Category: Classics

Re-watching “The Searchers” (1956) starring John Wayne, Jeffrey Hunter, Vera Miles, Ward Bond, & Natalie Wood

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Introduction

The Searchers was voted both the 13th “Greatest Film” of all time and the “Greatest Western” of all time by Entertainment Weekly. It was among the 1st 25 movies to be selected by the LOC for preservation in The National Film Registry in 1989. In 2007, AFI ranked this as the #12 Greatest Movie of All Time. Steven Spielberg, Martin Scorsese, George Lucas, Jean-Luc Godard, John Milius, and Paul Schrader regard this as one of the films that have most influenced them. David Lean (British filmmaker) noted that the way that the landscape was shot (by director John Ford) influenced scenes in Laurence of Arabia (1962).

While on the desert locale, Ford was stung by a scorpion. Worried about his investment, financial backer C.V. Whitney asked Wayne, “What if we lose him? What are we going to do?” Wayne offered to check in on the “stricken” director. A few minutes later he came out of Ford’s trailer and said to Whitney, “It’s OK. John’s fine, it’s the scorpion that died.” LOL!

Synopsis

In 1868, a hardened/middle-aged Confederate veteran of the Civil War, Ethan Edwards (John Wayne), turns up on the small Texan ranch of his brother (Aaron). Instead of settling down to a life of peace, Ethan chooses to embark on a journey of revenge, after Comanches- lead by Chief Scar (Henry Brandon)- who murdered his family, burned their home, and abducted his 2 nieces: Lucy (a teen) and Debbie (9 y.o.) Ethan is joined by a young man (1/8 Cherokee)- Martin Pawley (Jeffrey Hunter)- an orphan/unofficial member of the Edwards family. The 15 y.o. Debbie is played by Natalie Wood (who was still in HS); she has about 10 mins. of screen time in the final act. Young Debbie is played by Lana, Wood’s sister.

The screenplay was adapted by Frank S. Nugent from Alan Le May’s 1954 novel. It was based on the real Comanche kidnapping of Cynthia Ann Parker, a young white girl in Texas in 1836. Parker, who was given the name “Narua” (“one who was found”) would become mother of a Comanche chief, Quanah Parker. She was recaptured after 25 yrs. and never adjusted to life among whites, starving herself to death after the illness/death of her remaining child. Yikes!

Blood Family vs. Found Family

It is V clear that Ethan does NOT consider Marty (who is part Navajo) to be part of his family; he keeps telling the younger man to stop calling him “uncle.” This MAY seem cold/mean to some viewers; after all, Ethan is the one who found Marty out in the desert (after his parents died). He has been raised for many yrs. in the same household as Aaron’s kids. Marty considers the Edwards kids to be his siblings; he refers to Debbie as “my sister.”

Some astute viewers wondered: Is Ethan Debbie’s birth father? Several times, Ford hinted that Ethan had had an affair w/ Aaron’s wife, and was possibly the father of Debbie. Ethan’s thirst for vengeance then could stem NOT from the murder of his brother, BUT of Martha (the woman he’d loved). On a recent re-watch, I saw the subtle clues! In the 1st act, Ethan and Martha share a few meaningful looks. In an early family dinner, Aaron, Lucy and Ben (both blonde-haired) are on one side of the table; on the opposite side are Martha, and Debbie (who all have dark brown hair). Martha strokes Ethan coat when she brings it to him. When the local preacher/sheriff, Rev. Capt. Clayton (Ward Bond), asks why he hung around Texas so long, there is a moment where it looks like Martha wants to speak (before Ethan answers).

Hate, Racism, & Revenge

The actors playing Comanche Indians are ALL Navajo, w/ the exception of Brandon (a German-born Jew). The language, clothing, and dances seen are Navajo, NOT Comanche. Much of the film’s plot is revealed on a prop that most viewers rarely notice. Just before the deadly raid on the homestead, the tombstone (of Ethan’s mother) that Debbie hides next to reveals the source of his hatred for Comanches. The marker reads: “Here lies Mary Jane Edwards killed by Comanches May 12, 1852. A good wife and mother in her 41st year.” We learn that Marty’s parents were also killed by Comanches, BUT he doesn’t have hate for Native Americans. Marty is NOT nice to the Native woman (“Look”) who follows them, thinking that he has bought her (instead of a blanket). Ethan jokes about Marty’s “wife,” who meets a tragic end (at the hand of a different tribe).

