The Searchers (1956)

Directed By: John Ford | Written By: Frank Nugent

Players: John Wayne, Jeffrey Hunter and Natalie Wood

Setup: The year is 1886, three years after the formal end to the Civil War. The setting is the stark frontier western Texas where only the heartiest of homesteaders persevere over forces of nature, the threats of cattle rustlers and a looming threat of raiding parties of tribes of Comanche among others. A lone horseman, Ethan Edwards (played to full swagger by John Wayne) approaches the home of his brother's family. In between moments of happiness and relief in the reunion glimpses of a hardened and disillusioned cynic and possibly bigoted man who's postwar experiences are of a dubious, if not unlawful nature.

Along with his family by blood there is a young man named Martin Pawley (an impetuous Jeffrey Hunter) of mixed white and indian descent, found as an abandoned babe by Ethan and raised by his family, but it is made abundantly clear to him on multiple occasions by Ethan that there is no love or bonds of kinship between them. While the two of these men are away from the homestead investigating the disappearance of a neighbor's cattle herd their homestead and family is attacked and brutally slain by a Comanche raiding party. Evidence left at the scene leads Ethan to believe his youngest niece (eventually played by Natalie Wood) is still alive and is now a captive, so the two men saddle up and begin what becomes years of following clues, trailing rumors and searching for the little girl they both loved before it's too late ...

  

Review: In 1956 the prolific director John Ford, who's name is now synonymous with the American Western, released what many regard as his masterpiece with The Searchers. Based on the novel of the same name by Alan Le May, a screenplay by Ford collaborator Frank Nugent it had all of the fixin's for a classic but it ended up be so much more than that. Starring the one and only John Wayne, cast somewhat against type as a bitter anti-hero, with a young Jeffrey Hunter as his somewhat unwanted companion and the beautiful Natalie Wood along with a whole great mess of character actors The Searchers had the depth and chops to set itself apart from an ailing genre, rejuvenate it and would set the stage for the next couple of decades of deconstruncted Westerns.

Shot in beautifully rich VistaVision by cinematographer Winton T. Hoch, another long-time Ford collaborator, The Searchers ranks toward the top of many best-of lists (if not the top!) as the greatest American Western. It is little wonder why its legacy has endured as it transcends its own genre and is no less powerful a viewing, being full of complex characters and themes displayed over a such grand backdrop, almost sixty years later … 

Taken at face value The Searchers is a tale of vengeance, adventure and redemption catalyzed by a grisly offscreen event early in the film. Sending two characters; one a world weary anti-hero and the other a young idealistic, emotional but loyal man with no real claims to his name, on a rescue mission.

There are many great moments in this film that capture the brooding darkness lying under all of that eye-poppingly colorful motion painting that is VistaVision but none more defining than when the characters of Ethan (Wayne) and Martin (Hunter) return to find their homestead still burning and their family slaughtered. While the actual raid on the house all happens offscreen, we don't see any gore or bodies, what we don't see still speaks volumes. Ethan is first on the scene and he sees a torn and bloody dress of his brother's wife and as he grips it in his hands he approaches a dugout shed behind the main house and looks inside. The camera angle is from inside the darkened shed looking out at Ethan's silhouetted frame and what he see horrifies, shocks and disgusts the grizzled Civil War veteran. As the shadows cover his now averted gaze (because even “The Duke” can't bare to look inside the shed again) he orders that Martin to “not go in there, boy”, punches the kid square in the face when he attempts to look and has him restrained so he doesn't see the gruesome remains of the barbarous acts on his family. Like Martin the viewers minds can only imagine the horrors within, with the not knowing arguably being far worse than bearing witness to the carnage itself.

Perhaps it is worth noting that The Searchers was a film made while many Hollywood productions were still adhering to the censorship mandated by the Hays Code which could limit a lot on what a movie could present in the terms of violent and sexual content but when a bloody torn dress is presented as evidence before our eyes unspeakable (and because of the Hays Code, unshowable) acts must begin to race through our heads; images of murder, mutilation such as scalping, and rape just to name a few. The way this film handles this content by allowing us to experience it through visual innuendo and the reactions of the characters discovering the scene of the slaughter is all the more horrifying because it leaves the audience to imagine what really happened with any manner of gory details. Along with the way this scene is shot, particularly the angles used that show us the carnage through the reaction of the character of Ethan, the musical score that accompanies the scene is mournful and forlorn until he discovers the doll of the missing niece not among the bodies. We see his hand reach into frame pick up the doll and the music changes ever so slightly when combined with the imagery gives a sense of resolve, it is at this moment it is clear that Ethan has dedicated himself to one purpose and that purpose is to find his niece no matter the cost.

