JUST about every video or DVD collection in every Irish home contains a copy of The Quiet Man. It's as common as a kettle in the kitchen. Now Des MacHale's book - the result of a life-long fascination with director John Ford's 1952 Oscar-winning masterpiece - looks set to achieve the same ubiquity. And deservedly so, for it is very obviously a labour of love on which the author has not spared the trivia trowel. But this is no surface-skimming missal; no Quiet Man quiz book (heaven forbid). Rather, MacHale has produced a 250-page treasure trove of information and photos and illustrations that "Quiet Man-iacs" the world over will devour with glee. Most remarkable, though, is the author's frame-by-frame examination of arguably the greatest Irish movie of all time. This painstaking task, which involved several hundred hours of pausing, rewinding and fast forwarding, has resulted in the most detailed analysis ever of a motion picture. That's great news, especially for film students, because although The Complete Guide to The Quiet Man is not targeted primarily at them they will find it an invaluable study aid. It's to the movie's millions of fans worldwide that MacHale - a professor of mathematics at University College Cork - really targets his book, which was 20 years in the researching and writing. In it we revisit the breathtakingly beautiful West of Ireland locations in and around the Co Mayo village of Cong that helped earn the film its Oscar for Best Colour Cinematography Simple yet super-precise diagrams pinpoint the camera positions so that visitors - or more accurately pilgrims - can savour the sights as they were seen through the viewfinder. Many never-before-seen black and white and colour photos of the cast and crew at work and play rekindle favourite scenes. We also learn of the scenes in Frank Nugent's screenplay that were never filmed and those that ended up on the cutting room floor. And anecdotes related by villagers and suppliers carry us behind the scenes and paint a picture of that idyllic summer of 1951 when Hollywood descended on backwood. There's also a chapter on those films that influenced Ford - including some of his own - in his making of The Quiet Man. The examples cited might dismay many diehard fans, but the evidence presented by MacHale can't be disputed - Ford obviously and unashamedly stole and borrowed bits and bobs from all around. A line of dialogue here, a scene there, from this film and that were mixed and matched into the story of ex-boxer Sean Thornton's (John Wayne) return from America and his troubled courting of and marriage to the flame-haired Mary Kate Danaher (Maureen O'Hara at her most beautiful). This we learn and a whole, happy lot more from a book whose only fault is the absence of an index. Perhaps MacHale's 20 years of research and writing left him too exhausted to complete this final task. Hopefully for future editions he will address this.