The Rising of the Moon (1957) User Reviews

A rarely screened Oirish classic! A humorous portrayal of an Ireland long past, but not forgotten.

[kbuckley · 8/10 · 22 October 2003]

1. `The Majesty of the Law' - Frank O'Connor & Frank S. Nugent.

This is the story of a proud Irish small-holder and his 'encounter' with the Law. It humorously portrays rural Irish people, the nature of village relationships, small-town disagreements, the people's attitude to the law and the officials' accommodation of those ways. Noel Purcell, as the small-farmer, and the other village people over-act in a typically stage-irish manner. ( `Is it yourself?' - `It is, to be sure.' and many, many other oirish lines that have become classics.) Cyril Cusack gives a much more subtle performance (one of his few!).

2. `A Minute's Wait' - Michael J. McHugh. Another funny story of rural Ireland has the Ballyscran to Dunfaill train at the station for its scheduled one minute stop. As the title suggests the story looks at the Irish attitude to time-keeping, and how in rural Ireland time could wait for man, . for prize goats, for Bishop's dinners, and most importantly, for a pint of porter (just the one, of course). A rare chance to see the great Jimmy O'Dea again - `Merciful hour!'

3. `1921' - Adapted from The Rising of the Moon by Lady Augusta Gregory. This is the more serious story of a young patriot who is to be hanged by the `Black and Tans' (a vicious paramilitary force which terrorised Ireland during the last years of British control). The story does show, and is true to, the different attitudes of the various factions at the time. The vicious Black and Tans, the more considerate British military, the double standards of the RIC Royal Irish Constables and collaborators, and the belligerence of the oppressed Irish people. While the acting is much more subtle than the previous short films, `1921' is let down by being poorly written and adapted. There are some great shots of 1950s Dublin, including the Liffy bridges and the Four Courts.

Not informative, but VERY entertaining.

[TheWildGoose · 8/10 · 17 February 2007]

This is by no means great cinema, to be sure. But even though the film views everything through green-tinted "oirish" spectacles, there is considerably more here than one might expect. The performances are excellent, and the dialogue, whatever its faults, is quick and clever. If you're looking for entertainment, rather than education, this is a safe bet.

"The Majesty of the Law" is a great segment marked by VERY strong performances. The plot is simple, but it's actually quite emotional, particularly near the end, when the policeman finally takes the guilty party away. The dialogue here is very well-constructed, and the themes, contrasting a man's principles, old-fashioned nature, and stubbornness with the modern world's demands, are moving.

"One Minute's Wait" has no doubt drawn accusations of playing to popular stereotypes of Ireland and the Irish (which it does), but this doesn't change the fact that "One Minute's Wait" is hilarious. I laughed particularly hard at the exchange in which there is a confusion over bishops.

Finally, there is 1921. Probably the weakest of the three films, it is still pretty good (certainly better than most of the dreck being made today). The camera shots used when entering the prison create a wonderfully eerie mood, and the atmosphere is strong throughout.

There is also quite a bit of nostalgia here- not because it somehow depicts "the old Ireland", but because it was a regular TV special on St. Patrick's Day, and numerous families grew up watching it every year.

Ultimately, I wouldn't advise anyone looking for some sort of insight into "the soul of Ireland" to watch this (frankly, I'd advise any such person to stop wasting his time), but anyone looking for an entertaining, funny film need look no further.

John Ford's Irish Stew

[bkoganbing · 7/10 · 23 May 2010]

When John Ford set out to make what was to turn out to be his last completed Irish film he had high hopes of using Tyrone Power, Maureen O'Hara, and Barry Fitzgerald to star in each of the stories that make up the trilogy in The Rising Of The Moon. Unfortunately all three of them had prior commitments though I suspect in the case of O'Hara she was not getting along with Ford at the time. Read her memoirs to find out about their odd relationship.

However he did get Tyrone Power to appear and do narratives for the three stories that were filmed. The stories certainly are a rich mixture of Irish fiction from the first quarter of the last century. If you recognize the players they are from the famous Abbey Theater Company of Dublin and if you saw The Quiet Man you'll pick out many a face and voice from the cast of characters there.

The first story is the least of the three, in His Majesty The Law a police inspector played by Cyril Cusack has a distasteful duty to perform in serving a warrant on Noel Purcell, a rather proud gentleman who cold cocked a man who sold him some bad home made moonshine.

