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THE QUIET MAN – Victor Young


Original Review by Craig Lysy

Director John Ford read the story “The Quiet Man” by Maurice Walsh in the Saturday Evening Post, liked it, and purchased the film rights for $6,260 In 1944 he approached actor John Wayne and made a gentlemen’s agreement to make a film, which would be set in Ireland. However, to their dismay, every studio turned them down saying their idea was “a silly Irish story that won’t make a penny”. Undeterred they went to Republic Pictures studio executive Herbert J. Yates and negotiated a deal; if he would fund the film Wayne and co-star Maureen O’Hara would agree to first make a Western for Republic. Yates agreed and they made the successful film “Rio Grande” in 1950. They got the green light to proceed and Ford would produce and direct the film with a generous $1. 75 million budget. John Wayne would star as Sean Thornton and Maureen O’Hara would play Mary Kate Danaher. Joining them would be Barry Fitzgerald as Michaleen “Óge” Flynn, Ward Bond as Father Peter Lonergan, and Victor McLaglen as Squire “Red” Will Danaher.

The story is set in the 1920s and centers on Sean “Trooper Thorn” Thornton, a retired boxer who decides to return to his birthplace of Innisfree in Ireland to purchase back his childhood family farm. Once there he meets and falls in love with the fiery red-haired Mary Kate Danaher, while also coming into conflict with her older brother Red who also wants to purchase Sean’s family farm. Discord worsens when Red loses the bid for the farm and retaliates by refusing to offer Sean a dowry for his marriage to Mary Kate. Eventually things come to a head when the two men, both ex-boxers, have a knock-down drag-out fight for the ages. Sean prevails, but after all is said and done the two men gain a mutual respect for each other and become friends. The film was a commercial success, earning $3. 8 million, double its production costs. It also garnered critical acclaim, securing seven Academy Award nominations including Best Picture, Best Art Decoration, Best Screenplay, Best Sound Recording, Best Supporting Actor, and winning two for Best Director, and Best Cinematography.

Director John Ford bonded with and became friends with composer Victor Young when making the film Rio Grande, John Wayne and Maureen O’Hara’s first film together. As such he had no other composer in mind when he chose him to score “The Quiet Man”. Throughout his career Ford had always insisted on cultural authenticity from his composer, and once again instructed Young to infuse his soundscape with traditional Irish folk songs. Young made more than good on the request by utilizing and interpolating a significant number of Irish tunes, as well as the use of local instruments to provide the local colors such as the harp and bagpipes. Indeed, Young composed music as though Irish blood ran in his veins.

For his soundscape there are three primary themes; the Main Theme serves as the heart of the score, which interpolates the melody from “The Isle of Innisfree” (1949) song by Richard Farrelly It’s use was perfectly conceived, and when all is said and done, it is the melody you retain from the film, forever identified with it. The melody is carried by warm, sumptuous strings with harp adornment, which speak to Sean’s love of the land that is Ireland, as well as his love for Mary Kate. In the film Mary Kate sings the first stanza, whose lyrics were altered by a collaboration of Maureen O’Hara, John Ford and Charles Fitzsimons;

“Oh, Inisfree, my island, I’m returning
From wasted years across the wintry sea.
And when I come back to my own dear Ireland,
I’ll rest a while beside you, gradh mochroidhe (love of my heart)”.

The second primary theme is used for good times and traveling, where Young masterfully interpolates the melody from the traditional Irish folk song “The Kerry Dance” by James L. Malloy It emotes as a classic danza felice and supports scenes of travel, courting and happy times together. Its Irish auras often achieve a wondrous confluence with Winto C. Hoch’s cinematography. For the third primary theme Young interpolates the melody from the traditional Irish folk song “Rakes of Mallow”. The song is a classic fight song emoted as an Irish polka (polka) in 2/4 time, which speaks to the rowdiness and Irish proclivity to never allow a good time to stand in the way of a fight. The spirited melody is infectious and borne by strings energico, and is used to support scenes of disagreement and fighting, but it can also be festive and full of happiness. Lastly, Young incorporates several traditional Irish songs, with each of the primary actors singing one of them! Mary Kate sings “The Young May Moon” by Thomas Moore, which offers a tender ballad of love.

