A town Marshal, despite the disagreements of his newlywed bride and the townspeople around him, must face a gang of deadly killers alone at high noon when the gang leader, an outlaw he sent up years ago, arrives on the noon train.
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 <firstname.lastname@example.org>
A lone home amidst tranquil mesas. A family gathers on their front porch to watch a solitary man ride slowly up to their ranch on his horse in the waning sun. He stops, disembarks and walks up to the house, all in one single weary move. Note his stance, the rugged tiredness of life etched on his face. This lone drifter is Ethan Edwards (John Wayne) and is perhaps the most brilliant character devised by Wayne and director John Ford. As the film progresses, we learn of his military days, his contempt of Indians and, most importantly, his psyche. Compared to another John ford movie, "Stagecoach", we can see the massive differences in character psychology and within the genre itself. Gone are the days of the brave hero riding in to save the day with wistful smiles all around; instead we have a savage man on an odyssey of revenge, hatred and bloodshed.
In one scene, Ethan and a search party comes across a dead Indian buried in the ground. Ethan's suppressed rage overcomes him, and he shoots the corpse's eyes out. "What good did that do ya?" asks the Reverend. Ethan coolly replies, "Ain't got no eyes so he can't enter the spirit land, has to wander forever between the winds". This is by far my favourite line in the movie, because of the resonance it has at the end, with Ethan walking away into the winds, doomed to forever drift the earth. This movie is a beautiful spectacle of sight and sound. Not only do we marvel at scenes in Ford's beloved Monument Valley, we also find ourselves amazed at the level of detail in set design. Each frame is as if it were from a painter's canvas. Colour coordination was certainly something John Ford and his cinematographers fit perfectly into. There are few vibrant colours in each frame, but those that exist pop out vividly amongst the bleak, sepia-stained walls of the houses, and the valley.
John Ford again demonstrates his powerful storytelling technique by using several methods of progressing the narrative. While crosscutting between action is used sparingly, a quasi-flashback stemming from a letter of Luke's kept my attention firmly rooted to my screen. These different methods of narrative progression are important because it keeps the viewer continuously involved with the story. Not once did I feel as if a particular scene droned on and on for too long, instead I felt captivated not only by a gripping storyline, but also because of the brilliant dichotomy between Ethan Edwards and the other characters. The Searchers is a lesson on psychology, sociology and filmmaking all at once. I love it.
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