The Searchers, by John Ford, is quickly identified as a typical western just from the first few seconds of the movie. Agreeing with Tompkins speculations in her book West of Everything, the opening scene of The Searchers was indeed a desert landscape, seen through the doorway of the house (69). Looking at the scenery, one could only notice the dryness of the land. The desert was still, the sun was scorching and whatever was left of the greenery was just there, no movement, no life. It was as if the life of the land was sucked right out of it. Speaking about the land, Tompkins states that "it is an environment inimical to human beings, where a person is exposed, the sun beats down, and there is no place to hide" (71). The scenery ushered in a sense of loneliness, seclusion, and rough living, which agrees with Tompkins' description of a "land defined by absence" (71). The Edwards' household seemed to be located in the middle of nowhere. Tompkins asserts that the emptiness in the desert leads to the sense of "a hostile environment" (77). This is a key statement because the landscape in The Searchers is hostile and the viewer is introduced to this hostility with the slaughtering of the Edwards family, as well as the many gun fights and horse chases depicted in the film. Additionally, the living depicted by the landscape was that of hard labor, heavy toiling, and straining work. With that clay-like soil, not much planting can be done; moreover, nothing was within walking distance. "Come, and suffer" is the key message given by the land, a land where only the strong and the brave can endure (71).
Continuing with the opening scene, the viewer's attention is gradually directed toward the protagonist, Ethan, who at first glance is barely noticeable. Everything about Ethan, from his clothes to his horse, blended into his surroundings, which made him unnoticeable from afar. Tompkins asserts that the men "try to look as much like nature as possible. Everything blends imperceptibly into the desert" (72). The eye does not pick up Ethan until he moves closer towards the camera where his features become more visible and enables the eye to separate his entity from that of the land. In the same view, Ethan also has many other qualities that help to portray him as a man "whose hardness is one with the hardness of nature" (73). Ethan's face is rugged and leathery, he looks tough, acts tough, and the viewer can clearly identify the mark of the desert on him. Additional to the Western qualities Ethan embodies is that of an unforgiving, merciless man. Seen in the film, after Ethan discovers what has happened to his kin, he sets out on the road of vengeance, to track down and destroy his enemies, which in this case are the Comanche people. Most notably, when the group came upon a Comanche grave, Ethan ruthlessly shot the dead body in the eyes, reasoning that the Comanche should not be allowed to find his way into the spirit life but should be condemned to wander around the desert for eternity. Again, Ethan is seen shooting the buffalo herds, arguing that there should be no food left for the Comanche, whom he sees as savages who do not deserve to live. Besides being vengeance driven, Ethan continually shows his bravery and his wit throughout the film. He was able to read signs in the desert, including the time when he sensed people were chasing him and Martin. Ethan kept his cool and put a good plan together to counter his followers. As Tompkins states, "the hero's relationship to the environment is steady, knowledgeable, functional, and pleasure-giving" (81). Ethan understands how to act in every situation that crosses him in the desert, showing that he has spent enough time and has assimilated the necessary qualities to become one with nature.
"Not only is the landscape almost never truly blank, but it is constantly changing, continually inviting the senses, stimulating feeling, perception and thought" (78). Throughout the film the viewer was introduced to different landscapes. Although the story was still in the desert, the viewer followed Ethan and Martin into swamps, across rivers, into canyons, the town, and also the camps of the Comanche people. With each change in the scenery, a new feeling arises, ranging from that of relaxation when they are in the town, to that of caution and high alert when they approach the Comanche settlement or any other unfamiliar and uneasy territory. The constant change of scenery sucked the viewer back into the film since new senses and perceptions arose with the change. Constantly looking at Ethan in the hot desert would wear off the excitement and amazement that the viewer had; however, by changing the landscape, the viewer is called to re-analyze the situation and see how Ethan fares.
The only assertion Tompkins made that I disagree with is when she says the landscape in the Westerns is trying to displace and replace the homelike feelings and experiences (82). My take on this is that although the man turns to the wilderness and leaves those feelings and experiences behind, the wilderness experience never truly replaces them. I feel it only adds on, but there is still a place reserved within him for his past self. That way, he does not become a very different person, but instead just takes on the qualities of nature which overshadow the qualities he once had.
This comment has been removed by the author.
