The Searchers (1956) User Reviews (652)

Steiner's Ignored Contribution!

[jpdoherty · 9/10 · 31 May 2011]

The best western ever made is how many regard this 1956 John Ford classic. Its star John Wayne gave his most winning performance and it is reputed to have been his favourite movie even to the extent of his naming his last born son Ethan after the character he played. Ford's beloved Monument Valley in Arizona never looked more spectacular in Vista Vision and colour and over the years the picture has gained cult status. An integral part of the combined elements that makes THE SEARCHERS great is Max Steiner's outstanding score. It is the picture's driving force - its backbone. Steiner's music propels the film forward, unifies the narrative and gives greater density to its key scenes. In fact without his music much of the picture's impact would be considerably diminished. Yet I am consistently amazed and at a total loss to see here on these pages - where the best part of 400 reviews appear - that Steiner's music is hardly referred to at all by any of the writers. Not only that but even on the extras of the last DVD release three well established film directors, Martin Scorsese, John Milius and Peter Bogdanovitch each speak glowingly of Ford's masterpiece but fail to mention Steiner's exceptional contribution. Bogdanovitch, at one stage, briefly mentions the music and how good it is but never puts a name on its composer. I find this not only doctrinaire but quite bizarre that these three men, who you would imagine should know better, would have such a detached attitude concerning one of the most perfectly conceived scores for a motion picture. Therefore I will attempt here to amend this anomaly and the afore mentioned omissions and give some deserving credence to Max Steiner's exceptional music for THE SEARCHERS which has well earned its place in the history of cinema.

A veritable orchestral explosion opens the picture in the form of a fanfare over the Warner Bros. logo. As the credits roll we hear the haunting Stan Jones ballad "Song Of The Searchers" wonderfully rendered by Ford favourites The Sons Of the Pioneers. The composer later interpolates this song into his score as the theme for the racist protagonist Ethan Edwards (Wayne). Then a lovely version - scored for guitar, solo trumpet and strings - of the traditional ballad "Lorena" plays under Ford's evocative 'frame within a frame' opening scene as the door of a remote homestead opens to reveal an approaching rider. It then skillfully segues into "Bonnie Blue Flag" to point up the rider's confederate allegiance. The "Lorena" ballad later becomes the family theme and is especially effective on solo violin for the scene where Ethan gives the young Debbie his wartime medal as her "gold locket" ("Oh, let her have it - it doesn't amount to much" declares Ethan somberly). And later it is arrestingly heard on spinet as Ethan bids farewell to the family and rides out with the posse to begin what effectively will be his great search. But where the score really shines is in the powerful music for the Indian sequences. Here there is a palpable authenticity in the scoring. Aided by the clever orchestrations of Murrey Cutter and some virtuoso playing by the Warner Bros. orchestra (particularly in the percussion section) Steiner fires on all cylinders adding realism, pathos and a sense of foreboding. There are echoes of the composer's "King Kong" (1933) in the cue for the scene where the Indians surround the posse and the music becomes rhythmically savage for the charge at the river and for the attack on the Indian camp near the finale. The composer's celebrated "Indian Idyll" (which he originally wrote five years earlier for the Burt Lancaster picture "Jim Thorpe-All American") comes into play and can be heard to splendid effect in the Indian camp sequences and as the motif for Look, Martin's (Jeffrey Hunter) new Indian "wife". Hearing these cues one can't help but wonder how remarkable it is that this most romantic of film composers - steeped in the musical tradition of late 19th century Vienna - his birthplace - should be so ethnically proficient at musically depicting the native American. More akin to what we have come to expect from this composer are lovely cues such as the sprightly theme for Martin and the lush and sweeping music for Martin and Laurie (Vere Miles). The score - and the movie - ends just like it began with "The Song Of The Searchers" playing as Ethan and Martin finally bring Debbie home and conclusively the door of a homestead closes on Ethan where a brief fortissimo quotation from that explosive fanfare closes the picture.

Alongside the great film music works of Miklos Rozsa, Alfred Newman, Dimitri Tiomkin and others Max Steiner's music for THE SEARCHERS stands head high as one the finest scores ever written for one the finest films ever made and as such should, and must, be alluded to in any dissertation or essay on the film.

Simply breathtaking.

[queen_meow_of_ontario · 9/10 · 21 April 2014]

A lone home amidst tranquil mesas. A family gathers on their front porch to watch a solitary man ride slowly up to their ranch on his horse in the waning sun. He stops, disembarks and walks up to the house, all in one single weary move. Note his stance, the rugged tiredness of life etched on his face. This lone drifter is Ethan Edwards (John Wayne) and is perhaps the most brilliant character devised by Wayne and director John Ford. As the film progresses, we learn of his military days, his contempt of Indians and, most importantly, his psyche. Compared to another John ford movie, "Stagecoach", we can see the massive differences in character psychology and within the genre itself. Gone are the days of the brave hero riding in to save the day with wistful smiles all around; instead we have a savage man on an odyssey of revenge, hatred and bloodshed.

In one scene, Ethan and a search party comes across a dead Indian buried in the ground. Ethan's suppressed rage overcomes him, and he shoots the corpse's eyes out. "What good did that do ya?" asks the Reverend. Ethan coolly replies, "Ain't got no eyes so he can't enter the spirit land, has to wander forever between the winds". This is by far my favourite line in the movie, because of the resonance it has at the end, with Ethan walking away into the winds, doomed to forever drift the earth. This movie is a beautiful spectacle of sight and sound. Not only do we marvel at scenes in Ford's beloved Monument Valley, we also find ourselves amazed at the level of detail in set design. Each frame is as if it were from a painter's canvas. Colour coordination was certainly something John Ford and his cinematographers fit perfectly into. There are few vibrant colours in each frame, but those that exist pop out vividly amongst the bleak, sepia-stained walls of the houses, and the valley.

John Ford again demonstrates his powerful storytelling technique by using several methods of progressing the narrative. While crosscutting between action is used sparingly, a quasi-flashback stemming from a letter of Luke's kept my attention firmly rooted to my screen. These different methods of narrative progression are important because it keeps the viewer continuously involved with the story. Not once did I feel as if a particular scene droned on and on for too long, instead I felt captivated not only by a gripping storyline, but also because of the brilliant dichotomy between Ethan Edwards and the other characters. The Searchers is a lesson on psychology, sociology and filmmaking all at once. I love it.

John Ford shows us how to make a Western

[dover · 9/10 · 17 June 2002]

John Ford is a classic Western filmmaker (though certainly not the only genre in which he excelled), employing the classic Western film star, John Wayne, in perhaps one of the most underappreciated films of our time. Ford builds a thoroughly entertaining movie which explores classic Western themes without necessarily relying on these themes to drive the plot.

Like any good Western, we are inorexably drawn to a kind of Cowboys vs. Indians saga, but Ford manages to draw us into the conflict in such a way that the mere "Cowboys good, Indians bad" aesthetic isn't really applicable here. While relying on the archetypical roles of the two groups to set up a conflict, Ford is ahead of his time in managing to characterize the Indians as more than "noble savages". Wayne's character's (Ethan Edwards) hatred of "the Commanch" is called into question a number of times, especially in his stormy relationship with adopted nephew and fellow searcher Martin Pawley (Jeffrey Hunter), who we are told is a quarter-Indian himself, and cannot bring himself to find the same sort of hatred for the Indians that Ethan holds.

