Turns out that plenty of racism, sexism, cardboard cutouts masquerading as characters, and stunning cinematography all equal the most revered Western of all time. Well, if I have to watch John Wayne being a self-righteous asshole for two hours, at least I also get to watch some of the most beautiful landscapes in this part of the world. That's a fair bit of recompense.The Searchers is a morose, overly serious Western on all counts, but it occasionally also attempts to muscle in a bit of awkward humor during the unnecessary romantic subplot between the daughter of Swedish immigrants and Cardboard Cutout #2, the young man who sets out to be the moral conscience of Cardboard Cutout #1, otherwise known as John Wayne. It's rather ironic, then, that #2 consistently acts like a massive jerk toward his girlfriend, sending her only one letter over the course of five years. Are you fucking kidding me? If I had a boyfriend that stupid, careless, and insensitive, I'd have dumped him long ago and married that other guy with the guitar and cool accent. At least that one seemed to have some integrity.Then again, the apparent heroes in The Searchers are massive jerks, so it must just be a running theme in the film. We're supposed to root for John Wayne as he searches obsessively for his niece, and as modern-day viewers, ignore his blatant racism in the name of art. Well, if it was good art I would think differently; art is always a product of its time and should always be viewed within the relevant context. But I don't see enough value The Searchers to afford it that sort of sensitivity on my part.There are admittedly some interesting parts in The Searchers. John Wayne has unrequited feelings for his brother's wife (which is to be expected, given the fact that he's an asshole), and he shares an icy dynamic with Cardboard Cutout #2 that five years on the same quest does little to thaw. The quest itself is of some interest, and would be brilliant in a better film if it came along with some insightful commentary on both parties. Needless to say, The Searchers does no such thing.Well, at least I got through the whole film. I'm not going to give up on Westerns, though. I'd much rather watch young Clint Eastwood than John Stone Face Wayne, and I'm beginning to think that I'll prefer Sergio Leone to John Ford. And even if I don't, at least there'll be Eastwood to make up for it all.Edit: there's a lot of great discussion in the comments section here that you might want to check out if you've gotten to the end of my review. I've changed my mind on a couple of things and further added to my overall opinion on The Searchers.
The Searchers gives the lie to the supposed heroism of the Wild West mythos. John Wayne plays the same Indian-killing cowboy we've seen him play since the early 1930's, the image of a valiant savior come to rescue a bunch of white folks from the Native American menace, but here he plays it as explicitly racist, calling out the pathological nature of the traditional cowboy's racialized violence. Our heroes of the West were always outlaws who had to ride off into the sunset, but they were glorified outcasts, they were getting rid of the "real" bad guys. The Searchers shows this hero not as an altruistic warrior, but as a murderer whose positive effects on society are less purposeful, more of a coincidental afterthought. Wayne's cowboy isn't only problematic because of his racist motivations, but also for the implications this racism has on the American home. The creation of the domestic sphere is a common thread for the Western genre, and The Searchers highlights this by bookending its narrative with scenes of Wayne arriving at home (first from the Civil War, then from the conflict of the film). He helps maintain the stability of the private domestic space at the expense of the public: the home is kept safe by Wayne killing more Indians. The American Dream is born from the graves of the Native Americans. Our country is built on an Indian burial ground. Also maybe something about the confined diegetic space of inside the house and the majestic beauty of the wide open landscapes, shot with gorgeous deep focus Technicolor cinematography. Something about the home being unnatural and claustrophobic to the human spirit in contrast to the vitality of the outdoors. Rich, warm earth tones and dusty lived-in denim blues clash with the dark, lifeless corners of the household. All I know for sure is that this movie is flat out breathtaking on blu-ray.Top 10: WesternRemoved from Most Popular Unseen Films[9/21/15 EDIT:] When I watched this, I was troubled by the fact that the Native Americans were still portrayed as the violent savages that they are in the traditional mythological western, but the crucial distinction here is that all the white folks are just as violent and savage as the Natives. The only way out of this violence is into civilization, as the end of the film shows both racial and cultural "Indians" coming together with white folks to create a new domestic/social space—which is of course why the violent, savage John Wayne has no place in it.
Psychological epic on the psychology of racism, fascinating in dialectic with Griffith's Birth Of A Nation: racism as the product of fear of losing sexual superiority and the fear of race-mixing. Key that Ethan is pro-Confederacy: Martin fears Ethan wishes to kill Debbie but doesn't know why, Ethan fears Debbie has been 'contaminated,' resolves to kill her after learning she has become Scar's wife. Logically this should have no bearing, but for Ethan it's all about preserving the bloodline. One of the most damning indictments of American culture: and the extent that racism is fundamental to the conservative American psyche.It's key that Martin is what Ethan determines as a 'half-breed,' the moral center of this film is a child of mixed-race. He is the product of everything Ethan hates, yet his position within the narrative I believe makes Ford's position clear as well. Even Laurie, who loves Martin, is a racist: "Ethan will put a bullet in her brain. I tell you, Martha would want him too." "Only if I'm dead." Martin replies. Stunning moment: the first time we see the American military in this film, its out-of-nowhere, completely surreal. Performing military marching music. Shortly after Ethan and Martin find a massacred Native village. The first thing Ford cuts to after this sequence, is once again the military, performing the same marching music. Peak re-contextualizing - the Straubs loved Ford for reasons beyond aesthetic. This used to be my least favorite score for a Ford film, this time it reminded me of the abstract interpolations of Wagner in the opening credits of Antigone.
