The Info List - The Searchers

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The Searchers
The Searchers
is a 1956 American Technicolor
Western film directed by John Ford, based on the 1954 novel by Alan Le May, set during the Texas–Indian Wars, and starring John Wayne
John Wayne
as a middle-aged Civil War veteran who spends years looking for his abducted niece (Natalie Wood), accompanied by his adoptive nephew (Jeffrey Hunter). Critic Roger Ebert
Roger Ebert
found Wayne's character, Ethan Edwards, "one of the most compelling characters Ford and Wayne ever created".[2] The film was a commercial success. Since its release it has come to be considered a masterpiece and one of the greatest and most influential films ever made. It was named the greatest American western by the American Film Institute
American Film Institute
in 2008, and it placed 12th on the same organization's 2007 list of the 100 greatest American movies of all time.[3] Entertainment Weekly
Entertainment Weekly
also named it the best western.[4] The British Film Institute's Sight & Sound magazine ranked it as the seventh best film of all time based on a 2012 international survey of film critics[5][6] and in 2008, the French magazine Cahiers du Cinéma ranked The Searchers
The Searchers
number 10 in their list of the 100 best films ever made.[7] In 1989, The Searchers
The Searchers
was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress, and selected for preservation in its National Film Registry; it was in the first cohort of films selected for the registry. The Searchers
The Searchers
was the first major movie to have a purpose-filmed making-of, requested by John Ford. It deals with most aspects of making the movie, including preparation of the site, construction of props, and filming techniques.[8]


1 Plot 2 Cast 3 Production 4 Historical background 5 Reception 6 Later assessments 7 Critical interpretations

7.1 Race relations 7.2 Ethan and Martha

8 Influence 9 Comic book adaptation 10 See also 11 References 12 Bibliography

12.1 Primary sources

13 External links

Plot[edit] In 1868, Ethan Edwards returns after an eight-year absence to the home of his brother Aaron in the wilderness of West Texas. Ethan fought in the Civil War on the side of the Confederacy, and in the three years since that war ended he apparently fought in the Mexican revolutionary war as well. He has a large quantity of gold coins of uncertain origin in his possession, and a medal from the Mexican campaign that he gives to his eight-year-old niece, Debbie. As a former Confederate soldier, he is asked to take an oath of allegiance to the Texas Rangers; he refuses. As Rev. Captain Samuel Clayton remarks, Ethan "fits a lot of descriptions". Shortly after Ethan's arrival, cattle belonging to his neighbor Lars Jorgensen are stolen, and when Captain Clayton leads Ethan and a group of Rangers to recover them, they discover that the theft was a Comanche
ploy to draw the men away from their families. When they return they find the Edwards homestead in flames. Aaron, his wife Martha, and their son Ben are dead, and Debbie and her older sister Lucy have been abducted. After a brief funeral the men set out in pursuit. They come upon a burial ground of Comanches who were killed during the raid. Ethan mutilates one of the bodies. When they find the Comanche
camp, Ethan recommends a frontal attack, but Clayton insists on a stealth approach to avoid killing the hostages. The camp is deserted, and further along the trail the men ride into an ambush. Though they fend off the attack, the Rangers are left with too few men to fight the Indians effectively. They return home, leaving Ethan to continue his search for the girls with only Lucy's fiancé, Brad Jorgensen and Debbie's adopted brother, Martin Pawley. Ethan finds Lucy brutally murdered and presumably raped in a canyon near the Comanche
camp. In a blind rage, Brad rides directly into the Indian camp and is killed.

"I figure on gettin' myself un-surrounded," insists Captain Clayton (Ward Bond) to Ethan (John Wayne) as they realize they are caught in a trap and must run for their lives.

When winter arrives Ethan and Martin lose the trail and return to the Jorgensen ranch. Martin is enthusiastically welcomed by the Jorgensens' daughter Laurie, and Ethan finds a letter waiting for him from a trader named Futterman, who claims to have information about Debbie. Ethan, who would rather travel alone, leaves without Martin the next morning, but Laurie provides Martin with a horse to catch up. At Futterman's trading post, Ethan and Martin learn that Debbie has been taken by Scar, the chief of the Nawyecka band of Comanches. A year or more later, Laurie receives a letter from Martin describing the ongoing search. In reading the letter aloud, Laurie narrates the next few scenes, in which Ethan kills Futterman for trying to steal his money, Martin accidentally buys a Comanche
wife, and the two men find a portion of Scar's band killed by soldiers.

Martin shields Ethan's niece to prevent Ethan from murdering her.