Ethan was a Confederate soldier in the Civil War, returning to his brother's Texas homestead after the war. A group of Commanches, led by the ominous Chief Scar, route and kill his brother's family while Ethan and Martin are investigating a cattle rustling, the Commaches' diversionary tactic. The Indians took the family's youngest daughter, and the majority of the film has us following Ethan and Martin in their attempts to track down Scar and take back the girl, Debbie (played by Lorna and Natalie Wood, at different times).

Such a situation sets up one of the many moral ambiguities that make this more than an ordinary Western: the Commanches slaughtered Ethan's brother and his family - he seemingly has reason to hate them with the almost crazy passion that he does. Yet the more naive Martin cannot bring himself to hate them in such a way, and the split between them becomes a major point of contention when it becomes clear that Debbie has more or less been adopted as a Commanche (the two "Searchers" chase after her for about five years in film time). Furthermore, when the two "Searchers" actually meet Scar, who they've been chasing for years, he is presented as a rather intelligent character, although certainly one filled with vengance - he, too, has his reasons for waging war with the likes of Ethan and Martin, and cannot merely be written off a the type of bloodthirsty savage that is typical of the portrayal of most Indians within the genre.

The film relies on enough classic Western material to imbue with the feel with the sense of such pictures. Aside from the question of Ethan's morality, Wayne plays him with classic John Wayne freewheeling confidence and swagger that made the actor such an icon, and it comes off quite well. We are also given a side story involving Martin's romance with the hard-as-nails Laurie Jurgensen (played by Vera Miles, best known for playing Janet Leigh's sister in "Psycho"). The relationship is from a classic, archetypical Western mold - the two have been in love since they were kids, but Martin has responsibilites to his family that stop him from making the proper time for his beau, and his rough frontier-uprbringing leave him seemingly lacking the proper sensitivity for dealing with Laura (though he does, of course, have a heart of gold).

As a side note, this film should prove immensely interesting to any serious fan of the "Star Wars" trilogy (the original one). While those films undoubtably draw a great deal of inspiration from Kurosawa's samurai films, there is most certainly a great deal (especially in the film subtitled "A New Hope") drawn from here. One scene in particular (when Luke returns to his farm after stormtroopers have blasted in pieces) is virtually ripped straight from "The Searchers". Ford's film is also full of the sort of gallows humor present throughout the trilogy, and even incorporates some rather goofy characters, the half-cracked Mose Harper (Hank Warden) and the incredibly over-the-top rival for Laura's hand Charlie McCorry (Ken Curtis), without ruining the overall serious feel of the film, but managing to squeeze laughs out of absurd situations (such as a fight between Martin and Charlie) without compromising the ability to quickly return to a solemn tone. Such deft touch, as well as the addition of wise-cracking dialogue (provided largely by Wayne and Ward Bond here) are a large part of what made the original trilogy so successful, and it's strikingly similar to the type of paradigm on display between various characters here.

Regardless of ranting and raving about Star Wars, however, this is an excellent film on it's own merit.

Wayne's Finest Performance, in Ford Masterpiece...

[cariart · 24 May 2004]

Even if you've never seen John Ford's THE SEARCHERS, you will have, undoubtedly, seen a film that owes it's 'style' to the film. DANCES WITH WOLVES, THE OUTLAW JOSIE WALES, UNFORGIVEN, JEREMIAH JOHNSON, and OPEN RANGE are just a few westerns that have 'borrowed' from it, but THE SEARCHERS' impact transcends the genre, itself; STAR WARS, THE English PATIENT, THE LAST SAMURAI, even THE LORD OF THE RINGS have elements that can be traced back to Ford's 1956 'intimate' epic. When you add the fact that THE SEARCHERS also contains John Wayne's greatest performance to the film's merits, it becomes easy to see why it is on the short list of the greatest motion pictures ever made.

The plot is deceptively simple; after a Comanche raiding party massacres a family, taking the youngest daughter prisoner, her uncle, Ethan Edwards (Wayne), and adopted brother, Martin Pawley (Jeffrey Hunter), begin a long quest to try and rescue her. Over the course of years, a rich tapestry of characters and events unfold, as the nature of the pair's motives are revealed, and bigoted, bitter Edwards emerges as a twisted man bent on killing the 'tainted' white girl. Only Pawley's love of his 'sister' and determination to protect her stands in his way, making the film's climax, and Wayne's portrayal of Edwards, an unforgettable experience.

With all of Ford's unique 'touches' clearly in evidence (the doorways 'framing' the film's opening and conclusion, with a cave opening serving the same function at the film's climax; the extensive use of Monument Valley; and the nearly lurid palette of color highlighting key moments) and his reliance on his 'stock' company of players (Wayne, Ward Bond, John Qualen, Olive Carey, Harry Carey, Jr, Hank Worden, and Ken Curtis), the film marks the emergence of the 'mature' Ford, no longer deifying the innocence of the era, but dealing with it in human terms, where 'white men' were as capable of savagery as Indians, frequently with less justification.

Featuring 18-year old Natalie Wood in one of her first 'adult' roles, the sparkling Vera Miles as Pawley's love interest, Wayne's son Patrick in comic relief, and the harmonies of the Sons of the Pioneers accenting Max Steiner's rich score, THE SEARCHERS is a timeless movie experience that becomes richer with each viewing.

It is truly a masterpiece!

No one understands this movie

[rejj2369 · 10/10 · 13 July 2004]

The Searchers is perhaps John Ford's greatest film. The character studies are rich and complex and never too revealing, adding mystery and depth. The location in Utah's Monument Valley is magnificent. The Technicolor is simply stunning. And of course, the story set a standard for all action movies to come. The plot is simple and engaging and the subplot allows us to take a break from the relentless search. John Wayne's portrayal of Ethan Edwards is memorable. The dark, anti-hero persona gives the movie an edge not seen in those days. Jeffrey Hunter (Martin Pauly) and the rest of the cast give solid performances that are very natural and spirited. All of this is credited to the brilliant directing of John Ford. It is a great movie to watch. It is a great outdoor movie that should be seen on a big screen.

People say that this movie is very racist and stereotype Indians. I disagree. I think this movie is about racism, period. Both races are ruthless and barbaric in this movie. Let's take a look:

1. The calvary massacres an Indian village.

2. Ethan's hatred of Indians consumes him. But his hatred has a reason. And he is not naturally racist.

3. Ethan is a loner, hated and feared by his own people.

4. When Ethan and Marty are hiding out in the canyons, they shoot the Indians in the back as they retreat. Not very noble, is it?

5. Ethan shoots three white men in the back during a shootout. I guess Ethan can do it to his own people as well!

6. When Ethan sees a group of tortured white women who were rescued from the hands of "savage" Indians, he fears for the worst. But when Lucy is found, she looks well and cared for. Ethan, upset with this unexpected result, decides to kill Lucy because she has turned 'injun.'

