The concept of discovering films that exemplify or demonstrate the Gorean philosophy has much going for it. They're a great way to start off a discussion, especially with those unfamiliar with John Norman's books. Issues of male and female roles, relationships between men and women, relationships between men and men; concepts like honor and integrity, Home Stones, Codes and caste; and the historical influences and foundations of Gorean culture are more easily broached when presented through the abstract and remove of film.

The reason for this is simple, but most people are unaware of the process. Film, like literature, relies on a psychological idea called "suspension of disbelief". As we enter into a story we mentally accept it's underlying premises. Animals are allowed to talk, magic works, inanimate objects are sentient, future technology is taken for granted. We are mentally transported "to a galaxy far, far away", to the distant past, to "once upon a time", or into a fantasy world where the logic and rules of our own existence are suspended.

Films primarily about warfare, slavery, bdsm or whose primary focus is on bevies of scantily clad females are NOT what we're looking for. For a film to be considered and reviewed, it must tie in somehow to ideas relevant to modern Gorean lifestylers. They are meant to be excellent jumping off points for serious discussion; they might be used as part of training a girl; and they're all meant to be rousing good entertainment. Both current films and those readily available through video and DVD, and occasionally a film frequently shown on late night television, may make an appearance. Comedies, dramas, mysteries, science fictions, westerns, historical costume epics - even musicals - are all fair game.

Your suggestions on films are very welcome, as well as your contributions of reviews themselves. Suggestions on films to be reviewed can be sent to Arthur       gorean_voice@hotmail.com

The following link to the archives, , will have a list of films reviewed and many suggestions from members of the on-line Gorean community.

If you don't like the choices of films reviewed here, send in a suggestion or review yourself.     gorean_voice@hotmail.com

Like Leonard Maltin, Roger Ebert, and your local newspaper, the opinions of the writer are strictly subjective. Enjoy!

The Quiet Man    (1952, Not Rated, directed by John Ford)

4 bosk heads out of five.     

This was one of the first Hollywood films made on location, most of it in an actual Irish village. The Technicolor process, then new and expensive, gives vibrant color to the Irish countryside, though it's a bit lush when compared to modern film making. The soundtrack makes effective use of Irish melodies, and most of the extras and minor roles are locals that were recruited on the spot. John Ford turned this into a labor of love, and family members of Ford, the actors and crew are used prominently throughout. Ford got his fourth Oscar for Best Director, and many reviewers find John Wayne's acting to be the best performance of his career. The on-screen chemistry between Wayne and Maureen O'Hara is phenomenal.

The story is simple. Sean Thornton (Wayne) is a son of the old sod that emigrated to America years ago; and has now returned, having made his fortune. He wants to buy the house and farm where he was born, and is soon taken with a striking red-haired local lass, Mary Kate (O'Hara).

Mary Kate is on the verge of spinsterhood, keeps house for her unmarried brother, and is not only beautiful but has a generous dowry. She's also a firebrand with an Irish temper, and rules over her brother's house, her brother and the hired hands with a tongue sharp enough to cut firewood.

The match is opposed by Mary Kate's brother, Red Will Danaher (McLaglen); and supported by the local town drunk and matchmaker, Michaleen Flynn (Fitzgerald). A side plot concerning the local Catholic and Episcopal priests, and an upcoming visit from the Episcopal bishop, adds an extra comedic touch - not that it's needed. The antics of Flynn and the sparks between Sean and Mary Kate are hilarious, with the two forceful personalities a potential powder keg.

Sean Thornton has a dark past back in America, and while it made his fortune it prevents him from being the man Mary Kate is looking for in a husband. Resolving this problem is the focus of the second half of the film, with one scene that has even been parodied in Spielberg's ET. The Hollywood ratings board had a fit over another - Flynn surveys the Thornton's broken marriage bed, on the morning after the wedding, and solemnly intones "impetuous youth!"

The tension between Thornton and Danaher, over the marriage and dowry of Mary Kate, finally erupts. Locals are making bets, the drinks are on the house, the clergy turn their collars backwards so they can be in on the fun, and a helpful local housewife adds "here's a stick to beat the nice lady with." Wayne takes the stick, and that's real sheep dung Maureen O'Hara is being dragged through. Trust me, it's funny, you just have to see it to believe it. The film climaxes in one of the longest, most famous, and hilarious fight scenes in movie history.

The Quiet Man
(NR - 1952, available on video and DVD, Artisan Entertainment)
directed by John Ford
starring John Wayne, Maureen O'Hara, Victor McLaglen and Barry Fitzgerald.