The search leads Ethan and Martin to a military fort, and then to New Mexico, where a Mexican man leads them to Scar. They find Debbie after five years, now an adolescent, living as one of Scar's wives. She tells the men that she has become a Comanche, and wishes to remain with them. Ethan would rather see her dead than living as an Indian, and tries to shoot her, but Martin shields her with his body and a Comanche
wounds Ethan with an arrow as they escape. Though Martin tends to Ethan's wound, he is furious with him for attempting to kill Debbie, and wishes him dead. "That'll be the day," Ethan replies, as they return home. Meanwhile, Charlie McCorry has been courting Laurie in Martin's absence. Ethan and Martin arrive home just as Charlie and Laurie's wedding is about to begin. After a fistfight between Martin and Charlie, a nervous "Yankee" soldier, Lt. Greenhill, arrives with news that Ethan's half-crazy friend Mose Harper has located Scar. Clayton leads his men to the Comanche
camp, this time for a direct attack, but Martin is allowed to sneak in ahead of the assault to find Debbie, who welcomes him. Martin kills Scar during the battle, and Ethan scalps him. Ethan then locates Debbie, and pursues her on horseback. Martin fears that he will shoot her as he has promised; but instead he sweeps her up onto his saddle. "Let’s go home," he says. Debbie is brought to the Jorgensen ranch, and Martin reunites with Laurie. In an iconic closing scene, Ethan departs the homestead as he arrived—alone—clutching his arm, the cabin door slowly shutting on his receding image. Cast[edit]

John Wayne
John Wayne
as Ethan Edwards Jeffrey Hunter
Jeffrey Hunter
as Martin Pawley Vera Miles
Vera Miles
as Laurie Jorgensen Ward Bond
Ward Bond
as Rev. Capt. Samuel Johnson Clayton Natalie Wood
Natalie Wood
as Debbie Edwards (older) John Qualen
John Qualen
as Lars Jorgensen Olive Carey as Mrs. Jorgensen Henry Brandon as Chief Cicatriz (Scar) Ken Curtis
Ken Curtis
as Charlie McCorry Harry Carey, Jr.
Harry Carey, Jr.
as Brad Jorgensen Antonio Moreno
Antonio Moreno
as Emilio Gabriel Fernández y Figueroa Hank Worden
Hank Worden
as Mose Harper Beulah Archuletta as Wild Goose Flying in the Night Sky (Look) Walter Coy
Walter Coy
as Aaron Edwards Dorothy Jordan as Martha Edwards Pippa Scott
Pippa Scott
as Lucy Edwards Lana Wood
Lana Wood
as Debbie Edwards (young) Robert Lyden as Ben Edwards (uncredited) Patrick Wayne
Patrick Wayne
as Lt. Greenhill Peter Mamakos as Jerem Futterman (uncredited) William Steele as Nesby, wounded posse member (uncredited) uncredited: Ruth Clifford, Mae Marsh, Jack Pennick, Chief Thundercloud

Production[edit] The Searchers
The Searchers
was the first production from "distinguished turfman"[9] C.V. Whitney; it was directed by John Ford
John Ford
and distributed by Warner Brothers. While the film was primarily set in the staked plains (Llano Estacado) of northwestern Texas, it was actually filmed in Monument Valley, Arizona/Utah. Additional scenes were filmed in Mexican Hat, Utah, in Bronson Canyon
Bronson Canyon
in Griffith Park, Los Angeles, and in Alberta.[10] The film was shot in the VistaVision
widescreen process. Ford originally wanted to cast Fess Parker, whose performance as Davy Crockett on television had helped spark a national craze, in the Jeffrey Hunter
Jeffrey Hunter
role, but Walt Disney, to whom Parker was under contract, refused to allow it and didn't tell Parker about the offer, according to Parker's videotaped interview for the Archive of American Television. Parker has said retrospectively that this was easily his worst career reversal.[11] As part of its promotion of The Searchers, in 1956 Warner Bros. produced and broadcast one of the very first behind-the-scenes, "making-of" programs in movie history, which aired as an episode of its Warner Bros.
Warner Bros.
Presents TV series.[12][13] The Searchers
The Searchers
is the first of only three films produced by Cornelius Vanderbilt Whitney's C. V. Whitney Pictures; the second was The Missouri Traveler in 1958 with Brandon deWilde
Brandon deWilde
and Lee Marvin, and the last was The Young Land
The Young Land
in 1959 with Wayne's son Patrick Wayne
Patrick Wayne
and Dennis Hopper. Historical background[edit]

