Sean McClory

However, it was his frequent appearances on the small screen that enabled McClory to stand out in viewers' memories, especially in a range of western and adventure series (in which he played a good sprinkling of Irish characters) well into the 1970s.

In 1953 McClory played one of his standout roles as menacing, shady archaeologist Jefferson in Plunder of the Sun (1953), a good adventure thriller helped along by location shooting in Mexico. McClory, with a white-tinted crewcut and dark glasses (very effective), had the opportunity to reveal the depth of his talent and really stole the picture from star Glenn Ford, who couldn't get away from his usual mumbling delivery. McClory had a cultured, neutral Irish brogue that fit well in small- or big-screen performances, unlike such Irish actors as Barry Fitzgerald who, though very effective and beloved, had a thick brogue that kept him forever cast as an Irishman.

As a result, McClory was much more at home in American TV and had many memorable roles from 1953 onward, appearing in a gamut of episodic TV in addition to his feature film work.

John Ford finally began casting - a painstaking process for the finicky director -- for his long conceived The Quiet Man (1952) and chose McClory for a small but showy part, in which he was seen throughout the film feature with Charles B. Fitzsimons, the younger brother of the film's star, Maureen O'Hara, playing an Irish villager. Although some of the cast were familiar members of the "John Ford Stock Company", many roles were filled by actual Irish villagers (the film was shot on location) and included a generous helping of Abbey Theater alumni: the Shields brothers (Barry Fitzgerald and Arthur Shields) and Jack MacGowran, in addition to O'Hara McClory. Ford wanted him for roles in several of his subsequent films, however McClory's busy film and TV schedule only allowed him to accept roles in two other Ford films, The Long Gray Line and Cheyenne Autumn.

By 1950 he was showing up in more notable films - though uncredited, particularly in The Glass Menagerie (1950). Within a year McClory's talents were being showcased in various small feature roles.

In 1949 he signed a short contract with 20th Century-Fox.

In early 1947 he decided to make the jump to America and break into Hollywood.

His first roles were that of a staple in American films: the Irish cop, which he played in two of the "Dick Tracy" series in 1947.

He rose through the ranks playing in productions of the works of such authors as William Butler Yeats and George Bernard Shaw, and soon began to play leads mostly in comedies (popular through most of the 1940s and into the 1950s). When comedies began to fade from the theater after World War II, McClory with turned an eye toward film.

Sean McClory was born in Dublin, Ireland, but spent his early life in Galway. He was the son of Hugh Patrick, an architect and civil engineer, and Mary Margaret Ball, who had been a model. Sean decided to become an actor and joined Dublin's renowned Abbey Theater (also known as the National Theater of Ireland, opened in 1904).