7. Marty accidentally marries an Indian woman. Although ridiculed by Ethan, the Indian woman is portrayed favorably throughout the film.

8. Marty and a friend fight for Laurie's love (Marty's fiancée). It is a civilized fight among gentlemen. Ethan and Marty meet with Scar, the Indian chief who abducted Lucy. Scar realizes who they are but does not kill them on the spot. Why? It is a Commanche code of honor not to kill someone when he is at a disadvantage.

9. Both races are good and evil in this movie. Ethan and Scar are both driven by revenge. One dies in the end, the other continues to live a life of a loner, dead in the eye of society.

There are many reasons why I love The Searchers. It is a very simple story, yet says a lot. It is very entertaining and never boring. Unless you are a meat-head who cannot handle anything except mindless action sequences, this is the movie that stands the test of time, up there with Citizen Kane, Vertigo and The Godfather.

Enjoy! Watch it on the big screen if possible. The special edition 2-Disc DVD set from Warner Brothers is an absolute must. If you are a fan, you will not believe your eyes when you see the new transfer. The film has been restored to its original VistaVision widescreen, color by Technicolor!

On a final note, the last scene is pure poetry. Truly one of the greatest moment in film's history. John Ford really struck gold with this one.

"We Be Texicans"

[bkoganbing · 10/10 · 11 January 2006]

If John Wayne was ever cornered about what his favorite movie role was he'd be answering Ethan Edwards in The Searchers. Proof of that is obvious, he named his son by his third marriage John Ethan Wayne.

Ethan Edwards takes his time in returning home to Texas from the Civil War to the home of his brother and his family. But soon after he does the family is massacred in an Indian raid. The two young daughters are taken prisoner and Wayne with Jeffrey Hunter and Harry Carey, Jr. Go off in search of them. Carey is killed early on, but Wayne and Hunter go on for years, both driven men for different reasons.

Ethan Edwards is probably the most racist man Wayne ever portrayed on the screen, yet we feel sympathy for him at the same time. It's been a hard and bitter life on the frontier for him. Just as it's been for the Indians as well. Chief Scar, played by Henry Brandon, is Wayne's opposite number and he makes clear what he thinks of whites. Two of his sons were killed and he's going to take many white scalps in reprisal.

My guess is that Ethan Edwards war service involved him seeing the war of desolation waged by William T. Sherman in the deep South. Small wonder he goes out and starts killing buffalo with a maniacal intensity that Wayne never showed before or since in film. Not an aspect that is normally brought out by reviewers.

Wayne's relationship with Jeffrey Hunter is a strange one. He found Hunter as a toddler during a raid on a wagon train. Hunter is a distant cousin of the Edwards family and one eighth Cherokee. But to Wayne he's an Indian. He gains a grudging respect for him on the trail though.

But Hunter's there to stop him. The oldest Edwards daughter is discovered dead early on. That by the way is an intense scene where Wayne's facial expressions register more than pages of dialog. Wayne had one of the great faces for close-ups and John Ford well knew it.

The younger daughter has grown up and is played grown up by Natalie Wood. Wayne feels he has to avenge some family code of honor because Wood's been taken as a bride by Henry Brandon. Hunter just wants his cousin back on any terms.

John Ford as he always does, gets some good comedy relief of the broad kind in the film. Jeffrey Hunter and Vera Miles who is Harry Carey's sister have a thing going, but when she doesn't hear from him she almost ups and marries Ken Curtis. Hunter and Curtis's confrontation is pretty funny.

Ford also probably made his best use of Monument Valley in this film. Though Stagecoach and Fort Apache are also among his best photographed films, The Searchers being in color is in a class by itself. Proof of that is the scene at the Edwards home at twilight just before the Indian raid. Beautiful and terrifying at the same time.

Ward Bond has a great role as Reverend/Captain Samuel Clayton, parson and Texas Ranger at the same time. A difficult job for some to reconcile, but I'm sure Bond believes that conversion of the Indians is not uppermost on his mind. Bond also has some great blustering comic moments with Patrick Wayne who plays an earnest young army lieutenant.

The Searchers is usually found on just about every top ten list of best westerns ever made and it surely belongs there.

Landmark Western.

[AaronCapenBanner · 9/10 · 7 October 2013]

John Ford and John Wayne re-team for their best and most famous western. Wayne plays returning Civil War veteran Ethan Edwards, who comes to the Texas ranch of his brother on hopes of settling down to a new life. Unfortunately, these plans are cruelly thwarted when the ranch(filled with the women and children) is raided by ruthless and renegade Indian chief Scar, who attacks and massacres the family, except for little Debbie Edwards(Natalie Wood) Ethan, enraged and distraught by this raid, vows to track down and kill the tribe, and rescue his niece, with the help from his nephew Martin(played by Jeffrey Hunter). This search takes several years of their lives, across the country and through all kinds of weather and obstacles, until one day they finally locate Debbie, who is now assimilated into the tribe Ethan hates, and he may not be able to spare her...

Gorgeously filmed on location in Ford's beloved Monument Valley, with an intelligent and ambitious script and a superlative performance by Wayne, as a driven and vengeful man who is not always likable, but is still righteous and fascinating. Film does ramble a bit, and the outcome is not really in doubt, but excellent film is still worth watching, with an astonishing closing scene.

New Discoveries

[Ric-7 · 10/10 · 12 December 2000]

About ten minutes into the film, there is a shot which begins with Captain Clayton (Ward Bond) slamming a door behind two children who were teasing two young lovers, Lucy and Brad. There follows a wordless interior shot, lasting maybe a minute, wherein Aunt Martha takes out Ethan's Confederate overcoat, tenderly caressing it before she hands it to Ethan. I noticed the sequence when I recently watched the film again, and I had to rewind and play it once more because I found it so stunning--all of the information and emotions conveyed without a word. I'd watched the film previously maybe a dozen times and had never noticed the power of this sequence.

Don't for a second tell me that Ethan is a stereotype, because there is so much more at work here. Obviously we are not supposed to sympathize with Ethan's prejudices, but notice that Ethan is not the only one who feels that way. Laurie (not at all disapprovingly) tells Martin that Aunt Martha would have preferred her daughter to be killed after being defiled. Interestingly, Martin is one-eighth Cherokee, which under the old racial percentages of the Confederacy would make him the equivalent of an octoroon, and therefore non-white. Martin's intended marriage to Laurie, on racial terms, would have been as taboo as Debbie marrying Scar: Laurie believes that death is preferable for Debbie, but she intends to do likewise with Martin. The contrast is that Debbie was abducted, whereas Laurie would willingly go. And note at the end that Laurie walks right by Debbie, as she heads for Martin.

The final shot is famous, but I noted the doorway theme throughout the film: the message of an open or closed door, whether the character enters the door or just looks in, at other times, the character is inside looking out. And all of this in a 50's western.

The movie is not perfect: I could have done without some of the comic relief. However, this is John Wayne's best work (The Shootist is a close second). Those who think this is the best film of all time have good reason to support their belief.