Brutal attack on Native American village

Several film critics have suggested that The Searchers
The Searchers
was inspired by the 1836 kidnapping of nine-year-old Cynthia Ann Parker
Cynthia Ann Parker
by Comanche warriors who raided her family's home at Fort Parker, Texas.[14][15] She spent 24 years with the Comanches, married a war chief, and had three children (one of whom was the famous Comanche
Chief Quanah Parker), only to be rescued against her will by Texas Rangers. James W. Parker, Cynthia Ann's uncle, spent much of his life and fortune in what became an obsessive search for his niece, like Ethan Edwards in the film. In addition, the rescue of Cynthia Ann, during a Texas Ranger attack known as the Battle of Pease River, resembles the rescue of Debbie Edwards when the Texas Rangers attack Scar's village. Parker's story was only one of 64 real-life cases of 19th-century child abductions in Texas that author Alan Le May
Alan Le May
studied while researching the novel on which the film was based. His surviving research notes indicate that the two characters who go in search of a missing girl were inspired by Brit Johnson, who ransomed his captured wife and children from the Comanches in 1865.[16] Afterward, Johnson made at least three trips to Indian Territory and Kansas relentlessly searching for another kidnapped girl, Millie Durgan (or Durkin), until Kiowa raiders killed him in 1871.[17] The ending of Le May's novel contrasts to the film's, with Debbie, called Dry-Grass-Hair by the Comanches, running from the white men and from the Indians. Marty, in one final leg of his search, finds her days later, only after she has fainted from exhaustion. In the film, Scar's Comanche
group is referred to as the Nawyecka, correctly the Noyʉhka or Nokoni,[18] the same band that kidnapped Cynthia Ann Parker. Some film critics[specify] have speculated that the historical model for the cavalry attack on a Comanche
village, resulting in Look's death and the taking of Comanche
prisoners to a military post, was the well-known Battle of Washita River, November 27, 1868, when Lt. Col. George Armstrong Custer's 7th U.S. Cavalry attacked Black Kettle's Cheyenne camp on the Washita River (near present-day Cheyenne, Oklahoma). The sequence also resembles the 1872 Battle of the North Fork of the Red River, in which the 4th Cavalry captured 124 Comanche
women and children and imprisoned them at Fort Concho. Reception[edit]

Although the film was set in Texas, it was filmed in Monument Valley, Utah/Arizona.

Upon the film's release, Bosley Crowther called it a "ripsnorting Western" (in spite of the "excessive language in its ads"); he credits Ford's "familiar corps of actors, writers, etc., [who help] to give the gusto to this film. From Frank S. Nugent, whose screenplay from the novel of Alan LeMay is a pungent thing, right on through the cast and technicians, it is the honest achievement of a well-knit team."[9] Crowther noted "two faults of minor moment":[9]

"Episode is piled upon episode, climax upon climax, and corpse upon corpse...[t]he justification for it is that it certainly conveys the lengthiness of the hunt, but it leaves one a mite exhausted, especially with the speed at which it goes. "The director has permitted too many outdoor scenes to be set in the obviously synthetic surroundings of the studio stage...some of those campfire scenes could have been shot in a sporting-goods store window."

Variety called it "handsomely mounted and in the tradition of Shane", yet "somewhat disappointing" due to its length and repetitiveness; "The John Ford
John Ford
directorial stamp is unmistakable. It concentrates on the characters and establishes a definite mood. It's not sufficient, however, to overcome many of the weaknesses of the story."[19] The New York Herald Tribune termed the movie “distinguished”; Newsweek deemed it “remarkable.” Look described The Searchers
The Searchers
as a “Homeric odyssey.” The New York Times praised Wayne’s performance as “uncommonly commanding.”[20] The film earned rentals of $4.8 million in the US and Canada during its first year of release.[21] Later assessments[edit] The Searchers
The Searchers
has been cited as one of the greatest films of all time, such as in the BFI's decennial Sight & Sound polls. In 1972, The Searchers was ranked 18th; in 1992, fifth; in 2002, 11th; in 2012, 7th. In a 1959 Cahiers du Cinema essay, Godard compared the movie's ending with that of the reuniting of Odysseus
with Telemachus
in Homer's Odyssey.[20] In 1963, he ranked The Searchers
The Searchers
as the fourth-greatest American movie of the sound era, after Scarface (1932), The Great Dictator
The Great Dictator
(1940), and Vertigo (1958).[22] The 2007 American Film Institute
American Film Institute
100 greatest American films list ranked The Searchers in 12th place. In 1998, TV Guide
TV Guide
ranked it 18th.[23] In 2008, the American Film Institute
American Film Institute
named The Searchers
The Searchers
as the greatest Western of all time.[24] In 2010, Richard Corliss
Richard Corliss
noted the film was "now widely regarded as the greatest western of the 1950s, the genre's greatest decade" and characterized it as a "darkly profound study of obsession, racism and heroic solitude."[25] The film also maintains a perfect 100% rating on review aggregator, Rotten Tomatoes.[26] The film has been recognized multiple times by the American Film Institute:

AFI's 100 Years... 100 Movies – No. 96 AFI's 100 Years... 100 Movies (10th Anniversary Edition) – No. 12 AFI's 10 Top 10 – No. 1 Western Film

On "They Shoot Pictures Don't They," a site which numerically calculates critical reception for any given film, The Searchers
The Searchers
has been recognized as the ninth most acclaimed movie ever made.[27] Members of the Western Writers of America chose its title song as one of the top 100 Western songs of all time.[28] Scott McGee noted that "...more than just making a social statement like other Westerns of the period were apt to do, Ford instills in The Searchers a visual poetry and a sense of melancholy that is rare in American films and rarer still to Westerns.[29] Glenn Frankel's 2013 study of the film calls it "the greatest Hollywood film that few people have seen."[20] Critical interpretations[edit] Race relations[edit]

Ethan (John Wayne) angrily confronts the Reverend (Ward Bond) after being interrupted while gunning down retreating Indians.

