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The Quiet Man (60th Anniversary Special Edition) [Blu-ray]
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Free returns are available for the shipping address you chose. You can return the item for any reason in new and unused condition: no shipping charges
Learn more about free returns.- Go to your orders and start the return
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Return this item for free
Free returns are available for the shipping address you chose. You can return the item for any reason in new and unused condition: no shipping charges
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Additional Blu-ray options | Edition | Discs | Price | New from | Used from |
Blu-ray
February 28, 2023 "Please retry" | Blu-ray + Digital Copy | 1 |
—
| $13.01 | $16.13 |
Watch Instantly with | Rent | Buy |
The Quiet Man | — | — |
Purchase options and add-ons
Genre | Drama, Comedy |
Format | Blu-ray |
Contributor | John Wayne, Mildred Natwick, Barry Fitzgerald, Ward Bond, Victor McLaglen, John Ford, Maureen O'Hara See more |
Language | English |
Runtime | 1 hour and 40 minutes |
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Product Description
Sean Thornton (John Wayne) in an American boxer who swears off fighting after he accidentally kills an opponent in the ring. Returning to the Irish town of his youth, he purchases the home of his birth and finds happiness when he falls in love with the fiery Mary Kate (Maureen O'Hara). But her insistence that Sean conduct his courtship in a proper Irish manner with matchmaker Barry Fitzgerald along for the ride as chaperone is but one obstacle to their future happiness: the other is her brother (Victor McLaglen), who spitefully refuses to give his consent to their marriage, or to honor the tradition of paying a dowry to the husband. Sean could care less about dowries, he would've punched out the bullying McLaglen long ago if he hadn't sworn off fighting. But when Mary Kate accuses him of being a coward and walks out on him, Sean is finally ready to take matters into his own hands, the resulting fistfight erupts into the longest brawl ever filmed, followed by one of the most memorable reconciliations in movie history! THE QUIET MAN won a total of two Academy Awards including Best Director (Ford) and Best Cinematography and received five more nomination including Best Picture, Best Screenplay and Best Supporting Actor (McLaglen).
Product details
- Is Discontinued By Manufacturer : No
- MPAA rating : NR (Not Rated)
- Product Dimensions : 0.7 x 7.5 x 5.4 inches; 2.88 ounces
- Item model number : 484
- Director : John Ford
- Media Format : Blu-ray
- Run time : 1 hour and 40 minutes
- Release date : January 22, 2013
- Actors : John Wayne, Maureen O'Hara, Barry Fitzgerald, Ward Bond, Mildred Natwick
- Studio : Olive
- ASIN : B009YX8LO6
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #1,047 in Movies & TV (See Top 100 in Movies & TV)
- #107 in Comedy (Movies & TV)
- #138 in Drama Blu-ray Discs
- Customer Reviews:
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Top reviews from the United States
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One of a kind !
What I like most in THE QUIET MAN, which is set and was filmed mostly in Ireland, are Barry Fitzgerald as Michaleen (Fitzgerald looks like a leprechaun in this movie), Victor MacLaglen, the scene at the beginning when Sean Thornton (John Wayne)--or "Thon Shornton", as Michaleen would call him when drunk--arrives in Castletown and just wants directions to Innisfree but finds that several well-meaning Irishmen who've evidently kissed the Blarney Stone sometime in their lives only take up his time with gab and never get around to answering his questions, and especially the scene later in the film in which we see an old man on his “death bed”, surrounded by loved ones, one of whom is reading to the old man what is probably one of his favorite Bible stories.
That scene is my favorite "sense-of-life" moment in a movie. The old man may only think he's dying, and has possibly been on his “death bed” many times before. When he hears a great commotion outside, he knows instantly what it's all about: there's going to be a fight! All the town is placing bets on it, and the old man is suddenly much more interested in this big fight than in lying in bed dying. So, evidently thinking: “Forget this!”, he—miraculously!—jumps out of bed and escapes the house, his family trying unsuccessfully to restrain him. Such a moment in a story sends me the message: "Life is not about suffering and sorrow; life is to be enjoyed, and we are on this earth to be happy."
In regard to director John Ford in general, I consider him an expert talent, but I'm not a great lover of his less comedic, more serious films. He tells stories, and tells them well, but they are more saga-like than having plots. I don't see many purposeful characters who are faced with crucial moral conflicts; the agonizing moral questions are already answered. Everything is about concretes versus abstract ideas and there seems to be more concern about groups of people—tribes, races, classes, families, societies or political parties—rather than individuals. THE SEARCHERS is about the search for a white girl kidnapped by Comanches. STAGECOACH involves people riding a stagecoach across perilous territory, and its story seems to present a microcosm of society. THE GRAPES OF WRATH, based on the John Steinbeck novel, is about a tenant farming family in search of a better place to live and work during the Great Depression. HOW GREEN WAS MY VALLEY chronicles life in a Welsh coal-mining town, focusing on a mining family and their struggles with economic and political change. THE INFORMER is a morality tale about a cowardly Irish Republican Army member-turned-informer evading his comrades before they can kill him. These and other of Ford’s films are excellent, but I do not enjoy them like I do THE QUIET MAN.
