La prisonnière du désert

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!

If there is only one western that you must see from John Ford, I would say it is this one; though THE MAN WHO SHOT LIBERTY VALENCE is also absolutely unique, outstanding too. The element that makes those two films so stunning is not only the directing but the plot. This scheme was never made before and rarely copied since. Of course THE SEARCHERS plot will more or less inspire THE PROFESSIONALS, one decade later, from director Richard Brooks; just the overall scheme and especially ending, moral. The settings, landscape, music, acting, characters, everything is jawdropping and provokes emotion for anyone sensitive enough to feel all the power of this terrififc western. John Wayne gives his best performance, even better than in WAKE OF THE RED WITCH. One of the greatest ending ever.

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.

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.

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.