A major theme of the film is the historical attitude of white settlers toward Native Americans. Ford was not the first to attempt this examination cinematically, but his depiction of harshness toward Native Americans was startling, particularly to later generations of viewers; Roger Ebert
Roger Ebert
wrote, "I think Ford was trying, imperfectly, even nervously, to depict racism that justified genocide."[2] At the heart of The Searchers
The Searchers
is Wayne’s performance as the angry, vengeful Ethan Edwards. From the beginning of his quest, it is clear that he is less interested in rescuing Debbie than in wreaking vengeance on the Comanches for the slaughter of his brother’s family.[30] In a 1964 interview with Cosmopolitan magazine, Ford said,

There's some merit to the charge that the Indian hasn't been portrayed accurately or fairly in the Western, but again, this charge has been a broad generalization and often unfair. The Indian didn't welcome the white man ... and he wasn't diplomatic ... If he has been treated unfairly by whites in films, that, unfortunately, was often the case in real life. There was much racial prejudice in the West.[31]

Film scholar Ed Lowry writes that "[W]hile the Comanches are depicted as utterly ruthless, Ford ascribes motivations for their actions, and lends them a dignity befitting a proud civilization. Never do we see the Indians commit atrocities more appalling than those perpetrated by the white man.[29] “Wayne is plainly Ahab,” wrote cultural critic Greil Marcus, “He is the good American hero driving himself past all known limits and into madness, his commitment to honor and decency burned down to a core of vengeance.”[30] For Brenton Priestley, Ford indicates that Scar's cruelty is also motivated by revenge ("Two sons killed by white men. For each son, I take many... scalps.").[31]

Natalie Wood
Natalie Wood
as Debbie

The theme of miscegenation also runs through the film. Early on, Martin earns a sour look from Ethan when he admits to being one eighth Cherokee. Ethan says repeatedly that he will kill his niece rather than have her live "with a buck", that "living with the Comanche
ain't living". Even one of the film's gentler characters, Vera Miles's Laurie, tells Martin when he explains he must protect his adoptive sister, that "Ethan will put a bullet in her brain. I tell you Martha would want him to." This outburst makes it clear that even the supposedly gentler characters hold the same fear of miscegenation.[31] The rape of captive white women by the Comanche
is an unspoken theme. There is no actual rape scene but Alexandra Heller-Nicholas in her study of Rape-Revenge Films says, "the abduction, captivity and implied rape of Debbie (Natalie Wood) ...drives the narrative";[32] and Edward Buscombe points out a scene in which "...[Ethan] turns off the trail to penetrate a narrow crevice in the rocks, and when he emerges his savage stabbing with his knife seems to mimic a violent sexual act, drawing us 'a picture' of the act of rape which obsesses him."[33] Glenn Frankel writes that in real life, "Rape was a fact of life for many captives, although it was seldom discussed by those women who escaped or were ransomed back to the white world."[34] Ethan and Martha[edit]

The unspoken love between Wayne's Ethan and his brother's wife Martha and his obsession with avenging her drives the film.

