Springfield, Illinois. Brandon, a surveyor, dreams of building a railway to the west, but Marsh, a contractor, is sceptical. Abraham Lincoln looks on as their children, Davy Brandon and ... See full summary »
Charles Edward Bull
Shiftless Jeeter Lester and his family of hillbilly stereotypes live in a rural backwater where their ancestors were once wealthy planters. Their slapstick existence is threatened by a ... See full summary »
Dublin, 1920. Gypo Nolan, strong but none too bright, has been ousted from the rebel organization and is starving. When he finds that his equally destitute sweetheart Katie has been reduced to prostitution, he succumbs to temptation and betrays his former comrade Frankie to the British authorities for a 20 pound reward. In the course of one gloomy, foggy night, guilt and retribution inexorably close in... Written by
Rod Crawford <email@example.com>
"Academy Award Theater" broadcast a 30 minute radio adaptation of the movie on May 25, 1946 with Victor McLaglen reprising his film role. See more »
Frankie McPhillip tells his mother he travelled to her house via O'Connell Street. In 1922, the year the movie is set, O'Connell Street was still offically called Sackville Street, but the Irish Home Rule Party had unsuccessfully attempted to change it to "O'Connell Street" prior to this and this name was commonly used by nationalist Dubliners. See more »
[realizing Gypo's stuck him with the bill as an angry bouncer glowers at him]
Oh dear, oh dear. I have a queer feelin' there's going to be a strange face in heaven in the mornin'.
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Opening credits prologue: 1920 "Then Judas repented himself-and cast down the thirty pieces of silver - and departed." See more »
Important work of Irish patriotism from Ford still potent...
Victor McLaglen, the title character of John Ford's THE INFORMER, reminded me of the circus man from Fellini's LA STRADA. Anthony Quinn played the brutish man, who may have even been influenced by the pug-faced, Oscar-winning performance given by McLaglen. Poverty-stricken Dublin is the true-life, atmospheric setting of the picture, which takes place in 1922. Dense fog and a long damp night are the main elements of a story about deep Irish patriotism and the fight of the Irish Republican Army. The conflict of individuality and the cause is what makes THE INFORMER tick. McLaglen's large, simple character just wants to go to America and we're reminded by signs of the price for a ticket frequently. Two different signs become the psychological centerpiece for the drunken Irishman. One is the previous, the other a WANTED sign. Should he do it and get the money to go?
John Ford once famously said, "My name is Ford. I make Westerns." After seeing this film, he obviously could do a heck of a lot more. The serious social issues dealt with here are heartfelt and ones you will find yourself thinking about. And the look of the piece is amazing, consisting of long dark shadows cutting into a miserable Ireland night. Ford was always known for his luminescent, gorgeous cinematography that helped to foresee the conflicts within his characters. This is hard in color, but he did it in pictures like THE SEARCHERS, painting John Wayne in a sometimes vicious manner. Victor McLaglen's performance not only benefits from the lighting, but by the sheer simplicity of his acting. He shoves a lot. He knocks people out. He is a brute who knows no better. He should, however, know whether or not to cross the IRA.
See the film to find out the gritty details. See it also for McLaglen and Ford's patriotic portrayal of the IRA. Max Steiner's score is innovative in how it matches gestures of the characters, placing more emphasis on them. This was usually only seen in silent films, especially Chaplin. The topic of naming names or "informing" is obviously still important. Just look at how the media covered this year's Oscars, giving much attention to the Elia Kazan scandal.
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