The Searchers gathers the deepest concerns of American literature, distilling 200 years of tradition in a way available only to popular art, and with a beauty available only to a supreme visual poet like Ford. Through the central image of the frontier, the meeting point of wilderness and civilization, Ford explores the divisions of our national character, with its search for order and its need for violence, its spirit of community and its quest for independence."
I understand these aren't all your words, Laz.
At least I like
you.
Maybe, although in 'Red River' and 'Man Who Shot Liberty Vallance' he wasn't peaches and cream. Perhaps True Grit, but I haven't seen that in ages.
The comments about Natalie Wood were lighthearted, meant to be a way to say "she's fucking hot" under the guise of a self-serious commentary about the film. Which is what I (more often than not) read here...a bunch of self-serious wank. Just trying to play the part. But I guess I don't have the 'clique' credentials to do so without being reprimanded.
As for the actual wank in this review about "distilling 200 years of tradition" PICK UP a fucking history book someone... the reviewer or the reader. For the love of God, he's hopefully talking purely about cinematics, right? Ford didn't 'explore' anything. The book was based on historical accounts, whether acknowledged or not. The script had to have been in the vein or if not, even more so of a Hollywood excursion into 'John Wayne saviour' territory. So for fuck's sake, spare me. It's either historically off or VERY historically off. "Supreme poet"...shall I post Fords' own words here (about the project) for comic value? It's a beautiful film and like so many other pieces of popular art, it is attributed various plaudits with incredibly daft grandeur.
The nature of Native American relations weren't (freshly) scratched on the Goddamn surface here. Not remotely. (the statement here is on the obvious, there was friction on both sides...)
It was supposedly alluded to, (only now) in a hippy-revisionist "oh yes, do you see what he's saying here?"-manner. Fuck that noise. The Comanche's were barbarians according to Ethan Edwards and (essentially) Ford himself. A "visual poet", in what respect? He documented Monument Valley for the sixth time (or whatever)? Yes, it was beautiful but what changed from what came before? He'd already written those 'poems'. Hipster, 'film geek' garbage.
Ford influenced the way other filmmakers made grand statements with the lens in this film (and credit to him for that). The entrance of the sheriff in Lawrence of Arabia comes to mind. But this is 'inside baseball'...it's like giving credit to Les Paul for overdubbing. Yes, give the credit, but does that change the fact that Les Paul's album with Mary Ford (the original) was kind of fucking silly? It broke new ground, give credit where it's due, but let's not go overboard. All I'm saying is,
overrated...that's the only point.