What makes this scene so great though is in many ways it is the perfect reflection of John Wayne's troubled character. There is so much ugliness implied and a deep sadness and regret under the surface that we can experience here in this scene as it is a microcosm of the themes of acceptance, love, loss and redemption that will be expanded on in the rest of the film. While Ethan is a calloused man he is not a completely uncaring one, in his own rough way he makes sure Martin retains his innocence and protects him and by extension the viewer from the horrors that humanity is capable of. The entire flick you are left wondering what Ethan's convictions truly are, is he really such a hard, stubborn sunovabitch as to search years for a girl knowing in the back of his mind even if he did find her alive she would now come to represent everything he has come to loathe? What will happen if and when he does find her? Will he reclaim her as his kin or put a bullet in her head because she is no longer his neice but a savage indian? In the end John Wayne saunters that line of moral ambiguity and righteous heroism in a truly masterful way and takes more than just Jeffrey Hunter along for the ride.

While the title The Searchers could simply be a two-word summation of the plot of rescuing a kidnapped girl like so many things about this film there are multiple layers of meanings. Not the least of which could be John Wayne's character of Ethan Edwards rediscovering his own humanity and in doing so finds some kind of redemption ... if not for himself then for the ones he cares about. 

Tidbit: Here, just enjoy this fantastic clip of a nostalgiac Martin Scorsese describing his first time experiencing The Searchers ... 

Drink of Choice: This is a Western, one that does make its way south of the border at one point, so why not give John Wayne's tequila of choice a shot?

Collateral (2004)

Directed by:  Michael Mann

Screenplay by:  Stuart Beattie

Starring:  Tom Cruise, Jamie Fox, Jada Pinkett Smith 

Plot:  After meeting the woman of his dreams, a Los Angeles cabbie in denial catches up with a killer brimming with STYLE!…It’s really kind of a bummer for the Cabbie.  Either way, both men will never be the same.

Review:  Alright alright, I know this is way ridiculous.  It has been a whole YEAR since I’ve written a review, and after all this time, I resort to reviewing ANOTHER Michael Mann movie.  My last review was The Last of the Mohicans, where I happened to unabashedly profess my love for the director and his films.  So where do I go now?  The MANN!

I coincidentally happened to watch Collateral recently, and as I meant to get back into the spirit of sharing my feelings on film with the masses (currently mass…or lack thereof), this 2004 beauty seemed like the perfect place to hang.  Do my ecstatic feelings shown previously appear in this endeavor?  For the most part, yest.

Collateral is a film I find myself pushing endlessly towards the masses (again…maybe just Mom here) regardless of my recent knowledge of it.  In all actuality, I truly believe I’d only seen this film twice, and the second time possibly more than 5 years ago.  Upon this revisit, there were moment of true bliss, and others that left me slightly perplexed; these were few and far between however, as Collateral may very well be Mann’s most taut film to date.

One major difference compared to all of his previous work is the script: it wasn’t his (although he reportedly revised it substantially).  Stuart Beattie is credited with this little baby (early drafts by Executive Producer Frank Darabont of Shawshank and The Walking Dead Fame) making quite a tightknit piece of work.  Not only does the story take place over the course of one night, but much of it is in a cab with major philosophical battle between the two leads.  The story is simple enough, with Vincent the hit man (played cool and efficiently by Tom Cruise) essentially taking Max the cabbie (Jamie Foxx in a star making turn) hostage, as he takes out his 5 targets he has been contracted to kill.  While you may think one has the upper hand over the other, events of the night and fairly calm debates show a continually alternating picture of who each of these two men really are, played effectively up front and in the subtext.

Mann’s first foray into digital cinematography (and justified by the accent of the LA night) truly is a visual masterwork.  Scenes showcasing life in and out of the taxi cab, in clubs, skyrises, and trains are truly stunning and beautiful.  One issue I could not separate myself from was that while it looked like Mann, it did not completely feel like Mann, most likely based on the fact that the story did not originate from him.  This should not be viewed as a fault necessarily; directors shouldn’t have to keep exactly consistent from movie to movie (why should they).  It just took me slightly out of the story, and I can’t help but feel upset.  Still….that’s my own damn fault, isn’t it?!  Not the fault of the MANN!  Even if it was something completely new, he actually did go with a script that in the end seems almost to be tailor made for his visual sensibilities. 

