursuit.Whenhe
catchesher,thebridegroom"leadsherintriumphand
thesceneisconcludedwithfeastingandfestivity'."In
Ireland,thesamesourcereports,"therideofthebridal
partyistermeddragginghomethebride'."InTheQuiet
Man,whereSeanThorntonandMaryKatehaveearlier

gonethroughtheformalitiesofalegalwedding
ceremony,theplotdemandsthatthisbeplayedoutona
delayedbasis.Butthepointremainsthesame:their
marriagecanbemade"real"withinitscommunityonly
throughacleansingritualofinnocentorludicviolence.
TheritualqualityofthedraggingsceneinTheQuiet
Man,whichasFordconceivesofitisinseparablefrom
itscomiccharacter,issignaledthroughoutbythe
hilariouscounterpointofelaboratepoliteness,suitable
tothedrawingroomorSundayparlor,withthe
knockaboutphysicalityofthemarchacrossthe
meadows.Thusthevillagersandtraincrew,for
instance,madlyontheruntocatchaviewofSeanand
MaryKateastheystartontheirepicwalk,nonetheless
pausemomentarilytotiptheirhatsorcurtsytothe
visitingProtestantbishoplookingwonderinglyonfrom
hiscar.
AndthusMaryKate,whensheloseshershoe,notonly
hasitretrievedforherwithanairofceremonious
courtesybythestationmaster,butfindsamomentin
themadphysicalwhirltoacknowledgehisgallantry
withagracious"Ithankyoukindly,sir."Eveninthe
mostfamouslineinthescene,"Here'safinestickto
beatthelovelylady,"commentatorshavetendedto
overlookthewaythegraciousnessof"lovelylady"
underscoresthethemeofinnocentorludicviolence.In
asettingwhereviolenceissoobviouslyandinevitably
movingtowardanultimatereconciliation,thespeechis
ineffectthevillagewoman'swayofwelcomingMary
KateDanaherbackintoherowncommunity.
Inpurelyformalterms,thesignalofthedonnybrookas
entryintotheworldofsaturnalianreleaseisthepunch
withwhichSeanThorntonfloorsRedWillDanaherat
theendofthethreshingfurnacescene.Seanthrowsthe
banknotesintothefire,duckswithaprofessional
boxer'scontemptuouseasethewildroundhouseright
Danaheraimsathisjaw,thendeliversashort,
explosivecounterpunchtothemidsectionthatcrumbles
Danahertotheground.ThisisthemomentthatMary
Kate,withthetriumphantairofawomanwhohasat
lastseenherworldcomeright,exitsthesceneasthe
crowdpartsbeforeher.

YetthefestiveorBacchicnatureofthesceneisfully
signaledonlysomemomentslaterinthesequence,
whenMichaeleenOgeFlynnspontaneouslyassumes
theroleofLordofMisrule,firingapistolintotheairto
abruptlyputastoptowhathasrapidlybeenturning
intoajoyousfreeforall.Thisis,heannouncesinthe
toneofsomeonewhoexpectstobeobeyed,aprivate
fight,inwhichthirdpartieshavenotbeeninvitedto
participate.Hethenadds,altogetherlesshopefully,that
whenthemainboutresumesitshouldbeconducted
accordingtoMarquisofQueensburyrules.
Asthedonnybrooksequencegathersmomentum,
bettingontheoutcomegraduallybecomesanactivity
equalinimportancetothefightitself,supplyinga
modeofvicariousparticipationthatservestochannel
theenergiesandemotionsoftheentirecommunityinto
thecommondrivetowardsaturnalianrelease.
MichaeleenOgeFlynn'sbusyandofficiousroleas
bookmakerisinthissenseanextensionofhisroleas
LordofMisrule,givinghimdirectcontrolovera
donnybrookcarriedoutinthesymbolictermsofodds
andwagersratherthanphysicalconflict.
Indeed,bytheendofthedonnybrookepisodebetting
willhavecarriedtheallembracingsaturnalianspiritfar
beyondthevillagelimitsofInnisfree,aswhenalocal
policemantakesacallfromhissupervisoratdistant
headquartersaboutthereported"riot"inInnisfree.
("Whatdidhesay?"apolicemanstandingbyasksthe
policemanwhotookthecall."Hesaidtoputfive
poundsonDanaher'snose.")Attheendoftheday,
eventhevisitingProtestantbishopwillhavelostfifteen
poundstothelocalvicar.
ThefamouslastsceneofTheQuietManhasbeen
deridedasanotherelementinthefilm'sidyllicfantasy
aboutanIrelandthatneverexisted.FatherLonergan
organizesthevillagersofInnisfreeto"cheerlike
Protestants"asthebishopisdriventhroughthevillage,
thusconvincinghimthattheReverendMr.Playfairhas
amuchlargercongregationthanthetwoorthree
peoplewhoconstitutehisactualflock.
YetTheQuietMan'svisionofbenignandmutually
respectfulrelationsbetweenCatholicsandProtestants

