Library

Languages: English

Sound: Dolby Digital 2.0 Mono

Summary: Blarney and bliss, mixed in equal proportions. John Wayne plays an American boxer who returns to the Emerald Isle, his native land. What he finds there is a fiery prospective spouse (Maureen O'Hara) and a country greener than any Ireland seen before or since--it's no surprise "The Quiet Man" won an Oscar for cinematography. It also won an Oscar for John Ford's direction, his fourth such award. The film was a deeply personal project for Ford (whose birth name was Sean Aloysius O'Fearna), and he lavished all of his affection for the Irish landscape and Irish people on this film. He also stages perhaps the greatest donnybrook in the history of movies, an epic fistfight between Wayne and the truculent Victor McLaglen--that's Ford's brother, Francis, as the elderly man on his deathbed who miraculously revives when he hears word of the dustup. Barry Fitzgerald, the original Irish elf, gets the movie's biggest laugh when he walks into the newlyweds' bedroom the morning after their wedding, and spots a broken bed. The look on his face says everything. "The Quiet Man" isn't the real Ireland, but as a delicious never-never land of Ford's imagination, it will do very nicely. "--Robert Horton"

Languages: English

Subtitles: English, Spanish

Sound: Dolby Digital 2.0 Surround

Summary: With bedroom eyes and the mischievous smirk of an insatiable roué, Geoffrey Rush is a perfect choice to play the Marquis de Sade in "Quills", directed by Philip Kaufman and adapted by Doug Wright from his own stage play. Imprisoned in France's Charenton asylum at the turn of the 18th century, de Sade is a stately court jester in disheveled finery, and Rush imbues the role with the fierce urgency of a writer whose sexual fantasies are his sole remaining defense against repression and hypocrisy. Deprived of quill and ink, he writes with wine, then blood, then his own feces--a descent into madness or an impassioned refusal to be silenced? "Quills" embraces freedom of expression ("such beauty, such abomination," as one character notes) while affirming that all freedoms have a price.
De Sade smuggles manuscripts out of Charenton with help from Madeleine (Kate Winslet), a virginal laundress who relishes de Sade's scandalous prose--a divine irony since she was taught to read by asylum abbé Coulmier (Joaquin Phoenix), whose desire for Madeleine is suppressed by Catholic propriety. The delicate dynamic of this trio is shattered by the arrival of Royer-Collard (Michael Caine, appearing somewhat comatose), a righteous hypocrite appointed to silence de Sade once and for all. It's all very engrossing as a piece of theater (which it still is, despite Kaufman's elegant filming), and although Wright's literate dialogue limits de Sade to zesty ripostes and sneering perversity, Rush's intensity ensures that the marquis's plight is no laughing matter. "Quills" has a point, makes it without condescension, and knows the difference between madness and passion. "--Jeff Shannon"