The second is entitled A Minute's Wait concerns a train bound into some country region of Ireland that is continually being held for a minute's wait while all sorts of bizarre passengers and freight are loaded on to the train. While this is going on the passengers are having one really good time in the station pub. You wouldn't think that in Ireland a train station wouldn't have a pub? Everyone just expects all these things as part of the system except for a married English couple who are the ones constantly downgraded from what passes for first class accommodations on this Irish railway. It's all quite whimsical and amusing.

The last story 1921 is set during the rebellion that year and it involves the escape of a known IRA man minutes from his date with the hangman. The escape is perpetrated by a group of Irish players not unlike the Abbey Theater. Although the audience knows well who the escapee is through his disguise that's half the fun in seeing that the occupying Black and Tan force is so clueless to what's going on around them. Donal Donnelly plays the escapee Sean Curran, a role that was intended for Tyrone Power had he been able to do it. Power was probably too old for the part in any event and the younger Donnelly was a better fit.

Yet the lack of marquee names is the reason that this film is not better known. I'm sure now that it has appeared on TCM it will be broadcast with The Quiet Man on St. Patrick's Day.

At least I hope so.

Irish heartbeat

[dbdumonteil · 29 December 2005]

.A movie made of sketches.which is pretty rare in the English/Irish films,except for the horror flicks ,and in Ford's filmography;French (Duvivier) and Italians (Risi) are more familiar to that kind of stuff.

Ford's film has one great quality:his shorts become better and better.

I must confess I found the first segment pretty boring:unlike the two others ,it does not have an "universal" appeal .It is very talky and only the splendid Irish landscapes (it was filmed on location,Tyrone Power told us so in his presentation of the film)redeem it a little.

Things go much better with the second segment:one minute's wait in a tiny railway station which actually will last a very looong time.Several miniplots intermix (a mature couple going to a wedding ,a ghost story ,marriageable son and daughter ,a hockey team whose bus has broken down,a she-goat,lobsters ,and more ) and the very last picture is worthy of a Tex Avery cartoon. "The quiet man" in miniature.

Ford saved the best for the last:mainly during the first half ,he has a very fine way to blend tragedy (an Irish rebel will be hanged by the English ) and comedy (those nuns are wearing high heels!).A positive "remake" of "the informer" this segment is witty,sometimes hilarious,and even suspenseful.It ends of course with the traditional song "rising of the moon" a policeman used to sing although he found it a bit subversive.

This movie is to Ford what the album "Irish Heartbeat " is to singer Van Morrison :a work of love for his homeland.

A true ensemble

[h-d-lewis · 7/10 · 17 March 2020]

These three films owe their success to an ensemble cast of Irish actors most of whom cropped up again and again whenever Ireland used to be depicted in theatre, film or television.

Representing an early style of theatre acting that needed to be clearly heard at the back of the auditorium without microphones, Noel Purcell in "The Majesty of the Law" gives the tone to most of the acting in these three films by beautifully blasting the other actors with an outsized performance. Cyril Cusack offers a rare subtlety. In "A Minute's Wait" watch dozens of actors flowing back and forth on a platform in rural Ireland as the principals share performances in true ensemble fashion.

The first two films are glorious comedies with only the faintest kernel of truth. But, no matter, by suspending disbelief, you can settle down and let the blarney flow over you.

The third film "1921" which starts with a potential execution, a strange addition to the other light stories, nevertheless manages to haul in the blarney yet again in order to lighten the tone. And no one expects even this one to end badly. There is a final song even.

All three films contain plenty of comic dialogue and, best of all, are shot on location and, despite being in black and white, we get to see much of a real Ireland - even if it's mostly in the background.

Nice

[davidmvining · 6/10 · 30 January 2022]

A trio of short films about Ireland, introduced by Irish-American actor Tyrone Power, The Rising of the Moon can best be described as nice. Based on three works of Irish fiction and theater written by Frank O'Connor, Martin McHugh, and Lady Gregory, while taking its title from the original title of the third work, it's a trilogy of pastiches that try to paint the Irish character that John Ford loved. It doesn't never gets the depth of feeling or sheer entertainment value as Ford's The Quiet Man, but it's never really boring. It's just, well, it's nice.

