IMDb > Ryan's Daughter (1970)
Ryan's Daughter
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Ryan's Daughter (1970) More at IMDbPro »

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Ryan's Daughter -- Trailer two
Ryan's Daughter -- Trailer one

Overview

User Rating:
7.5/10   5,263 votes »
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Director:
Writer:
Robert Bolt (original screenplay)
Contact:
View company contact information for Ryan's Daughter on IMDbPro.
Release Date:
17 December 1970 (West Germany) See more »
Genre:
Tagline:
A story of love...set against the violence of rebellion See more »
Plot:
Set in the wake of the 1916 Easter Rising, a married woman in a small Irish village has an affair with a troubled British officer. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Won 2 Oscars. Another 9 wins & 19 nominations See more »
User Reviews:
Nothing short of a masterpiece. See more (95 total) »

Cast

  (in credits order) (verified as complete)

Robert Mitchum ... Charles Shaughnessy

Trevor Howard ... Father Collins
Christopher Jones ... Randolph Doryan

John Mills ... Michael

Leo McKern ... Thomas Ryan

Sarah Miles ... Rosy Ryan

Barry Foster ... Tim O'Leary
Marie Kean ... Mrs. McCardle
Arthur O'Sullivan ... Mr. McCardle
Evin Crowley ... Maureen
Douglas Sheldon ... Driver
Gerald Sim ... Captain
Barry Jackson ... Corporal
Des Keogh ... Lanky private

Niall Toibin ... O'Keefe
Philip O'Flynn ... Paddy
Donal Neligan ... Maureen's boyfriend
Brian O'Higgins ... Const. O'Connor
Niall O'Brien ... Bernard
Owen Sullivan ... Joseph
rest of cast listed alphabetically:
Emmet Bergin ... Sean (uncredited)
May Cluskey ... Storekeeper (uncredited)
Annie D'Alton ... Old woman (uncredited)
Pat Layde ... Policeman (uncredited)
Ed O'Callaghan ... Bernard (uncredited)
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Directed by
David Lean 
 
Writing credits
Robert Bolt (original screenplay)

Produced by
Anthony Havelock-Allan .... producer
Roy Stevens .... associate producer
 
Original Music by
Maurice Jarre 
 
Cinematography by
Freddie Young 
 
Film Editing by
Norman Savage 
 
Production Design by
Stephen B. Grimes  (as Stephen Grimes)
 
Art Direction by
Roy Walker 
 
Set Decoration by
Josie MacAvin 
 
Costume Design by
Jocelyn Rickards 
 
Makeup Department
Charles E. Parker .... makeup artist (as Charles Parker)
A.G. Scott .... hair stylist
Eric Allwright .... makeup artist (uncredited)
 
Production Management
Douglas Twiddy .... production manager
 
Second Unit Director or Assistant Director
Charles Frend .... second unit director
Roy Stevens .... second unit director: storm
Michael Stevenson .... assistant director
Pedro Vidal .... assistant director
Jonathan Burrows .... third assistant director (uncredited)
David Tringham .... assistant director (uncredited)
 
Art Department
Peter Dukelow .... constructor
Eddie Fowlie .... property master
Derek Irvine .... assistant art director
Brian Doyle .... plasterer (uncredited)
Mickey O'Toole .... stand-by props (uncredited)
 
Sound Department
John Bramall .... sound recordist
Ernie Grimsdale .... sound editor
Gordon K. McCallum .... sound mixer
Winston Ryder .... sound editor
John Hayward .... sound re-recording mixer (uncredited)
Michael Hickey .... sound (uncredited)
 
Special Effects by
Robert MacDonald .... special effects
 
Stunts
Vic Armstrong .... stunts (uncredited)
Jack Cooper .... stunts (uncredited)
 
Camera and Electrical Department
Denys N. Coop .... camera operator: second unit (as Denys Coop)
Ernest Day .... camera operator
Robert Huke .... camera operator: second unit (as Bob Huke)
Bernie Prentice .... chief electrician
Roy Rodhouse .... chief electrician
Doug Byers .... electrician (uncredited)
Jim Dawes .... grip (uncredited)
Chris Holden .... focus puller (uncredited)
Robert Willoughby .... special still photographer (uncredited)
 
Editorial Department
Tony Lawson .... assistant editor
 
Music Department
Maurice Jarre .... conductor
Eric Tomlinson .... music recordist
 
