Duplicate of B&W entry, “Land of the shamrock”, “Castle Films,” Bright color titles but actual content has what looks like incredibly faded color? Maybe eastman w pink fade?

Dating to 1963, Castle Film’s “Land of the Shamrock” is an idealized travelogue of Ireland, with highly romanticized narration. The film was sold for home viewing on a portable 16mm projector by the general public, who would buy them through camera shops or a catalog. The film opens in the Irish countryside, with flowers and sea visible (0:17). A woman in a skirt walks in a field with sheep (0:22). At 0:28, we see cliffs by the sea followed by a farmhouse with stone walls between fields. A man uses a horse-drawn till. A middle-aged woman on a country road follows behind cattle, tapping them with a stick. We zoom in on her serious expression (0:50). At 0:54, an Irish Traveller (“tinker,” says narrator; an ethnic group also known as “Pavees” or “Mincéirs”) moves along a country road with wagon pulled behind; wagon packed with bags, belongings, and a small dog. Goats follow wagon man, and a woman passes on bicycle. At 1:07, we see a Traveller woman sitting, tending a small fire with a baby nearby in what might be a cardboard box. A man nearby reads the paper. We are introduced to “peat bogs” (1:17); a man digs a peat bog with shovel. Peat bricks are shown drying in rows (1:32–1:40), and a donkey carries baskets of peat bricks. Peat bricks fuel small fire where people warm their hands (1:48). We see an Irish landscape shot again (1:52), panning across, emphasizing rocky features / land’s rockiness. Cut to an urban scene: Cork, Ireland (2:04). Bikes and motor vehicles move down a main thoroughfare with landmark architecture visible, including a statue of a man. At 2:16, a man approaches a stone church with tall door. Shot pans up to reveal a single cathedral tower (2:30). We are shown an ancient Celtic cross (2:35) depicting Christ / Jesus and Saint Patrick on either side. A woman pays pilgrimage to Saint Patrick’s supposed tomb (2:43), leaving flowers at tomb. We see a brook in the woods (2:52), revealed to be the grounds of Blarney Castle. People gather on footbridge. The narrator mentions “impregnable” stone walls of Blarny Castle. A woman lies down supine, assisted, leaning back to kiss “the Blarney stone” (limestone, supposed to give “the gift of the Blarney: eloquence”). Killarney Lakes (3:27); a panning shot of Lough Leane (lower lake) with islands, the narrator discussing artistic significance / inspiration. Tourists move by horse-drawn buggy and horseback (3:47) down a rural road and along rocky cliffs toward the Gap of Dunloe, which is then shown directly. A greener hillside appears (4:21) with waterfall cutting through rocks. Upper Killarney Lake (“the panorama for artists,” 4:30). At 4:34, we tour President John F. Kennedy’s great-grandparents’ home (sign: “The Kennedy Homestead,” 4:45). Narrator explains famine-driven Irish migration to America. A woman walks outside with chickens. At 4:51, a jaunting cart (light two-wheeled carriage for a single horse, passengers seated back-to-back) appears. Cut to urban scene in Dublin (4:59) by River Liffey, dome of the Custom House visible in background. Birds fly over water. A main thoroughfare: O’Connell street, with Daniel O’Connell’s statue (“the Liberator”) prominently and statue of “British hero” Lord Nelson (Vice-Admiral Horatio Nelson) in background. Narrator notes Irish struggle for freedom from English oppression. At 5:22, statue of Thomas Moore (poet). Double-decker busses move along O’Connell street (5:38). A panning shot of the pillared post office of Easter Rebellion / Easter Rising fame (5:31). At 5:46, we view Grafton Street, a shopping district (“urban, modern Ireland”). A woman in a mid-length skirt, coat, and kitten heels darts across a street holding a newspaper. More women pass by window displays. We see rows of Georgian homes (6:04) in wide-angle views and then a Georgian home doorway. At 6:19, crowds watch a marching band at a hurling game. We watch field action (“legalized mayhem,” says narrator; 6:27–6:49). Then we see scenes of “hoofball” / Horse Soccer (6:49–7:14). Cut to footage of small crowd of men outside (7:14). A man behind a bar serves customer beer from a barrel (7:23). At 7:32, we pan across a mixed-gender cèilidh / céilí music group, with violins, accordions, piccolos / recorders, and flutes. People tap their feet to Irish music; we see smiling faces. A shillelagh (or “shillelah,” “shillalah,” or “shillaly”) club is held in the air, while the narrator lauds “the indomitable Irish spirit.”

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