The first is titled "The Majesty of the Law" based on the short story by O'Connor. It's about a police inspector, Dillon (Cyril Cusack), who decides to walk home from the constabulary in order to make a stop over at the house of Dan O'Flaherty (Noel Purcell) for what seems like a visit. Along the way, he meets the local moonshiner Mickey (Jack MacGowran), chastises him for what he's obviously doing, and goes into the hut where Dan lives. Dan had assaulted a fellow villager, and Dillon is there to arrest him. It's a small town environment where a local policeman knows everyone involved in a crime, and there's a deep personal history between everyone. A conversation strikes up between the three that seems to be about the nature of the Irish character, the underlying niceness and fraternity across the small town communities along with the amusing contrast of antagonism that's never all that dangerous. There's the ironic ending where the man Dan had attacked tries to pay his fine for him, but Dan will not accept it from the likes of such a man and proudly delivers himself to the jail for his sentence, since he refuses to pay the fine himself.

The second story is the most amusing of the three, and the best of them. Titled "A Minute's Wait" based on the one-act comedy by McHugh, it's the story of a train stopped at a sleepy little station that keeps getting delayed from its one minute stop by different, very Irish, things while very Irish goings on happen at the same time. There are the older acquaintances who play matchmakers for the son and niece they represent. There's the engineer who has a story about a ghost in a castle that the mousy woman who works behind the counter gets caught up in. There's an older English couple on their way to a wedding who watch it all, flabbergasted, and end up getting left behind on accident. There's the local cricket team that comes marching down the tracks and the train picks up. It's really just a collection of moments, but they're fun moments, building off of a little event portrayed in The Quiet Man of trains running late because train personnel have to hash out centuries' old arguments during stops.

The final story is titled "1921" and based on the play "The Rising of the Moon" by Lady Gregory. It tells the story of an IRA member, Sean Curran (Donal Donnelly) who is about to be hung by the English military. His fate has become a cause celebre for the Irish people as a large mass of them parade in front of the jail. A pair of nuns arrive at the jail, one of them, Sister Mary Grace (Maureen Cusack), who is Curran's sister. It's a ruse, though, and the girl, an American with an American passport, trades places with Curran and allows him to escape. He still has to get out of militarized Dublin, though, and he takes on the disguise of a ballad singer. Whenever an Irishman recognizes him for who he is, the other immediately takes up Curran's cover story and helps him along, eventually escaping after nearly coming to trouble under the watch of Sergeant O'Hara (Denis O'Dea) who only realizes who Curran is when he's gotten away.

The first and third are nice little stories, but it's the second that just goes for straight up entertaining and succeeds the most fully. The second isn't a great piece of short film, though. It's good.

The actors seem to be, except for Tyrone Power who only introduces the segments, Irish stage and screen actors living in Ireland, providing a very nice level of authenticity to the action.

Ford manages the interesting production well, but the depth is never there and the entertainment value somewhat limited. It's nice.

The Rising of the Moon

[jeaninehyde · 8/10 · 18 March 2006]

This trio of short stories, narrated by Tyrone Power, and directed by John Ford, is a delight to the eye and ear of the lovers of the Irish theater and story telling style. Each of the three stories is varied in its style and content. The title story, "The Rising of the Moon," is a patriotic drama taken from Lady Augusta Gregory's 1907 play of the same name. It accounts for a time in Irish history prior to independence from Britain. The small monologues between the hard-working Irish Catholic policeman (played by Ward Bond, if memory serves,) and his loyal wife are wonderful. "The Magesty of the Law" plays to the typical Irish satirical humor and warmth of spirit and "A Mintutes' Wait" is just wonderful, raucous Irish humor at its best. Each story is replete with Irish and Irish-American film and theater stars of that period who so often populate John Ford's films. Many are supreme character actors we know we have seen somewhere before... Truly a film style and an era long gone. Thank you, John Ford.

A Major, Underrated Film

[LouisaMay · 8/10 · 25 May 2010]

This film, comprised of three vignettes, is about community, the community as it exists (existed) in Ireland --in short, Irish community. This strong sense of community is shown in three different contexts: rural, suburban/small town, and urban. Or, viewed another way, the film shows how moral choice, group frustration, and political conviction play out in the context of Irish community. I thought the film was superb. In the first vignette, we see how community supports a difficult, individual moral choice. In the second, how community pulls people together in fun to deal with a frustrating situation affecting everyone, but beyond individual control. In the third we see the impossibility of one country imposing its will on another in the context of a community of political conviction. The actors are all gifted, and the direction excellent. I liked the way the film's lighting darkened as it moved from rural to urban settings. To some the second vignette seems like a caricature, I saw it as satire --a group laughing at itself, not outsiders imposing stereotypes. It was like Italian movies poking fun at constant labor strikes, a story not to be taken at face value.