Comedy & Romance

There are some light-hearted scenes, a few which hold up, while others are cringe-y. Marty and Laurie (Vera Miles- before Psycho fame) grew up in this same community and are in love, BUT (like some IRL couples) can’t seem to communicate. When the local men first leave to search for the girls, Marty shakes Laurie’s hand good-bye- LOL! Two yrs, later, when Ethan and Marty (w/ facial hair) come to the Jorgensen home, Laurie throws herself into Marty’s arms and kisses him first. Laurie is more sensible/mature than Marty; he acts petulant/boyish when angry. Since Hunter (captain in the Star Trek failed pilot; Jesus in King of Kings) was in his late 20s while filming, it doesn’t seem fitting. In their 5 yrs, of separation, Marty writes Laurie one letter; he hasn’t had a LOT of education (we assume). Laurie fears becoming an “old maid;” there were NOT many options for husbands in the Old West.

Laurie’s father, Mr. Jorgensen (John Qualen- veteran character actor) talks w/ a thick Norwegian-like accent. Laurie’s replacement beau, Charlie McCorry (Ken Curtis), speaks in drawling/slow manner which is annoying! Curtis objected to the accent, BUT Ford argued it’d get him noticed in a thankless role. In the dance scene before the (failed) wedding, the males are some of the most famous stunt men of the era: Chuck Hayward, Terry Wilson, John Hudkins, Fred Kennedy, Frank McGrath, and Chuck Roberson. After this scene, the crew nicknamed them “Ford’s chorus girls” – LOL! The role of the eager/young cavalry officer, Lt. Greenhill, is played by Patrick (Wayne’s son).

Ethan Edwards: Hero or Anti-Hero?

There is TOO much anger, bitterness, and hate in Ethan for him to be close to others. Even after yrs. on the road together, he and Marty don’t become (emotionally) close. He makes Marty his heir when he thinks that he’ll die, BUT Marty refuses. Until his sudden turn in the 3rd act, Ethan considers Debbie to be ruined/savage; she won’t be able to live w/ whites. We are relieved when he decides NOT to kill Debbie! Godard commented that no matter how much he despised the actor’s right-wing political beliefs, every time he saw Wayne taking up Debbie in his arms at the end, he forgave him for everything. What did you think of the ending shot? Is the door closing on Ethan b/c his time (and way of thinking) is coming to an end?

This was one of Wayne’s 3 personal faves, along w/ She Wore a Yellow Ribbon (1949) and The Quiet Man (1952). These films were all directed by Ford. Unlike his usual manner, Wayne decided to stayed in character between takes. When a Navajo child became ill w/ pneumonia, Wayne had his pilot take the little girl to a hospital in his private plane. For this good deed, the Navajos named him “The Man With The Big Eagle.”

[1] An integral part of the combined elements that makes THE SEARCHERS great is Max Steiner’s outstanding score. It is the picture’s driving force – its backbone. Steiner’s music propels the film forward, unifies the narrative and gives greater density to its key scenes. In fact without his music much of the picture’s impact would be considerably diminished.

[2] Ethan Edwards is probably the most racist man Wayne ever portrayed on the screen, yet we feel sympathy for him at the same time. It’s been a hard and bitter life on the frontier for him. Just as it’s been for the Indians as well. Chief Scar, played by Henry Brandon, is Wayne’s opposite number and he makes clear what he thinks of whites. Two of his sons were killed and he’s going to take many white scalps in reprisal.

[3] 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.

-Excerpts from IMDb reviews

“The Tin Star” (1957) starring Henry Fonda & Anthony Perkins

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In the able hands of Henry Fonda and Tony Perkins THE TIN STAR shines like gold! -Cecil B. DeMille

Morg: A decent man doesn’t want to kill, but if you’re gonna shoot, you shoot to kill.
Ben: How about hittin’ them in the arm?
Morg: That hokey-pokey’ll get you killed fast. There’re a lot of guys bragging about shooting a gun out of somebody’s hand. They’re lying. They shot to kill. A wounded man can still kill you.