“The Wild Colonial Boy” (Anonymous) offers another traditional Irish ballad, which tells the tale of an Irish convict and rebel. It emotes as a sad testament in dance. The song “Ill Take You Home Again, Kathleen”, a traditional Irish love ballad by Thomas Paine Westendorf. For me, this supremely moving song is the ultimate paean of romantic love. “Galway Bay” offers another Irish folk song by Frank A. Fahy. It speaks of nostalgia and a longing for Ireland. Only the first stanza is sung in the film. The song “Tail Me A Coat” offers a delightful little ditty, a drinking song with a happy go lucky waltz cadence. For the wedding scene, we have “The Humour is On Me Now”, a traditional Irish wedding song that emotes with a free-flowing dance-like gentility, albeit with a touch of irony. Lastly, Young also interpolated the melody of the classic Irish gig “The Irish Washerwoman” whose energetic and sprightly rhythms supported both the race and epic fight in the film.

“Main Title opens with surging strings dramatico as the Republic Pictures logo displays. The roll of the opening credits unfolds against a lakeside silhouetted castle bathed in sunset auras. A string bridge ushers in at 0:16 an energetic rendering of the Rakes of Mallow Theme, which yields to a sumptuous, heartfelt string borne statement of the Isle of Innisfree Theme adorned with harp tenero. A gorgeous woodwind bridge leads us into the film proper at 1:30 with “Castletown Opening” as we see a train arriving at the station supported by a wonderful rendering of the Rakes of Mallow Theme, which includes a statement by horns and strings, a reprise by piccolo and harp, and then a final reprise by horns and strings.

“This Way!” reveals Sean befuddled by locals arguing on how best to get to Innisfree. A coachman grabs his luggage and orders Sean – “This Way” with a delightful statement of the “Kerry Dance Theme by a playful bassoon and then strings and woodwinds bubbling with happiness. At 0:33 strings felice bounding with joie de vie come to the forefront in “Journey to Innisfree”, carrying the carriage across the verdant green Irish countryside. At 1:09 a diminuendo supports the carriage stopping at a bridge over a bubbling brook as Sean gets out and surveys the idyllic countryside. As we hear his mother’s tender voice in his thoughts, Young supports with a beautiful passage of the Isle of Innisfree Theme by harp delicato. Music for “Humble Cottage” is not found on the album. In the film Sean declares that he intends to buy the widow Tilane’s cottage. When asked why, he tells Michaleen Flynn, much to his surprise, that he is Sean Thornton who has come home to live out his days in his boyhood cottage. Young supports with a heartfelt and nostalgic rendering of the Isle of Innisfree Theme. Prancing strings alight with Irish auras carry their carriage down the quaint country road. A woodwind pastorale carries them to Father Peter Lonergan, who is enjoying a walk, and Michaleen introduces him to Sean, who he knew as a lad.

“Sean sees Mary Kate For The First Time” reveals Sean walking ahead as Father Lonergan and Michaleen have a private conversation. Solo oboe gentile, strings and woodwinds offer a pastorale as he walks and comes upon a flock of sheep. Heavenly harp glissandi support his sighting of a shepherdess, a beautiful red-headed woman. She turns and looks at him, both transfixed with the other, and Young supports with a romantic statement of their Love Theme, an allusion of what is to come. She takes her flock away, and Michaleen rejoins him, carried by the Love Theme buttressed by warm French horns. As they continue their ride into town, he watches her filled with a longing in his heart, joining in confluence with Young’s romanticism. At 1:51 we segue into “Arrival in Innisfree” woodwinds animato carrying a happy Kerry Dance Theme. At 2:22 a diminuendo of satisfaction supports Sean’s smiling arrival at the Cohan Bar in town.