Sentimental Post Card From Ford.

[rmax304823 · 5/10 · 23 May 2010]

Tyrone Power introduces this trio of short films shot on a minuscule budget on The Auld Sod by John Ford.

"The Majesty of the Law" has police official Cyril Cusack visiting Noel Purcell, an old friend, now reduced to near-poverty on his rural land. There is a lot of chit chat about the good old days being gone forever, the old arts being lost, the old ballads forgotten, "what with the newspapers and the movies and the RAH-dio, and now this new thing...." It develops gradually that Purcell refuses to pay a fine for lathering a blackguard, although he has the money stashed in a fireplace brick. Cusack tells him that, in that case, he'll have to come to the prison and serve his sentence. Purcell is cooperative enough and asks if Friday will be a good day for him to show up -- after dinner. Cusack agrees. You're sure they'll be expecting me?, Purcell asks, I wouldn't want to just -- barge in on them." A touching tale with some charm.

"One Minute's Wait" is about a train that stops briefly at a rural station and is continually prevented from leaving by one thing or another. The passengers and crew are constantly rushing back and forth from the train to the pub. A dignified elderly British couple is the butt of many of the jokes. "Is this another of their rebellions, dear?", asks the staid wife. The couple are the only passengers to be left behind. It has its funny moments.

"The Rising of the Moon" is from a one-act play by Lady Gregory, whom Tyrone Power assures us optimistically we've all heard of. An American woman posing as a nun helps an Irish prisoner escape from a British jail just before he's about to be executed. It is redeemed chiefly by the police constable of the DMP played by Denis O'Dea, who was the street singer in Ford's "The Informer" in 1935.

The movie is in black and white and the score consists of two instruments, harp and flute, well played. The actors are mostly members of the Abbey Theater in Dublin and respected in the profession.

The script rambles a good deal in search of folksy and whimsical charm and sometimes captures it, especially in the comic interlude. The Irish, whatever else they may or may not be, have a winning way with words if not ideas. Here's a sample of lines.

A man "took to drink and died before his time at eighty six." Another will save the end of his ghost story "until I have more congenital company." One man flatters another by calling him "your immanence." A father tells someone that he wants his son to have a good wife "and suffer like the rest of us." The young lady tending bar in the pub answers the phone: "What'll you have?" A man insults another by telling him that his ancestor "was seen in famine times, God help us, creeping up a boleen -- with a bowl of SOUP!" There's a bewitching quality in that phraseology and it's not made up. During the presidency of Ronald Reagan, a reporter was sent to Ireland to locate the ancestral home of the Reagan's and finally located a small cottage. He asked a neighbor if the house was the genuine article. The neighbor stuttered a bit and answered -- not "I don't know" -- but, "Well, I can't say it is but I won't say it isn't." But Ford's direction is largely slapdash, as if he weren't really paying attention. And the last, most dramatic episode, about the escape of the prisoner held by the British, comes off worst. We don't know what the prisoner did, for one thing. Thirteen years after this release, the IRA took to violence again and began blowing up Harrod's, leaving the police to shovel body parts from the streets. Maybe the escapee didn't deserve to get out. And Ford shoots it as if he wanted to turn it into a masterpiece of German expressionism, with crazy, tilted camera angles, and looming shadows. It doesn't work.

It's a minor piece from Ford. The second section is a leisurely delight. The first story is even more leisurely but still an entertaining story of character. The third is a total failure.

Great storytelling -- among the Irish best.

[johnhartstudio1 · 8/10 · 17 March 2013]

THE RISING OF THE MOON.

Utterly charming film. Even better than the Brit's, QUARTET.

No 'name' stars, but they could never have given the characters the same authenticity and humanness that we enjoy from all the interpretive acting projected in each of the three episodes.

For sure, we get the best of the Irish character actors, either from the Abbey Theatre in Dublin, or even from the Outer Hebrides Playhouse ( just kidding), with all giving awesomely enjoyable performances.

Of course with John Ford at the helm, how could THE RISING OF THE MOON miss its place in the film firmament.

PS Correction from a previous review. The bobby/cop in the third episode was Dennis O'Day, not Ward Bond, whom you can catch as a cop in GWTW.

