Horas Amargas

THE PLOUGH AND THE STARS is one of the darker chapters in John Ford's sound film career. A "dream" project for the director, it instead became a debacle very early on in its tumultuous production history.

Among other things: RKO wouldn't import the full cast of the stage version, leading Ford to cast Preston Foster and Barbara Stanwyck in roles which arguably needed to go to Irish nationals more familiar with everything from the complex subject matter to the accents they would use. The producers misunderstood the story completely, and not only insisted on re-shooting sequences explaining the marriage of Stanwyck and Foster's characters (with a different director), but inserted newsreel footage and atrocious documentary-style narration. Contrary to another comment here, Ford had _nothing_ to do with the insertion of the archival footage... which is actually from the _wrong_ battle: it's from 1921, not the Easter Rebellion of 1916 described in the play/film.

Ford's generally deft handling of comic and dramatic elements collapses here into a confusing mess, in large part because Ford's depression over the project led him into an alcoholic bender during production.

Possibly Ford's worst sound film, which can be filed next to his other unfortunate duds such as THE WORLD MOVES ON and WHEN WILLIE COMES MARCHING HOME.

Sean O'Casey's drama of the Easter Rising doesn't survive its transformation to the screen. Director John Ford was reputed to be so angry over front office interference on his passion project that he walked off and never returned.

While Joe August's lighting and the serio-comic performance of Barry Fitgerald are wonders to behold - he edged basically the same character a little more to the clown for The Quiet Man - something has gone desperately wrong with the movement between the interior scenes, where the play takes place and the exterior, where it's opened up. Given that Ford was working with his pet screenwriter Dudley Nichols, and a couple of titles explain what is going on, it looks like butchery to me. I'd guess the studio heads were concerned about losing the British market. As if they had ever expected this to play big in Blighty.

Barbara Stanwyck is also a problem here. While visually she is perfect, she can't sling the lingo, and her occasional attempts to do an Irish accent are pathetic. It's particularly awkward when the scene shifts from her to the Abbey Players.

Sean O'Casey, Ireland's greatest playwright, probably was lucky to have his work about the Irish rebellion made by John Ford. The former Sean O'Fearna had a brother in the IRA back in the day so he knew quite a bit about it.

I saw this year's ago and could kick myself for not getting a VHS copy of this when it was out. What I remember best was Ford's good use of newsreel footage edited into the story of the Clitheroe family and how the Easter Rebellion is affecting their lives in Dublin.

Preston Foster and Barbara Stanwyck make fine leads. Foster had just come off a good part in John Ford's more well known Irish work, The Informer. And Stanwyck was a good enough actress to cover up the somewhat phony brogue she adopted. That was not the only time she used the brogue. You can hear her as Molly Monahan in Cecil B. DeMille's Union Pacific which is readily available and broadcast often.

Sean O'Casey had a bigger world view than just Irish independence. Very much like that greatest of Irish patriots Daniel O'Connell. He wanted a just society to emerge as well. I think it has in the Republic. I think Mr. O'Casey would be at home in Dublin now. He might want to see the six counties reunited, but wouldn't want blood spilled to do it.

The other performance you will remember is Arthur Shields as Padriac Pearse. By the way Shields and brother Barry Fitzgerald were in real life Ulster Protestants.

Ford concentrated on the nationalist part of the struggle and while The Plough and the Stars might be a bit too much like a photographed stage play it's still good drama. More Ford than O'Casey though.

If you like Ireland, Irish history & literature, the traditions of the Irish people & the ambiguous creation of the Irish nation -- what's not to like about this movie? Sure, now, it's more John Ford than Sean O'Casey. But what would you be expectin from John Ford at the height of his creative spirit -- four years before he filmed "Grapes of Wrath"? Almost everyone in this movie plays their part with pungent efficiency. It's old-fashioned acting of the best sort. As movie, this is much more cinema of ideas, of belief & revolution, of theater, of language & gesture & non-verbal communication -- than our contemporary cinema of special effects and technicolor sensations. This movie is political entertainment of a very fine order; with as much said by the words as by what is shown. But how many people alive now can relate to it with the potency it must of had back in the 1930s?

Made as a follow up to the hugely successful THE INFORMER, John Ford's much maligned screen version of THE PLOUGH AND THE STARS has long been regarded as one of his worst films.

I finally saw this film tonight, thanks to the wonderful Talking Pictures TV Channnel here in England.

My Iriish-born father loathed this film because he said it was a travesty of O'Casey's play and just a Hollywood fiction of the Easter uprising.

Well I read all the reviews here expecting the worst.

But, I was amazed to watch a print of this film that bore NO relation to that described in the reviews posted here! There was no newsreel footage interpolated, no unfortunate added narration whatsoever and no extra footage by other directors to explain the marriage of Stanwyck & Foster's marriage! What gives? What I saw was obviously a genuine John Ford film, beautifully directed and photographed, with many of his trademark camera set ups, close ups and scene compositions. His usual flair for narrative and the many subtle visual trademarks did not indicate a hatchet job by RKO.

The whole thing had an understated poetic quality and the pace and fluidity were striking.

So what was I looking at? A pre-release print that had somehow survived in the UK but not in the RKO archives in LA? It was certainly no turkey and even Stanwyck impressed me - her lack of accent did not matter, because Ford (in this print at least) let her face do all the acting for her. And she was great! Barry Fitzgerald was clearly doing a warm up for his role in THE QUIET MAN, but the remaining Abbey Players were all fine and I believe acted large portions of O'Casey's dialogue intact. I do not have a copy of the play to make a comparison but will seek it out.

Una O'Connor showed what a fine dramatic actress she was in Ireland before she found fame in Hollywood. Even Preston Foster demonstrated an impressive restraint and was highly impressive.

Ford did not have Max Steiner for this film (as he had on THE INFORMER and THE LOST PATROL) but Roy Webb did a fine job with a highly dramatic and vivid music score throughout.

But what of the source print? Are there really two extant versions of this film? If so, I think I watched the long lost "Director's Cut" tonight! How exciting!