A world-weary bounty-hunter, Morg Hickman (Henry Fonda- at 52), rides into a small town w/ the body of a criminal he captured. The (formerly safe/orderly) town is facing danger; their sheriff was recently killed. A young/inexperienced local, Ben Owens (Anthony Perkins- just 25), is named the temporary replacement. Ben desperately wants to be sheriff, BUT needs to convince the town’s leaders. His fiancee, Millie Parker (Mary Webster), refuses to marry Ben unless he gives up this goal. While Morg awaits his payment, he stays w/ a widow just outside town, Nona Mayfield (Betsy Palmer), and her young/half Native American son, Kip (Michel Ray). When Ben hears that Morg was a sheriff for many yrs, he asks the older man to teach him what he needs to know.

Morg: [to Ben] Learn what to stay out of. If you step into a fight, make sure you’re the better man. Paste this in your hat: a gun’s only a tool. You can master a gun if you got the knack. Harder to learn men.

I heard about this movie on the Hellbent for Letterbox podcast; it’s “a thinking person’s Western” (as one viewer commented). It was directed by Anthony Mann; he made several movies in this genre w/ Jimmy Stewart. I learned that Stewart was supposed to star here, BUT then (his BFF) Fonda took on the role. Fonda always gives a strong performance; he and Perkins (before Psycho) make a fine- though unexpected- duo. They’re both V tall (6’ 2”) w/ wiry builds, yet give off different types of energy onscreen. Perkins (who studied at The Actors Studio in NYC) isn’t afraid to show Ben’s youthful insecurity and vulnerability.

I thought that the dialogue was great; the 3 writers (Dudley Nichols, Barney Slater, and Joel Kane) were nominated for the 1958 Oscar for Best Writing, Story and Screenplay – Written Directly for the Screen. The supporting characters get their moments. The kindly/elderly Dr. Joe McCord (John McIntyre) is a trusted friend to Ben and the unofficial historian of the community. There are two villains (played by Neville Brand and Lee Van Cleef); these actors also appeared in many noir films. We see how those w/ Native American heritage are treated; they’re relegated to the outskirts of society. The production design is well done; i.e. the large window of the sheriff’s office looks out onto the town square (so Ben can see what’s going on).

[1] You can never take your eyes off Henry Fonda – tall, dark and brooding if there ever was one. Anthony Perkins is (of course) very different to Norman Bates in Psycho and for those of us who saw him in that long before this earlier work, will not be disappointed.

The near-silent ending is as tense as you’ll find anywhere within any Western – and you will be both too – silent AND tense…

[2] We have all the necessary ingredients for a fine screenplay. We have greed, hate, violence, racism, ignorance, and just plain human decency all exposed on screen with an even pace to measure the morals meted out by Fonda’s character as the plot unfolds.

[3] The Tin Star is undoubtedly a very important Western featuring some of the most memorable and heart-warming moments of the genre’s history and a wonderful performance from Henry Fonda.

-Excerpts from IMDb reviews


“His Kind of Woman” (1951) starring Robert Mitchum, Jane Russell, Vincent Price, & Raymond Burr

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The hottest combination that ever hit the screen! -Louella D. Parsons

Nick Ferraro (Raymond Burr), a crime boss deported to Italy, needs to re-enter the US. His plan involves “honest” gambler, Dan Milner (Robert Mitchum), who’s subjected to a series of “misfortunes,” then bribed to take a trip to Mexico. On the way, Dan meets a lounge singer, Lenore Brent (Jane Russell), who calls herself one of the “idle rich.” Upon arrival at the resort (Morros Lodge) in Baja, Dan finds the guests all playing roles, except- maybe- actor Mark Cardigan (Vincent Price). What does Ferraro want w/ him? Can he trust anyone?

Myron Winton, an American banker: [after he & other guests have viewed Mark’s latest films] Yes sir, I agree with those folks: that was one of the finest movies I’ve ever seen. They oughta’ make ’em ALL like that. None of this nonsense about social matters. People don’t go to the movies to see how miserable the world is – they go there to eat popcorn and be happy!

Mark: [Addressing Mr. Krafft] What did you think of it?

Mr. Krafft, an European writer: [Dourly] It had a message no pigeon would carry.

Mark: [Slightly amused, turning to Myron] At my studios, all messages are handled by Western Union.

