The Searchers

The Searchers
File:The Searchers.jpg
Directed by	John Ford
Written by	Alan Le May (novel) Frank S. Nugent
Produced by	C.V. Whitney
Starring	John Wayne Jeffrey Hunter Natalie Wood
Cinematography	Winton C. Hoch
Music by	Stan Jones (title song) Max Steiner
Distributed by	Warner Bros.
Release dates	March 13, 1956
Running time	119 min.
Country	United States
Language	English

The Searchers is a 1956 epic Western film directed by John Ford, which tells the story of Ethan Edwards, a bitter, middle-aged loner and Civil War veteran played by John Wayne, who spends years looking for his abducted niece. The movie was supposedly adapted by Frank S. Nugent from the novel by Alan Le May, though many critics have said flatly it was actually based on the Cynthia Parker story. Dan Schneider writing in his May 2007 DVD Review says "The actual tale was inspired by the legendary 1836 kidnapping of young Cynthia Ann Parker (mother of the great Comanche Chief Quanah Parker) by Comanche warriors who raided her family’s home. After a quarter century, her family recovered her. That ‘incident’ has inspired stories, books, and even poems, but none as vivid as the tale The Searchers tells, despite its many flaws."

This movie is a very influential film, inspiring other westerns as well as dramas, science fiction, and even Bollywood films. Much of it was filmed in Monument Valley, Utah. Additional scenes were filmed in Mexican Hat, Utah, and in Bronson Canyon in Griffith Park, Los Angeles.

The film, while a modest commercial success in its' initial release in 1956, was not initally regarded as a classic. But time treated it quite kindly, and it became generally regarded as not only one of the greatest westerns of all time, but one of the great movies of all time, period. [[8]]

Plot

The year is 1868. Ethan returns from the American Civil War, where he fought for the Confederacy, to his brother's house in rural Texas. No one knows what he's been doing for the past three years (since the war ended), but despite hints that Ethan has been up to no good, no one asks, though the local Ranger Captain, (who is also the local preacher) dourly observes "you sure fit a lot of descriptions." (on wanted posters) Shortly after his arrival, a Comanche raid leaves his brother and sister-in-law dead, his nephew dead, his two nieces abducted, and the family homestead burned down. With his brother’s adopted son, Martin Pawley (Jeffrey Hunter), who is part Indian, part white, Ethan pursues the Comanches to rescue the girls.

The unspoken love between Wayne's Ethan and his brother's wife Martha drove the film as he was obsessed with avenging her

Many reviewers allege there is a powerful albeit unspoken factor in the plot. These reviewers maintain that Ethan Edwards, from the moment he arrives in the opening scene, is clearly in love with his brother's wife Martha. These same reviewers state it is this love (clearly mutual, as witness the scene in which Captain Clayton notices Martha stroking Ethan's coat) which drives Ethan initially both toward rescue and toward revenge. In terms of the dramatic action of the film, these reviewers maintain it is by far the strongest initiator of behavior on the lead character's part. Those espousing this theory allege that the most startling part of this plot undercurrent is that there is not one word of dialog alluding to the relationship and feelings between Ethan and Martha, despite the importance of those factors to the plot. Every reference to this relationship is visual.

Ethan soon finds the murdered body of the older girl, Lucy, and Lucy's fiance dies in a fruitless attempt to avenge her. Ethan and Martin continue to search for the other girl, Debbie, a search that lasts for five long years afterwards. During that time, she grows into adolescence and is married to Scar (Henry Brandon), the chief of the Nawyecka band of Comanches. Scar is presented as the mirror image of Ethan on the other side of the cultural divide. He hates whites every bit as much as Ethan hates Indians. Once Ethan realizes Debbie's relationship with Scar, he undergoes a change. He no longer wants to rescue Debbie; he wants her dead, believing being a Comanche's "squaw" is worse than death. Martin tags along to stop Ethan from killing the girl. Eventually Ethan, Martin, and the Texas Rangers find Debbie. Martin kills Scar and Ethan scalps him. Martin tries to prevent Ethan from killing Debbie, but it is Ethan himself who realizes how close he has come to tragic action. Instead of killing Debbie, he lifts her in his arms just he did when she was a child. Ethan brings Debbie to the safety of friends and then walks away. The film, which opened with an identical shot of the doorway, slowly revealing silouhettes that fil-out into the film's character, finishes by creating a chiasmic close; instead in the end, the film's players enter back into the doorway, which closes just before the end title credit, leaving Ethan outside in the illuminated day.