An important plot undercurrent is the obvious mutual attraction between Ethan Edwards and his brother's wife, Martha. Though no dialog alludes to it, there are a multitude of visual references to their relationship throughout the film.[35][36][37] Some critics have suggested that this unspoken passion implies that Debbie—who is specifically described as eight years old, as Ethan returns from an eight-year absence—may be Ethan's daughter. Such a situation would add further layers of nuance to Ethan's obsessive search for Debbie, his revulsion at the thought that she might be living as an Indian, and his ultimate decision to bring her home—and then walk away. Beyond the ostensible motivations, it might depict a guilt-ridden father's need to save the daughter he made by cuckolding his brother, then abandoned.[38] Influence[edit] The Searchers
The Searchers
has influenced many films. David Lean
David Lean
watched the film repeatedly while preparing for Lawrence of Arabia to help him get a sense of how to shoot a landscape.[39] The entrance of Ethan Edwards in The Searchers, across a vast prairie, is echoed in the across-the-desert entrance of Sherif Ali in Lawrence of Arabia. Sam Peckinpah referenced the aftermath of the massacre and the funeral scene in Major Dundee
Major Dundee
(1965) and, according to a 1974 review by Jay Cocks, Peckinpah's Bring Me the Head of Alfredo Garcia
Bring Me the Head of Alfredo Garcia
contains dialogue with "direct tributes to such classics as John Huston's The Treasure of the Sierra Madre and John Ford's The Searchers."[40][41] Martin Scorsese's 1967 film Who's That Knocking at My Door features a sequence in which the two primary characters discuss The Searchers.[42] In 2012, in a Sight & Sound poll, Scorsese listed The Searchers
The Searchers
as one of his all-time favorite films.[43][44] Scott McGee, writing for Turner Classic Movies, notes "Steven Spielberg, Martin Scorsese, John Milius, Paul Schrader, Wim Wenders, Jean-Luc Godard, and George Lucas
George Lucas
have all been influenced and paid some form of homage to The Searchers
The Searchers
in their work."[29] Wenders' Palme d'Or-winning 1984 film Paris, Texas in particular has been cited for similarities.[45][46] The film influenced several aspects of George Lucas' film saga Star Wars.[39] The scene in which Ethan Edwards discovers the flaming wreckage of his family homestead is reflected in 1977's Star Wars, wherein the character Luke Skywalker
Luke Skywalker
finds that his homestead has been burned and destroyed by Imperial Stormtroopers.[47][48][49] The Searchers was also an influence on the 2002 prequel film in the series, Star Wars: Episode II – Attack of the Clones. In the film, Anakin Skywalker
Anakin Skywalker
learns that one of his family members has been abducted by a group of Tusken Raiders
Tusken Raiders
(though it is the character's mother who is kidnapped, rather than a niece). Anakin massacres the kidnappers in vengeance, much like The Searchers' climactic battle in the Comanche
camp.[47][48] The film served as the inspiration for the name of the British band The Searchers.[50][51] Breaking Bad
Breaking Bad
creator Vince Gilligan
Vince Gilligan
stated that the ending to the show's final episode, "Felina", was influenced by the film.[52] The 2016 Canadian film Searchers is a partial remake of the film, in which an Inuit
man in 1913 finds his wife and daughter has been kidnapped. However, co-director Zacharias Kunuk discarded the original's plot about conflicts between white people and indigenous peoples, instead using only Inuit
characters. Kunuk explained racism was not an intended theme of his film.[53] Kunuk said he watched western films in the Igloolik
community hall as a boy, and declared The Searchers
The Searchers
star John Wayne
John Wayne
"was our hero."[54] Comic book adaptation[edit]

Dell Four Color
Four Color
#709 (June 1956)[55][56]

See also[edit]

List of American films of 1956 John Wayne
John Wayne
filmography List of films considered the best John Ford
John Ford