Myron: You know, you can’t take his opinion on anything: he’s an intellectual.

[Mark responds with a look of mild alarm.]

There is much drama BTS of this film noir, which pokes fun at the genre. John Farrow finished the film, BUT Howard Hughes (a well-known control freak) brought in Richard Fleischer to add a few shots. Hughes co-wrote the ending w/ Fleischer, who ended up reshooting the entire movie. Lee Van Cleef was cast as the crime kingpin before Hughes suddenly decided he wanted Burr instead. All of Ferraro’s scenes had to be reshot w/ Burr. During his RKO days, Mitchum referred to himself as “a tall dog on a short leash.” In his memoirs, Fleischer wrote that the actor’s alcoholism caused a LOT of problems for the production. One day, Fleischer told the actor that he “was making a fool of himself.” Mitchum then pushed the stuntmen off and destroyed the set! The next morning, a sober Mitchum was V remorseful and apologized to the director for his behavior.

Mark: [Preparing to go out and rescue Dan] Now might I drink hot blood and do such bitter business the earth would quake to look upon.

Helen, his estranged wife: [Rolling eyes] Hamlet again…

Gerald, his manager: Mark, this is no time for histrionics.

Mark: [Scoffing] What fools ye mortals be.

This movie is rather long for its day; the running time is 2 hrs. There are scenes which could’ve been edited better. Mitchum and Russell do look hot together (as the ads claimed); they’re both tall, laconic, and project ease/confidence. They went on to become V good friends IRL. Russell was “discovered” by Hughes. I’d read (on a film noir Facebook group) comments re: how funny Price was here. There are several LOL moments, which is NOT common for noirs! Some careful viewers noticed that Price is often slumping, wearing oversized costumes, and has makeup (which makes his face look rounder). This was (obviously) done to make him appear less imposing/attractive than Mitchum (the hero).

[1] Price quotes Shakespeare, critiques his performance, and is amazed by his own heroics, and he has never been funnier, onscreen.

[2] In a way, the film can be seen as three films in one. The opening scenes are shot in the dark, menacing film noir style. […] When Milner arrives in the resort the mood becomes lighter, and the film resembles more one of those “sophisticated” comedies about divorce and adultery… When the villains arrive and the nature of their plans becomes clear, the mood of the film changes again.

[3] …a great example of a film where the dialog is so snappy that the plot itself is secondary. Now this does NOT mean the plot is bad- the film is very well-written, as the WHAT and WHY turn out to be pretty interesting. But when Mitchum talks, he is the ultimate in ’50s cool- with a wonderful world-weary style and sarcasm... In addition, his scenes with Russell are great- with a nice mixture of romance, sarcasm and heat!

-Excerpts from IMDb reviews

“Raw Deal” (1948) starring Dennis O’Keefe, Claire Trevor, & Marsha Hunt

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Bullets! Women! –Can’t Hold a Man like This! -Tagline

This is one of only a few noir films narrated by a woman – Claire Trevor (the “Grand Dame” of film noir). -Eddie Muller (TCM) in intro to movie

After a year behind bars, Joe Sullivan (Dennis O’Keefe), is anxious to get out and “breathe” again. He took the rap for a San Fran gangster, Rick Coyle (Raymond Burr), who owes him $50,000 (which would equal about $615,000 today). Rick sets up a jail break for Joe, thinking he’ll be caught escaping, locked away for many yrs, or killed. However, w/ the help of his street-wise/loyal gf, Pat (Claire Trevor), and a young/ idealistic social worker, Ann (Marsha Hunt), Joe gets a LOT further than he was supposed to. Is Joe a cold-hearted criminal, or is there still goodness under that tough exterior? Will Joe stay w/ Pat or fall for Ann?

Joe: [being visited in prison by Ann] Next time you come up, don’t wear that perfume.

Ann: Why not?

Joe: It doesn’t help a guy’s good behavior.

