Maureen O'Hara filmography

Maureen O'Hara filmography:

Film

Year	Film	Role	Notes
1938	Kicking the Moon Around	Secretary	"Harry Richman was at Elstree and introduced me to the film's director, Walter Forde. Forde asked me if I would deliver a line in the movie. I was not a cast member and do not consider Kicking the Moon Around part of my official filmography. I only agreed to deliver the line as a favor to Harry Richman for his having helped me with my screen test."[1]
	My Irish Molly	Eileen O'Shea	"Laughton arranged for me to make my first picture, a low budget musical called My Irish Molly. It's the only picture that I made under my real name, Maureen FitzSimons. I was to play a young woman named Eiléen O'Shea who helps rescue a little orphan named Molly. Laughton wanted me to become more comfortable with both being on a movie set and being in front of the camera."[2]
1939	Jamaica Inn	Mary Yellen	"My character was the innkeeper's niece, the heroine who is torn between the love of her family and her love for a lawman in disguise." Laughton decided that the actress's name had to be changed since it was 'too long for the marquee' and gave her the choice between O'Mara and O'Hara. Since she rejected both he dismissed her protest and himself decided on O'Hara. O'Hara liked Hitchcock and wrote later that she "never experienced the strange feeling of detachment with Hitchcock that many other actors claimed to have felt while working with him."[3]
	The Hunchback of Notre Dame	Esmeralda	"We began filming out in the San Fernando Valley... unfortunately, Los Angeles was having the hottest summer in its history, and I knew from day one that it was going to be a physically demanding shoot, especially taxing on Laughton because of the heavy makeup and costume requirements for Quasimodo. When I saw Laughton for the first time made up as Quasimodo, I almost fell over. I took one look at him and gasped, "Good God, Charles. Is that really you?" He answered me with a wink and then limped off."[4]
1940	A Bill of Divorcement	Sydney Fairfield	"A remake of the 1932 film. I was cast as Sydney Fairfield, a role played by Katharine Hepburn in the earlier George Cukor version. The screenplay was mediocre at best, and Farrow was nowhere near the caliber director Cukor was."[5]
	Dance, Girl, Dance	Judy O'Brien	"A comedy... I was cast as an aspiring ballerina who joins a dance troupe. Before filming started, the entire cast went right into dance classes. Pommer hired Ernst and Ginny Matray. My ballet sequences were far more difficult than the dancing I had done in Hunchback, and I struggled to get it right. Lucille [Ball] had a much easier time of it because she was a former Ziegfeld and Goldwyn girl and a much better dancer than I."
1941	They Met in Argentina	Lolita O'Shea	"RKO's response to the Betty Grable hit Down Argentine Way. I knew it was going to be a stinker; terrible script, bad director, preposterous plot, forgettable music."
	How Green Was My Valley	Angharad	"An artistic collaboration began (with John Ford) that would span twenty years and five feature films. My favorite shot in the film takes place outside the church after Angharad gets married. As I make my way down the steps to the carriage waiting below, the wind catches my veil and fans it out in a perfect circle all the way around my face. Then it floats straight up above my head and points to the heavens. It's breathtaking."
1942	To the Shores of Tripoli	Mary Carter	"The first film I made with John Payne and also the first film I made in Technicolor. Bruce Humberstone [directed], or Lucky Stumblebum to those who couldn't understand why the quality of his pictures never seemed to match their impressive box-office receipts."
	Ten Gentlemen from West Point	Carolyn Bainbridge	O'Hara: "A forgettable film mostly because John Payne dropped out... Zanuck recast the role with George Montgomery. I found him positively loathsome."
	The Black Swan	Lady Margaret Denby	"It had everything you could want in a lavish pirate picture: a magnificent ship with thundering cannons; a dashing hero battling menacing villains (Tyrone Power, Laird Cregar, and Anthony Quinn); sword fights; fabulous costumes... working with Ty Power was exciting. In those days, he was the biggest romantic swashbuckler in the world. But what I loved most about working with Ty Power was his wicked sense of humor."
1943	Immortal Sergeant	Valentine Lee	"The studio publicized the love scene between O'Hara and Henry Fonda as Hank's last screen kiss before going to war."
	This Land Is Mine	Louise Martin	O'Hara's last film with Charles Laughton.
	The Fallen Sparrow	Toni Donne	O'Hara: "With John Garfield, (my shortest leading man, an outspoken Communist and a real sweetheart)... "
1944	Buffalo Bill	Louisa Frederici Cody	"I didn't feel Joel McCrea was tough enough to play the lead in a western. He was a very nice man, a good actor, but not rugged like Duke or Brian Keith. Critics mostly panned the film. I think the picture did so well with audiences because of its masterful use of Technicolor."
1945	The Spanish Main	Contessa Francesca	O'Hara: "Pairing me with Paul Henreid, one of my more decorative roles."
1946	Sentimental Journey	Julie Beck / Weatherly	"Sentimental Journey was every bit the smash hit that I thought it would be. It was a rip-your-heart-out tearjerker that reduced my agents and the toughest brass at Fox to mush when they saw it."
	Do You Love Me	Katherine "Kitten" Hilliard	"The musical Do You Love Me? was one of the worst pictures I ever made. Neither Dick Haymes nor Harry James could save it."