Spectacular cinematography, involving story

[dangermanuk · 7/10 · 26 June 2009]

Many people would probably watch a film like this and come away thinking that it was too long and slow - but they'd be wrong. It's the perfect length for an epic visual feast. It tells a story in it's own impeccable time. It is a story spread over a period of years after all. The dialogue is brilliant, I love the way (now considered cheesy or clichéd phrases etc) the characters express themselves. The concept of the ruthless, merciless good guy isn't new but in this film I feel it's produced to perfection. I can only imagine that this movie is one of the first of it's kind.

In an attempt not to be over analysing things, it seems to me that there is real depth to an old school cowboy and Indian picture. This is regard to the themes of racism and revenge, the war torn vet. Even the more obvious rebellion and admiration adds even more complexity to it. However, by modern standards, the acting is questionable. It's melodramatic to say the least and John Wayne, as iconic as he is, isn't brilliant. You can see him anticipating his next lines, you can see in his eyes that this is just another day at the office. But hell, this was a different time and a different method.

On Things Not Seen

[disinterested_spectator · 10/10 · 25 November 2014]

In most movies, what you see is what you get. Everything of significance is either depicted visually or is revealed to us through dialogue or narration. This is especially so in Westerns, which tend to have simpler plots and less complicated characters. But "The Searchers" is an exception, for there seems to be much in this movie of significance that is concealed from us. And just as the idea of searching consists of looking for something, of wanting to see what cannot presently be seen, so too is wanting to see and not being able to see a recurring theme of this movie. Ethan will not let Martin see the results of the massacre; Ethan shoots two bullets into the eyes of a dead Comanche so he will wander forever without being able to find his happy hunting ground; when Brad wants to know if Lucy, with whom he was in love, had been raped, Ethan yells, "Do I have to draw you a picture?"; and Martin accidentally gets himself a squaw, whom he inadvertently nicknames "Look."

But there are things we do not get to see in a more figurative sense, as when we use the word "see" to mean "understand." We keep getting the sense that there is more to this story than the movie is telling us, at least explicitly, for it does leave us some tantalizing clues. For example, it is peculiar that an Indian hater like Ethan would be able to speak "Comanch," as he puts it. It is not as though when he was in high school, he might have opted to take a course in Comanch instead of Latin. This has caused some to speculate that he might once have been married to a Comanche squaw, from whom he learned the language, before the murder (and presumed rape) of his mother turned him into an Indian hater.

The first time I saw this movie, I figured that Martha and Ethan had once been in love, but that Ethan was not ready to get married and settle down, and so she married Aaron on the rebound, which she soon came to regret. In most movies, there would eventually have been a scene in which their past relationship would have been made explicit, but we never get such a scene in this movie, because Aaron and Martha are massacred by the Comanches early on, and the relationship between Ethan and Martha is never even alluded to after that.

The second time I watched this movie, I noticed that Aaron is hostile to Ethan. When Ethan asks about a deserted ranch that he saw on his way back, Aaron says that they decided to clear out and went back to chopping cotton. Then Aaron says that before the war, when Ethan had his own ranch, he could see that Ethan wanted to clear out too, and he asks him why he didn't (implying that Ethan should clear out right now). Martha expresses dismay and Ethan takes offense.

Now, if we assume that Ethan had once been in love with Martha, who then married Aaron, it would be strange that he would stick around if he also was tired of trying to make a living on his ranch. He would then have had two reasons for clearing out, for it can be downright unpleasant to see the woman you love married to another man, especially your own brother. But if, on the other hand, Ethan and Martha fell in love after she married Aaron, and they started having an affair, then his sticking around would make perfectly good sense. And Aaron, suspecting as much, would naturally feel animosity toward Ethan.

And once we accept the idea that Ethan and Martha had an affair, the next thing that occurs to us is that Debbie might be his daughter and not just his niece, for she is just the right age to have been conceived before he left for the war. The idea that Ethan wanted to kill Debbie because she had been defiled by the Indians was already bad enough when we thought she was his niece. Once we accept the idea that Debbie is his daughter, the tone of the movie really becomes dark and disturbing.

When Ethan, Martin, and Brad come across some tracks going off into a canyon, Ethan says he will check it out. This is followed by what seems to be an unnecessary conversation about firing a shot as a signal as to where Brad and Martin will be, wherein Ethan responds that they have to be quiet, and he will meet them on the other side. When Ethan catches up with them, he sits on the ground and digs his knife into the dirt. Later, we learn that he found Lucy in the canyon, and that she had been raped. Now, if Ethan is determined to kill Debbie because she has been defiled, then we have to acknowledge the possibility that Ethan found Lucy alive and killed her for the same reason. If we grant that interpretation, then that explains the conversation about not making noise. Because he could not risk firing a shot, Ethan would have had to kill Lucy with his knife. And his digging the knife into the dirt could be explained as an obsessive desire to clean the blood off it.

In other words, it is possible to interpret this movie in a way that makes it darker and more disturbing than it already is, but such an interpretation could not be made explicit, owing to the Production Code in force at that time. But then, this movie could not be made at all today, because Indians have been replaced by Native Americans, who have not raped or scalped anyone for a long time.

A film that I don't love, but respect

[KnightsofNi11 · 7/10 · 6 July 2011]

Few westerns have achieved the legendary status that John Wayne's The Searchers holds today. It is the story of a man named Ethan Edwards whose niece is captured by Indians and he spends years looking for her. As the search grows more and more desperate Ethan's motives become increasingly questionable. His own personal hatred for the Indians begins to engulf his heartbroken quest to save his niece creating what is a surprisingly dark tale for its time.

The Searchers influence has reached far and wide since its release in 1956. It is credited with influencing countless westerns after it and even many popular non westerns. For me it is one of those movies where I recognize the influence and respect that, but it isn't a movie that I personally love. The Searchers is a good movie, don't get me wrong, but it isn't completely my cup of tea. I love a good western but this movie is a little too innocent. It is dark but not dark enough. This is one of the few, if not the only time, John Wayne played a bad guy of sorts. He is a bitter and disgruntled man whose character is easily the most fascinating thing about the movie, but so much of his character is left to assume or figure out on your own that I didn't feel anything from this movie. I recognize everything this film puts across and respect that, but as a matter of personal taste I was left feeling a little empty.

However, one thing is for sure. John Ford knows how to make a movie. The Searchers is an excellent story and Ford tells it very well. The film has a consistent pacing and never gets truly boring. I found myself a little bored at times but only because of personal distaste for this style of film. The film is shot in vivid Technicolor and there are plenty of fantastic on location shots that capture a brilliant old west setting. The film has a strange sense of time and we are left with just the weather to determine how much time has passed. Characters will mention the passage of time but I always found it odd when a character would all of the sudden mention that five years had passed. But with limited technology and a story that must span many years I figure The Searchers does the best that it can.

The one place I really do have a problem with this film is the acting. John Wayne is fantastic. This might be one of his absolute greatest performances, but everyone else is awful. The acting is over the top and the dialogue is silly. The film feels like a melodrama at times, helped along by the score. This poor acting could easily have been a distraction to a deeper appreciation of this film, so this could be the ultimate reason I didn't love this film. Either way John Wayne outshines all of his co-actors, once again making him the most enticing and intriguing part of the film.