The music for the following two scenes is not on the album. We open with church bells the next day in “Church”, as Sean attends mass. The traditional “Soul of My Savior” hymn by organ reverenziali support the ambiance. After the mass Sean exits and waits for the shepherdess to exit. As she does, he cups his hand in the holy water font, offers it to her as he says good morning. She is overwhelmed by the moment and runs away. After Michaleen discloses her name as Mary Kate Danaher, the Love Theme enters as we see in Sean’s eyes, determination to court her. In “The Widow Tillane” narration informs us that she is the wealthiest person in town, who is childless. Gentile travel music carries her carriage arrival and walk to her mansion. Sean is granted an audience where he tries to make his case as to why he wants to purchase his family’s “White O’Mornin” lands. Red Danaher barges in and demands that she honor his existing offer and sell the land to him. She is put off by Red’s boorishness and agrees to sell the land to Sean, which outrages Red and sow enmity between them. At home Red and Mary Kate have a row when she sides with Sean.

In “The Wild Colonial Boy” Sean goes to the pub and offers drinks on the house to gain friendship and acceptance. When they learn that he is the son of Michael Thornton, they welcome him home as kin. Young supports with a diegetic accordion supporting a choral rendering of “The Wild Colonial Boy” which offers a traditional Irish ballad, which tells the tale of an Irish convict and rebel. Red enters spoiling for a fight, which Sean declines, saved by the arrival of Father Lonergan who orders Red to shake Sean’s hand. A test of grip strength unfolds with Sean winning as Red storms out. At 1:08 we segue into “River Cottage” where we see Sean and Michaleen walking along the brook supported by “The Wild Colonial Boy” melody emoted as a pastorale with fluttering woodwinds trilling descents. The music for next two scenes is not found on the album. In “Chimney Smoke” Young sow unease as Michaleen departs and Sean sees smoke coming out from the chimney walks as he walks across a bridge to his land. As he enters, he sees the hearth fire and leaves broomed into a pile, which Young supports with a dissonant misterioso. We see a hidden Mary Kate watching, and when he throws a rock she is startled, screams, and flees past him only to be grabbed, embraced, and then kissed by Sean. She is outraged, but Sean is thankful, and complimentary, which disarms her. As she departs, she kisses him goodbye and we see he is in love. Young supports the scene with a soft and tender rendering of the Love Theme. “Fixing the Cottage” reveals Sean making repairs to the cottage as Reverend Playfair and his wife bicycle onto the property. They bring him a primrose gift to welcome him to the community. Young creates a gentle pastorale to support the moment. When a massive bed arrives, Mary Kate runs away carried by strings of flight, coming upon a very dapper Michaleen. He is drunk and a playful, but plodding Irish ditty supports the comic moment. He baits her with word from the matchmaker that Sean desires a match. She invites him in for a drink, yet when she learns he is indifferent to a dowry, desiring her regardless, she becomes offended, equating her dowry with her self-esteem. She sits down and sings the Irish love ballad “Young May Moon” and as she plays a spinet, she informs him that she consents to the match.

In “Sean Pays a Visit”, we see him and Michaleen strolling up to her house carried by soft rhythms of the Kerry Dance Theme. The Love Theme joins as she sees him through the window bearing a bouquet. He comes to ask her brother, the head of the family, for permission to marry Mary Kate, but he will have none of it and threatens to set the hounds on him on the count of three, to which Sean replies, if you do you will never hear the man count ten. Dire strings rise up as Sean departs and Red stews in anger. As she comes to him, a hopeful rendering of the Love Theme returns, yet it is dashed upon the rocks when she learns that her brother refuses consent, crying as she runs up the stairs. Sean is confused, but Michaleen informs him in Irish culture that without Red’s consent as head of the family, she cannot marry. The Love Theme emotes with heart break as Sean tosses the bouquet away, Mary Kate weeps as she watches him go from her bedroom widow, and Red gloats from the kitchen door.

