Volu m e II - Purdue University Calumet

This film was made during a period of rapid change in the United States. The Cold War was in full
swing, the Red Scare was at its peak, and the country was only beginning to emerge from the aftermath of
the McCarthy hearings. American society seemed increasingly homogenous, with conformity to social
norms an imperative. All deviations from these norms were considered threatening. The Red Scare bred
ideological conformity, but it was coupled with campaigns against juvenile delinquency, sexual deviance,
and non-traditional roles for women. Social behaviors and political views were either acceptable and
“good”, or else they were deviant and “bad”.
The Searchers is a direct product of its time. This is not the traditional western nor is Wayne the
traditional western hero in it. Through the movie it becomes apparent that all the virtues associated with
Wayne as the traditional individualistic American icon have become warped. Stoicism and individualistic
endurance have turned into a lack of human emotion, skill with a gun previously used to protect becomes
manic out of control violence, and the former protector of civilization becomes the destroyer of families.
Ford used The Searchers to criticize 1950’s America, and what he viewed as an attack on the idea of the
individual.
Ford again uses Monument Valley as his main setting. Just as in Stagecoach the frontier appears
triumphant, beautiful, and free. It functions as the symbol for autonomy and independence. The opening
shot of the film show a woman in silhouette opening a dark door to the outside. The doorway frames
Monument Valley in full, bright, color in contrast to the dark interior. This scene establishes a contrast for
the rest of the film, with the dark doorway framing the outside of the household in opposition to the
frontier. They are stark opposites just as Ethan Edwards stand starkly opposite those who choose to make
their lives inside that house. The shot expands to fill the screen with the valley, and a solitary figure emerges
from the frontier approaching the Edwards’ household. Church (2009) states that this famous first shot
portrays Ethan as almost a natural part of the landscape. Just as in Stagecoach, he slowly emerges from the
frontier viewed in sharp contrast with the sphere of family and civilization the Edwards’ home represents.
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