O Rebelde Sonhador

Stage Door Theatre, San Francisco; May 19, 1965. An East Side arthouse in a West Coast town; the perfect venue for the pictorial beauty and distinctly Irish attitude of this largely forgotten film. Superb perf by Rod Taylor, an ideal choice for the title role, in an always interesting vision of the early life and career of Irish playwright Sean O'Casey, from his autobiography. Dublin in the 1920s, with all the period feel and detail John Ford can muster. He fell ill and was replaced by Jack Cardiff, who carried on seamlessly. Ted Scaife photographed it brilliantly, in gorgeous Color, on actual locations. A splendid cast brought the days of O'Casey and the Troubles to vibrant and bitter life. Rod Taylor's best perf in many ways, though he did so many good movies and gave so many fine perfs during his heyday, it's hard for me to choose just one. Maggie Smith is marvelous as O'Casey's lost love: "I'm a small simple girl. I need a small simple life, not your terrible dreams and your anger." Smart girl, but two hearts are broken as Sean boards the boat for parts unknown. Julie Christie's a revelation as Daisy, one of three stunningly good perfs she gave in her golden year. Michael Redgrave's perfect as Yeats; and Flora Robson gets a late career lift as O'Casey's ma. The entire production takes the viewer back in time, to the setting of this exceptionally good and unfairly overlooked film.

"Young Cassidy" is a film about the life of the famous Irish writer and dramatist, Sean O'Casey. It follows him from around WWI to his becoming famous, of sorts, in the late 1920s. Oddly, as you watch the film you'll probably assume it all takes place over one or two years...but 15 to 20 is more like it...and the actors and time never seem to pass.

The story was originally to have been made by John Ford, which isn't surprising due to his love of all things Irish in his movies. It follows O'Casey (Rod Taylor) from working as a day laborer to his becoming a hated dramatist, as you see one of his plays being booed and attacked by many.

I gave this movie a 6 because it tries hard and offers some nice moments. But it was a hard sell to me because the film made O'Casey seem like a bit of a jerk and I really didn't have all that much interest in him and his life. I am not sure if it's because O'Casey was a jerk or just because of the screen play. I just found myself not caring much about him or his life.

This is a very typical example of good English film-making. It depicts the early life of writer Sean O'Casey; his struggle to become an established writer and his lust for women. John Ford started the direction, but he fell ill during the shooting and Jack Cardiff took over. None of this shows in the picture however. I think Rod Taylor gives his finest performance of his career in this movie; notice his good Irish accent. As a bonus you can see Julie Christie, who starred in a role in one of her first movies,and this was a teaser of what was to come. Flora Robson and Maggie Smith also appear with impeccable performances, as always.

I was most amused to see the credits start presenting a John Ford film and the credits ending with "directed by Jack Cardiff."

I believe John Ford was responsible for a few scenes in the film, including the scene where Rod Taylor (Sean O'Casey/Cassidy) enters the room where his mother (Dame Flora Robson) lies dead. This sequence is extraordinary--described and narrated by Taylor's monologue and actions. This does not stand up to the quality of the rest of the film, which is below average. Now Cardiff is a good cinematographer. He has to deal with a great cast assembled by Ford, who individually perform very well, and are captured well by Cardiff's visual eye but lack the vision of a great director to string the pearls together into a great necklace. The film's ending is amusing--a poor man turned rich man handing a crown to a vagrant who appreciates the worth of the money. What had the ending to do with what preceded it? If anything, the final scene is ambiguous and one begins to wonder whether the director was making a hero of Sean O'Casey or was he chastising him as are the film's oblique comments on Yeats living in sheltered house, policed by the British. The poor man turned into a rich and famous playwright is presented to us in fits and starts. The film did have a good intention but it lapses into mediocrity. Only two characters develop well--the mother (Robson) and Nora (Maggie Smith).

Julie Christie is mesmerising in any film but her character is never developed. Maggie Smith has charmed audiences over the years but this film is definitely one of her finest. Dames Robson and Evans are daunting thespians. Add to them Michael Redgrave. All great actors--including Aussie Rod Taylor. The film does not end with a bang but with a whimper.

Two scenes, but one of them is the best of the whole movie:the mother's death.The camera only shows the hero when he enters the fateful room;we see the tragedy on his face longer than usual before the camera reaches the deathbed.There's a similar scene in JF 's "three godfathers" when the outlaws meet the dying mother in her wagon.The second scene is the fight in the pub which recalls "the quiet man" .

As for the lead,Ford wanted Sean Connery but he was too busy playing OO7.The female parts are strong,featuring Flora Robson,Maggie Smith and Julie Christie ,but the latter only appears for a few minutes.A lot of colorful characters ,from the stingy heartless undertakers to the "keep cool boy" grocer,from the old lady mixing with the riffraff by welcoming the playwright's committed dramas to the obscure librarian ,give the movie substance.

These two scenes and "Seven women" two years later were John Ford's swansong.