Production

The film “The Searchers” was originally produced by C.V. Whitney, directed by John Ford, and distributed by Warner Brothers. The film starred John Wayne, who was the only actor Ford ever considered for the lead in the movie.

Ford from the onset strove to make a movie unlike any made before it in Hollywood. Wayne had played outlaw characters before (the Ringo Kid in Stagecoach), but never one as driven and borderline psychotic as Ethan Edwards - indeed, Edwards is played as hovering on the verge of a complete breakdown. Jonathan Lethem said of Wayne’s portrayal of Edwards that he was “tormented and tormenting…his fury is righteous and ugly, at once, resentment branded as a fetish.” His racism and hatred are so open that they sear the viewer, and Ford intended it so. His own comments make clear he is seeking to portray the racism of white America that led to the genocide practiced against Native Americans . Lethem also writes of his first look at The Searchers, “Weren’t Westerns supposed to be simple? This film was anything but, lush and portentous.”

Though the movie was supposed to be set primarily in the Comancheria, the fabled homeland of the Comanche, mostly in the staked plains (Llano Estacado) of North West Texas, it was actually filmed in Monument Valley, Utah. Additional scenes were filmed in Mexican Hat, Utah, and in Bronson Canyon in Griffith Park, Los Angeles.

The film was one of the first shot in the VistaVision widescreen process.

The film stressed the incredible vastness of the fabled Comancheria, including the stalked plains

Real-life inspiration

The story of the original novel version of The Searchers is often said to have been inspired by the 1836 kidnapping of nine-year-old Cynthia Ann Parker by Comanche warriors who raided her family's home at Fort Parker. She spent twenty-five years with the Comanche, married a war chief, and had three children, only to be "rescued" against her will by the Texas Rangers. James W. Parker, Cynthia Ann's uncle, spent much of his life and fortune in what became his obsessive search for her. This certainly matches the obsession of Ethan in the movie in searching for his niece, as James Parker did Cynthia. In addition, the "rescue" of Cynthia Ann, during an attack on the village she lived with by Texas Rangers, closely mirrors the movie rescue of Debbie during a Texas Ranger attack on Scar's village.

Author Alan Le May studied 64 cases of late 19th century child captivities in Texas while researching his novel. His surviving research notes at UCLA point to only one model for the character who goes in search of his missing relatives: Brit Johnson, an African-American teamster. While the book is ostensibly the source for the movie, the facts of Cynthia Ann Parker's abduction, her Uncle's search, and the massacre that "rescued" her far more match the movie than Brit Johnson's ransom of his family. This has been noted by many reviewers, including Dan Schneider. Indeed, the movie is virtually a mirror for the case of Cynthia Ann, while having little in common with the real-life exploits of Brit Johnson's buying back his wife and family. (See the Battle of Pease River.)

In 1864 Johnson's wife and two of his children were captured by a party of Kiowas and Comanches in the Elm Creek raid in Young County, Texas. The following year, Johnson reportedly ransomed his family from the Comanches in exchange for seven ponies. After that, he continued to search for other captives, inquiring at military posts, attending Indian councils, and visiting Comanche villages. He undertook these missions voluntarily and never asked for any payment. Johnson was one of very few private individuals who apparently succeeded in ransoming captives; most were recovered by federal Indian agents working together with friendly tribal chiefs. Although some historians dismiss Johnson's story as mere legend, several eyewitness accounts lend it credence. He was killed by Kiowas while hauling freight in 1871.

The film diverges in all key matters from the Le May's novel and coincides in virtually all key matters to the real-life tragedy of Cynthia Ann Parker. Indeed, as noted, only one of Le May's characters, Brit Johnson, came remotely close to the plot in the movie, and he bought his wife and children back from the Comanche for 7 ponies rather than rescuing them by force. Though it was never admitted, the Parker saga fit the movie plot in every detail but two, the length of time the girl spent in captivity, and the fact in real life she had children by the chief, whereas in the movie she did not.

Critical interpretations

Themes

Ford made an effort in this movie to examine the issues of racism and genocide towards Native Americans. Ford's was not the first film to attempt this, nor the most polished as regards the effort, but it was startling (particularly for later generations) in the harshness of its approach toward that racism. Ford's examination of racism starts with the racism of his hero. (That "hero" is hardly conventional.) Indeed, Wayne's Ethan Edwards hates practically everyone, but reserves a special bile for Indians. And it is this openly virulent hatred of Native Americans by the lead character which opens the door for the movie to examine racism as an excuse for the genocide of the Indians. Emmanuel Levy says "It's a rare attempt to deal head-on with the problem and roots of racism in American life." The movie has evolved steadily over the years, or the perception of it has, as people more willingly examine as a society the horrific treatment of Native Americans by the white culture. Roger Ebert says in a somber analysis of this movie: "In The Searchers I think Ford was trying, imperfectly, even nervously, to depict racism that justified genocide."