Music for “The Plot” is not on the album. Sean rides the countryside full of anger and comes across Mary Kate. His greeting is formal and full of bitterness and he rides off supported by an aggrieved rendering of the Love Theme. Narration informs us of a conspiracy by Father Lonergan, Michaleen, the Reverend Mr. and Mrs. Playfair that they would spring on Red Danaher on the day of the great race. Men with bagpipes play the Irish Street ballad “Wearin’ The Green” as the townsfolk arrive for the race. A call is made for all ladies to place their bonnets at the finishing line, to which Mary Kate refuses. As the riders are asked to go to the starting line. Michaleen then springs the trap on Red saying that the reason the widow Tillane does not pay him heed is because another woman lives in his household. Red takes the bait and storms off. After being shamed, Mary Kate finally agrees to place her bonnet on a pole at the finish line. In “The Race” we are treated to an amazing tour de force. A bugle call signals the start of the race and Young propels it with strings furioso, buoyant horns, joined with a spirited rendering of the Irish gig “The Irish Washerwoman”. Sean wins, yet takes the widow Tillane’s bonnet as we see Mary Kate gasp with devastation. As Sean accepts the trophy from Mrs. Tillane, he kisses her as bagpipes play the Kerry Dance Theme in celebration. In the aftermath of defeat, Red takes Michaleen’s bait and offers £350 as a dowry for Mary Kate to marry Sean.

In “The Courting” Red announces to the townsfolk that he grants Sean permission to court Mary Kate. They depart seated apart in a carriage chaperoned by Michaleen as the townsfolk cheer. A gentile rendering of the Kerry Dance Theme supports their ride through the verdant Irish countryside. At 1:52 strummed harp and xylophone supports their dismount and carries the melody as they walk together along the river. At 2:21 lush string romantico support her revelation that she has a temper he best now know, as Danaher’s are fighters. At 2:58 we segue into “Bicycle Made For Two” atop spirited strings of flight, which carry their run to a bicycle for two. A happy rendering of the Kerry Dance Theme propels their escape. We end comically as an exhausted Michaleen pauses in front of Cohan’s pub and gives up the chase for a pint. In the film the music continues with the Kerry dance abounding with joie de vie, which carries their ride through the countryside.

In “Love Scene we are offered a wonderful score highlight with some of the score’s most romantic writing, which achieves a perfect cinematic confluence. They stop, dismount, and Mary Kate runs to a stream, pursued by Sean, with the Kerry Dance Theme shifted to a woodwind pastorale. She takes off her leggings and shoes and at 0:45 runs barefoot across the stream carried by trilling woodwinds and harp adornment. As she runs off, Sean decides to join, running across the stream in pursuit carried by a happy go lucky Kerry Dance Theme. When she sees him coming, playful strings energico carry her flight. As he at last joins her, she leads him to a cemetery where she forestalls his kiss and relates to him all the customs and extended timeline required for courting, to which Sean keeps saying no. He embraces her and as she turns to him, she says that she feels the same way. A rapturous bridge by strings of love supports the tender moment and usher in at 2:27 an extended molto romantico rendering of the Love Theme to support their intimacy, sustaining its warmth as a thundering rainstorm descends. To keep her warm, he takes off his coat and drapes her and she at last fully yields to him, entering his welcoming arms as they embrace fully in love.

The music for “The Wedding” is not on the album. It reveals our lovers at last married with a happy reception by the townsfolk. Father Lonergan is playing the spinet and leads the room in singing “The Humour is On Me Now”, a traditional Irish wedding song that emotes with a free-flowing dance-like gentility, with a wee bit of irony. As they toast to the bride and groom Young uses the melody of the traditional Irish air “Believe Me, If All Those Endearing Charms” (1808) by Irish poet Thomas Moore played on the spinet. Red then records his transfer of the dowry; £350 gold, and a cartful of furnishings, linen and pewter. Red then declares he has an announcement that he is to be wed to Sarah Tillane. She is outraged, smashes her glass and leaves in a huff. Red is now outraged that he was deceived by a priest and his friends. He sweeps the gold coins on the floor and says you will never get it. As Mary Kate begins picking it up, Sean says let’s leave, to which she refuses, saying the money was hers from her mother. Sean knocks the coins from her hands, stands and receives a devastating sucker punch from Red which sends into a boxing flashback “Trooper Thorn”. Dire horns resound with strings of pain and a fight bell ring where he recalls a fight where his forceful punch killed a man. Young supports with writhing strings affanato, which offer a lamentation and speak to his devastation from what he had done.

