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Misunderstandings about racial discrimination in films
Toney 2021-12-08 08:01:40
When it comes to vilifying indigenous people, I always reflect to the searchers. I wonder if you have included this part in the scope of vilification. Although many westerns contain racial discrimination, I think it’s a misunderstanding that searchers have such content. Ford did not package the protagonist role of John Wayne as a positive white image, but rather objectively presented his personality characteristics and way of doing things. The typical American white image of that era held a kind of treatment of Indians. The general national attitude. Therefore, the slaughter of Indians by the whites represented by him is the best objective presentation of history, which is more real and thought-provoking than the treatment in Dancing with Wolves. It would be far-fetched to deliberately cover up the attitudes of whites in that particular era, or to impose some romantic stories between whites and Indians. If the protagonist is regarded as the incarnation of justice in the director's mind, then Wayne in the film will naturally become the executioner of Ford's racist thinking. This understanding is obviously biased. This is clearly mentioned in Ford’s memoirs. He has always been a defender of national equality. At least AFI members have always believed that, otherwise they would not openly support such a serious "racial discrimination" film.
Extended Reading
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Verda 2022-04-23 07:02:04
Family, civilization, savagery, race, women, all elements of a heroic western have uncles and nieces, and Martin's Indian blood, it seems that the director is not racist. But the lack of descriptions about the assimilation and transformation of the little niece is inexplicable. Beautiful photography, door frame framing, opening composition.
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Bud 2022-04-21 09:02:06
Love this engaging storytelling style. Searching for someone for five years is not boring at all. PS The protagonist is proficient in many languages.
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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!