Rio Grande takes place after the Civil War when the Union turned their attention towards the Apaches. Union officer Kirby Yorke is in charge of an outpost on the Rio Grande in which he is ... See full summary »
Cole Thornton, a gunfighter for hire, joins forces with an old friend, Sheriff J.P. Hara. Together with an old Indian fighter and a gambler, they help a rancher and his family fight a rival rancher that is trying to steal their water.
Ethan Edwards, returned from the Civil War to the Texas ranch of his brother, hopes to find a home with his family and to be near the woman he obviously but secretly loves. But a Comanche raid destroys these plans, and Ethan sets out, along with his 1/8 Indian nephew Martin, on a years-long journey to find the niece kidnapped by the Indians under Chief Scar. But as the quest goes on, Martin begins to realize that his uncle's hatred for the Indians is beginning to spill over onto his now-assimilated niece. Martin becomes uncertain whether Ethan plans to rescue Debbie...or kill her. Written by
Jim Beaver <email@example.com>
In the screenplay by Frank S. Nugent, the medal Ethan Edwards gives to Debbie is identified as "a gold medal or medallion" awarded by Emperor Maximilian of Mexico to mercenary soldiers who fought between 1865-67 for the Emperor Maximilian's French forces against Mexican revolutionaries. This medal implies Ethan served in the French Mexican Expedition during his three-year absence and also explains his fluency in Spanish. In reality, the medal being used is the Order of St. Sava, a decoration of the Kingdom of Serbia established in 1883 to recognize civilians for meritorious achievements. John Ford was an admirer of Serbian people and heritage since his war days and probably came in possession of the medal through his friendship with director/actor Peter Bogdanovich, who has Serbian roots. See more »
During their fight, Martin and Charlie rolled up in a almost completely yellow bedspread. From one shot to another the bedspread changes its color. See more »
Wayne's Finest Performance, in Ford Masterpiece...
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!
65 of 100 people found this review helpful.
Was this review helpful to you?