I wonder what Irish folks think about this one...I'd love to know.

[planktonrules · 4/10 · 2 January 2014]

"The Rising of the Moon" is a collection of three stories set in Ireland. It's directed by John Ford and each segment is introduced by Tyrone Power.

As I watched this film, I wondered if it was based on truth or just on stereotypes American folks back in 1957 EXPECTED about the Irish. In the film, the Irish are often shown as very heavy drinkers who love a good fight. This makes me wonder what Irish folks (REAL Irish folks, not Americans who claim Irish ancestry) think of such portrayals. Is this generally true or is it all a load of blarney? I'd really love to know--and would appreciate feedback from the Irish IMDb users.

"The Majesty of the Law" is about a police constable and his relationship with the locals. Although his job is to uphold the law, this guy hangs around with the locals and drinks homemade liquor and he has little interest in apprehending a local guy who loves to smack his enemies when he gets mad. Again, as I mentioned above, the theme is drinking and fighting.

"One Minute's Wait" is set at a train station. The train stops off for one minute--so EVERYONE can rush to the bar to drink. Oddly, the one minute wait turns out to be about 20 minutes (more or less). Oddly, during this segment, no one gets in a fight--though they are sure come close and a lady slaps her lover! There really isn't a lot of plot to this one--just lots of Irish folks chatting, drinking and the like.

"1921" oddly features no drinking. It's about a man who is a condemned Irish nationalist and his escape from British hands. It's based on the play "The Rising of the Moon" and seems to rely on a tenuous plot element--that the British guards are all complete idiots. Interesting, however, and probably the best of the three vignettes.

All in all, the stories are the sort of things that many Irish-Americans might love and have misty-eyed nostalgia about the Old Country. Me, I have no Irish blood and the film was only mildly interesting...at best. As for me, give me John Ford's "The Quiet Man" instead instead of some weak and HIGHLY stereotypical shorts. So stereotypical that it makes me want to get drunk and start hitting people!

Ireland, 100 years ago

[Red-125 · 9/10 · 4 February 2020]

The Rising of the Moon (1957), directed by John Ford, is actually three short films about Ireland.

The first is "The Majesty of the Law," from a story by Frank O'Connor. O'Connor was an outstanding author, and the story itslef is worth reading. Ford keeps O'Connor's concept, but adds many embellishments. I wasn't impressed by these additions, but I was impressed by Ford's direction, which was outstanding in all three segments.

The second story, "A Minute's Wait," is by a less-known Irish writer, Michael J. McHugh. It's a fairly repetitious piece about a train that, for many reasons, never quite leaves the small station where it has stopped. It's the comic relief film. An English colonel and his wife are on the train, and they are presented as perfect stereotypes. At one point a sports team arrives, with great fanfare. The colonel tells his wife that it's probably the local cricket team. Of course, it's actually a victorious team that competes in the Irish sport of hurling. One reason not to fast-forward is to listen to the most bizarrely worded marriage proposal that you'll ever hear.

The third segment is adapted from Lady Augusta Gregory's play, "The Rising of the Moon." Lady Gregory was an English aristocrat who lived in Ireland, and adopted the Irish revolutionary cause as her own. She was the founder of he famous Abbey Theatre, which still exists today.

This segment has two serious plots. One is obvious--an Irish revolutionary is about to be executed. The other is less obvious but, in my opinion, it's the more important plot. It involves an Irish Constabulary sergeant and his wife. We see them first at the very beginning of the story, and again at the very end.

We saw this movie on the small screen, where it worked well. It's uneven, and not a masterpiece, but it's worth seeing. It has an anemic IMDb rating of 6.8. I think it's much better than that.

Technically Good

[Michael_Elliott · 20 June 2010]

Rising of the Moon, The (1957)