belongsalsotoitsfestivetheme,andinparticulartothe
notionthatviolence,
whenithasoccurred
withinamore
fundamentalcontext
ofcommunalvalues,
mayhavethepower
tobringabouta
redemptionor
reconstitutionofcommunity.
InTheQuietMan'sworld,whereIrishfreedomhas
beenachievedandtheviolenceoftherecentpastis
evennowundergoingtransformationintoahalf
mythologizednationalmemorythepointof
MichaeleenOgeFlynn'sirrepressiblestreamofIRA
jokes,whichwouldnotbejokesiftheWarof
Independencewerestillgoingonnoteventhedeep
antagonismsofpoliticsandhistoryareimmunetothe
generalmoodoffestivereconciliation.
IV.TheQuietManinCulturalMemory
Inarecentcollectionofessays,theculturalcritic
StanleyCrouchrememberswhatitwasliketohave
seenJohnFord'sHowGreenWasMyValley,setina
Welshcoalminingvillage,whilegrowingupinan
AfricanAmericanneighborhoodintheUnitedStates.
"Therewassomethinginthetalethatspoketothe
worldsurroundingme,"recallsCrouch,"eventhough
thepeople,superficially,weresodifferent....Ican
seemyyoungerbrother...thatstreetandthosepeople
...riseintoasphalt,concrete,fences,lawns,bricks,
homesandlifeoncemore....Iambacktherejustas
theboywasinHowGreenWasMyValley,andnothing
isdead,nothingisgone,allismadeperpetualthrough
theregenerationofmemory."
ThecinematicdepthofFord'sstorytelling,Crouchsays
inthesameessay,"gavemeoneofmyearliest
experiencesoftheuniversalachievedthroughaesthetic
form."
Asperhapsgoeswithoutsaying,TheQuietManhas
drawnjustthiskindofresponseamongviewerswho
returntoitagainandagain,andwhoseeinit,asdoes

CrouchinHowGreenWasMyValley,astorythatlooks
throughorbeyonditsIrishsettingtoamoreuniversal
levelofhumanexperience.
ItisTheQuietMan'sperceiveduniversalitythat
constitutesamajorproblemforthosewhohavebeen
unabletoseeinthefilmanythingmorethan(inLuke
Gibbons'sphrase)"adreamworldofstageIrishryand
nostalgicsentiment."
Thekeytothatuniversalitylies,itseemstome,inthe
archetypalcomicpatternIhaveattemptedtodescribe,
thepatternofsaturnalianreleasethatgivesTheQuiet
MansostrongaresemblancetosuchShakespearean
comediesasAsYouLikeItorAMidsummerNight's
Dream.
Forviewersinallagesandallsocietiesaresubjectto
theimpositionofsocialcontrolthatmustsometimesbe
feltasrepressiveorintolerable,andthecollective
longingforoccasionalreleasefromthesoberrestraints
ofdutyandresponsibilityandmoralrectitudeisno
doubtasuniversalasanyotherhumanemotionone
couldname.
Sowhereacertaincriticalmentalityisabletoseein
TheQuietManandvariousotherFordfilmsonlyan
irresponsibletendencytoescapism"theprettification
ofalie,"inDavidThomson'sdeliberatelyhostile
phrasethoseconvincedofFord'scinematicgeniuswill
insteadseeinTheQuietManevidenceofhisenormous
powertovisualize,asNorthropFryesaysinspeaking
ofthearchetypalpowerofliterature,"theworldof
desire,notasanescapefromreality,'butasthegenuine
formthathumanlifetriestoimitate."
ThisistoseeTheQuietMan,inshort,asbelongingtoa
comictraditiongoingbackthroughShakespeareto
PlautusinancientRomeandAristophanesinclassical
Greece,onethatinvokestheholidayorfestivespiritof
misrule,asBarberputsit,bothas"releaseforimpulses
whichruncountertodecencyanddecorum,andthe
clarificationaboutlimitswhichcomesfromgoing
beyondlimits."
ThespecialclaimofTheQuietMan,perhaps,produced
againstthemassiveresistanceofaHollywoodgeared
tothemakingofprofits,incorporatingtheethosand

ritualsofFord'sfilmfamilyintotheverytextureofits
story,andlingeringlovinglyonitsimageofIrelandas
agreenworldsofarmagicallyexemptfromthe
remorselesseconomicindividualismoftheAmericain
whichSeanThorntonkilledanopponentforapieceof
thepurse,isthatitisafestivalforourowntime.
InanageofAmericanculturalhegemonyand
acceleratingglobalconsumerismonemayperhapssay
aboutFordinTheQuietMan,asEvelynWaughonce
didaboutP.G.Wodehouse,notsimplythat"hehas
madeaworldforustoliveinanddelightin,"butthat
"hewillcontinuetoreleasefuturegenerationsfroman
captivitythatmaybemoreirksomethanourown
Copyright(c)2002byEIREIRELAND:An
InterdisciplinaryJournalofIrishStudies.Notestoall
sourcesmaybefoundintheprintedversionofthearticle:
EireIreland23:1(2002),pp.190211.

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Dreamingthe
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