^ Box Office Information for The Searchers. Box Office Mojo. Retrieved December 24, 2013. ^ a b Ebert, Roger (November 25, 2001). " The Searchers
The Searchers
(1956)". Chicago Sun-Times.  ^ "Welcome: AFI's 100 Years...100 Movies". American Film Institute. 2008. Archived from the original on 2011-07-16. Retrieved 2009-05-28.  ^ IMDB Trivia Section ^ "Sight & Sound 2012 Polls". British Film Institute. 2012.  ^ French, Philip (August 4, 2012). "How Hitchcock's Vertigo eventually topped the Sight & Sound critics' poll". The Guardian. London.  ^ " Cahiers du Cinema 100 Films". The Moving Arts Film Journal. Retrieved 10 March 2016.  ^ Behind the Camera, Included in the 2005 restored Blue-ray edition ^ a b c Crowther, Bosley (May 31, 1956). "The Searchers". The New York Times. Retrieved 2011-06-25.  ^ DGA Magazine, November 2003, http://www.dga.org/news/v28_4/craft_bronson.php3 ^ Academy of Television Arts & Sciences Foundation Archive, July 24, 2000, http://emmys.tv/foundation/archive ^ "WARNER BROTHERS PRESENTS U.S. Dramatic Series". The Museum of Broadcast Communications. Retrieved 23 February 2013.  ^ Warner Bros.
Warner Bros.
Presents ^ Eckstein, Arthur M.; Peter Lehman (2004). The Searchers: Essays and Reflections on John Ford's Classic Western. Wayne State University Press. ISBN 0-8143-3056-8.  ^ John Milius also makes this point in a documentary about the production, although film historian Edward Buscombe observes in The Searchers (London: British Film Institute, 2000), p.71., that Milius "gives no evidence for this assertion". ^ "Brit Johnson, The Real Searcher", American History magazine, June 2007, p. 64; "Search for The Searchers", Wild West magazine, April 2009, p. 53. ^ ""Negro Brit Johnson, Dennis Cureton & Paint Crawford" on". Fort Tour Systems, Inc. Retrieved 2009-05-28.  ^ Taa Nʉmʉ Tekwapʉ?ha Tʉboopʉ (Our Comanche
Dictionary), Comanche Language and Cultural Preservation Committee, 2010. ^ "The Searchers". Variety. March 13, 1956. Retrieved 2011-06-25.  ^ a b c As cited in Hoberman, J. (February 22, 2013). "American Obsession 'The Searchers', by Glenn Frankel". New York Times. Retrieved 23 February 2013.  ^ 'The Top Box-Office Hits of 1956', Variety Weekly, January 2, 1957 ^ A Young Jean-Luc Godard
Jean-Luc Godard
Picks the 10 Best American Films Ever Made (1963). open culture.com. Retrieved October 14, 2014. ^ "Top 100 Movie Lists - TV Guide's 50 Greatest Movies". oocities.org. Retrieved 10 March 2016.  ^ American Film Institute
American Film Institute
(2008-06-17). "AFI Crowns Top 10 Films in 10 Classic Genres". ComingSoon.net. Retrieved 2008-06-18.  ^ Corliss, Richard (February 1, 2010). "Best Director: John Ford, The Searchers (1956)". Time. Retrieved 2011-06-25.  ^ ["The Searchers". rottentomatoes.com. 13 March 1956. Retrieved 10 March 2016.  ^ "1,000 Greatest Films (Full List)". Retrieved April 6, 2017.  ^ Western Writers of America (2010). "The Top 100 Western Songs". American Cowboy. Archived from the original on 10 August 2014.  ^ a b c McGee, Scott. "The Searchers". Turner Classic Movies. Retrieved 2011-06-25.  ^ a b Frankel, Glenn. " The Searchers
The Searchers
was influential film in its day and still resonates today", The Washington Post, July 4, 2013 ^ a b c Priestley, Brenton. "Race, Racism and the Fear of Miscegenation
in The Searchers". BrentonPriestley.com. Retrieved 2012-10-14.  ^ Alexandra Heller-Nicholas (2011). Rape-Revenge Films: A Critical Study. McFarland. p. 71.  ^ Edward Buscombe (2000). The "Searchers". British Film Institute. p. 29.  ^ Glenn Frankel (2014). The Searchers: The Making of an American Legend. Bloomsbury USA. p. 41.  ^ Studlar, Gaylyn. "What Would Martha Want? Captivity, Purity, and Feminine Values in The Searchers," in Eckstein & Lehman, pp. 179–182 ^ Eckstein, Arthur M. "Incest and Miscegenation
in The Searchers (1956) and The Unforgiven (1959)", in Eckstein & Lehman, p. 200 ^ Lehman, Peter. "'You Couldn't Hit It on the Nose': The Limits of Knowledge in and of The Searchers," in Eckstein & Lehman, pp. 248, 263 ^ "After 55 Years, 'The Searchers' Legacy Still Up For Debate". Here & Now. Trustees of Boston University. March 29, 2011. Retrieved 2011-06-25.  ^ a b Snider, Eric (11 May 2011). "What's the Big Deal?: Lawrence of Arabia (1962)". MTV. Retrieved 12 July 2016.  ^ Matheson, Sue (18 February 2016). The Westerns and War Films of John Ford. Rowman & Littlefield Publishers. ISBN 978-1442261051.  ^ Cocks, Jay (September 16, 1974). "Bring Me the Head of Alfredo Garcia". Time. Retrieved 2011-06-25.  ^ Who's That Knocking at My Door motion picture, 1967, Trimod Films, Joseph Brenner Associates ^ "Scorsese's 12 favorite films". Miramax.com. Retrieved 25 December 2013.  ^ Chitwood, Adam (23 August 2012). "Check Out the Sight & Sound Top 10 Lists from Quentin Tarantino, Edgar Wright, Martin Scorsese, Guillermo del Toro, Woody Allen and More". Collider. Retrieved 12 July 2016.  ^ Jones, Stan (2005). "Wenders' Paris, Texas and the 'European Way of Seeing'". European Identity in Cinema. Bristol and Portland, Oregon: Intellect Books. p. 52. ISBN 1841509167.  ^ Adam, Thomas (2005). Germany and the Americas: O-Z. Santa Barbara, California, Denver and Oxford: ABC-CLIO. p. 1133. ISBN 1851096280.  ^ a b Young, Bryan (27 April 2015). "The Cinema Behind Star Wars: The Searchers". StarWars.com. Retrieved 11 July 2016.  ^ a b Serafino, Jason (1 October 2015). "The Films That Inspired The 'Star Wars' Saga". Tech Times. Retrieved 12 July 2016.  ^ Robey, Tim (14 December 2015). "10 films that influenced Star Wars". The Telegraph UK. Retrieved 12 July 2016.  ^ "The Searchers' Story — The 60s and 70s — Peaks and Troughs". Retrieved 2009-05-28.  ^ " The Searchers
The Searchers
Biography". MusicianGuide.com. Retrieved 2009-05-28.  ^ Snierson, Dan (September 30, 2013). "'Breaking Bad': Creator Vince Gilligan explains series finale". Entertainment Weekly.  ^ Taylor, Kate (12 January 2017). "Two of Canada's top films look to preserve the Inuit
way of life". The Globe and Mail. Retrieved 28 January 2017.  ^ Power, Tom (20 January 2017). " Zacharias Kunuk reimagines the classic Western in his new film Searchers". CBC Radio. Retrieved 28 January 2017.  ^ "Dell Four Color
Four Color
#709". Grand Comics Database.  ^ Dell Four Color
Four Color
#709 at the Comic Book DB