Range of analysis of the film

Very few movies have been more critically analyzed and reviewed than have “The Searchers.” The critical interpretation of The Searchers ranges from hailing it as a groundbreaking attempt to address racism in America, (Roger Ebert) to a blunt condemnation of the movie as a failed and patronizing attempt to examine what really happened to Native Americans, and why. (Dan Schneider) The truth probably lies somewhere in between.

John Ford, as his interviews give evidence, unquestionably felt strongly about the plight of the Native Americans, and the way that white society had smashed their culture and thrown them aside. His landmark work “The Searchers” was an attempt to examine how this plight had come to pass, and how racism had turned into genocide.

Though reviewers and those academics who have used this movie as an examination into the culture and social mores of the United States disagree on much, one aspect of general agreement is that Ford’s main character, Ethan Edwards, is a virulent and unapologetic racist. Equally filled with rage is Edwards's Indian counterpart, Chief Cicatrice (Scar); indeed, he is Ethan Edwards's doppleganger among the Indians, hating whites as much as Edwards hates Indians. Racism and hatred as an excuse for violence and death are obvious themes running throughout “The Searchers.”

Ethan felt Debbie was better off dead than living married to an Indian, part of the ugly themes of racism and miscegenation than ran through the movie

The theme of miscegenation also runs through this movie. Ethan says repeatedly that he will kill his niece rather than have her live “with a buck.” He says “living with the Comanche ain’t living.” Even one of the movie’s gentler characters, Vera Miles’s Laurie, tells Martin when he explains he must protect his adoptive sister, that “Ethan will put a bullet in her brain. I tell you Martha would want him to.” This outburst made clear that even the supposedly gentler characters were thoroughly tainted by racism and the fear of miscegenation.

It is instructive to note that Ford made an attempt in this movie to deal with subjects and themes which were quite controversial for that time in America. His own words express what he was attempting to do. In a 1964 interview with Cosmopolitan magazine he said:

“There’s some merit to the charge that the Indian hasn’t been portrayed accurately or fairly in the Western, but again, this charge has been a broad generalization and often unfair. The Indian didn’t welcome the white man... and he wasn’t diplomatic... If he has been treated unfairly by whites in films, that, unfortunately, was often the case in real life. There was much racial prejudice in the West.

The story of Cynthia Parker, which so many reviewers find as the real-life inspiration for this movie, is instructive. Ostensibly “rescued” in an attack on an Indian band virtually identical to the one shown in this movie, she starved herself to death when her white relatives refused to let her find her sole surviving child. Yet to this day, her “rescue” is considered a “victory” in the Indian Wars. Indeed, Sul Ross's report about the "Battle" in which he recaptured Cynthia Parker is instructive, after killing women and children indiscriminately, he reports (from the book, Indian Depredations, by J.W. Wilbarger):

"So signal a victory had never before been gained over the fierce and war like Comanches; and never since that fatal December day in 1860 have they made any military demonstrations at all commensurate with the fame of their proud campaigns in the past. The great Comanche confederacy was forever broken."

In summing up the social impact of this movie Arthus Eckstein says,

"The Searchers has obsessed many filmmakers, critics, and scholars in a manner unusual even for those with a passionate love of cinema...The Searchers is one of those rare films that reveals something new with every viewing...The Searchers is so dense with meaning the only way to understand it is to slow the projection time to equal the five year digetic time."[[9]]

