Review of The Searchers (1956) by Tonypolito — 16 Oct 2010

Considered to be Western director John Ford's best work as well as among the best films of all time.

The film drips with gorgeous Technicolor and Vistavision cinematography of Monument Valley, and other well-composed shots throughout - including bookending the film with timeless, enduring images of Wayne stanced crossed-armed, hip-cocked, backdropped in Western frontier, framed by a dark doorway.

That doorway represents the ambivalent racist ethic of the 1860s West as presented through Wayne's character. As the film progresses, Wayne and the West step through that threshold, past their existing hatred and prejudices - and into a more tolerant and racially-cooperative world that would be the West's future.

At Act 1, Wayne turns up at the family spread, overdue by years from his Civil War return, toting ill-gotten gold, a silent adoration for his sister-in-law and a hatred for Indians - even though his talent with Indian dialects suggests a long history of doing business with them closely.

When Comanches kill Wayne's brother and sister-in-law, and kidnap their child, Wayne's niece (Natalie Wood), Wayne becomes psychotically obsessed with finding her - perhaps to save her, perhaps to kill her, given she's now "spoiled by a buck." Yet Wayne allows the adopted son, 1/8th Indian blood himself, to saddle up as sidekick.

The five-year search allows the viewer to carefully observe Wayne's prejudices wax/wane throughout his dealings with the son, throughout his intentions for the child when found, as well as throughout his other dealings with Indians and Mexicans, including those who straddle acceptance within the white man's world.

Wayne delivers an extraordinary performance as a conflicted character, eminently sure of himself yet fully aware of his inconsistent posture, as a character with such admirable ethic yet such despicable racism.

RECOMMENDATION: Essential viewing.