The Searchers: Aristoteles Revisited

Manuel Bernardo Cabral,António Costa Valente

doi:10.37390/avancacinema.2021.a358

Manuel Bernardo Cabral, António Costa Valente

Open Access

https://doi.org/10.37390/avancacinema.2021.a358

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Abstract

In the first half of the 20th Century, the “western” was a major genre in Hollywood filmography. Starting as a simple and almost childish type of entertainment easily attained by the audience, it evolved into a more sophisticated form of film communication and art, and become the preferred genre for some film directors like Howard Hawks and John Ford, among others. This evolution allowed the genre to become an important tool of analyses and criticism of American Culture, History, Myths and Society, especially during the time of the McCarthyism and the Red Scare, a time when progressive and more critical views on these subjects could not be openly dealt with. Among the authors who saw the “western” as this privileged means of expression, Ford definitely stands tall, and in his filmography, “The Searchers” occupies a front row seat. For all of the above, we intend to bring some light to this movie, analysing some aspects of its narrative from the perspective of the Aristotelian principles of dramatic construction.

Highlights

Shot in 1956 and starring John Wayne, “The Searchers” is one of the best known John Ford “westerns”, a genre which Ford cultivated
Produced in the last stretch of Ford’s long film career, it has, together with “The Man who Shot Liberty Valance” and “Cheyenne Autumn”, a critical view on themes that have always been dear to him. From this trio of westerns, “The Searchers” and “Cheyenne Autumn” 1 have a special significance, because Ford uses them to denounce racism in the way the North American society dealt with its Native People
THE BEGINNING OF THE SEARCH - Captain Clayton leads the Rangers in pursuit of the Indians. - The “posse” is attacked by the Indians. - After the attack is repealed, Ethan, Martin Poly and Brad - Jorgensen continue the pursuit alone. - Ethan discovers Lucy dead and buries her. - Brads goes on a raging attack to the Indian camp and is killed. - The snow forces Ethan and Martin to interrupt the search

Summary

Introduction

Shot in 1956 and starring John Wayne, “The Searchers” is one of the best known John Ford “westerns”, a genre which Ford cultivated. Its narrative uses mimesis as the tragedy, and moments of diegesis, as parts of the story are narrated, like in the classical epics. Naturally the grown up Debbie dresses in red, while the covers of her matrimonial bed in the tepee are even of a stronger red, as if to confirm to the viewer and to Ethan that his strongest fears that she would be sexually touched by an Indian came true In his “Poetica” Aristoteles wrote that a tragedy should last long enough to allow a change from unhappiness to happiness and that it should have beginning middle and end. In “The Searchers” we can identify a classical three act structure, naturally with the double second act, but integrated in these three acts we can discover seven parts, that could stand for seven acts if we would want to break down this film in a seven act telefilm structure

INTRODUCTION

Conclusion