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Watch the film notes-"Searcher"
Annie 2021-12-08 08:01:40
1. John Ford's attention to social issues goes even further, from class reconciliation to racial reconciliation. Indians are no longer all butchers, but can communicate and integrate into society, but Scarface is a war tribe under the leadership. 2. The dark door is a motif in the film. The film starts from Martha who walks out of the dark door frame to Ethan who faces the dark door frame and turns and leaves. Family life is far less sunny and comfortable for him than the wilderness. 3. The more you look at western movies, the more you can see the strangeness of "Shane", because he is a person without past and background. He is a symbolic character. All his meaning is to solve the contradictions in civilization as a hero. Then disappear into the wilderness. And Ethan in "The Searcher" and Ringo in "Flying Guanshan" are all people in society. Ringo has a father, a brother, and a revenge mission. Ethan also has a background in war, ran away from home, and has a vague relationship with his sister-in-law. Love. 4. Ford's western landscape is magnificent, and David Lean and Spielberg are both affected. Among them, there is a shot of two people walking in the wilderness in the sunset with backlighting, which is quite similar to "Lawrence of Arabia".
Extended Reading
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Brittany 2022-03-23 09:01:54
Looking back many years ago, those doors, those multi-person scheduling, music, light, shearing, many powerful moments, but it has always been difficult to enter, difficult to empathize with. I took it out today and reviewed it and suddenly felt how heartbreaking it was~~~ This is not a heroic movie, ethan is a very complicated and offensive character.
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Carson 2022-04-23 07:02:04
The greatness of a director needs to be understood by an expert. Maybe because of the story itself, I felt a little boring. It can be imagined that this is definitely the best Western movie ever, so it seems that Westerns are not my thing. .
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Mose Harper: [preparing for an Indian attack] That which we are about to receive, we thank thee, O Lord.
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Martin: [speaking to Debbie for the first time in five years] Debbie, Debbie, Debbie, don't you remember? I'm Martin, I'm Martin, your brother, remember? Debbie, remember back.
Martin: [pause] Do you remember how I used to let you ride my horse? And tell you stories? Oh, don't you remember me, Debbie?
Debbie Edwards: I remember, from always. At first I prayed to you: "Come and get me, take me home." You didn't come.
Martin: But I've come now, Debbie.
Debbie Edwards: These are my people. Go. Go, Martin, please!