Alvis, J. David, and John E. Alvis. "Heroic Virtue and the Limits of Democracy in John Ford's The Searchers." Perspectives on Political Science 38#2 (2009): 69–78. Clauss, James J. "Descent into Hell: Mythic Paradigms in The Searchers." Journal of Popular Film and Television 27#3 (1999): 2–17. Cohen, Hubert I. "Red River and The Searchers: Deception in the Modern Western." Film Criticism 35#1 (2010): 82–102 online Day, Kirsten. "" What Makes a Man to Wander?": The Searchers
The Searchers
as a Western Odyssey." Arethusa 41#1 (2008): 11–49. online Eckstein, Arthur M. "Darkening Ethan: John Ford's 'The Searchers' (1956) from Novel to Screenplay to Screen." Cinema Journal (1998): 3–24. online Eckstein, Arthur M., and Peter Lehman, eds. The searchers: essays and reflections on John Ford's classic western (Wayne State University Press, 2004) Frankel, Glenn (2013). The Searchers: The Making of an American Legend. New York: Bloomsbury. ISBN 978-1-60819-105-5.  excerpt and text search Freedman, Jonathan. "The Affect of the Market: Economic and Racial Exchange in The Searchers." American Literary History (2000): 585–599. in JSTOR Pippin, Robert B. (2012). Hollywood Westerns and American Myth: The Importance of Howard Hawks and John Ford
John Ford
for Political Philosophy. Yale University Press. ISBN 978-0-300172-06-5. 

Primary sources[edit]

The Searchers: Screenplay, by Frank S Nugent, Alan Le May, John Ford. Published by Warner Bros, 1956. Online Version

External links[edit]

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The Searchers
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(1917) Bucking Broadway
Bucking Broadway
(1917) The Phantom Riders
The Phantom Riders
(1918) Wild Women
Wild Women
(1918) Thieves' Gold
Thieves' Gold
(1918) The Scarlet Drop
The Scarlet Drop
(1918) Hell Bent
Hell Bent
(1918) A Woman's Fool (1918) The Craving (1918) Three Mounted Men
Three Mounted Men
(1918) Roped
(1919) The Fighting Brothers
The Fighting Brothers
(1919) A Fight for Love
A Fight for Love
(1919) Rustlers (1919) Bare Fists
Bare Fists
(1919) Gun Law (1919) By Indian Post
By Indian Post
(1919) The Gun Packer
The Gun Packer
(1919) Riders of Vengeance
Riders of Vengeance
(1919) The Last Outlaw (1919) The Outcasts of Poker Flat (1919) Ace of the Saddle
Ace of the Saddle
(1919) Rider of the Law
Rider of the Law
(1919) A Gun Fightin' Gentleman
A Gun Fightin' Gentleman
(1919) Marked Men (1919) The Prince of Avenue A
The Prince of Avenue A
(1920) The Girl in Number 29
The Girl in Number 29
(1920) Hitchin' Posts
Hitchin' Posts
(1920) Just Pals
Just Pals
(1920) The Big Punch
The Big Punch
(1921) The Freeze-Out
The Freeze-Out
(1921) The Wallop
The Wallop
(1921) Desperate Trails (1921) Action (1921) Sure Fire
Sure Fire
(1921) Jackie (1921) Little Miss Smiles (1922) Silver Wings (1922) The Village Blacksmith (1922) The Face on the Bar-Room Floor (1923) Three Jumps Ahead
Three Jumps Ahead
(1923) Cameo Kirby (1923) North of Hudson Bay (1923) Hoodman Blind (1923) The Iron Horse (1924) Hearts of Oak (1924) Lightnin' (1925) Kentucky Pride
Kentucky Pride
(1925) Thank You (1925) The Fighting Heart (1925) The Shamrock Handicap
The Shamrock Handicap
(1926) 3 Bad Men
3 Bad Men
(1926) Upstream (1927) Four Sons (1928) Strong Boy
Strong Boy