“Aftermath” (not on the album), reveals Sean waking up to an eerie violin tremolo, full of anger. He grabs Mary Kate’s bouquet and says, let’s go home. As they sit by the hearth fire Young supports with a harp rendering of “I’ll Take You Home Again Kathleen” the tradition Irish love ballad and ultimate paean of romantic love. When she bears to him how much she wanted her pewter, china, spinet and furniture he admits he did not know they meant so much to her, and then dismisses her attachment to them. She leaves him to go outside, and when he joins, she informs him that until such time that he retrieves her dowry she will be a wife in name only. She wants what her mother left for her and demands he get it. She returns to the cottage, and locks the bedroom door. He kicks it in, takes her into his arms and says there will be no locked doors between her and kisses her supported by the Love Theme. He then picks her up, tosses her on the bed and leaves. In “Happy Morning” Michaleen and the men of the village bring a cart loaded with her prized possessions singing the song “Wild Colonial Boy” supported by a diegetic accordion. She is elated and thankful yet still frets that Red refuses to release the £350 gold of her dowry. “The Isle of Innisfree” reveals Mary Kate at her spinet singing the song as we see the cottage decorated with her prized possessions so dear to her. On album the whole song is presented, however in the film it ends after the first stanza, A tender orchestral rendering of the melody carries her outside to Sean who is planting roses. When she complains that he is not a farmer as he has not planted a turnips, cabbage or potatoes – he adds, or children, which takes the wind out of her sails. Young supports the scene with a romance for strings, which joins with the Love Theme. She asks for them to go shopping in town to which he agrees, supported by the Kerry Dance Theme by strings felice. As she turns, he slaps her butt and spritely woodwinds carry her run to the house.

In “Trip to Town” the happiness of the Kerry Dance Theme supports her as she puts on her jacket. A horn toot brings her outside where she is surprised to see Sean in a one-horse open carriage. He asks if she can drive it, and she runs to him and says hold on! They depart carried by a thankful rendering of the Love Theme. As we see them traveling the country roads the music shifts to a happy rendering of the Kerry Dance Theme. As they enter town, they see that Red has sold his sheep herd and is in the money. She demands that Sean go get her Dowry money and he refuses saying he did not marry her for her money. When she accuses him of being a coward, he rebukes her by saying all she cares about as money. She grabs the horse whip and leaves carried by surging strings irato. Horns of menace and an angry rendering of the “Rakes of Mallow Theme” carry Sean’s walk among the hills to sort out his feelings. The Kerry Dance Theme supports Mary Kate’s carriage drive home. She stops when she sees Father Lonergan fishing and relates to him that she has been forcing Sean to sleep in a sleeping bag until she gets her dowry. He is furious at the news and castigates her. We switch back to Sean who is still stewing in the hills fueled by an angry Rakes of Mallow Theme.