Often times Ford tries to present a view of what a “real man” should be. His positive male characters normally convey courage and heroism, but, with certain exceptions—such as Ethan Edwards (Wayne again) in THE SEARCHERS—they don’t seem to do a great deal on their own, with or without approval from whatever group of men they are a part of. Sometimes I think Ford's philosophy of being a man is: "Be one of the boys." Ford is most known for his Westerns, especially the ones starring John Wayne, and even though I would like to see his other ones someday the two that I’ve mentioned here are not among my favorite Westerns; his apparent insistence on reconciling one’s individuality with the group is the main reason. (As to Ford’s view of women, generally it seems to be that women have their specific “place” in society; so I assume his philosophy would say that a “real woman” should be “one of the girls”.)
For those who may not be interested in Ford’s work, at least give THE QUIET MAN a chance sometime. The presence of John Wayne and Maureen O'Hara together make it a great date movie.
But remember: "NO PATTY-FINGERS!!”
—Jim Ashley
Reviewed in the United States on January 23, 2023
What I like most in THE QUIET MAN, which is set and was filmed mostly in Ireland, are Barry Fitzgerald as Michaleen (Fitzgerald looks like a leprechaun in this movie), Victor MacLaglen, the scene at the beginning when Sean Thornton (John Wayne)--or "Thon Shornton", as Michaleen would call him when drunk--arrives in Castletown and just wants directions to Innisfree but finds that several well-meaning Irishmen who've evidently kissed the Blarney Stone sometime in their lives only take up his time with gab and never get around to answering his questions, and especially the scene later in the film in which we see an old man on his “death bed”, surrounded by loved ones, one of whom is reading to the old man what is probably one of his favorite Bible stories.
That scene is my favorite "sense-of-life" moment in a movie. The old man may only think he's dying, and has possibly been on his “death bed” many times before. When he hears a great commotion outside, he knows instantly what it's all about: there's going to be a fight! All the town is placing bets on it, and the old man is suddenly much more interested in this big fight than in lying in bed dying. So, evidently thinking: “Forget this!”, he—miraculously!—jumps out of bed and escapes the house, his family trying unsuccessfully to restrain him. Such a moment in a story sends me the message: "Life is not about suffering and sorrow; life is to be enjoyed, and we are on this earth to be happy."
In regard to director John Ford in general, I consider him an expert talent, but I'm not a great lover of his less comedic, more serious films. He tells stories, and tells them well, but they are more saga-like than having plots. I don't see many purposeful characters who are faced with crucial moral conflicts; the agonizing moral questions are already answered. Everything is about concretes versus abstract ideas and there seems to be more concern about groups of people—tribes, races, classes, families, societies or political parties—rather than individuals. THE SEARCHERS is about the search for a white girl kidnapped by Comanches. STAGECOACH involves people riding a stagecoach across perilous territory, and its story seems to present a microcosm of society. THE GRAPES OF WRATH, based on the John Steinbeck novel, is about a tenant farming family in search of a better place to live and work during the Great Depression. HOW GREEN WAS MY VALLEY chronicles life in a Welsh coal-mining town, focusing on a mining family and their struggles with economic and political change. THE INFORMER is a morality tale about a cowardly Irish Republican Army member-turned-informer evading his comrades before they can kill him. These and other of Ford’s films are excellent, but I do not enjoy them like I do THE QUIET MAN.
Often times Ford tries to present a view of what a “real man” should be. His positive male characters normally convey courage and heroism, but, with certain exceptions—such as Ethan Edwards (Wayne again) in THE SEARCHERS—they don’t seem to do a great deal on their own, with or without approval from whatever group of men they are a part of. Sometimes I think Ford's philosophy of being a man is: "Be one of the boys." Ford is most known for his Westerns, especially the ones starring John Wayne, and even though I would like to see his other ones someday the two that I’ve mentioned here are not among my favorite Westerns; his apparent insistence on reconciling one’s individuality with the group is the main reason. (As to Ford’s view of women, generally it seems to be that women have their specific “place” in society; so I assume his philosophy would say that a “real woman” should be “one of the girls”.)
For those who may not be interested in Ford’s work, at least give THE QUIET MAN a chance sometime. The presence of John Wayne and Maureen O'Hara together make it a great date movie.
But remember: "NO PATTY-FINGERS!!”
—Jim Ashley
Top reviews from other countries
John wayne esta perfecto en el papel
Ganadora del premio al mejor director
Para john ford por esta pelicula
Soddisfatta