Ford’s use of John Wayne’s Star Persona in The Searchers

The Searchers (1956)

John Wayne’s star persona, in John Ford’s The Searchers, instructs the viewer insofar as much as it builds expectations about the character he portrays; Ethan Edwards. The importance of John Wayne as a star is captured in the title sequence at the beginning of the film; John Wayne’s name is much larger than his characters, although normal and expected in most Hollywood films, this seems to be indicative of the Hollywood star system that invests more heavily in the actor rather than the actual character.1. Viewers come to a Hollywood text expecting the same tough, charismatic, paternal John Wayne they see in his countless Western and War films; though in the guise of a different character he continuously embodies the attributes of American Culture seen as positive and inspirational.2.

In The Searchers the director Ford subverts this expectation as he manipulates our trust and identification with John Wayne. Wayne’s character Ethan is an overtly racist character, this is a continuous motif of the film, and his actions after finding an Native American grave support this. The scene starts with the traditional continuity editing technique of Match-on-Action; this ensures the movement of the riders between two cuts to different scene locations seem smooth. Ethan shoots the eyes of the uncovered dead Native American, indicating the bitter hatred and anger he has; this act dams the dead warrior to an afterlife, according to his beliefs, wondering the wind and never reaching his Heaven. This violent act, signposts the nature of the journey Ethan is wishing to undertake; he wishes to take revenge on Native Americans beyond death and into the afterlife. This eternal vendetta indicates the mistrust Ethan has in the Western vision of the afterlife and judgement – Eternal Judgement is meant to be Gods.

The play on Wayne’s star persona also helps to create a tension when Debbie comes over the hill to see him: the normal expectation is that he will save her, though he pulls out his gun to shoot her. This is the reverse that you expect from a John Wayne character, and in many ways Ford’s use of Wayne helps the critical vision of the film. Due to the popularity of Wayne we automatically associate with the central protagonist Ethan, but are constantly challenged, through his racist outbursts and violent action, to question our association with him.3. We are also, due to the foregrounding of his racist ideology asked questions about the inherently racist genre of the Western.4. The conflict which arises due to his overt racism can only be effective if it was at first an institutional part of the genre itself. Fords use of generic characterisation and the star system indicates his understanding of Hollywood film as a genre itself, which is more prominent in the Post-Classical Hollywood films such as Deadman.5. Furthermore this understanding ensures Ford can, within generic restrictions of Hollywood and the Western, make political and social observations on the way America conceptualises its present and past.6.

 

1. M, Pramaggiore. & T, Wallis. (Ed). Film a Critical Introduction, (London: Laurence King Publishing, 2007). PP 355-372

2. D, Thomas. ‘John Wayne’s Body’, in I, Cameron. & D, Pye. (Ed) The Movie Book of The Western, (London, Studio Vista, 1996), PP75-87

3. P, Cobley. Narrative, (London: Routledge, 2006) P69

4.  R, Maltby. ‘A Better Sense of History: John Ford and the Indians’ in I, Cameron. & D, Pye. (Ed) The Movie Book of The Western, (London, Studio Vista, 1996) PP34-49

5. Deadman. Dir Jim Jarmusch. Miramax Films, (USA) 1996.

6.  S, Hall. ‘How the West was Won; History, Spectacle and the American Mountains’ in I, Cameron. & D, Pye. (Ed) The Movie Book of The Western, (London, Studio Vista, 1996) PP 225-261

Wayne’s Body (Continued)

The Searchers (1956)

In The Searchers Ford’s cramped domestic scenes highlight the romantic western tradition of rugged isolated individualism. An isolation that is seen as superior to ‘marriage and settlement [which] are presented as crippling or at least inhibiting’◊ The excessive difference between Wayne’s body and the cramped hemmed-in homestead is used by Ford to foreground the excessive symbolism that the western genre commonly uses.

Ford is criticizing the way in-which the western genre and Hollywood has converted a violent, bloody and shameful heritage into a story of powerful individuals whose heroic struggles ensured the individual freedoms of ‘today’. John Wayne’s body, often a symbol of that rugged manly isolated individualism, is manipulated by Ford’s use of a cramped homestead to criticize the western genre.

◊ Douglas Pye ‘The Western (Genre and Movies)’ in B.K. Grant (ed), Film Genre Reader, (Austin: University of Texas Press) PP. 187-202 P. 200.

John Wayne’s Physical Presence

 The Searchers (1956)

John Wayne’s large body is important when placed against the claustrophobic backdrop of the Edwards’ ranch. Wayne is a large man and his physical presence is used by Ford impressively to produce a sense of entrapment and claustrophobia. Ford does this because he is attempting to communicate that Wayne’s tough rough frontier image is at odds with the close, structured atmosphere the Edwards’ ranch exudes (Wayne’s frontier isolation Vs Edwards’ ranch community).

The claustrophobic atmosphere is produced by the use of browns in conjunction with soft lighting. The ceiling height is also low. The criss-cross lines of the beams create a sense of partitioning and order. Beams in a house work by placing pressure equally amongst the whole structure, in the same way that a community equals out the pressure of life by working together so as not to become crushed under the weight of holding oneself upright. Wayne’s physical presence is the antithesis of this partitioned and equalized pressure. The Director John Ford cleverly uses Wayne’s large body, in conjunction with the beams, to indicate to the viewer the opposing philosophy and the isolated nature of Wayne’s character.