The Searchers (1956)

1.50pm, Saturday, BBC Two “Let’s go home, Debbie”

’John Ford’s dark and compelling tale of obsession, loyalty and honour features John Wayne in an uncharacteristically complex role. Ethan Edwards is an inveterate loner, a fact immediately established in one of cinema’s most famous opening shots which nds Wayne the outsider framed in a doorway. By the time the shot is utilised again in the closing sequence (this time with Wayne walking away from the homestead), a seven-year odyssey has taken place to nd the young girl kidnapped by the Comanche tribe who slaughtered the rest of her immediate family.

The Searchers is one of the most poetic and haunting westerns ever made, with Ford making magni cent use of the Monument Valley locations and Winton C. Hoch providing glorious cinematography, notably in the snowy sequences. On the acting front, John Wayne delivers the performance of his career as the embittered Civil War veteran. Ethan hates the Indians because he feels they are savages, but his behaviour is about as primeval as they come. Wayne carries the lm on his broad shoulders but there are strong supporting turns from the likes of Je rey Hunter, Vera Miles, Ward Bond and young Natalie Wood. Though the lm has many outstanding sequences, there are some delightful little touches, too. A personal favourite is the sight of Martha Edwards (Dorothy Jordan) lovingly stroking her brother-in-law’s jacket. It’s an image that’s worth a thousand words.

Based on the novel by Alan Lemay, The Searchers was lmed on location in Colorado and Monument Valley. The little girl who plays Debbie as a child is Natalie Wood’s sister, Lana. Also in the lm is John Wayne’s 16-year-old son, Patrick, who plays a cavalry o cer. The lm made such an impact on The Duke that he named his next son, John Ethan. Will this lm ever stale? That’ll be the day.