The Plough And The Stars 1936 (not restored) - Barbara Stanwyck, Preston Foster, Barry Fitzgerald, U


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The Plough And The Stars 1936 (not restored) - Barbara Stanwyck, Preston Foster, Barry Fitzgerald, U
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Description



Movies : Drama : DVD Rip : English


A husband clashes with his wife over his membership to the Irish citizen army.
Director: John Ford
Writers: Dudley Nichols (screenplay), Sean O'Casey (play)
Stars: Barbara Stanwyck, Preston Foster, Barry Fitzgerald | See full cast & crew »


8/10
Ford's "Plough & the Stars" ('36) -- a powerful period piece
jdeureka31 May 2010
If you like Ireland, Irish history & literature, the traditions of the Irish people & the ambiguous creation of the Irish nation -- what's not to like about this movie? Sure, now, it's more John Ford than Sean O'Casey. But what would you be expectin from John Ford at the height of his creative spirit -- four years before he filmed "Grapes of Wrath"? Almost everyone in this movie plays their part with pungent efficiency. It's old-fashioned acting of the best sort. As movie, this is much more cinema of ideas, of belief & revolution, of theater, of language & gesture & non-verbal communication -- than our contemporary cinema of special effects and technicolor sensations. This movie is political entertainment of a very fine order; with as much said by the words as by what is shown. But how many people alive now can relate to it with the potency it must of had back in the 1930s?
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7/10
Newsreels add to the realism
bkoganbing27 October 2005
Sean O'Casey, Ireland's greatest playwright, probably was lucky to have his work about the Irish rebellion made by John Ford. The former Sean O'Fearna had a brother in the IRA back in the day so he knew quite a bit about it.

I saw this year's ago and could kick myself for not getting a VHS copy of this when it was out. What I remember best was Ford's good use of newsreel footage edited into the story of the Clitheroe family and how the Easter Rebellion is affecting their lives in Dublin.

Preston Foster and Barbara Stanwyck make fine leads. Foster had just come off a good part in John Ford's more well known Irish work, The Informer. And Stanwyck was a good enough actress to cover up the somewhat phony brogue she adopted. That was not the only time she used the brogue. You can hear her as Molly Monahan in Cecil B. DeMille's Union Pacific which is readily available and broadcast often.

Sean O'Casey had a bigger world view than just Irish independence. Very much like that greatest of Irish patriots Daniel O'Connell. He wanted a just society to emerge as well. I think it has in the Republic. I think Mr. O'Casey would be at home in Dublin now. He might want to see the six counties reunited, but wouldn't want blood spilled to do it.

The other performance you will remember is Arthur Shields as Padriac Pearse. By the way Shields and brother Barry Fitzgerald were in real life Ulster Protestants.

Ford concentrated on the nationalist part of the struggle and while The Plough and the Stars might be a bit too much like a photographed stage play it's still good drama. More Ford than O'Casey though.
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a studio-wrecked travesty
Howard_B_Eale21 March 2010
THE PLOUGH AND THE STARS is one of the darker chapters in John Ford's sound film career. A "dream" project for the director, it instead became a debacle very early on in its tumultuous production history.

Among other things: RKO wouldn't import the full cast of the stage version, leading Ford to cast Preston Foster and Barbara Stanwyck in roles which arguably needed to go to Irish nationals more familiar with everything from the complex subject matter to the accents they would use. The producers misunderstood the story completely, and not only insisted on re-shooting sequences explaining the marriage of Stanwyck and Foster's characters (with a different director), but inserted newsreel footage and atrocious documentary-style narration. Contrary to another comment here, Ford had _nothing_ to do with the insertion of the archival footage... which is actually from the _wrong_ battle: it's from 1921, not the Easter Rebellion of 1916 described in the play/film.

Ford's generally deft handling of comic and dramatic elements collapses here into a confusing mess, in large part because Ford's depression over the project led him into an alcoholic bender during production.

Possibly Ford's worst sound film, which can be filed next to his other unfortunate duds such as THE WORLD MOVES ON and WHEN WILLIE COMES MARCHING HOME.
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6/10
Truncated Version of an O'Casey Classic
l_rawjalaurence14 July 2013
THE PLOUGH AND THE STARS, represents the director's anti-imperialist stance against the ruling British in Ireland. Although political in tone, both films have been filtered through the classical Hollywood consciousness; they refer as much to American conflicts (e.g. the Civil War) as Irish conflicts, with a protagonist struggling for freedom against the colonial power, as well as against pro-colonial forces within his own people. THE PLOUGH AND THE STARS stars Barbara Stanwyck; much of the action has been rewritten from a woman's film perspective, showing her struggling to survive in a world dominated by rebellion, in which her husband (Preston Foster) is committed to the cause of freedom - so much so, in fact, that he neglects her. But Ford is too clever to make any judgment; although sympathizing with Stanwyck's character, he makes it clear that her husband has to fight on so as to preserve his own integrity, as well as that of his own country. THE INFORMER and THE PLOUGH AND THE STARS are both packed with Abbey Theatre actors, including Barry Fitzgerald, Arthur Shields (who were both Protestant, by the way, rather than Catholic as portrayed in the film) and more; they provide local color, as well as vivid illustration of how ordinary people coped with the experience of rebellion. Sometimes we wonder whether they have been cast to show off their Oirishness - in other words, conform to Hollywood stereotypes of the Irish character (garrulous, full of songs and fond of drinking). This is especially true of Fitzgerald's Fluther Good, who seems to have little involvement in the film's main plot, yet nonetheless has the chance to show off his (non-existent) pugilistic abilities. Nonetheless the film still packs a punch, despite its short running-time.
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4/10
As we know, it takes rebellion to obtain freedom.
mark.waltz27 August 2015
Warning: Spoilers

Handsome looking but emotionally empty, this film version of Sean O'Casey's famous play is a cliff-notes version of its original source. The story of the Easter Rising of 1916 is dramatized, but much of the spirit is cut out of the script which reduces the play's four acts down to just under 70 minutes. A young married couple face tensions in both their marriage and in the future of their beloved homeland as rebel forces against the mother country put Ireland at odds with the monarchy. He's determined to obtain freedom, or die trying, and she'd rather he not even risk it. "It's a woman's nature to love just its a man's nature to fight, and nobody can help it more than the other", Barbara Stanwyck says as she comes to terms with husband Preston Foster's determination to fight for a free Ireland.

Something tells me, having not read the original play in its entirety, that Stanwyck's character wouldn't just stand by her man from the get-go, but fight with him as well. Stanwyck's character through most of the film seems to be on the side of just having her man home with her, and no real interest in the cause, which I can only guess is not true of the Irish women of this era. That was old Hollywood's way of keeping women in their place by not putting them out there at the front unless it was absolutely necessary to the plot.

As Barbara Stanwyck remains my favorite classic movie actress, I have been searching for this film for years, having seen pretty much everything else that has been available. Neither the old AMC nor TCM has seemed to have played this, so it is indeed a very rare film, and even collectors I've worked with over the years did not have this film. Like the same year's "A Message to Garcia", Stanwyck's casting seems odd, however, because her Brooklyn accent can't be disguised, and here, she slips in and out of her attempts at a very subtle Irish accent. She succeeded a few years later with a more consistent accent in "Union Pacific", but unfortunately, here, her participation is an obvious mistake. (I must mention, however, that attempting to do a Spanish accent in "A Message to Garcia" was even stranger...)

Preston Foster does much better as the hero, with excellent support by the perfectly cast Barry Fitzgerald and Una O'Connor. Fortunately, O'Connor screeches less here than in other movies, and when she does, it is for the cause, not because of the usual fear or determination to hold onto one of her adult offspring. Veteran character actresses Doris Lloyd and Mary Gordon have great bits at a scene where Stanwyck does finally take some sort of stand. Having seen a stage version of O'Casey's "Juno and the Paycock", I can just imagine that this would be far more passionate in its original stage version than in this stream-lined movie which was made to fit double bills. The subject matter, especially coming from a country that had fought for its own freedom only 150 years before, seems more worthy of being dramatized than the treatment it got here.
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8/10
Better than expected, poetic and visually striking
brendangcarroll18 July 2017
Made as a follow up to the hugely successful THE INFORMER, John Ford's much maligned screen version of THE PLOUGH AND THE STARS has long been regarded as one of his worst films.

I finally saw this film tonight, thanks to the wonderful Talking Pictures TV Channnel here in England.

My Iriish-born father loathed this film because he said it was a travesty of O'Casey's play and just a Hollywood fiction of the Easter uprising.

Well I read all the reviews here expecting the worst.

But, I was amazed to watch a print of this film that bore NO relation to that described in the reviews posted here! There was no newsreel footage interpolated, no unfortunate added narration whatsoever and no extra footage by other directors to explain the marriage of Stanwyck & Foster's marriage! What gives? What I saw was obviously a genuine John Ford film, beautifully directed and photographed, with many of his trademark camera set ups, close ups and scene compositions. His usual flair for narrative and the many subtle visual trademarks did not indicate a hatchet job by RKO.

The whole thing had an understated poetic quality and the pace and fluidity were striking.

So what was I looking at? A pre-release print that had somehow survived in the UK but not in the RKO archives in LA? It was certainly no turkey and even Stanwyck impressed me - her lack of accent did not matter, because Ford (in this print at least) let her face do all the acting for her. And she was great! Barry Fitzgerald was clearly doing a warm up for his role in THE QUIET MAN, but the remaining Abbey Players were all fine and I believe acted large portions of O'Casey's dialogue intact. I do not have a copy of the play to make a comparison but will seek it out.

Una O'Connor showed what a fine dramatic actress she was in Ireland before she found fame in Hollywood. Even Preston Foster demonstrated an impressive restraint and was highly impressive.

Ford did not have Max Steiner for this film (as he had on THE INFORMER and THE LOST PATROL) but Roy Webb did a fine job with a highly dramatic and vivid music score throughout.

But what of the source print? Are there really two extant versions of this film? If so, I think I watched the long lost "Director's Cut" tonight! How exciting!
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10/10
A story of the Easter Rebellion in Ireland in 1916
CR-43 October 1998
I saw this movie over 35 years ago and the title remained in my memory. Some of the scenes are still so clear in my mind that I guess that the film accomplished a sort of immortality in me.
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4/10
Barbara Stanwyck was 100% wrong for this film....and you wonder who thought it was a good idea to cast her in this film of the Easter Rebellion.
MartinHafer4 August 2016
John Ford made most of his films for Twentieth Century Fox and perhaps much of it was because the studio let the director do what he wanted. After all, he was a proved commodity--an Oscar-winning director with a great track record. But with this film he did for RKO, apparently Ford was NOT thrilled and even walked off...forcing the studio to finish the film without him due to creative differences. Ford apparently hated the final product.

I am not sure why Ford was so disenchanted with the project, but I would hazard to guess that at least some of his disgust was the decision to cast Barbara Stanwyck in the lead. Now I do not have anything against her...she was a fine actress. But the film is about Ireland and she sounds absolutely nothing like an Irish woman...nothing. Heck, Hattie McDaniel would have been about as convincing in this role! She couldn't even approximate the accent...and in most of the film she didn't seem to try. Her character was also extremely whiny...too much so. As for the other co-star, Preston Foster, he was much more convincing and was well cast. So for me, this was a HUGE strike against the movie at the onset.

When the film begins, you learn that Nora (Stanwyck) has hidden a letter that arrived for her husband, Jack (Foster). The letter was appointing him a leader in the Irish militia...and soon they would be involved in the infamous Easter Uprising. Well, Nora is NOT the patriotic sort and is actually rather selfish--and she later begs him not to join in the fighting and to reject his appointment. Jack is not about to do this, as he's a loyal patriot.

Much of the rest of the film is made up of the rebellion as well as its aftermath--most of which time Nora whines and complains and seems to care not one bit about her native land...which is pretty weird and pretty despicable. In fact, her character and performance were pretty awful and the film left me wanting to see her get killed or at least horse whipped. And, even more oddly, the film ends this way...with Nora whining and having no care about the deaths of others or her Republic. I have no idea WHAT the point of the film was...and I could see how audiences left confused and unsatisfied. A rather terrible film, actually...
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