"The Searchers" is, in itself, a paradox; the movie contains greatness, a compelling tale of persistence and obsession, the archetypal quest. John Wayne's character is deep and visceral, and the cinematography is stirring and effective. However, the movie is scarred by silly subplots that only detract from the theme and hold this movie safely from my pedestal of greatness.
The film tells the story of Ethan Edwards, a rough, rigid confederate veteran of the Civil War. All other characters are dwarfed next to him - even Martin Pauley (Geoffrey Hunter), his companion and co-star, seems shallow and simple by comparison. Despite my usual prejudice toward John Wayne characters, I found Ethan's story engaging and rewarding.
The Searchers opens with an indoor view of a door opening to a figure silhouetted against a majestic Texas landscape stretching out for miles, symbolizing one of the driving themes in Westerns - one man, poised against the elements. After a short exposition telling us the characters and setting through casual dialogue, the story launches as a group of Commanche Indians murder a family and burn there house. Ethan returns to find a burned house and the knowledge that two daughters have escaped and are now somewhere in the midst of the Texan desert, which drives the plot of the entire movie.
Early on in the film, we can absolutely feel the hopelessness of the search - Ford allows his characters appear tiny and insignificant amidst an incomprehensibly large wilderness, and this technique is very skillfully performed. The cinematography is consistently epic and effective, such as when John Wayne and several other men coming riding in to meet with Indians, and the camera flies out to show John Wayne and his men pathetically small in the foreground while the many Indians progressively come into view in the background. Ford's cameras are expressive but never forced, allowing the viewers to identify with the frame without shoving it in their face.
Throughout the film, Ethan proves himself to be primarily driven by a passionate hatred and a lust for vengeance. He does not attempt to hide his disgust with all things Indian - throughout the movie, he repeats this malevolent philosophy. In a surprisingly gruesome scene, Ethan shoots out the eyes of a dead Commanche off-camera, simply because of the Commanche belief that doing so will prevent them from eternal rest. Yet as if to counter the film's serious tone, screenwriter Frank Nugent adds in scenes of mild comedy, including a subplot involving Martin's fiancé and various other random antics. These are completely out of place with the tone of the rest of the movie. It isn't just "comic relief" - it's completely outside the main story and works against an otherwise excellent film. It is typical Western-style dreck in an otherwise atypical Western film.
The film announces the true meaning of its name in the end credits, where a song mentions the search for peace of mind. Ethan was searching for his niece Debby, but found his path in life in the process. However, he remains true to his character - never does his undergo a magical conversion to more politically ideals, but he finds in himself a sense of compassion and understanding.
"The Searchers" is a film I would recommend as a western; however, I cannot wholly commend it as being a truly great movie. While it is at times almost brilliant, it seems to be bogged down by the conventions of so many other westerns - the light comedy, the silly characters, the disgruntled woman - it's as if these were added in after the initial draft of the script was rejected because the publisher felt its audience could not accept a serious story. So I reluctantly must give "The Searchers" a mere B-.
The film tells the story of Ethan Edwards, a rough, rigid confederate veteran of the Civil War. All other characters are dwarfed next to him - even Martin Pauley (Geoffrey Hunter), his companion and co-star, seems shallow and simple by comparison. Despite my usual prejudice toward John Wayne characters, I found Ethan's story engaging and rewarding.
The Searchers opens with an indoor view of a door opening to a figure silhouetted against a majestic Texas landscape stretching out for miles, symbolizing one of the driving themes in Westerns - one man, poised against the elements. After a short exposition telling us the characters and setting through casual dialogue, the story launches as a group of Commanche Indians murder a family and burn there house. Ethan returns to find a burned house and the knowledge that two daughters have escaped and are now somewhere in the midst of the Texan desert, which drives the plot of the entire movie.
Early on in the film, we can absolutely feel the hopelessness of the search - Ford allows his characters appear tiny and insignificant amidst an incomprehensibly large wilderness, and this technique is very skillfully performed. The cinematography is consistently epic and effective, such as when John Wayne and several other men coming riding in to meet with Indians, and the camera flies out to show John Wayne and his men pathetically small in the foreground while the many Indians progressively come into view in the background. Ford's cameras are expressive but never forced, allowing the viewers to identify with the frame without shoving it in their face.
Throughout the film, Ethan proves himself to be primarily driven by a passionate hatred and a lust for vengeance. He does not attempt to hide his disgust with all things Indian - throughout the movie, he repeats this malevolent philosophy. In a surprisingly gruesome scene, Ethan shoots out the eyes of a dead Commanche off-camera, simply because of the Commanche belief that doing so will prevent them from eternal rest. Yet as if to counter the film's serious tone, screenwriter Frank Nugent adds in scenes of mild comedy, including a subplot involving Martin's fiancé and various other random antics. These are completely out of place with the tone of the rest of the movie. It isn't just "comic relief" - it's completely outside the main story and works against an otherwise excellent film. It is typical Western-style dreck in an otherwise atypical Western film.
The film announces the true meaning of its name in the end credits, where a song mentions the search for peace of mind. Ethan was searching for his niece Debby, but found his path in life in the process. However, he remains true to his character - never does his undergo a magical conversion to more politically ideals, but he finds in himself a sense of compassion and understanding.
"The Searchers" is a film I would recommend as a western; however, I cannot wholly commend it as being a truly great movie. While it is at times almost brilliant, it seems to be bogged down by the conventions of so many other westerns - the light comedy, the silly characters, the disgruntled woman - it's as if these were added in after the initial draft of the script was rejected because the publisher felt its audience could not accept a serious story. So I reluctantly must give "The Searchers" a mere B-.