1947	Sinbad the Sailor	Shireen	"Playing Shireen, the glamorous adventuress who helps Sinbad (Douglas Fairbanks Jr.) find the hidden treasure of Alexander the Great. Ridiculous. The picture made a pot of money for RKO – action-adventures almost always did."
	The Homestretch	Leslie Hale
	Miracle on 34th Street	Doris Walker	"I have been mother to almost forty children in movies, but I always had a special place in my heart for little Natalie. She always called me Mamma Maureen and I called her Natasha... when Natalie and I shot the scenes in Macy's, we had to do them at night because the store was full of people doing their Christmas shopping during the day. Natalie loved this because it meant she was allowed to stay up late. I really enjoyed this time with Natalie. We loved to walk through the quiet, closed store and look at all the toys and girls' dresses and shoes. The day she died, I cried shamelessly."
	The Foxes of Harrow	Odalie "Lilli" D'Arceneaux	"With Rex Harrison and Victor McLaglen at 20th Century-Fox. Harrison and I disliked each other from the outset. Hollywood might have called him the greatest perfectionist among actors, but I found him to be rude, vulgar, and arrogant."
1948	Sitting Pretty	Tacey King	"With Robert Young... it made a fortune, even winning the Box Office Award for that year."
1949	A Woman's Secret	Marian Washburn	"I made no attempt to keep it a secret that I thought the story stank. Dore Schary reminded me that I still had a one-picture-a-year obligation to RKO... I starred opposite Melvyn Douglas as a frustrated talent manager who shoots her star client in a jealous rage. Schary was in love with Gloria Grahame. And to provide more real-life drama, Gloria Grahame was also in a relationship with director Nicholas Ray, and was pregnant."
	The Forbidden Street	Adelaide "Addie" Culver	Alternative title: Britannia Mews (UK). "Shot in London. The only reasons for you to watch this picture today on television are to see Dana Andrews do a nice job in a dual role, or to watch the fine character actress Sybil Thorndike steal the picture."
	Father Was a Fullback	Elizabeth Cooper	O'Hara: "A comedy stinkeroo that got more yawns than laughs."
	Bagdad	Princess Marjan	"An escapist adventure and my first picture with Universal. They called these tits and sand pictures. We shot the film on location in the Alabama Hills of Lone Pine, California."
1950	Comanche Territory	Katie Howard	"The film in which I mastered the American bullwhip. By the time the picture was over, I could snap a cigarette out of someone's mouth."
	Rio Grande	Mrs. Kathleen Yorke	"The final instalment of John Ford's cavalry trilogy, based on three short stories by James Warner Bellah that Ford had read in the Saturday Evening Post." "From our very first scenes together, working with John Wayne was comfortable for me."
	Tripoli	Countess D'Arneau	Directed by O'Hara's second husband, William Houston Price. "To be fair, Will did a credible job of directing the picture. He managed to stay sober during the production."
1951	Flame of Araby	Princess Tanya	"Cast as a Tunisian princess – I wasn't up to making another lousy picture and wanted to save myself for a great performance in The Quiet Man. But Universal made their intentions known right away: Make the movie or be suspended. I had no choice but to make it." First picture with Jeff Chandler.
1952	At Sword's Point	Claire	"The plot of the movie is a little hard to swallow, but it was fun as hell. The sons of the original Musketeers ride to the rescue, with just one exception. I play Claire, the daughter of Athos. Cornel Wilde was cast as my leading man, (D'Artagnan). I trained rigorously for six weeks with Fred Cavens and his son to perfect my stunt sequences. Fred Cavens was an outstanding Belgian military fencing master and had trained all the great swashbucklers in Hollywood. Physically, I've never worked harder for a role."
	Kangaroo	Dell McGuire	An Irish immigrant, Michael McGuire (Finlay Currie), and his daughter Dell (O'Hara) are Australian cattle pastoralists who face poverty and death during the drought of 1900. O'Hara: "The director Lewis Milestone rewrote Martin Berkeley's story. He destroyed a good, straightforward western. Though I hated every minute of the work, I absolutely loved Australia and the Australian people... most of the film was shot in the desert near Port Augusta."
	The Quiet Man	Mary Kate Danaher	O'Hara: "I have often said that The Quiet Man is my personal favourite of all the pictures I have made. It is the one I am most proud of, and I tend to be very protective of it. I loved Mary Kate Danaher. I loved the hell and fire in her. As I readied to begin playing her, I believed that my most important scene in the picture was when Mary Kate is in the field herding the sheep and Sean Thornton sees her for the very first time. It's a moment captured in time, and it's love at first sight. I felt very strongly that if the audience believed it was love at first sight, then we would have lightning in a bottle. But if they didn't, we would have just another lovely romantic comedy on our hands. The scene comes off beautifully."
	Against All Flags	Prudence "Spitfire" Stevens	With Errol Flynn. O'Hara: "I respected him professionally and was quite fond of him personally. Of course there was one glaring inconsistency with his professionalism. Errol also drank on the set, something I greatly disliked. You couldn't stop him; Errol did whatever he liked. If the director prohibited alcohol on the set, then Errol would inject oranges with booze and eat them during breaks."