ReplyDeleteThe Searchers, by John Ford, is quickly identified as a typical western just from the first few seconds of the movie. Agreeing with Tompkins speculations in her book West of Everything, the opening scene of The Searchers was indeed a desert landscape, observed through the doorway of the house (69). Looking at the scenery, one could only notice the dryness of the land. The desert was still, the sun was scorching and whatever was left of the greenery was just there, no movement, no life. It was as if the life of the land was sucked right out of it. Speaking about the land, Tompkins states that "it is an environment inimical to human beings, where a person is exposed, the sun beats down, and there is no place to hide" (71). The scenery ushered in a sense of loneliness, seclusion, and rough living, which agrees with Tompkins' description of a "land defined by absence" (71). The Edwards' household seemed to be located in the middle of nowhere. Tompkins asserts that the emptiness in the desert leads to the sense of "a hostile environment" (77). This is a key statement because the landscape in The Searchers is hostile and the viewer is introduced to this hostility with the slaughtering of the Edwards family, as well as the many gun fights and horse chases depicted in the film. Additionally, the living depicted by the landscape was that of hard labor, heavy toiling, and straining work. With that clay-like soil, not much planting can be done; moreover, nothing was within walking distance. "Come, and suffer" is the key message given by the land, a land where only the strong and the brave can endure (71).
ReplyDeleteContinuing with the opening scene, the viewer's attention is gradually directed toward the protagonist, Ethan, who at first glance is barely noticeable. Everything about Ethan, from his clothes to his horse, blended into his surroundings, which made him unnoticeable from afar. Tompkins states that the men "try to look as much like nature as possible. Everything blends imperceptibly into the desert" (72). The eye does not pick up Ethan until he moves closer towards the camera where his features become more visible and enables the eye to separate his entity from that of the land. In the same view, Ethan also has many other qualities that help to portray him as a man "whose hardness is one with the hardness of nature" (73). Ethan's face is rugged and leathery, he looks tough, acts tough, and the viewer can clearly identify the mark of the desert on him. Additional to the Western qualities Ethan embodies is that of an unforgiving, merciless man.
Portrayed in the film, after Ethan discovers what has happened to his kin, he sets out on the road of vengeance, to track down and destroy his enemies, which in this case are the Comanche people. Most notably, when the group came upon a Comanche grave, Ethan ruthlessly shot the dead body in the eyes, reasoning that the Comanche should not be allowed to find his way into the spirit life but should be condemned to wander around the desert for eternity. Again, Ethan aims to slaughter the buffalo herds, arguing that there should be no food left for the Comanche, who he refers to as savages who do not deserve to live. Besides being vengeance driven, Ethan continually shows his bravery and his wit throughout the film. He was able to read signs in the desert, including the time when he sensed people were chasing him and Martin. Ethan kept his cool and put a good plan together to counter his followers. As Tompkins states, "the hero's relationship to the environment is steady, knowledgeable, functional, and pleasure-giving" (81). Ethan understands how to act in every situation that crosses him in the desert, showing that he has spent enough time and has assimilated the necessary qualities to become one with nature.
ReplyDelete"Not only is the landscape almost never truly blank, but it is constantly changing, continually inviting the senses, stimulating feeling, perception and thought" (78). Throughout the film the viewer was introduced to different landscapes. Although the story was still in the desert, the viewer followed Ethan and Martin into swamps, across rivers, into canyons, the town, and also the camps of the Comanche people. With each change in the scenery, a new feeling arises, ranging from that of relaxation when they are in the town, to that of caution and high alert when they approach the Comanche settlement or any other unfamiliar and uneasy territory. The constant change of scenery sucked the viewer back into the film since new senses and perceptions arose with the change. Constantly looking at Ethan in the hot desert would wear off the excitement and amazement that the viewer had; however, by changing the landscape, the viewer is called to re-analyze the situation and observe how Ethan fares.
The only idea Tompkins made that I disagree with is when she says the landscape in the Westerns is trying to displace and replace the homelike feelings and experiences (82). My take on this is that although the man turns to the wilderness and leaves those feelings and experiences behind, the wilderness experience never truly replaces them. I feel it only adds on, but there is still a place reserved within him for his past self. That way, he does not become a very different person, but instead just takes on the qualities of nature which overshadow the qualities he once had.