Other crew
Phyllis Crocker .... continuity
Eddie Fowlie .... location manager
William O'Kelly .... production liaison
Ron Bareham .... assistant accountant (uncredited)
Al Burgess .... location manager (uncredited)
Julian Holloway .... voice dubbing: Christopher Jones (uncredited)
John Trehy .... production accountant (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
MPAA:
Rated R for a sex scene (re-rating) (1996)
Runtime:
195 min (general release version) | 206 min (roadshow/DVD version)
Country:
Language:
Color:
Color (Metrocolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
70 mm 6-Track (70 mm prints) | Mono (35 mm optical prints) | 4-Track Stereo (35 mm magnetic prints)
Certification:
Argentina:16 | Australia:PG | Australia:M (TV rating) | Finland:K-16 | Iceland:16 | Netherlands:14 (orginal rating) | New Zealand:M (special edition) | Peru:14 | Portugal:M/12 | Singapore:M18 | Sweden:11 | UK:AA (original rating) | UK:15 (video rating) | USA:GP (original rating) | USA:R (re-rating) (1996) | West Germany:16 (f)

Did You Know?

Trivia:
The role of Major Doryan was written for Marlon Brando. Brando accepted, but problems with the production of Burn! (1969) forced him to drop out.See more »
Goofs:
Anachronisms: Father Collins wears a traditional black garment with white "dog collar" but apparently in the period this film was set, the law forbad a catholic priest to dress this way.See more »
Quotes:
[first lines]
Rosy Ryan:Give it over, Michael. Thanks.
See more »
Movie Connections:
Edited into Elizabeth: The Golden Age (2007)See more »
Soundtrack:
Rose TreeSee more »

FAQ

This FAQ is empty. Add the first question.
41 out of 56 people found the following review useful.
Nothing short of a masterpiece., 2 September 2003
Author: Spleen from Canberra, Australia

So who's right? Is it a dull, lumbering vehicle with beautiful photography and little else, or is it nothing short of a masterpiece?

Nothing short of a masterpiece.

So what explains the critical shellacking it got back in the 1970s, and the lazy kicks in the ribs it continues to get today? I have only a weak suggestion, scarcely an explanation at all:

It was the zeitgeist. The early 1970s - although the trend really began in the late 1960s - saw the rise of a dreary, kitchen-sink style of film-making which is easiest to recognise by its dingy cinematography (although that's not all here is to it); it was the style in which the young lions of 1970s American cinema (Francis Ford Coppola, Martin Scorsese, Steven Spielberg, and if "THX-1138" is the kind of film people say it is, George Lucas) made their name. It's true that time has not been kind to this style, and that the greatest films of the 1970s (like this one) owe nothing to it, but to be fair, it IS possible to make good films in this style, and a few such were made. The greatest asset of standard 1970s film-making is, as it happens, one also possessed by Lean: the ability to be in deadly earnest, to banish any hint of irony or sarcasm when it's not wanted. But this doesn't change the fact that "Ryan's Daughter" is not only different from what was modish around the time it was made; it ADVERTISES this difference. It might very well have the most beautiful cinematography of any film shot anywhere at any time. What's more, gorgeous photography is part of the essence of the film, not something that one can grime down in one's imagination to reveal a distinctively '70s film, in which the composition of shots doesn't matter, there's no atmosphere to speak of and everybody mumbles half-formed thoughts in ungrammatical sentences. This film, simply and unmistakably, doesn't belong in the era in which it was made.

At any rate the stated reasons for condemning he film don't sound at all convincing. Pauline Kael made a big deal of the fact that she couldn't accept Robert Mitchum as a mild-tempered cuckolded husband, which leads me to conclude that (a) she'd just seen "Cape Fear" the previous night, and (b) her brain was tired that week. In a way I can appreciate her difficulty, since when I saw the film, I wasn't aware that it WAS Robert Mitchum until I saw the end credits, so entirely convincing is he (and everyone else, for that matter). Another thing I've seen written a couple of times is that the film is "over-produced", a charge it's hard to make sense of. So Lean made a better film than, strictly speaking, he had to, in order to be faithful to the script? And this is meant to be a CRITICISM?

The only complaint that has justice on its side is the one directed at Maurice Jarre's score, too relentlessly jaunty at ill-chosen moments, particularly in the early arts of the film, without enough meat on the bones of the tunes to justify the fact that the music is really doing little to help. But even here, criticism is exaggerated. A majority of films released since, say, 1990, and this includes a majority of GOOD films, have musical scores that contribute even less, and are even more ill-judged; with "Ryan's Daughter" far more than with those films, complaining about the music seems petty.

Nothing so beautiful as "Ryan's Daughter" could possibly be other than good; the story is a fine one, simple in shape yet morally complex, and it's honestly told, with each point of view made vivid. The three hours are there to be relished. Lean uses the length of his film to make you wish it were longer still.

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