Sound films

The Black Watch
The Black Watch
(1929) Men Without Women (1930) Born Reckless (1930) Up the River
Up the River
(1930) Seas Beneath (1931) The Brat
The Brat
(1931) Arrowsmith (1931) Air Mail (1932) Pilgrimage (1933) Doctor Bull
Doctor Bull
(1933) The Lost Patrol (1934) The World Moves On
The World Moves On
(1934) Judge Priest
Judge Priest
(1934) The Whole Town's Talking
The Whole Town's Talking
(1935) The Informer (1935) Steamboat Round the Bend
Steamboat Round the Bend
(1935) The Prisoner of Shark Island
The Prisoner of Shark Island
(1936) Mary of Scotland (1936) The Plough and the Stars (1936) Wee Willie Winkie (1937) The Hurricane (1937) Four Men and a Prayer
Four Men and a Prayer
(1938) Submarine Patrol
Submarine Patrol
(1938) Stagecoach (1939) Young Mr. Lincoln
Young Mr. Lincoln
(1939) Drums Along the Mohawk (1939) The Grapes of Wrath (1940) The Long Voyage Home
The Long Voyage Home
(1940) Tobacco Road (1941) How Green Was My Valley (1941) They Were Expendable (1945) My Darling Clementine
My Darling Clementine
(1946) The Fugitive (1947) Fort Apache (1948) 3 Godfathers
3 Godfathers
(1948) She Wore a Yellow Ribbon
She Wore a Yellow Ribbon
(1949) When Willie Comes Marching Home
When Willie Comes Marching Home
(1950) Wagon Master
Wagon Master
(1950) Rio Grande (1950) The Quiet Man
The Quiet Man
(1952) What Price Glory (1952) The Sun Shines Bright
The Sun Shines Bright
(1953) Mogambo
(1953) The Long Gray Line
The Long Gray Line
(1955) Mister Roberts (co-d, 1955) The Searchers
The Searchers
(1956) The Wings of Eagles
The Wings of Eagles
(1957) The Rising of the Moon (1957) Gideon's Day (1958) The Last Hurrah (1958) The Horse Soldiers
The Horse Soldiers
(1959) Sergeant Rutledge
Sergeant Rutledge
(1960) Two Rode Together
Two Rode Together
(1961) The Man Who Shot Liberty Valance
The Man Who Shot Liberty Valance
(1962) How the West Was Won (1963) Donovan's Reef
Donovan's Reef
(1963) Cheyenne Autumn
Cheyenne Autumn
(1964) 7 Women
7 Women


"Rookie of the Year" (1955) "The Colter Craven Story" "Flashing Spikes" (1962)


The Iron Horse (1924) The Blue Eagle
The Blue Eagle
(1926) Mother Machree
Mother Machree
(1928) Hangman's House
Hangman's House
(1928) Riley the Cop
Riley the Cop
(1928) Salute (1929) Flesh (1932) The Adventures of Marco Polo
The Adventures of Marco Polo
(1938) Young Cassidy
Young Cassidy

Documentaries and training films

Torpedo Squadron Sex Hygiene
Sex Hygiene
(1942) The Battle of Midway (1942) December 7th: The Movie (1943) Undercover (1943) This is Korea (1951) Korea: Battleground for Liberty (1959) Chesty: A Tribute to a Legend (1970) Vietnam! Vietnam! (1971) (produced and co-wrote)


Five Came Back (2017 documentary)

v t e

Cahiers du cinéma's Top Ten Films

All time

Citizen Kane The Night of the Hunter The Rules of the Game Sunrise L'Atalante M Singin' in the Rain Vertigo Children of Paradise The Searchers


By year

v t e

BFI Sight & Sound Poll


Bicycle Thieves City Lights The Gold Rush Battleship Potemkin Intolerance: Love's Struggle Throughout the Ages Louisiana Story Greed Le Jour Se Lève The Passion of Joan of Arc Brief Encounter The Rules of the Game Le Million


Citizen Kane L'Avventura The Rules of the Game Greed Ugetsu
Monogatari Battleship Potemkin Bicycle Thieves Ivan the Terrible La Terra Trema L'Atalante


Citizen Kane The Rules of the Game Battleship Potemkin 8½ L'Avventura Persona The Passion of Joan of Arc The General The Magnificent Ambersons Ugetsu
Monogatari Wild Strawberries


Citizen Kane The Rules of the Game Seven Samurai Singin' in the Rain 8½ Battleship Potemkin L'Avventura The Magnificent Ambersons Vertigo The General The Searchers



Citizen Kane The Rules of the Game Tokyo Story Vertigo The Searchers L'Atalante The Passion of Joan of Arc Pather Panchali Battleship Potemkin 2001: A Space Odyssey


Citizen Kane 8½ Raging Bull La Strada L'Atalante The Godfather Modern Times Vertigo The Godfather
The Godfather
Part II The Passion of Joan of Arc Rashomon Seven Samurai



Citizen Kane Vertigo The Rules of the Game The Godfather The Godfather
The Godfather
Part II Tokyo Story 2001: A Space Odyssey Battleship Potemkin Sunrise 8½ Singin' in the Rain


Citizen Kane The Godfather
The Godfather
/ The Godfather
The Godfather
Part II 8½ Lawrence of Arabia Dr. Strangelove
Dr. Strangelove
or: How I Learned to Stop Worrying and Love the Bomb Bicycle Thieves Raging Bull Vertigo Rashomon The Rules of the Game Seven Samurai



Vertigo Citizen Kane Tokyo Story The Rules of the Game Sunrise 2001: A Space Odyssey The Searchers Man with a Movie Camera The Passion of Joan of Arc 8½


Tokyo Story 2001: A Space Odyssey Citizen Kane 8½ Taxi Driver Apocalypse Now The Godfather Vertigo The Mirror Bicycle Thieves


The Sight & Sound Top 50 Greatest Films of All Time



Man with a Movie Camera Shoah Sans Soleil Night and Fog The Thin Blue Line Chronique d'un été Nanook of the North The Gleaners and I Dont Look Back Grey Gardens

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WorldCat Identities VIAF: 316751835 GND: 4637655-0 SUDOC: 079436943 BNF: