Synopsis
He had to find her... he had to find her...
As a Civil War veteran spends years searching for a young niece captured by Indians, his motivation becomes increasingly questionable.
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The Searchers
Cast
John Wayne Jeffrey Hunter Vera Miles Ward Bond Natalie Wood John Qualen Olive Carey Henry Brandon Ken Curtis Harry Carey, Jr. Antonio Moreno Hank Worden Beulah Archuletta Walter Coy Dorothy Jordan Pippa Scott Patrick Wayne Lana Wood Mae Marsh Ruth Clifford Chuck Roberson Chuck Hayward Peter Mamakos Frank McGrath Jack Pennick Terry Wilson
Director
Producers
Writer
Original Writer
Editor
Cinematography
Executive Producer
Additional Photography
Art Direction
Set Decoration
Stunts
Dick Dial Frank McGrath Cliff Lyons Bryan 'Slim' Hightower Terry Wilson Jack N. Young Henry Wills Dale Van Sickel John Hudkins Chuck Hayward Fred Kennedy Chuck Roberson Bill Cartledge
Composer
Sound
Costume Design
Makeup
Hairstyling
Studios
Country
Primary Language
Spoken Languages
Alternative Titles
日落狂沙, Rastros de Ódio, Más corazón que odio, 수색자, De Woestijnhavik, Förföljaren, La prisonnière du désert, Centauros del desierto, Der schwarze Falke, Sentieri selvaggi, A Desaparecida, La Prisonnière du désert, Etsijät, 搜索者, Η Αιχμάλωτος της Ερήμου, Stopaři, Az üldözők, Искатели, Çöl Aslanı, Poszukiwacze, המחפשים, Căutătorii, Forfølgeren, På sporet, 捜索者, Следотърсачите, Шукачі, Ieškotojai, Centaures del desert, جویندگان
Genre
Themes
Releases by Date
Premiere
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USANR
Chicago, Illinois
Theatrical
16 May 1956
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Brazil12
26 May 1956
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USANR
08 Aug 1956
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FranceTP
14 Sep 1956
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ItalyT
23 Sep 1956
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UKU
04 Oct 1956
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Germany12
18 Jan 1957
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IrelandPG
25 Jan 1957
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Austria12
17 Jul 1957
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PortugalM/12
23 Jul 1957
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Denmark15
07 Dec 1957
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South Korea12
16 Apr 1999
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SpainAPTA
Physical
14 Jul 2006
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South Korea12
22 Jul 2009
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Netherlands6
Releases by Country
Austria
25 Jan 1957
- Theatrical12
Brazil
16 May 1956
- Theatrical12
Denmark
23 Jul 1957
- Theatrical15
France
08 Aug 1956
- TheatricalTP
Germany
04 Oct 1956
- Theatrical12
Ireland
18 Jan 1957
- TheatricalPG
Italy
14 Sep 1956
- TheatricalT
Netherlands
22 Jul 2009
- Physical6 DVD
Portugal
17 Jul 1957
- TheatricalM/12
South Korea
07 Dec 1957
- Theatrical12
14 Jul 2006
- Physical12 DVD
Spain
16 Apr 1999
- TheatricalAPTA
UK
23 Sep 1956
- TheatricalU
USA
16 May 1956
- PremiereNR Chicago, Illinois
26 May 1956
- TheatricalNR
Popular reviews
More-
Turns out that plenty of racism, sexism, cardboard cutouts masquerading as characters, and stunning cinematography all equal the most revered Western of all time. Well, if I have to watch John Wayne being a self-righteous asshole for two hours, at least I also get to watch some of the most beautiful landscapes in this part of the world. That's a fair bit of recompense.
