If ever a film meant so much to so many, it would have been "The Quiet Man." It was the realization of a dream that director John Ford pursued for over fourteen years. The cast and crew were a gathering of Ford's favorite actors and personal friends and their families. The setting? - their beloved Ireland. All exteriors were photographed in the magnificent lush green of Ireland in Technicolor and implemented a stellar cast (95% of whom were Irish or of Irish descent). Herb Yates, the testy and frugal head of Republic Pictures wanted Ford to shoot it using a cheaper color process, but Ford insisted on Technicolor with gifted cinematographer, Winton C. Hoch filming.

"The Quiet Man" story was particularly unique in that it would be the first time Ford would film a very sensual and romantic love story. It was a project that was close to his heart. Ford joked about its plot, saying in essence that if they wanted a sexy story it couldn't have gotten much better than "The Quiet Man;" A man trying to get a woman into bed for the major portion of the film he considered "pretty damn provocative." (In the 1950's that was indeed quite "provocative"). "The Quiet Man" was all of that and more.

The behind-the-scenes tales of the production of TQM are many and carried in many books and biographies; as is the story of Ford's 14 year mission to get it produced. However, he succeeded and it began with the invasion of a Hollywood crew into the little village of Cong in County Mayo, Ireland; a town without electricity. As generators and equipment were moved in, the town soon begin to feel the excitement. Many locals were provided with much needed jobs, and of course, others objected to the disruption. For the most part, however, it was a successful shoot that covered a 25 mile area in County Mayo that included the lovely shores of Galway.

"The Quiet Man" was also very much a family affair with nepotism reigning supreme. John Ford's brother, Francis, played "Old Man Tobin", John Wayne's four children were given cameo appearances sitting in the cart at the Innisfree Races, Maureen O'Hara's brothers both had speaking roles (brother Charles FitzSimons played the Forbes the IRA man and brother James Lilburn played Father Paul). Charles FitzSimons, a barrister, also acted as advisor to Ford in selecting shooting locations and handling other Ireland oriented business matters. Barry Fitzgerald's brother, Arthur Shields, played the Rev. Playfair. Andrew McLaglen's son, Andrew, was second assistant for the production. Many Abbey Players were cast as well as locals in crowd scenes. (A wonderful book called "In the Footsteps of the Quiet Man" by Jerry McNee of Scotland was published in 1990 by Mainstream Publishing Co. In Edinburgh. I obtained my copy from River Ridge Gallery - 11290 Peck Rd. Mantua, OH 44255 - Ph: #330-274-8938.)

With old buddies Ward Bond, John Wayne and Ken Curtis together, there were some raucous times on and off set. Ford was always a tough task master and famous for his eccentricities and methods used to evoke a convincing performance from his players. Regardless, he was the boss, and they respected him. Those who were close to him called him "Pappy"..some called him "The Old Man".

A favorite story of Maureen's took place during the horse race. It had been a particularly long and grueling day on the set of "The Quiet Man." Director Ford had placed a wind machine behind Maureen O'Hara to give the effect of off shore breezes during the Innisfree horse race. With the wind force from behind, strands of her long hair lashed across her eyes and she couldn't keep from blinking. Ford kept shouting at her to keep her *-*-*-* eyes open. Maureen could take no more. In total frustration she retaliated, "What would a bald headed old SOB like you know about hair lashing across your eyes!" She said the set grew totally silent as Ford pondered how he was going to react to her outburst. "He looked up above, and down, and around..and then decided if he was going to laugh...or kill me. Thank goodness he decided to laugh!"

Maureen did not emerge from this film entirely unscathed. The rigorous physical demands of the various scenes left their mark. During the day of shooting the love scene in the cottage, both Duke and Ford had been teasing and harassing Maureen the entire day. She was totally frustrated and near tears. However, she consoled herself knowing she would soon have her revenge because the scene called for her to hit him in the face after the embrace. She was savoring that moment of sweet revenge and was prepared to do extreme physical damage to her friend. Unfortunately as she let fly with the her killer blow, Duke put his hand up to block it and she fractured her wrist.

Maureen suffered further injuries and indignities on the famous drag from the train station by Duke. Maureen said that Ford always felt that things were best when they were spontaneous and he didn't like doing a lot of re-takes. However she revealed that they (Maureen & Duke) rehearsed that scene repeatedly, out of Ford's sight, until it was well choreographed. She also felt Ford was well aware of their private rehearsals that enabled them to do his standard one-take method.

A rather unpleasant fact was that Maureen was dragged through a field full of sheep dung and Andrew McLaglen, asked Ford if they shouldn't clean up that area before they shot the scene and Ford said, "No." It was a strenuous scene and in later years Maureen did manifest a back condition that was attributed to the physical punishment of that scene. She had disc surgery in the late 50's and was in a full body cast for a long period of time, which put her career on hold. However, true to the O'Hara courage and tenacity - she went on to make many more films, still doing many of her own stunts.

Although Ford wasn't kindly disposed to more than one or two takes of any scene, apparently he made an exception for the love scene in the rainstorm in the cemetery. Duke told his wife, Pilar, that Ford was continuously making them re-do the scene, urging that their clinch be more and more passionate. Duke remembered that by the time the shot was to Ford's liking they were so soaked they were practically skin to skin. They were, however, diligent and professional performers and made the most of a rather "chilling" experience. No matter many retakes it required, the final cut of that kiss is extremely effective, and a truly historically classic love scene.

In a video documentary Maureen contributed commentary on the filming of "The Quiet Man" with Lindsay Anderson. At the conclusion he asked Maureen to share her feeling about this famed director. Maureen gave her tearful explanation, "How do you describe someone you really admire and love?...and yet he had so many aggravating traits. He was an instinctive con man, and it was impossible to know when to believe him or disbelieve him; everything he said and did was for effect. That's why he was so difficult to interview. He would deliberately say the opposite of what you knew he wanted to hear..He could be kind, gracious and gentle, with a wonderful sense of humor, and he could also be vindictive and mean. All one can do with John Ford is accept him with all his faults and virtues, and love him." (With that, Maureen broke down in tears) What an impact this man had on her life, and her career.