“Galway Bay” reveals Michaleen and Owen at the pub as the men sing the nostalgic Irish folk song. Sean enters and confronts Red, demanding to fight him for Mary Kate’s Dowry. Red relishes the chance to again knock him down and accepts. Sean departs the pub and seeks out Reverend Playfair as he is conflicted between his vow to never fight again, and Mary Kate’s desire for her Dowry. “Cottage Fireside” offers a romantic score highlight. It reveals Sean returning home to Mary Kate who stands by the hearth. Young sets the mood with an exquisite romance for violin. He sits down and reveals that he had been talking with Vicar Playfair. She sits on the chair arm and says that she also sought out the counsel of Father Lonergan. The Love Theme enters as he caresses her and places her arm around his neck. They embrace tenderly in love, achieving a beautiful cinematic confluence with Young’s music. The next day in “Mary Kate’s Departure” reveals Sean exiting the bedroom full of happiness, having regained sleeping with Mary Kate. She has gone missing, and when he opens the door, he finds Michaleen who informs him that she has left him and taken the train to Dublin, saying she cannot live with a man she is ashamed of. Sean is wounded and asks Michaleen to prepare his carriage. He refuses and starts humming the Rake of Mallows Theme, which is taken up by the orchestra in a scene change of Mary Kate preparing to board the train. She boards and Sean rides in and begins slamming shut all the open train doors as he searches for her, supported by an angry woodwind ostinato. She sees him and cowers in her seat.

In “Prelude to The Big Fight” we have another score highlight that showcases an exceptional extended rendering of the Rake of Mallows Theme. Sean finds her, forcibly grabs her, and pulls her out of the car. With a look of steely resolve, he forcibly walks her out of the train station propelled by a determined bassoon and strings animato driven Rake of Mallows Theme as shocked bystanders look on. As they pass the Vicar and Bishop followed by a retinue of townsfolk the theme shifts to a more comic expression. The theme is relentless as she is at times dragged the five miles into town with the townsfolk in hot pursuit. At 1:31 note rich strings move to the forefront and the crowd from the town converge and join the crowd from the train station as a visibly exhausted Mary Kate is dragged into town. As they approach Red the music subsides on a diminuendo, and ceases as Sean demands the £350 gold of her dowry. Red refuses and Sean shoves Mary Kate back to Red declaring by his customs, no dowry, no marriage. Red relents, and throws paper money at his feet, to which Sean picks up and throws it in a stove in contempt. Red takes a swing at him, misses and receives a crushing punch to the gut, which topples him. Mary Kate smiles, and as she departs, she says she will have supper waiting for him when he gets home. A playful rendering of the Rake of Mallows Theme by spritely woodwinds carries her departure.

In “The Fight” we have a tour de force score highlight, with may be Young’s finest in his canon. Regretfully only half of the music for the scene made it to the album. As Sean smiles and watches Mary Kate’s departure, Red gets up and again blind-sides him with a punch. Sean returns the favor and the fight begins with Young propelling it with an amazing note rich, Irish infused presto paced gig driven by strings spiritoso. Well bets are placed and at 0:53 the melody is taken up by woodwinds as each side also starts fighting in a free for all! Michaleen fires his pistol and asserts the Marquess of Queensberry rules, which forbid non-combatants from joining in the fight. Fighting by Red and Sean begins anew empowered by an astounding string propelled accelerando as the fight moves to the riverbank. Sean’s punch knocks Red into the river, and he gets up and asks if Sean has had enough? To which Sean responds no. He helps him up from the river, is punched by Red and the fight resumes. We change scene as Father reads the last rights to Mr. Torbin supported by solemn liturgical music (not on the album). Well, the old man hears the fight, he puts his pants on and runs out to have a look! The presiding priest runs to fetch Father Lonergan who is fishing. When he hears that Sean and Red are fighting, he runs to town carried by Young’s fast-paced Irish gig. After knocking Red down again Sean says you’re a good fighting man. Red retorts it has been a pleasure beating you and again sucker punches Sean in the gut. They agree to suspend the fight for a drink and the two men enter the pub. They extend compliments, but things go south when Red tosses his beer in Sean’s face, after each refuse to let the other buy the round. Well, Sean has had enough and pummels Red with a crushing punch with sends him crashing through the door to the street and wins the fight.

Music for the following two scenes is not on the album. “Playfair Wins” reveals her returning home and apologizing for losing £3, only to see the Bishop give him his £15 winning! Young supports the scene with comedic woodwinds. The music for this scene is not on the album. “Best Friends” reveals Sean and Red, both drunk, staggering home arm in arm together, now the best of friends. They sing the “Wild Colonial Boy” song as they make their way. Mary Kate is bemused as she sees them come home together. Red and her are now reconciled and forever welcome in her house.

