The Searchers (1956)
70 years later, director John Ford's robust, heart rending epic still stands tall as a cinematic landmark......and an inspiration for an entire new generation of filmmakers who revered his work - Steven Spielberg, Martin Scorsese, David Lean and who knows how many others.
Watching it again, after many previous viewings, we found ourselves still riveted by its imagery, characterizations and the grandiosity of its landscapes as a backdrop for the emotional power of its storytelling......it's uniquely American mythmaking on a spectacular scale (and something sorely missing to today's movies, we might add.....)
We're not about to rehash, re-analyze and review all the details of the film......so anyone reading this post who hasn't seen it, stop reading this immediately and find a way to see it. Like, right now.
While this fresh viewing still stays in our memory, we'll just cover the pivotal bits and pieces that stood out the most.....
John Wayne and the rescued woman captives......One of the most brutal moments in the film. Ethan Edwards (Wayne), searching for his abducted-by-Comanches niece (Natalie Wood) visits a Cavalry post to see if she's among some women rescued. She's not.....and the surviving girls have been driven mad by the experience. The camera lingers on Wayne's face, filled with revulsion and barely contained rage....since by this time we know the unforgiving, hard hearted Ethan considers white women in the hands of Indians as the walking dead, lost causes to be put down like rabid dogs.
That cabin doorway......in the history of iconic film shots (Cary Grant chased by the cropduster, Charlton Heston riding his chariot, Orson Welles whispering 'rosebud'), there's that frontier doorway that serves as Ethan Edwards' path into the loving comforts of family and friends and then back out to the lonely outcast life into which he's exiled himself. As the door finally closes on him as he walks away into arid solitude, the final heartbreaking camera shot became forever a part of film history.
Monument Valley.....the Arizona natural wonder upon which John Ford created and staged his own universe in multiple films. Ford's only major problem in "The Searchers" - the stark beauty and power of the place (especially when photographed in sharp, wide screen VistaVision) painfully contrasted with outdoor scenes that Ford shot on obviously indoor Warner Brothers studio sets.
Hank Worden as frontier madman/jester Mose Harper.....comedy relief in a Ford film was always loud, boisterous and veering into slapstick. Worden's arrested development Mose (no doubt encouraged by Ford) took this approach to its very limit and it's hard to tell if Mose's genial lunacy is something laughable or deserving pity. By the end of the film, this frontier toddler with no impulse control finally emerges a hero......and awarded his own rocking chair happily-ever-after.
We could go on for hours more on this film (and so have many other film bloggers, pundits and critics.) But we feel we've made our point.
"The Searchers", 70 years later, remains a 'must-see-before-you-die' for everyone and anyone who loves movies.
5 stars (*****).