Cast and Character Description

• John Wayne : Ethan Edwards; Wayne was cast perhaps in his most difficult role as the virulantly racist civil war veteran who apparently hated practically everyone - but Indians in particlar. After he discovers his niece Debbie has slept with an Indian he intends to kill her.
• Jeffrey Hunter  : Martin Pawley; the adopted son of Edwards's brother, he is part Indian, and undertakes the search with Edwards to save his adoptive sister from the Comanche and, later, from Ethan.
• Vera Miles  : Laurie Jorgensen; Pawley's sweetheart, she gets just one letter in five years from him.
• Ward Bond  : Rev. Capt. Samuel Johnston Clayton; preacher and Texas Ranger captain who notes that Edwards "fits a lot of descriptions" (on wanted posters).
• Natalie Wood  : Debbie Edwards (older); Ethan Edwards's niece, carried off by Comanches when she is a child, she married Chief Scar when she grows up - and Ford never made clear whether she chose that marriage or was forced. Natalie Wood's younger sister Lana Wood plays Debbie as a child.
• John Qualen  : Lars Jorgensen; was a Scandinavian immigrant, and father of Laurie.
• Olive Carey  : Mrs. Jorgensen; was his American-born wife of Lars and mother of Laurie.
• Henry Brandon  : Chief Cicatrice (Scar); chief of the Nawyecka band of Comanche; he was the abductor of the girls.
• Ken Curtis  : Charlie McCorry; was a hayseed cowboy who intends to marry Laurie Jorgensen.
• Harry Carey, Jr.  : Brad Jorgensen; engaged to the older Edwards sister.
• Antonio Moreno : Emilio Figueroa; a Comanchero, he leads Ethan Edwards at last to Scar.
• Hank Worden : Mose Harper; half-mad cowhand who helps locate Debbie.
• Beulah Archuletta : Wild Goose Flying in the Night Sky (Look); she was an Indian woman married to Martin through his misunderstanding.

Ford originally wanted to cast Fess Parker, whose performance as Davy Crockett on television had helped spark a national craze, in the Jeffrey Hunter role but Walt Disney, to whom Parker was under contract, refused to allow it, according to Parker's videotaped interview for the Archive of American Television. Parker notes that this was by far his single worst career reversal.

Release

• Argentina : July 19, 1956
• France : August 8, 1956
• Japan : August 22, 1956
• Sweden : August 22, 1956
• Italy : September 16, 1956
• U.K. : September 23, 1956
• Finland : October 5, 1956
• West Germany : October 5, 1956
• Australia : November 15, 1956
• Austria : January 25, 1957
• Hong Kong : February 14, 1957
• Denmark : July 24, 1957

Reception

Although the film was set in Texas it was filmed in Monument Valley. Utah

• The film has been deemed "culturally significant" by the United States Library of Congress.
• The film was selected for preservation in the US National Film Registry.
• The Searchers is often cited as a candidate for the greatest film of all time.
  • E.g. The Sight and Sound poll of the greatest films ever made:
    • In 1972, The Searchers was voted in eighteenth place.
    • It was in fifth place in 1992.
    • In 2002 it was in eleventh place.
  • The 2007 American Film Institute 100 Greatest American Films list included The Searchers in twelfth place.
• The Searchers is a favorite of Martin Scorsese, George Lucas, Steven Spielberg, Ramesh Sippy, James Robert Baker and John Milius.

• Entertainment Weekly ranked The Searchers as the thirteenth greatest movie of all time, as well as the greatest western of all time.

Influence

The Searchers has influenced films as diverse as Taxi Driver, Star Wars Episode IV: A New Hope, Dances with Wolves, Hardcore, Saving Private Ryan', and Apocalypse Now'. David Lean watched the film repeatedly while preparing for Lawrence of Arabia (1962) to help him get a sense of how to shoot a landscape. The entrance of Ethan Edwards in The Searchers across a vast prairie is echoed clearly in the across-the-desert entrance of Sherif Ali in Lawrence of Arabia. Sergio Leone, a noted Ford admirer, mentioned The Searchers as one of his favorite films and referenced it in a key scene of Once Upon a Time in the West (1968). It was also referenced in a similar scene in the Bollywood film Sholay. The influence of this film on George Lucas can be seen in his Star Wars films. For example, in Star Wars Episode IV: A New Hope, the burning of Luke Skywalker's home parallels visually and narratively the burning of the homestead in The Searchers; also the framing of the shots through the opening of Obi-Wan's cave (when Luke first meets him) directly matches the framing of the screen shots of Ethan Edwards' reunion with his niece, Debbie. Another direct quote comes in Star Wars Episode II: Attack of the Clones in the scene in which Anakin enters the village of the sandpeople. When riding into battle with the Union soldiers, the ominous bugle music mirrors that used in "Apocalypse Now".

Other films, such as Dominion: Prequel to the Exorcist (which references the final shot of The Searchers), show direct influence as does work in other genre, such as Jonathan Lethem's novel "Girl in Landscape" which cites the film as inspiration in its jacket copy. John Wayne's catchphrase in the film, "That'll be the day", inspired Buddy Holly to write his hit song of the same name.

External links

• The Searchers at IMDb
• Article at FilmSite
• Ebert review
• In depth critique of the film at Blogcritics
• Race, Racism and the Fear of Miscegenation in The Searchers: Academic Paper