Rastros de Ódio

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.

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.

A second look at this film is long overdue. It's been hailed by many as a masterpiece. Even the anti-Ford critic David Thomson in The New Biographical Dictionary of Film classifies it as an exceptional work. I don't know whether it's the Ford mystique, the Wayne icon, or the mesmerizing beauty of Monument Valley that holds this movie to a different standard from most Westerns. But something is at work that numbs a critical eye-level inquiry. The Searchers is a good film, but no masterpiece, and certainly does not belong in the American Film Institute's list of top 100 films of all time. A brief look at some of the more obvious defects:

Ford makes picture postcards out of the soaring spires and buttes. At no point, however, does he come to grips with the real harshness of the terrain. This is desert country. Hardly anything grows-- just look at the sparseness of greenery. Yet we're told cattle herds feed here in large enough numbers to support families, (In the movie, Jorgensen's right-- they would be better off raising pigs than cattle). Then too, there is absolutely no hint of the desert heat or cold affecting anything or anybody. The parties go here and there with slim regard for what the conditions actually afford. In short, the celebrated landscape amounts to little more than a majestic backdrop without a true reality of its own. Ford may love this Spartan terrain, but he gives it scant respect.

Similarly, the film-maker undercuts the naturalism of the vaunted visuals. The audience gets an awesome flow of natural wonders, only to have the flow interrupted by outdoor sets so painfully obvious, they can't be ignored, (consider the Futterman ambush scene, for one). As a result, visual continuity is sacrificed and so is fidelity to the intended atmosphere. Suddenly we're jolted out of the scenic spell back into recognition that this is, after all, only a movie. Where, one wonders, was Ford's very real poetic eye in these disruptive scenes, and why didn't he insist on shooting all outdoor scenes outdoors-- especially after traveling to Colorado for the great snow scenes. As a premier film-maker, I'm sure he had the clout. Nonetheless, the lapse is another glaring defect.

There's another problem with respect, this time for the adversary. In fact, the Indians do get some concessions--Scar is provided a moment of motivation and a good sarcastic aside-- but not much else. As in Ford's cavalry cycle, aboriginal peoples still exist as convenient devices and sitting ducks. From the film's several battles, it seems the Indians know nothing about combat tactics. Stupidly, they never attack unless an escape route is left open to the fleeing settlers. And when they attack frontally across the river or in front of the cave, they mass in a bunch so the dug-in whites can hardly miss. No wonder there are so few Indians left. In most Westerns, this cliché would not even merit comment, but remember this one's supposed to be a "masterpiece".(For a gauge of Ford's dishonesty, compare his cardboard warriors with the skilled and savvy combatants in the similarly themed "Ulzana's Raid" {1973}).

For what is required of the actors, contrast the first ten minutes with the movie's remainder. Those first few minutes are little short of superb. There's a low-key naturalism and subtlety that's fascinating-- Just who is Ethan Edwards? What is the tension between his brother and him? And where did he get that impressive war medal? The well-crafted impression is that of real people concealing true feelings, while groping toward some kind of reconciliation across unspoken barriers. Then Ward Bond and the posse arrive and slam-bang stereotypes take over. The promising beginning is lost, while Ford reverts to form by replacing character with caricature. Bond, for example, stands not just as a gruff old man, but as The Gruff Old Man; Jeffrey Hunter is not just a callow youth, but The Callow Youth; and most egregiously, Ken Curtis is not merely one more country yokel, but The Rub-your-Nose-In-It Country Yokel. Moreover, conversation ceases, hat-throwing and shouting take over, and genuine interaction gives way to exaggerated personalities doing little more than bouncing off one another. Even Wayne's one-note avenger comes close to parody, (unlike others, however, he is never mocked). Of course, such caricatures provide ample grist for Ford's broad idea of humor. Nonetheless, the comic set-ups come perilously close at times to a Three Stooges level, particularly the scenes with Old Mose, and with Bond and Patrick Wayne. I'm not against comic relief, but I am when it flirts with burlesque in an otherwise serious film.

More could be pointed out, such as the distracting subplots, or the ludicrous wedding sequence, or most glaringly, the climax with its sudden, unmotivated change of heart-- after all, it's the racial conflict that drives the plot. I guess what really bothers me is how blithely Ford substitutes his own highly simplistic vision of the Old West for any really plausible version. There's a basic lack of respect for the material, which allows, for example, such facile touches as Jorgensen's unweathered two-story wooden house in the middle of the desert, or Vera Miles' brocaded form-fitting wedding gown that appears to have been flown in from Paris. My point is not that the film lacks merit-- the justly celebrated doorway shots, for example. Rather, it's one of perspective-- this is an entertaining film but far from a masterpiece.The Searchers may be lauded and popular with many. Nonetheless, beneath the glossy surface lies an under-developed theme that really deserved better than standard stock company treatment. In short, Thomson is wrong. The Searchers is not an exception to Ford's usual product. Rather, it's just a little less compromised.

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.

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.