Maybe in my old age, I’m becoming a little short with my favorite filmmaker.  Regardless, Collateral truly is a slick spectacle that remains taut and tight through to the end.  Music here is fairly stellar (maybe a little too bombastic at the end) and the setting of LA is fleshed out well enough to truly be a supporting character.  And speaking of supporting, the cast adds depth and background that effectively surrounds our two leads without being overbearing.  Some of the cast you will may not even recognize at first (Mark Ruffalo never looked so Narc) while others might be making some of their first big US appearances (never realized Javier Bardem was here).

Even though at first the film may have differed from what I remember, I cannot deny the cool, the real, the vibe that makes me truly feel I’m in LA like I’ve never seen it before.  He may have not written the piece, but make no mistake, this is Michael Mann’s movie, and it ranks up there with his best. 

 

The Last of the Mohicans (1992)

Directed by:  Michael Mann

Screenplay by:  Michael Mann & Christopher Crowe

Based on the novel by James Fenimore Cooper

Starring:  Daniel Day Lewis, Madeleine Stowe, Wes Studi

Plot:  Set in the year 1757, the last three members of a Native American tribe becomes caught in the middle of the French and Indian War as they attempt to protect the daughters of a British Colonel. 

Review:  It’s hard for me not to be biased in this review.  I’m generally in love with any film that is directed by Michael Mann.  Not only is he the creator of my all time favorite film Heat (aka “The Greatest Film of All Time”) but he also never ceases to keep his works grounded in atmospheric reality, regardless of story, genre, or period.  Is it any different with this film?  Nay.

This film completely stands out as a modern classic, joining elements of rousing adventure and romance with grounded story telling and filmmaking techniques, making it, in this reviewer’s eyes, one of a kind. 

The sweeping cinematography, beautiful locations, and grandiose action assist the viewer in completely being entranced and accepting the film as reality.  Moving at a steady pace, it never really slows, keeping conflict and the stakes in constant focus.  The set pieces feel realistic and legitimate, the numerous supporting characters add to the epic nature, and the music (scored partly by Trevor Jones and partly by Randy Edelman … truly phenomenal.  In fact, this movie could succeed fairly well with a different score solely based on previous aspects listed, but it wouldn’t nearly have the efficacy and grandeur. 

Taking place in 1757, we see an America still in development, with a wilderness that no longer exists, tragically along with various Native tribes (including the titular Mohicans).  Not only is this setting unique, but the main characters including Hawkeye (Daniel Day Lewis), and, by adoption, his father Chingachgook (Russell Means) and brother Uncas (Eric Schweig), create a fresh and interesting dynamic; the latter two are blood relatives, and Hawkeye is not, nor is he native. 

This adds to the interesting conflicts and duplicitous nature within the epic; how all these various groups can and cannot get along.  We have settlers fighting to live their own lives, English fighting French, and native Americans fighting either for revenge in the case of the antagonist Magua, or more generally just to survive.  Evoking what ostensibly were major issues of those times, we see politics and real issues come into play in the subtext, without being overstated or commandeering the story, making a for a welcoming and complex experience.  We also can find some way, if at all possible, to understand the plight of the Native Americans with the unstoppable invasion by immigrants.  They are hard struck to find a choice or answer in regards to living the way they had for centuries.  As a Huron war chief puts effectively in the third act, “What are the Huron to do?”

"Dad's always constapated and sooo sloow... CMON!"

Other aspects of the film excel as well; acting seems to be obviously fantastic, with Daniel Day Lewis at the helm.  One may doubt his talent in an action piece, based on previous works (Room With A View, My Left Foot) but after viewing his total submersion into the Hawkeye character, there is no doubt.  Just as well, the action set pieces are clearly planned and executed, with a vivid geographical sense at play, so we know where everything occurs. 

Based on a book by James Fenimore Cooper, the film is adept and able in keeping with the rousing and adventurous nature while including complexity (the book is rather simplistic in its plot and description of Native peoples).  There was also a previous film made in the 1930s, of which I have not yet seen.  I imagine it to be similar in some regard to the subject of this review.  However, I cannot imagine either to be as exciting, entertaining, dramatic, rousing, romantic, and epic as Michael Mann’s version; truly an amazing vision of adventure you can take seriously.