** (out of 4)

Anthology film has director Ford returning to Ireland but the end results are far from those of THE QUIET MAN. In the first story, "The Majesty of the Law" has a policeman going to visit an old friend, now living desperately poor due to something in his past but it turns out he does have the money to correct his wrongdoings but refuses. The second story "One Minute's Wait" is about a train that stops off in a small station but every time it tries to leave something else comes up preventing it from doing so. The final film, "1921", is about an American nun who helps a British man escape from be hung but this just leads to more problems. This here is one of the least known works by Ford and it's easy to see why as we really don't have any well-known actors in the three stories. We do have Tyrone Power showing up for brief intros to each story but this here certainly wasn't enough to bring people to the film. This is one of those movies that I just watched without ever getting fully entertained but at the same time I was never really bored. The film, on a technical level, is quite good as you can tell in each scene that Ford has a love for the subject matter. Each scene is beautifully filmed and the cinematography certainly picks up the beauty of the land. The film also works in terms of the performances. The cast are mainly unknown actors but they do very good work and they come across as real characters. Anytime you tell "short stories" within one film then you're already fighting an uphill battle as it's hard to create one equally flowing film. It seems reviews are really mixed on which is the best story but my vote would go to the final one. In his introduction Power says it comes from a story that "all Americans would know" but I doubt that's the case. The story is a mild crime drama but it contains some interesting set-ups even if it does end out of no where. In the end, this isn't a disaster or a good film but it's a minor work that will probably appeal to those with a major love of Irish stories.

My mother loved it, I think.

[tfclougher · 10/10 · 31 August 2022]

We went to see a trilogy. And one of it had a shy Irish man getting up the resolve and courage to ask for his love's hand. He awkwardly asks, "Would ye like to be buried with me people?" She jumps to reply, "I would!" Or was that Wee Geordie? Be as it may, my mother was laughing out loud. She was born in Sneem, County Kerry, Ireland. I think there was a travelogue feature. A young freckle-faced boy was asked how far a place was. He said, "A mile and a bit." The narrator said the bit was longer than the mile. I gave it a ten. Why not? John Ford? Who knew? I have to see The Rising... again just to remember Lady Gregory's take on 1921. The policeman's quandry over his sympathy for the offender recalls The Irish RM who had to consider the opinion that the locals had of him. Irish is local and stands against the central. See the Waking of Ned Devine. Judicious larcency. That's what it is.

This forgotten John Ford movie should stay forgotten !

[kelly_john · 1/10 · 3 January 2022]

Ford uses second rate Irish stories to forcefully push cringe-worthy, negative stereotypes. As a native Irish person, who tries to watch all Irish related movies, I had never heard of this movie. Now I know why it is forgotten in Ireland. This movie is unknown in Ireland, despite having many well known Irish actors, and filmed on location in Ireland. I only accidentally stumbled on it. I was reading about Ernie O Malley; a major rebel organiser in Ireland's war of Independence. The article said thatErnie was an advisor to John Ford on this movie. Ernie must have cringed watching this movie. This so called "movie", is really three second rate mini-movies, with a needless narration by Tyrone Power. This movie must have hurt any American Industrialist's dream of creating a business in the economy depressed Ireland of the 1950's. The final mini-movie touches on the Irish War of Independence. If you are interested in this topic, check out " The Wind that shakes the Barley" for a more realistic portray of Ireland in 1921. Give the "Rising of the Moon" movie a miss, it deserves to be forgotten.

The Rising of the Moon

[StevenKeys · 8/10 · 4 October 2022]

Movie anthologies typically don't do very well with viewers or critics, something about continuity and change, but Ford's trio of vignettes (The-Majesty-of-the-Law, A-Minutes-Wait, 1921) make up the great director's hidden gem.

Tyrone Power narrates (d.58), he of Irish heritage and acting ancestry, the cast is native with familiar faces (Cusack MacGowran Purcell Potter Quigley O'Dea {Jim Denis}) and while the title is hard to recall, the human stories will remain engrained in your mind. A different color (b&w) and purpose than John's better known, frolicking rom-com, The-Quiet-Man (52), but made in, and in conveyance of, the same high spirit (3.5/4).

Only For the Hardcore Fordians

[Kalaman · 22 October 2003]

"The Rising of the Moon" is a very obscure Ford movie, the kind of picture Ford would say merely "a job of work". In other words, it is not to be taken seriously. I watched it the other night, wondering to find out why it is so overlooked among Ford's pictures. It is basically a disjointed, yet reflective poem on Ireland in a by-gone era that works if you are a hardcore Ford fanatic. It is based on three vignettes that are introduced by Tyrone Power. They are called "A minutes Wait", "The Majesty of the Law", and "Rising of the Moon" also known as "1921". It is not a great movie and certainly nowhere near the kind of movie it often evokes, the beautiful "The Quiet Man", but there are some nice and enjoyable moments, particularly in the vignette about the train that makes a stop for two hours instead of one minute.

This is only the hardcore Ford fans.