The Searchers isn't a movie that I am in love with but one that I do have undying respect towards. The films influence on the genre and film in general is something that can't go unnoticed. I'm sure I owe a lot more to The Searchers than what I give it credit for, but some things just keep me from loving this film. Whether you love it or hate it The Searchers is practically a required watch for anyone who respects film, even past the western genre. Plus it captures one of the many glorious moments of John Wayne's long career. This is a great movie that I personally don't love like others do, but still have steadfast respect for.

Rich, complex and massive, yet somewhat misunderstood

[TheLittleSongbird · 10/10 · 12 July 2010]

While I am not the biggest fan of the Western genre, I appreciate a great deal of films from the genre. The Searchers is one of them. It is complex, it is rich and it is quite massive. Yet I think it is somewhat misunderstood too. Why do I say that? Well just reading some of the comments on here pretty much says it all. Comments accusing the film of being racist, of the main character being unlikeable, of the film being dated, John Wayne being too old and being slow and confusing.

First of all, I don't think the film is racist at all. I see I am not the first person to write this, but The Searchers is more ABOUT racism if anything. And most of this comes from the protagonist Ethan Edwards, who is completely different to not only to what the audience expects but to any other character John Wayne has ever played. There are several actions that Edwards commits throughout the film that do shock us and something that we don't expect a main character or any character to do.

But that is the thing. There have been complaints of Ethan Edwards being unlikeable, unorthodox and such. My impression was that he was MEANT to be. Ethan Edwards above all else is an anti-hero, a rootless pioneer and forever framed in the doorways of family homesteads of which he can never become part. John Wayne admittedly has been in a few clunkers in his career, as has every actor and actress in existence, but he has also done some good ones, such as Fort Apache, The Shootist and of course this film. While he pulled off great performances in those movies, being delicate in Fort Apache and poignant in The Shootist, he plays his grittiest, most complex and richest character I think in The Searchers. And his performance is absolutely brilliant, arguably his best, and no I don't think he was too old for the role, there have been actors who have pulled off great performances regardless of their age.

I don't think this film is dated either. The cinematography is beautiful and inventive, and the scenery is well and truly spectacular. Monument Valley especially looks simply magnificent, I have read that like the film it is massive and unmissable, and whoever said that are right I think.

Whether it is slow and confusing is open to interpretation and dependent on whether this is your thing, which I imagine is the case with some people. First with the slow complaint, admittedly it isn't the fastest moving movie in the world, yet it maintained my attention. I'll list two or so movies that were more pedestrian than this one- The Green Berets and Torn Curtain, though the latter was decent actually. The plot isn't confusing for me, it is rich and complex like the characters, but it was interesting with themes of revenge and reconciliation. It may ramble a bit in the middle half I agree, but I accepted that was how it was meant to be.

That's not the whole story though. The score is majestic and haunting, giving real weight to the film, and the writing is very strong. John Ford's direction is masterful, immediately taking grasp of the story, its themes and the characters and merging them into one adeptly. The characters are rich, complex and developed well, while the other acting is very good. Jeffrey Hunter gives a solid performance as Edwards's conscience, and Vera Miles is pretty good too. As is Natalie Wood, the same Natalie Wood who played an adorable little girl in Miracle on 34th Street and a beautiful woman in West Side Story and Splendour in the Grass, while Ward Bond is intriguing and Hank Worden brings a more light-hearted touch to the proceedings. And the ending? Brilliant!

Overall, a brilliant film. 10/10 Bethany Cox

All around good movie

[stardust106 · 6/10 · 31 October 2003]

A door opens, and so it begins. Right off the bat the director, John Ford, makes a very impressive move by having the first scene open with what else, but a door. I myself, not being a very big western fan, really enjoyed `The Searchers.' John Wayne has an amazing talent. I found myself loving him, yet hating him at the same time.

The storyline is very touching, an uncle, being gone at war for many years, finally returns home to his family. After a very short reunion, a Comanche raid kills the family. Knowing that the two girls could still be alive, Ethan Edwards (John Wayne) and his nephew, Martin Pawley (Jeffrey Hunter) set out to find them. For years they search for the missing girls, when one girl winds up dead, they continue the search for the young Debbie Edwards (Natalie Wood). But as the quest moves on, Ethan's motives become unclear. With the hatred he feels towards Indians, even his own nephew can't predict what will happen when they do finally catch up to the Comanche tribe and rescue Debbie.

Even though, I thought this was a great movie, there were a few errors here and there. With the plot as great as it was, there were times when it was hard to follow, especially in the beginning. Also, the continuity of the film was a little skewed. There were instances where in one scene it would be night, but in the next scene it would be day.

Even with all the discrepancies throughout `The Searchers,' good things happen as well. I really liked the theme song of the movie, it fits really well. The costumes in the film look aged and tie into the time period. Also, the Edward's home looks very authentic, really dirty and rugged.

With good things balancing out bad, `The Searchers' is an all around hit. The credit it has gained about being one of the greatest films of all time holds true. `The Searchers' provides a delightful two hours of entertainment for viewers that everyone can enjoy. Where else will you get to see a director make smart moves about things like having the last scene of the movie end with a door closing? And with that said, a door closes, and so it ends.

Wearisome monotony

[arothschild · 1/10 · 25 April 2006]

Well, the title doesn't lie; there certainly is a great deal of searching in this movie.

Specifically, characters we don't like search for a character we barely know who is in the hands of a villain we don't mind. This is all in the name of a cause we reject. Nevertheless, they search and search.

They go here and there and here again, based on the loose idea that "Scar might be there." Knowing that Westerns are frequently re-workings of non-cowboy pieces, one might be tempted to considered that he is watching a re-thinking of Pirandello's "Six Characters in Search of an Author." But to call the insubstantial stand-ins of "The Searchers" "characters" would be going a little far for me.

I'm in the minority here. I've heard how this is an "astonishing character study." I agree that it's an astonishing study in something, but "character"? Really?

Consider: about 37 hours into the searching, John Wayne decides to shoot his niece, because after years of living with an Indian tribe, she's "become a Comanche!" and doesn't want to leave their village. Happily, half an hour later, she inexplicably changes her mind and he inexplicably changes his, and they ride off into the sunset together. That's not depth, it's just contradiction.

Or here's one: at the beginning of the movie, John Wayne shows up at his brother's house. Much is made of the fact that no one knows where the guy's been for the last three years. At the end of the movie, we learn that--oh wait, no, no one ever brings that up again. Oops! That's not mystery, it's just omission.

As for the "author," part, well, whoever he is, he's a bit too stultifyingly dull for my tastes. Perhaps some feel that repeating the same line of dialogue a lot ("that'll be the day") is a great character detail. Frankly, I think it's pretty juvenile stuff.

Perhaps some feel that the Whimsical Characters in this movie are delightful; generally, I find that "whimsy" is where un-funny characters go to die.