We end on a fine score highlight the next day in “Finale and End Title”, which reveals Father Lonergan exhorting the townsfolk to applaud the Reverend Playfair as though they were all ‘loyal Protestants’ so the Bishop may see he is loved, and allow him to keep his ministry in the town. Young supports the moment with a festive Irish tune abounding with happiness and good will. As they drive by, they all yell Hip! Hip! Hooray! Much to the delight of the reverend and Bishop. We shift to a carriage carrying Red and the widow Tillane together in their finest courting clothes, with Red bearing a bouquet. A sentimental Kerry Dance Theme supports the moment, and shifts to a festive Rake of Mallow Theme as the drive through the cheering crowd. We feel joy and good cheer as the theme supports a montage of each of the townsfolk one last time, all smiling. We close with the unbridled happiness of the Rake of Mallow Theme as we see Sean and Mary Kate run hand in hand in love to their beloved cottage. The film ends with the Irish folk song “Pulse of an Irishman” bestowing us with everlasting Irish warmth and hospitality. The cue “I’ll Take You Home Again Kathleen” offers splendid orchestral rendering of the classic Irish song, which was not used in the film.

I would like to commend Philip Lane and Silva Screen Records for this wonderful rerecording of Victor Young’s masterpiece, “The Quiet Man”. The performance of the Dublin Screen Orchestra under the baton of Kenneth Alwyn was outstanding, and the audio quality if the recording, excellent. Victor Young was tasked by an exacting director John Ford to infuse his soundscape with traditional Irish folk songs and hymns to provide cultural familiarity and authenticity. Well, I believe Young succeeded on all counts, composing as though Irish blood ran in his veins. Indeed, the joining of his own unique compositions and that of the Irish ballads was seamless, a testament to his compositional skills. His interpolation of “The Isle of Innisfree”, “Kerry Dance” and “Rakes of Mallow” song melodies for his three primary themes was masterfully conceived and executed, transporting us to Ireland as much as Winton Hoch’s cinematography. The use of traditional Irish songs firmly grounded the film’s narrative and I believe Young’s music succeeded in every way in enhancing Ford’s story-telling, allowing him to realize his vision. Folks, I consider this score to be one of Victor Young’s finest efforts, and a classic of the Golden Age. I highly recommend you purchase this album as an essential score for your collection.

For those of you unfamiliar with the score, I have embedded a YouTube link to a wonderful suite: https://www. youtube. com/watch?v=A8_axOSp3uQ

Buy the Quiet Man soundtrack from the Movie Music UK Store

Track Listing:

  • Main Title & Castletown Opening (2:00)
  • This Way!/Journey to Innisfree & Humble Cottage (2:25)
  • Sean Sees Mary Kate For the First Time (Sheep Grazing)/Arrival In Innisfree (2:33)
  • The Wild Colonial Boy/River Cottage (2:22)
  • The Race (3:11)
  • The Courting/Bicycle Made for Two (Village Street) (3:43)
  • Love Scene (The Stream/The Graveyard) (4:21)
  • Trooper Thorn (The Fight Bell) (1:19)
  • The Isle of Innisfree (3:20)
  • I’ll Take You Home Again Kathleen (3:45)
  • Cottage Fireside (2:39)
  • Galway Bay (2:24)
  • Prelude to The Big Fight (2:51)
  • The Fight (2:26)
  • Finale and End Title (2:06)
  • The Isle of Innisfree (4:08)

Running Time: 45 minutes 33 seconds

Scannan Film Classics SFC-1501 (1952/1995)
Silva Screen SSD-1118 (1952/2000)

Music composed by Victor Young. Conducted by Kenneth Alwyn. Performed by the Dublin Screen Orchestra. Original orchestrations by Victor Young and Leo Shuken. Recorded and mixed by Vinnie Kilcullen. Score produced by Victor Young. Album produced by Philip Lane.

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