1953	The Redhead from Wyoming	Kate Maxwell	"Another western stinkeroo for Universal. It was disappointing to be working on such a lousy picture while I was receiving praise for such a highly regarded piece of filmmaking (The Quiet Man)."
	War Arrow	Elaine Corwin	"A second picture with Jeff Chandler. Jeff was a real sweetheart, but acting with him was like acting with a broomstick."
1954	Malaga	Joanna Dana	Alternative title: Fire Over Africa.
1955	The Long Gray Line	Mary O'Donnell	"This was the fourth picture I'd made with John Ford, and it was by far the most difficult."
	The Magnificent Matador	Karen Harrison	With Anthony Quinn. "Critics disliked it, and found it dull."
	Lady Godiva of Coventry	Lady Godiva	"I was not in the nude, as the studio claimed to the press. I wore a full-length body leotard and underwear that was concealed by my long tresses. An unexpected pleasure on the film was watching a promising young actor named Clint Eastwood cut his teeth on it."
1956	Lisbon	Sylvia Merrill	"A Republic melodrama, full of mystery, international intrigue, and murder. For the first time in my career I got to play the villain, and Bette Davis was right – bitches are fun to play."
	Everything but the Truth	Joan Madison	"A lousy comedy for Universal. John Forsythe was wonderful to work with, though."
1957	The Wings of Eagles	Min Wead	"The film was the true story of an old friend of John Ford, Frank Spig Wead, a naval aviator who later became a Hollywood screenwriter after breaking his back in a nasty fall... I never worked with John Ford again."
1959	Our Man in Havana	Beatrice Severn	"When we arrived in Havana on April 15, 1959, Cuba was a country experiencing revolutionary change. Only four months before , Fidel Castro and his supporters had toppled Fulgencio Batista... Che Guevara was often at the Capri Hotel. Che would talk about Ireland and all the guerilla warfare that had taken place there. He knew every battle in Ireland and all of its history. And I finally asked, "Che, you know so much about Ireland and talk constantly about it. How do you know so much?" He said, "Well, my grandmother's name was Lynch and I learned everything I know about Ireland at her knee." He was Che Guevara Lynch! That famous cap he wore was an Irish rebel's cap. I spent a great deal of time with Che Guevara while I was in Havana. Today he is a symbol for freedom fighters wherever they are in the world and I think he is a good one."[6]
1961	The Deadly Companions	Kit Tilden	"About a drifter running from his past. Sam Peckinpah's feature-film debut... Peckinpah later reached icon status as a great director of westerns, but I thought he was just awful. I found him to be one of the strangest and most objectionable people I had ever worked with."
	The Parent Trap	Margaret "Maggie" McKendrick	"The Parent Trap wouldn't have been as special without the remarkable performances by Hayley Mills. I use the plural here because she really did bring two different girls to life in the movie. Sharon and Susan were so believable that I'd sometimes forget myself and look for the other one when Hayley and I were standing around the set."
1962	Mr. Hobbs Takes a Vacation	Peggy Hobbs	O'Hara: "A simple story about a man and his wife who take a family vacation with their children and grandchildren in an old dilapidated house on the beach... I discovered that in a Jimmy Stewart picture, every scene revolves around Jimmy Stewart. I was never allowed to really play out a single scene in the picture. He was a remarkable actor, but not a generous one."
1963	Spencer's Mountain	Olivia Spencer	"On location in Jackson Hole, Wyoming. The picture is loosely based on the novel by Earl Hamner, Jr. about his life growing up in poverty on Spencer's Mountain, under the roof of God-fearing parents. Henry Fonda told me that he didn't know what he wanted to do with his life until Marlon Brando's mother persuaded him to try his hand at acting. Fonda was the gifted, tough, and classy kind of leading man that I most enjoyed working with."
	McLintock!	Katherine Gilhooley McLintock	"There are so many great scenes in the picture. Audiences always rave about the fight sequence that takes place at the mine dump and ends in the mud. A total of forty-two cast members took part in the brawl, and nearly all of us ended up sliding down the bank into the mud pit below. The most dangerous stunt I perform in the picture was the fall from the ladder into the water trough."
1965	The Battle of the Villa Fiorita	Moira	O'Hara: "Late April 1964, to Italy to make the film with Rossano Brazzi. I began the picture with high hopes, but the picture quickly turned into a disaster. Rossano Brazzi wasn't right for the part."
1966	The Rare Breed	Martha Price
1970	How Do I Love Thee?	Elsie Waltz	"With Jackie Gleason. It was a terrible film. The script was awful, and the director couldn't fix it. I liked Gleason very much. He was a very kind and funny man, but he drank too much."
1971	Big Jake	Martha McCandles	"We shot the picture in October 1970, in Durango, Mexico. Reuniting Duke (John Wayne) and me in our last picture together."
1991	Only the Lonely	Rose Muldoon	"John Candy was one of my all-time favorite leading men. He was pleasant and courteous. The depth of John Candy's talent did surprise me. I didn't expect it to be so great. It didn't take long for me to see that he was not only a comedic genius but an actor with an extraordinary dramatic talent. He reminded me a great deal of Charles Laughton."
1994	A Century of Cinema	Herself