The author *did* write in a lot of searching, however. And some shooting now and again, just to keep things fresh. I guess there's some "action" from time to time, but nothing I'd call an "action sequence." See, an action sequence involves tension and release, surprise and fulfillment. A and B Shooting at Each Other Until the Less Famous Actor Dies has none of that. It's less interesting than watching John Wayne sit on a porch whittling, because at least in the latter case, he'd be getting somewhere.

As for the rest? Well, some find the photography evocative, although everyone seems to admit that it's evoking the wrong thing (Utah, which doesn't look a darn thing like Texas). I find that unbelievable for a number of reasons: a) the most noticeable quality of the southwestern desert is its openness, and there's hardly a shot in "The Searchers" wide enough to evoke any real feeling of expanse; b) the nauseatingly saturated color is more evocative of Munchkinland than rocks or earth or sky; c) the too-mechanical blocking/shot composition gives a feeling of tight control rather than anarchy and/or danger; and d) a number of scenes use weirdly fake-looking sets. They're not particularly stylized (as in, for example, "Gone With the Wind" or "The Grapes of Wrath")--they're just silly-looking, public- access-channel-esquire sets.

Even the music (by the otherwise great Max Steiner) doesn't seem to help much. For instance, everyone in the movie knows one hymn, which they sing cheerfully at a funeral and somberly at a wedding. At least, I think they're supposed to be singing it. If you look closely, you'll see that their lips aren't moving, but maybe in a town this boring, everyone has had time to study ventriloquism.

I guess I don't understand what anyone likes about this endless exercise in tedium peppered with forgettable characters, thudding dialogue, and leaden acting. My guess is there's something I just don't get which speaks to many, even most. Don't pass up the movie on my account, but if you hate it, don't feel like you're the only one.

Near Villainous Role for THE DUKE

[eibon09 · 19 November 2001]

The Searchers(1956) has been reflected to death by many filmmakers in their own work with main ideas, situations, and plot as guide. Many elements of The Searchers(1956) influenced film directors ranging from Brian De Palma, George Lucus, Martin Scorsese, Paul Schrader, and Sergio Leone. There are scores of other movie makers whom I cannot list at the top of my head that were affected by this one film. Obvious film influences are Once Upon a Time in the West(1968), Obsession(1976), Taxi Driver(1976), Star Wars(1977), and Hardcore(1979). It shows that great works of cinema are also able to inspire many admirers and disciples. Only films(stories) by Akira Kurosawa has been reflected more often by film directors than The Searchers(1956).

John Wayne was legendary American film star and big box office draw by 1956. The Searchers(1956) lends creedence to John Wayne being an exceptional actor enforced by his multi-layered performance. In a career that spanned five decades, The Searchers(1956) is the efflorescence of John Wayne. John Wayne gives a complex/flawed portrait of a man looking for redemption and salvation. One fine moment that examplifies the multi-layerness of John Wayne's performance is the look on Ethan Edwards face as he feys over what will happen to his brother and family. The Searchers(1956) was to John Wayne's career what Treasure of the Sierra Madre(1948) was to Humphrey Bogart and Vertigo(1958) was to James Stewart.

Story is about drifting, trying find something which is self-meaningful. Ethan Edwards is such a drifter who is always in search of a purpose. The Searchers(1956) is really about drifting in the American Frontier and search for self-discovery. There were many drifters like Ethan Edwards in the Old West especially in the wake of the Civil War. The Cowboy drifter in the Old West is almost the equivalent of the Samurai ronin in Tokugawa Japan Era. These drifters were men who were on the go, had temporary employment, and always wondered about their existence in life.

Rare individualistic motion picture in the old studio system days when many Hollywood films were studio controlled. The Searchers(1956) defies the typical 1950s Hollywood film presentation because its a director's picture. Excells on a visual level with interesting camera placement. Camera framing also plays a psychological and visual role in representation of two conflicting worlds(Civilized West and Wild West). Helped by crisp and flawless editing that flows the plot along effortlessly. Shades of Homer's THE ODYSSEY are penetrated into the heart of the story with irony.

Deals with racial prejudice with honest and truthful gusto. Racial prejudice in The Searchers(1956) is filmed in terms of emotional and psychological depth. The racial prejudice of the protagonist echos the prejudice of many white people in the Old West felt towards native Americans. The relationship between Ethan Edwards and Martin Pawley is met by distrust, prejudice, and sarcasm. Only towards the end does Ethan Edwards begin to show some sign of acception and respect for Martin Pawley. Shows that people are willing to change if they are willing to confront the dark side of humanity.

John Ford was the one director who was able to channel the talents of John Wayne to full heights. He made it possible for John Wayne to become an American film star by casting him in Stagecoach(1939). The other major director John Wayne had great success with was Howard Hawks. The Searchers(1956) is the greatest film of the Ford-Wayne tandem. Each are at their highest and most professional peak as film artists. In film working relationship they were halves of one and one of halves.

Ethan Edwards fullfills the requirements of hero and villain in narrative plot structure. This makes him an anti-hero with human strengths and flaws so typical of this type of protagonist. Its funny that John Wayne detested Italian Westerns and yet played a character in The Searchers(1956) who fits the mold of the Spaghetti Western anti-hero. Ethan Edwards is the closet thing to a villain John Wayne played in the movies. At the beginning Ethan Edwards lives only for hate and revenge. By the end he becomes merciful and forgiving.

On-location photography gives the film its rugged character. Monument Valley is depicted with beauty, mystery, and savagery. The people in the story are represented by their environment and location. Monument Valley was a favorite film location of John Ford who was obsessed by its untamed and individualistic nature. Monument Valley site is explored on a physical, psychological, and social level. Scenery is an important character of the Classic American Western and none so more true then in The Searchers(1956).

Another major motif in The Searchers(1956) is redemption. The path of hate and vengeance is replaced by compassion and forgiveness. Its this motif as well as others that makes the story a subtle Catholic driven tale. Redemption is the saving grace for a destructive and negative character like Ethan Edwards. Revenge until the climatic moment takes importance over everything else in Ethan Edwards life. Redemption is one motif from The Searchers(1956) that influenced Scorsese and Schrader.

Martin Pawley goes with Ethan Edwards on revenge pledge as way of following path of fealty. The moment of Ethan picking up his niece and holding her with compassion is a tender one. Jeffrey Hunter as Martin Pawley provides a nice foil to John Wayne's Ethan Edwards. Cinematography in The Searchers(1956) is forceful and graceful. In time The Searchers takes place, drifters like Ethan Edwards are dime a dozen but by the period depicted in films of Sergio Leone and Sam Peckinaph, they are nearly extinct. The Searchers(1956) is a milestone in both American and World cinema.

Forgotten theme

[flaxies7 · 10/10 · 17 March 2005]

Whenever I read critic's reviews of "The Searchers," I'm continually astounded by how they beat into the ground the racial aspect of the movie. Yes, it is undeniably an important theme in the plot, but no one ever touches on its more simple and beautiful qualities: the harshness of life in the Old West; the pioneer spirit so eloquently described by Ma Jorgensen. And most importantly, the fierce dedication to family shown by Ethan and even more so by the true hero of the film, Martin Pawley. As for the allegedly racist views of Ethan Edwards, go read the book, as Amos (the Ethan character in the book) had very real reasons to despise the Indians. People do ugly things to each other. Life is complex and viewpoints are often the results of one man's experience.

