Ethan Edwards
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By Scott Allen Nollen. In 1954, producer Merian Cooper, seeking material for a surefire John Ford and John Wayne Western, optioned Alan LeMay’s The Searchers, a novel about revenge-crazed Amos Edwards’ 10-year quest to track down the Comanche who murdered his brother and captured his niece.
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THE SEARCHERS The box office appeal of John Wayne combined with the imprint of John Ford makes The Searchers a contender for the big money stakes. It's a Western in the grand manner-handsomely mounted and in the tradition of Shane .... Yet The Searchers is somewhat disappointing ... Overlong and repetitious at 119 minutes there are subtleties ...
This poem is inspired by The Searchers, an epic western set in Texas during the 1870s. The film’s main character, played by John Wayne, is Ethan Edwards, a middle-aged veteran of several wars. Ethan harbours an intense hatred of the Comanche tribe of Native Americans, whom he regards as sub-human savages.
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The Searchers is often described as John Ford’s Masterpiece. This study guide looks at why it is more than a straightforward Western and why it has become a classic film.
Abstract: The central character in The Searchers, Ethan Edwards, demonstrates a puzzling mix of self-sufficient individualism, deep racism, and perpetual dissatisfaction. This article explains this mix by arguing that the film is ambivalent about the kind of modern individualism Ethan represents.
The Searchers is asserting John Ford’s status as a master of Western movies. Indeed, through this film, the director shapes and anchors the aestheticism and the values of the genre.
Searchers makes the viewer temporarily compliant in the values embodied by Ethan, and thereby makes us question our own values. Ford attempts much in this film: John Wayne is the most popular and long-revered of all Western hero's, and it is difficult to make the viewer reject their favourite,
John Ford‘s The Searchers DAVID KELLY ‗First of all, the western is American History.‘ Jim Kitses1 On second glance, the first thing you notice about The Searchers is the framing. It takes a second glance, because the first time we see it we are simply not aware that the opening image of the opening door framing the
This essay juxtaposes the process of “Othering” in the 1956 John Ford western The Searchers with my own indoctrination into White privilege as a child growing up in suburban Atlanta during the mid-to-late 1960s.
By comparing the changes made from the source novel to the shooting script to the finalfilm, a constant darkening of Ethan's personality is revealed-most of it directly attributable to director John Ford. When The Searchers was first released in May 1956, some reviewers thought it was just another John Ford western.'.
This exploration of the Odyssean qualities in The Searchers will augment earlier studies that examined affinities between Ford’s film and Homeric epic. James Clauss (1999) looked at various Greek and Roman mythological motifs in The Searchers, including parallels with the Homeric
Searchers will be issues that are associated with dreams, primal issues of sexual desire, desire for power and control, fear, terror, and the need for revenge as a way to balance these various, often conflicting forces in us.
The searchers was generally misunderstood by American reviewers in 1956. Adapted from the Alan LeMay novel by Ford's family scenarist Frank S. Nugent, the searchers represents Ford's ultimate divergence from the dramatic ironies of Dudley Ni-chols to the epical directness of Nugent. The Fifties marked the breakdown of traditional dramatic forms
The Searchers represented the revival of a basic form of American popular culture, the captivity narrative, which had been first popularised in the late seventeenth century after the publication of Mary Rowlandson’s account of her captivity among
Searchers is no "simpler world, of clearcut judgments, of established and unquestioned values." With no "nostalgic associations"of oft-heard tunes and marches at the outset to distract us, we see that The Searchers, in the specific nature of its formal strategies, is related to many yet unlike any other John Ford film, and we gradually
John Ford used the VistaVision format in his 1956 film The Searchers. Bosley Crowther, a critic for the New York Times and Holl, a critic for Variety agree that VistaVision is a great format for capturing the nuances of life on the frontier, and complements Ford’s vast scenic shots in Monument Valley.
Based on a character in Alan LeMay's novel The Searchers (1954), Mose Harper in Ford's film emerges in broader dimension as a humorous and provocative complement to the madness and tragedy bred on the plains. He is always one step ahead of the outland.
Exchange in The Searchers Jonathan Freedman For the past five years, I have been interested in, if not ob-sessed by, one question: what happens to literary and cultural studies in general, and the study of American literature in partic-ular, when we factor in that different form of difference we know as Jewish difference?