This (cult classic) film noir was directed by (NOT yet famous) Anthony Mann; he is more known for Westerns. The screenplay was written by John C. Higgins; there is memorable dialogue packed into 80 mins. The cinematographer is John Alton (one of the best); he can do a LOT w/ a little (low budget). O’Keefe (a leading man in B-movies) does a good job; he’s tall, traditionally masculine in looks, yet the acting is subtle. We sense that there are strong emotions coiled inside Joe. Rick (a V nasty villain) throws a tureen on fire at a woman- yikes! Burr is shot from the waist up, so he looks like a menacing “heavy.” Rick’s dressing gown is a silk and he smokes w/ a solid gold Cartier cigarette holder. It is the two women who shine in this film; they’re more complicated than we expect! Trevor (who usually had many glam outfits) mostly wears one suit and hat here. Trevor and Hunt play off each other V well. As one thoughtful viewer said: “They act like a devil and an angel on Joe’s shoulders.”

Joe: You’re wonderful, baby. I don’t know what I’d do without you.

Pat: Remember to tell me later, with gestures.

Some viewers commented on the “dream-like” tone; others were reminded of tropes common in “fairytales.” Pat has a sorrowful tone to her narration; underneath, a theremin plays (which has an unusual sound). Alton makes it look like “stars” are shining in her eyes when Pat visits Joe; she’s in love and goes along w/ his plans. Looking for another ally, Joe sneaks into Ann’s apt through her bedroom window. We know he is (potentially) dangerous, though he awakens her w/ a gentle kiss (as we’d expect from a fairytale prince). Joe and Ann share a pivotal/romantic scene in the woods (which could symbolize a place of knowledge and fear). This is a must-see for noir-istas; you can rent it on Amazon.

[1] Some of the characters may be losers but the movie is a true winner.

[2] …manages to seem authentic all the way through because it doesn’t hold back on the violence or the threat of violence.

[3] Mann & Alton move the tight screenplay thru a shadowy world of half-lit images and high contrast brutality. Jittery cameras are supplemented by unbalanced angles…

-Excerpts from IMDb reviews

“Black Widow” (1954) starring Ginger Rogers, Van Heflin, Gene Tierney, & George Raft

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At a cocktail party thrown by nabes, a married Broadway writer/producer, Peter Denver (Van Heflin), meets a 20 y.o. young woman, Nancy “Nanny” Ordway (Peggy Ann Gardiner), an aspiring writer. He tells his actress/wife, Iris (Gene Tierney- in a small role), about this new acquaintance; she’s out of town helping her ailing mom. Peter decides to take her under his wing, giving her advice, and a bright place to write (his apt). A few weeks later, Nanny is found dead in his apt! At first thought to be a suicide, it is later discovered that she was murdered; suspicion falls on Peter. He begins his own investigation in order to clear his name; he discovers that Nanny wasn’t as naive/innocent as she appeared to be. The lead cop on the case, Lt. Bruce, is played by George Raft (in his gray-haired/character actor era). Classic film fans may know him from his leading roles (’30s-’40s).

Peter’s nabe/friend, Brian Mullen (Reginald Gardiner), started an affair w/ Nanny (who became pregnant) b/c she made him feel appreciated. This happened weeks before she met Peter. Brian (who has no current job) is married to a successful/glam Bdwy actress, Carlotta “Lottie” Marin (Ginger Rogers). From the early scenes, we see that Lottie is “the one that wears the pants” (and has a strong personality). Rogers uses a haughty/theatrical voice in her role; she wears several stylish outfits. Though Brian acts humble/self-deprecating in public re: being “a nobody,” Nanny realizes that it bothers him to be perceived of as less than his wife.

This is a movie that made me wonder: Are men doing OK? It seems that (even today), some men have a prob when gfs/wives make more money and/or have more power/influence than themselves. Actress Keke Palmer’s bf (w/ whom she had a baby recently) called her out (on Twitter) re: her outfit at an Usher concert. I don’t know what (IF anything) he does for a living; I’m guessing that Palmer is the breadwinner. Sarah Brady, a pro surfer/ex-gf of Jonah Hill, released texts (on IG) where the actor was trying to counsel her re: clothing and friendships when they were a couple. Were these actions (taken by Palmer’s bf and Hill’s ex) on social media in good taste? No, BUT they do reveal the insecurity some men feel when they can’t control the women in their lives. So why NOT pursue women who have more “regular” jobs or those who choose to dress “conservative?” Well, that wouldn’t be a challenge to men w/ this mindset! They want to tear down women that society puts above them (when it comes to money, status, looks, etc.)