Possibly the greatest movie ever made (ala Spielberg)

[sngjudge · 10/10 · 24 July 2000]

OK. First of all, I have seen quite a few movies in my time, and the complexity of this film makes this one of the top 5 movies of all time. Steven Spielberg said (in an early 90's interview) that this movie was possibly the greatest of all times, due to the depth of the character studies. The interplay between Ethan & Martha (his brother's wife)is subtle, yet screams of an undying, yet unfulfilled love that has endured for several years. You have to see the scene where Ward Bond is left in the house eating doughnuts, and witnesses the final, tender goodbye, while looking straight ahead, coming to the realization of what it all means, and how hard it is for the two of them to keep it from everyone else.

It is true that the film was filmed in Utah with the story taking place in Texas, but that quickly becomes a moot point. There is not space to extol all the virtues of this movie The relationship of Ethan & Martin, Martin & Lori, and the raw emotion experienced by all members of the cast are worth the rental price. No cast member came back from making this movie the same way they were when they left. Watch the film, it gets inside you. Watch it again, and you'll find things you never saw before, no matter how many times you see it.

Until next time!

Ford and Wayne doing what they do best

[29055 · 9/10 · 18 December 1998]

John Ford's classic Western, has inspired many quest movies and tv series since its release. The film is a series of episodes linked by the 10 year quest for a niece stolen by Indians as a child. Wayne's Ethan Edwards, an embittered Confederate veteran shows only hatred for all redskins and is uncomprimising in his intended treatment of his niece when he finds her. Modern cinema audiences may find this uncomfortable, especially since western folklore has been reassessed over the last 20 years. But don't let this put you off. Ford's treatment is a modern allegory and Ethan can be forgiven his sins when, at the final denoument, one act of kindness gives us hope, and we feel Ethan has learned an important lesson. Tolerance. Everything about this film makes it a classic and perhaps the best in its genre. Ford's direction is as impeccable as ever, Frank Nugent's script and Winton Hoch's cinematography give us some of the classic images of the cinema. John Wayne, as ever, doesn't even need to act. He just sits tall in the saddle and perpetuates the myth.

The Screen Comes Alive for Wayne and Ford

[drqshadow-reviews · 8/10 · 8 July 2014]

A John Ford masterwork that's rich and spacious, just like the gorgeous western countryside that splashes every backdrop. John Wayne plays a flawed centerpiece, a grizzled former soldier with a chip on his shoulder and a strange, conflicted relationship with his extended family. As usual, cool confidence and raw masculinity seep from his pores and he takes hold of each scene with a pair of strong, old cowherder's hands. This is a film that rewards an active imagination, as there's much going on between the lines that, without being spelled out, brands the cast with an unusual level of depth and detail. Unspoken histories flesh out most every character, allowing even generic walk-ons to mosey into the picture at most any moment and cast ripples throughout the entire tapestry. It can be slow at times, and the casting of a very obviously non-native actor to lead the stereotypical enemy Comanche tribe doesn't sit well, but both such faults can be generally chalked up to the dated eccentricities of that era. Take the time to soak it all in, to look deeper than the superficial story, and you'll find a wealth of spoils.

A Solid Western if Somewhat Dated

[emryse · 7/10 · 9 February 2022]

This is a good western if somewhat dated. John Wayne is slightly racist and women are seen as inferior and as something for men to have. Apart from those little aged bits though it's a pretty enjoyable film. The shots are stunning, largely because of the landscape but still beautiful when we aren't looking at the geological scenery. I liked the pacing, I thought the film flowed well and was good on all the technical levels. Performances are all solid as well, we have the central duo of John Wayne and Jeffrey Hunter, both of whom are good, the ensemble around them is enjoyable even if none of them have large roles. The actors that stood out to me were Ward Bond, Ken Curtis and Hank Worden who I thought were all funny and memorable even if they didn't have a large amount of screen time to play with. There were a couple of inconsistencies with the story, some plot holes and characters acting inexplicably at some points but still I enjoyed the film overall. Even if I don't see it as the classic some people say it is I can still appreciate the performances and stunning cinematography. 7/10.

Awesome and marvelous Western by the great John Ford and deemed by many to be his masterpiece

[ma-cortes · 9/10 · 15 September 2014]

A true classic of the Western genre with powerful scenes and spectacular outdoors . The story that sweeps from the great Southwest to the Canadian border in VistaVision . This nice and well-paced Western contains adventure , interesting characters , romance , shootouts and spectacular fights . Action Western is pretty good , stylishly developed , a first-rate story and powerful told too ; including a solid main and support cast lead some eye-catching performances . It deals with a Civil War veteran , Ethan Edwards (John Wayne as an embittered Indian-hating , ex-Confederate soldier gives his best acting through a long career) along with Martin Pawley (Jeffrey Hunter was nearly 29 at the time of filming, although his character was supposed to be a teenager , though Robert Wagner auditioned for the character) and Brad Jorgensen (Harry Carey Jr) embark on a relentless journey , spanning several years , to rescue his niece (Natalie Wood as a grown-up girl and his youngest sister Lana Wood as a child, the latter starred a bit later on a similar film titled Greyeagle) who was abducted years earlier from an Indian tribe . As desperate relatives spend years searching for their loved beings kidnapped by Indians in this lengthy Western . As time goes on , we begin to wonder whether Ethan is out to save his niece or kill her .

This nice as well as superb Western contains thoughtful characters , full of wide open space and dramatic moments . Outdoors are pretty good and well photographed by Winton C. Hoch , story first-rate and powerful told too . Here John Ford and John Wayne reached the peak of their successful and long screen collaboration . Considering the part of Ethan Edwards to be the best character he ever portrayed on-screen and his favorite film role, John Wayne named a son Ethan Wayne in homage . Thought-provoking , insightful screenplay portraying in depth characters and brooding events with interesting issues running beneath script surface . Over-the-top Western with trigger-taut drama , perfectly written by Frank S. Nugent who brings the story of the day the West will never forget from the 1954 novel by Alan Le May of the same name that was first serialized as a short story and first titled, "The Avenging Texans" , acknowledged similarities existed between the film's script and an actual Comanche kidnapping of Cynthia Ann Parker, a young white girl in Texas in 1836 . Marvelously shot Ford film with a lively look at the complex reintegration of captives . Ford's subsequent film ¨Two rode together¨ has a similar plot to ¨The searchers¨ though the Ford's vision about West is pretty cynical and less idealist . This classic and moving picture ranks as one of the main of John Ford's works , including settings , interpretations , cinematography all extraordinary . It contains Ford's usual themes as familiar feeling , a little bit enjoyable humor, friendship and sense of comradeship but also some cynicism and full of wide open spaces with breathtaking landscapes exceptionally filmed from Edmonton, Alberta, Canada , Durango , Mexico , Aspen , Gunnison , Colorado, Goosenecks State Park , Utah, and , of course , Monument Valley, Arizona . Sensitive and thrilling musical score by the classic composer Max Steiner , including wonderful songs . Ford gets to ensemble a magnificent supporting cast , plenty of familiar faces such as John Qualen , Olive Carey , Henry Brandon , Ken Curtis , Harry Carey Jr., film debut of Pippa Scott , Antonio Moreno , the role of a young cavalry officer, Lt. Greenhill, is played by Patrick Wayne, John Wayne's son and great featured-role acting by veteran War Bond . Furthermore , Hank Worden, whose role is loosely based on an actual historical personage called Mad Mose, a legendary half-crazy Indian fighter of the American southwest with a fondness for rocking chairs .