The Searchers is a morose, overly serious Western on all counts, but it occasionally also attempts to muscle in a bit of awkward humor during the unnecessary romantic subplot between the daughter of Swedish immigrants and Cardboard Cutout #2, the young man who sets out to be the moral conscience of Cardboard Cutout #1, otherwise known…
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The Searchers gives the lie to the supposed heroism of the Wild West mythos. John Wayne plays the same Indian-killing cowboy we've seen him play since the early 1930's, the image of a valiant savior come to rescue a bunch of white folks from the Native American menace, but here he plays it as explicitly racist, calling out the pathological nature of the traditional cowboy's racialized violence. Our heroes of the West were always outlaws who had to ride off into the sunset, but they were glorified outcasts, they were getting rid of the "real" bad guys. The Searchers shows this hero not as an altruistic warrior, but as a murderer whose positive effects on society are less purposeful, more…
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86
Monument Valley as desolate, alien structures which impede an American progression after the civil war. John Ford's mise en scène is so lively, so thoroughly invested in the complexity of the homestead and the lawlessness of the open sky. Particular moments, such as Martin galloping away from Laurie while she clings to a fence, her body facing the camera, bring me to tears. Its formalist beauty comes at a price, with odd bits of slapstick and other 'of its time' elements, but the scale and psychology of its racism is overwhelming and essential to dissecting the cinematic myth of the American west. Not to mention the opening and closing compositions, some of the best of each category.
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*Was an 85, now a 100*
Nothing less than The Great American Movie.
70mm print was truly inexplicable. Made me see the movie in a whole new way. Continues to grow in majesty and mystery with the passage of time.
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Obviously the accumulation of so many of Ford's own interests with the psychology and camaraderie of military men, with brutal outsiders vs. graceful and warm communities, with the history of this land as both a poetic and elementally expressive monument and vast, lonely wasteland, with simultaneously lyrical and melancholy use of light, geography, gorgeously saturated Technicolor and deep focus VistaVision photography, etc... (Do you need someone else to tell you this one of the most painterly, meticulously framed, staged and blocked movies, and has probably the greatest opening/closing shot ever?) But most intriguing about its reputation as the Great American Western/Movie is how confrontational and shocking it still manages to be about the ugly cowboy "hero" at its center even…
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The rage of this film is so overwhelming, an endless slaughter and rape perpetuated by both cowboys and Injuns. More symbolism than normal in a Ford film, especially those shots from the inside looking out, but Ford's mastery of tone, character and place has rarely been better. The reddish glint of sunset turned into a dread-inducing precursor to redskin attack; the sickened distance Wayne's Ethan places between himself and his half-breed adopted nephew; the way Monument Valley seems so infinite but so bordered, its own globe that can be walked until one loops around to where he started. Yes, it has somewhat dubious comic relief scenes, as well as a nominally happy ending, but this is one of Ford's most…
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Europe has Homer's Odyssey, the Americans have John Ford's The Searchers. The movie is the essence of the American west, it's final scene the essence of moviemaking.
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66/100
[originally written on my blog]
Time to bite the bullet and admit—as much to myself as to you fine people—that I just don't love The Greatest Western. Easiest way to rationalize this heresy is to pick a fight with the ending, which has always felt baldly contrived; I've read heroic interpretations of Ethan's sudden decision to cradle Debbie in his arms, but never a sensible word regarding Debbie's equally sudden (and patently ludicrous) about-face when Martin comes for her. Truthfully, though, the film's disregard for the harrowing reality of an assimilated captive's ordeal is only one of many speedbumps. Martin and Laurie's frustrated romance, for example, while often entertaining for its own sake, doesn't really work as a counterpoint…
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The first ever western that I watched didn't star John Wayne and wasn't directed by John Ford but instead had Clint Eastwood in the lead role and was helmed by Sergio Leone. It's no secret that I'm a huge admirer of Leone's spaghetti westerns that are noteworthy for their morally grey characters, stylised gun violence, expert staging of duels, breathtaking cinematography & operatic scores. So going into The Searchers I had a hunch that I may not like it. And I didn’t.
Now Leone's version may not be conventional in its depiction of the Old West but those are the elements that defined this genre for me. And it's probably one reason why this landmark of its genre fell absolutely flat for…
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