The Searchers (A- or 3.5/4 stars)
'The Searchers' is one of director John Ford's very best and, it is the quintessential epic American Western. Sure, it has the classic tropes, but so, too, is it about one man's self-discovery about love & hate, and how racism shaped our past. After a long absence, embittered Confederate veteran of the Civil War, Ethan Edwards (John Wayne - iconic, here) returns to the remote Texan homestead of his brother, Aaron (Walter Coy) & sister-in-law, Martha (Dorothy Jordan). With hopes of finally finding peace, instead, the retired loner soldier comes home to find that ruthless Indian Chief Scar (Henry Brandon) & his murderous Comanche tribe have massacred his extended family, burned the house to the ground, & abducted his 10 yr. old niece, Debbie.
Down, but not out ... Ethan leaves the woman he loves to embark on a treacherous 5 yr. odyssey of revenge & rescue. Driven by his hatred of all things Indian, Ethan & his brother's part-Cherokee adopted son, Martin (Jeffrey Hunter), ride through the unforgiving desert; deep into Comanche territory to track down Debbie. As the years drudge on, Martin witnesses continually alarming behavior from Ethan. Ethan shows disdain for his half-breed nephew, refusing to let Martin call him Uncle. And after realizing that a 15 yr. old assimilated 'Indian' girl who he comes upon is his very niece, Debbie (now Natalie Wood), it appears that his hell bent mission to save her has turned into a possible mission to kill her; as his hatred for Indians is unerring. Martin tries desperately to prevent Ethan from doing this and, instead, focus him on killing Chief Scar, saving Debbie {if she wants to be saved}.
John Ford lends his typically stellar direction & deploys his team of filmmakers to create quite the stunning motion picture, here. This movie tells the psychologically dark story of a man who is so thoroughly heroic, and yet, filled with such betrayal, bitterness & hatred that it clouds his good sense when dealing with his own niece. John Wayne is practically perfect playing this against type anti-hero. Wayne's usual sympathetic hero persona is upended by the tragedy-induced cruelty running through his veins; he loves & he hates in equal measure. Jeffrey Hunter is excellent as Martin. Everyone impresses in their roles, including: Vera Myles as Laurie, Ethan's love interest; Ward Bond as Rev. Capt. Clayton & Patrick Wayne {John's 2nd son} as Lt. Greenhill.
Adapted from a novel, John Ford lets the darkly poetic story play out as the tragedy it is. Yes, there are literal tragedies that occur, but the biggest tragedies are of Ethan's psychological character flaws, and the tragedy of racism in America. This film can be viewed, simply, as a western, and/OR, as a metaphor for the paradoxical past, present & future of this great country. Ford even spoke of Indians: It's probably an unconscious impulse, but they are a very dignified people, even when they were being defeated. Of course, it's not very popular in the United States. The audience likes to see Indians get killed. They don't consider them as human beings".
If the story here is darkly poetic, then the matching visuals are AS poetic. Cinematographer Winton Hoch captures the mythic landscapes of the Old West, with its earthy reds, oranges & browns in all its foreboding splendor & grand majesty. You'd be hard-pressed to find a better use of Technicolor for 1956 -- it's just glorious. I also admire Max Steiner's sweeping music. Editor Jack Murray keeps the proceedings moving. The sets & costumes are period perfect. And I also loved the crisp sound work. Many westerns have tried to emulate the audacious brilliance that Ford does with this dark, racism-fueled story ... but no director has bettered it.
Down, but not out ... Ethan leaves the woman he loves to embark on a treacherous 5 yr. odyssey of revenge & rescue. Driven by his hatred of all things Indian, Ethan & his brother's part-Cherokee adopted son, Martin (Jeffrey Hunter), ride through the unforgiving desert; deep into Comanche territory to track down Debbie. As the years drudge on, Martin witnesses continually alarming behavior from Ethan. Ethan shows disdain for his half-breed nephew, refusing to let Martin call him Uncle. And after realizing that a 15 yr. old assimilated 'Indian' girl who he comes upon is his very niece, Debbie (now Natalie Wood), it appears that his hell bent mission to save her has turned into a possible mission to kill her; as his hatred for Indians is unerring. Martin tries desperately to prevent Ethan from doing this and, instead, focus him on killing Chief Scar, saving Debbie {if she wants to be saved}.
John Ford lends his typically stellar direction & deploys his team of filmmakers to create quite the stunning motion picture, here. This movie tells the psychologically dark story of a man who is so thoroughly heroic, and yet, filled with such betrayal, bitterness & hatred that it clouds his good sense when dealing with his own niece. John Wayne is practically perfect playing this against type anti-hero. Wayne's usual sympathetic hero persona is upended by the tragedy-induced cruelty running through his veins; he loves & he hates in equal measure. Jeffrey Hunter is excellent as Martin. Everyone impresses in their roles, including: Vera Myles as Laurie, Ethan's love interest; Ward Bond as Rev. Capt. Clayton & Patrick Wayne {John's 2nd son} as Lt. Greenhill.
Adapted from a novel, John Ford lets the darkly poetic story play out as the tragedy it is. Yes, there are literal tragedies that occur, but the biggest tragedies are of Ethan's psychological character flaws, and the tragedy of racism in America. This film can be viewed, simply, as a western, and/OR, as a metaphor for the paradoxical past, present & future of this great country. Ford even spoke of Indians: It's probably an unconscious impulse, but they are a very dignified people, even when they were being defeated. Of course, it's not very popular in the United States. The audience likes to see Indians get killed. They don't consider them as human beings".
If the story here is darkly poetic, then the matching visuals are AS poetic. Cinematographer Winton Hoch captures the mythic landscapes of the Old West, with its earthy reds, oranges & browns in all its foreboding splendor & grand majesty. You'd be hard-pressed to find a better use of Technicolor for 1956 -- it's just glorious. I also admire Max Steiner's sweeping music. Editor Jack Murray keeps the proceedings moving. The sets & costumes are period perfect. And I also loved the crisp sound work. Many westerns have tried to emulate the audacious brilliance that Ford does with this dark, racism-fueled story ... but no director has bettered it.