Here’s Ward Bond, John Wayne and Dorothy Jordan in the greatest single scene to be found in an American film. In less than a minute, it says more than most movies say in two hours. Without a word being said, and completely without pretense.
Of course, it’s from John Ford’s The Searchers (1956), a film this blog has pretty much stayed away from. It’s been written about so much, and I’d rather help lead people to more obscure pictures like Quantez (1957). And truth be told, I don’t think I’m up to it. It scares me.
So I’ll just say the greatest (Western) film ever made will be at the Aero Theatre on the 11th. It’d make a great way to pay tribute to Harry Carey, Jr.
The Searchers (1956)
Monday, March 11, 7:30 PM
The Aero Theatre
1328 Montana Avenue
Santa Monica, CA 90403
Glenn Frankel will sign copies of his book The Searchers: The Making Of An American Legend in the lobby at 6:30 PM. Monday’s my daughter’s birthday, and if the Aero wasn’t a couple thousand miles away…
The greatest scene indeed.
So far, I have seen “The Searchers” twice in a theatre and both times the experience was beyond my expectations.
Your first sentence is pretty sweeping. But your next two sentences eloquently, concisely and thoroughly support it.
I agree with you and Patricia of course. And I’m sure many people do.
I guess it’s a measured statement to say “…the greatest (Western) film ever made…” though I’d always be tempted to take out of that “…(Western)…” It almost stands to reason if there is a greatest film it would be a Western and made in the 50s by this director.
I wouldn’t be scared of it, Toby. Nothing you’ve ever written here suggests that you are not up to it. It’s true that a lot has been written about it, and much of it has been very good but a lot of it has not too. I’ve read a fair amount where people have been more interested in promoting their own ideology (over the whole spectrum of ideologies too) or supporting things in academic theory as it evolved in the 1970s, rather than taking it as it really is and very much at the expense of its actual complexity while pretty much denying its artistic richeness altogether. It was popular in 1956 and I’ve always had the sense, though can’t prove it, that those initial audiences did respond to and appreciate it in the way Ford intended. Because as you say “without pretense…” A work of art can really do so much without pretense.
By the way, I agree it would be a good tribute to Carey to see it now. He was justly proud of his performance as Brad in this and also agreed in his estimation of the movie. I know because I had a chance to talk to him about it once and I remember we quickly agreed–”the greatest American movie” I believe was what we both said, and I know he also readily agreed with me when I suggested John Ford as the greatest American artist (“That’s what I think too” is what he said). This was just a few years before COMPANY OF HEROES and he was probably already working on the wonderful book.
Thanks, Blake. This simple little post has received quite a bit of response, some as comments and some as emails. That shows how well this film resonates with people — and how much it means to them.
So, thanks for saying I’m “up to it.” Whatever I wrote would be a love letter to a movie I grew up with, and probably a pretty syrupy one at that. While I can appreciate it for the masterpiece that it is, in a lot of ways I still see it like I did when I was eight.
I’m looking forward to reading Glenn Frankel’s book — since something that large is about all that hasn’t been written about it.
Fact is, I do think it’s the best movie ever made. Not my favorite, but the best. As much as Citizen Kane or Vertigo or the others on all those lists, it’s a catalog of the ways film can be used to move an audience. Exciting, funny, sad, tense and on and on. But of course, I’m preaching to the choir.
I’m about to revisit Company Of Heroes. It’s been a couple years, which is too long.
Just want to second Blake’s (and Harry’s) belief in Ford as the greatest American artist…and I would emphasize the American part, not in the limiting sense (oh, he’s just an American) because I think Ford stands tall on the world stage as well, but in the sense that his American-ness reinforced his greatness and his artistry. Without those idelogical prejudices Blake mentions–or even if the ideology tended to proceed from genuine principal rather than ignorance and spite–I think this would be much more widely acknowledged.
Also so happy to learn that Carey, Jr. had special pride in his performance in The Searchers. I singled it out when I paid tribute to him after his passing because I thought it was especially memorable and especially under-appreciated…Not here, of course!
It’s a picture requires a re-thinking, reconsidering, more than once a year, for me anyway. The Blu-ray, by the way, is just fantastic. As for Carey, I have an long interview about his relationship with Ford and Ford’s movies that I’m going to have to transcribe soon, I think.
I love this post too! And I’d love to see you write more on THE SEARCHERS.
If I didn’t have tickets to see Marsha Hunt and Marjorie Lord at UCLA that night, I’d be tempted, even though I’ve avoided the Aero to this point as it doesn’t have a parking lot! I’m glad you highlighted the screening. I’ve seen this film on a big screen a couple times and it’s really an overpowering experience.
For me it’s a tie between THE SEARCHERS and GWTW as the greatest American film. I feel that THE SEARCHERS is as important a masterpiece as any other kind of great art, a truly significant piece of our American heritage. GWTW has a legendary “making of” story to go with the film itself, and I’m glad that someone has now documented the making of THE SEARCHERS.
Best wishes,
laura
Just want to say thanks for this service Toby. Saves me a lot of time searching on the internet for screenings of classic westerns. California is alas, too far….Winchester 73 in Atlanta, however? That might be doable.