This picture is considered an American classic and is one of the greatest Western movies . This may be Ford's best Western , as many claim , but it's still head ad shoulders above most big-scale movies . In fact , it 's remade , copied and imitated many times since , such as Caravans , Greyeagle , Winterhawk .. . You'll find the final terrible or over-melodramatic according to your tastes , though it's lovingly realized by John Ford who really picks up the drama towards the ending . Rating : Essential and indispensable seeing ; being ranked #1 on the American Film Institute's list of the 10 greatest films in the genre "Western" in June 2008 and as the #12 Greatest Movie of All Time.

The not so heroic John Wayne

[hall895 · 6/10 · 4 July 2010]

The Searchers is certainly not your typical Western. And in the film John Wayne has what is for him definitely not a typical role. Here Wayne is no hero. He plays Ethan Edwards, a man who it is hinted has some rather shady incidents in his past. And he is also a rather repugnant Indian-hating bigot. You can make the argument that there are some good reasons for the hatred which consumes Ethan. But it's all a bit much. Ethan is very much an anti-hero, maybe even a villain. So this is not the stereotypical "cowboys good, Indians evil" Western. Not everything is so cut and dry. But Ethan Edwards can't, or won't, see it that way. He is a man with a one-track mind and a man with a mission. That mission is quite simple. Hunt down and kill Indians. And find his young niece Debbie who the Comanche Indians have abducted. But after all the time Debbie has spent living amongst the Comanche she is, in Ethan's eyes, irrevocably tainted. So this may not be a rescue mission. Maybe Debbie needs to be killed too. Oh dear.

So the film's central character is exceedingly unlikeable. But that certainly doesn't doom the movie to failure. A villain can be just as compelling as a hero and Ethan Edwards is surely a compelling character. However there are enough things working against the film which make it less than the all-time classic it is often remembered to be. For starters Wayne just doesn't have enough support from the rest of the cast. Jeffrey Hunter has the other big role as Debbie's one-eighth Indian adopted brother Martin Pawley, the one man who accompanies Ethan for the entirety of his long quest. And much too often the powerful Wayne leaves Hunter looking like a lost puppy dog. It's a case of a young actor being no match for a Hollywood legend. With so much of the movie being about the interactions between these two characters that is a problem. Ward Bond makes a decent impression in playing a Texas Rangers captain who also happens to be a reverend. But this character is absent for too much of the picture to have any great impact on the proceedings. A few more characters turn up as part of a romantic subplot but that storyline falls rather flat. The only thing that really is memorable about that whole section of the film is how incredibly annoying one character is. Ken Curtis plays the part, that of hopeless hayseed Charlie McCorry, and as he vies for the affection of Laurie Jorgensen you can't help but cringe. It's that bad. Laurie, played by Vera Miles, is much more interested in Martin anyway. Miles gives a pretty good performance but all this little love triangle serves to do is detract from the main storyline.

And that main storyline has its own issues as well. Ethan Edwards is such a hateful man and that makes it often hard to embrace the story. Often there really is not much of a story anyway. Once the story has been set up it's a long, arduous hunt for Ethan and Martin. Lots of time passes but very often there does not seem to be much of anything significant actually happening. Director John Ford provides us with some dazzling visuals. The scenery is spectacular. But even that doesn't quite ring true with the Monument Valley filming locations bearing little to no resemblance to the plains of Texas in which the story takes place. Artistic license I suppose. It's a film which has some good pieces but it never quite all comes together. The main storyline doesn't always engage. The subplots and attempts at comic relief don't work well at all. A few of the performances leave much to be desired. It is a unique opportunity to see Wayne in such an atypical role. But that only takes you so far. All in all it's a reasonably interesting film. But an all-time classic? That'll be the day.

An influential, poignant, complex, and beautiful masterpiece

[narnia4 · 10/10 · 25 April 2011]

I'm a staunch, almost rabid, defender of this film. Sometimes I feel as if even those who "get" this movie don't get it. It goes without saying that the cinematography is breathtaking and the technical points are masterful, few who know film would dispute that. It's recognized as one of the greatest westerns of all time by many and gets its deserved recognition on most critical lists. Even with all of its accolades, however, I feel as if it isn't enough.

There's so much depth to this film and beauty to its story, its one of those films that gives you new ideas each and every time you watch it. The plot goes far beyond the heads of the pc crowd who see it as "racist" or "old-fashioned", although I suspect that some can't get over the fact that this film is truthful. The film embraces neither extreme position, that the settlers of the Old West were honorable heroes or that the Indians were always simply innocent victims by evil white men. Rather, its a portrait of humanity as a whole and still applies today. As an example, think of the relationship and parallel between the "villain" Scar and Wayne's character, Ethan Edwards. Both are racists, but both are extremely knowledgeable of the language and customs of the other race. Both were subject to deaths in their family from the other side that led to their attitude, both took wives from the other race. That's just one small tidbit that adds to the complexity of the characters and the dynamic between the white man and Indian, there is much, much more.

The characters are multi-layered, and yet the impressive thing about it is that they never talk about it. I suspect that this is part of the reason it goes over the heads of some who believe it to be overrated, because almost all of the character background is explored visually by Ford. Even characters that are dismissed as "corny comic relief", are not as they seem. One example of this is Mose Harper, a character that I, for one, still haven't quite figured out.

A final note on the acting, the performances by a few may be the weakest spot in the film, and that's with all the performances being very good AND this being the best performance of Wayne's career.

This is a film that everyone should see, talk about, analyze, and enjoy. It really is worth it, a true masterpiece.

Despite overacting and some lousy dialogue still entertaining

[angelsunchained · 6/10 · 2 December 2023]

I'm a big John Wayne fan, but to me, this is not his best film. I lean more to such performances as The Quiet Man, The Shootist and True Grit. He just overplays his role as do most of the other cast members. The women who play rescued hostages displayed some of the worst acting I have ever seen. Wide eyed and giggling hysterically, or moaning and groaning; horrible. Almost everyone is over the top stereotypical. Ford had a habit of exaggerating various ethnic groups playing into the most typical stereotypes that an uniformed person would believe. The dialogue is at various times racist and women are portrayed as ridiculous idiots. Violence is seen as the only answer to any situation in this film and the overall humor is grade school at best. Entertaining yes. More fair then great.

Overrated

[rrpauleyjr · 5/10 · 2 March 2022]

A good story at its heart and with great cinematography but larded with John Ford's usual hokum, caricatures and excess. There are many finer Westerns out there.