Television/Misc.

Year	Title	Role	Notes
1958	The Pat Boone Chevy Showroom	As herself	ABC variety show guest
1960	Mrs. Miniver	Mrs. Miniver	Television movie
	DuPont Show of the Month	Lady Marguerite Blakeney	1 episode
	The Bell Telephone Hour	Hostess	1 episode
1963	Hallmark Hall of Fame	Susanna Cibber	1 episode
1966	The Garry Moore Show	Sara Longstreet	1 episode. From the stage play High Button Shoes.
1973	AFI Life Achievement Award: A Tribute to John Ford	Herself	TV Special Documentary.
1973	The Red Pony	Ruth Tiflin	Television movie. With Henry Fonda. O'Hara: "I received a lovely letter from actress Shirley Booth telling me that the scene with my son upstairs was one of the very best she had ever seen on film." O'Hara did not make another film until Only the Lonely.
1976	An All-Star Tribute to John Wayne	Herself	TV Movie Documentary.
1984	The Hollywood Greats	Herself	Episode: John Wayne
1993	John Ford	Herself	TV movie Documentary
1994	100 Years of the Hollywood Western	Herself	TV movie Documentary
1995	The Christmas Box	Mary Parkin	Television movie
1998	Cab to Canada	Katherine Eure	Television movie
2000	The Last Dance	Helen Parker	Television movie
2000-2001	Backstory	Herself/Angharad/Doris Walker	episodes: How Green Was My Valley & Miracle on 34th Street
2002	The Quiet Man: The Joy of Ireland	Herself/Mary Kate Danaher	Video documentary short
2002	The Parent Trap: Caught in the Act	Herself/Margaret "Maggie" McKendrick	Video documentary short
2010	Dreaming the Quiet Man	Herself/Mary Kate Danaher	Documentary

References

1. 'Tis Herself, p.24
2. 'Tis Herself, p. 28
3. 'Tis Herself, p. 30
4. 'Tis Herself p.48
5. Maureen O'Hara, 'Tis Herself p.59
6. 'Tis Herself p.254