Movie Review: The Searchers

 

“The Searchers” (Directed by John Ford, 1956)

John Ford’s western flick, “The Searchers,” influenced filmmakers such as David Lean, Steven Spielberg and Martin Scorsese. Yet, the significance of this cultural touchstone is often soft-spoken. Perhaps the cowboy genre, which is typically regarded as simple fun, plays a role as to why some underestimate the movie’s cinematic value. Nevertheless, the cinematography, lead performance and direction create a film that rivals most classics.

“The Searchers” follows the story of Ethan Edwards, a Confederate veteran, who returns to his brother’s ranch and discovers his family murdered by Comanche Indians. When Ethan learns that the tribe kidnapped his youngest niece, Debra, he embarks on a five-year long rescue mission with the help of his adopted nephew, Martin (Jeffery Hunter), to bring her back home. However, Martin soon questions Ethan’s true intentions behind his revenge-driven quest. Does Ethan wish to safely return Debra or does he ultimately intend to kill the brainwashed girl?   

Certainly, John Wayne’s performance as Ethan captures the essence of an anti-hero. In fact, his role would provide the foundation for Robert DeNiro’s character, Travis Bickle, in “Taxi Driver.” Unlike most western films of the time, “The Searchers” doesn’t define a clear good guy. Although the audience witnesses moments that showcase the protagonist’s internal vulnerabilities, Ethan’s hardened exterior is bruised by bitterness, brutality and racism. Wayne’s ability to extract the audience’s empathy for such a callous figure demonstrates his remarkable skill as an actor. Surely, great dialogue boosts any performance and the fact that the line, “that’ll be the day,” would be embedded as a pop culture catchphrase is a testament to the script’s achievement. However, Wayne’s telling facial expressions is what places this performance above his peers. A single glance of sorrowful reflection offers more insight to Wayne’s character than any line could.

Despite the captivating lead performance, “The Searchers” is just as much about the land as it is the protagonist. From snow-blanketed fields to sun-beaten deserts, the cinematography captures a terrain equally as brutal as Ethan Edwards. The composition of panoramic horizons, skyscraping plateaus and winding canyons at times dwarfs the characters on screen. Without a doubt, the film’s style set a benchmark that would go on to inspire David Lean’s “Lawrence of Arabia.” The camera’s apparent adoration for a time period not yet ravished by the steel and cement of contemporary America helps mythologize a piece our historical culture.

           

Known for his frugal methods of film making, Ford’s direction restricts the movie’s style from overriding its substance. Amazingly, the number of close-ups and quick cuts can be counted on one hand. Unfortunately, today’s moviegoer, who is used to nausea-inducing shaky cams and rapid-fire edits, might be discouraged when viewing the film. However, instead of taking a backseat, Ford’s economical style helps heighten the story’s suspense. For example, the tracking shot on Lucy screaming as she realizes her family is about to be attacked stands out as a moment of true terror. The audience recognizes the importance of the shot because the film isn’t diluted in a sea of other stylized camera tricks. Instead of reveling in the moment, the director’s display of patience serves the quality of the movie as a whole.

“The Searchers” demonstrates all the elements of a great Western film while offering the audience something more. Hidden within a genre defined by shootouts and horse chases is an examination of human nature. The beautiful cinematography, awe-inspiring lead performance and masterful direction combine to provide the viewer with a true work of art. Keeping all this information in mind, it’s no wonder “The Searchers” influenced so many of today’s filmmakers.