The Searchers John Ford (director)

Race relations

A major theme of the film is the historical attitude of white settlers toward Native Americans. Ford was not the first to attempt this examination cinematically, but his depiction of harshness toward Native Americans was startling, particularly to later generations of viewers; Roger Ebert wrote, "I think Ford was trying, imperfectly, even nervously, to depict racism that justified genocide."[27] At the heart of The Searchers is Wayne's performance as the angry, vengeful Ethan Edwards. From the beginning of his quest, he is quite clearly less interested in rescuing Debbie than in wreaking vengeance on the Comanches for the slaughter of his brother's family.[37]

In a 1964 interview with Cosmopolitan, Ford said,

There's some merit to the charge that the Indian hasn't been portrayed accurately or fairly in the Western, but again, this charge has been a broad generalization and often unfair. The Indian didn't welcome the white man... and he wasn't diplomatic... If he has been treated unfairly by whites in films, that, unfortunately, was often the case in real life. There was much racial prejudice in the West.[38]

Film scholar Ed Lowry writes, "[W]hile the Comanches are depicted as utterly ruthless, Ford ascribes motivations for their actions, and lends them a dignity befitting a proud civilization. Never do we see the Indian commit atrocities more appalling than those perpetrated by the white man.[36] "Wayne is plainly Ahab", wrote cultural critic Greil Marcus. "He is the good American hero driving himself past all known limits and into madness, his commitment to honor and decency burned down to a core of vengeance."[37] For Brenton Priestley, Ford indicates that Scar's cruelty is also motivated by revenge ("Two sons killed by white men. For each son, I take many... scalps.")[38]

Miscegenation

The theme of miscegenation also runs through the film. Many critical analyses of The Searchers highlight Ethan's view of Debbie as having been "contaminated" through her abduction and implied rape.[39][40][41]

The rape of captive white women by the Comanche is an unspoken theme. No actual rape scene is depicted, but Alexandra Heller-Nicholas in her study of Rape-Revenge Films says, "the abduction, captivity, and implied rape of Debbie (Natalie Wood)... drives the narrative";[42] and Edward Buscombe points out a scene in which "[Ethan] turns off the trail to penetrate a narrow crevice in the rocks, and when he emerges, his savage stabbing with his knife seems to mimic a violent sexual act, drawing us 'a picture' of the act of rape which obsesses him."[43] Glenn Frankel writes that in real life, "Rape was a fact of life for many captives, although it was seldom discussed by those women who escaped or were ransomed back to the white world."[44]

Early on, Martin earns a sour look from Ethan when he admits to being one-eighth Cherokee. Ethan says repeatedly that he will kill his niece rather than have her live "with a buck", that "living with the Comanche ain't living". Even one of the film's gentler characters, Vera Miles's Laurie, tells Martin when he explains he must protect his adoptive sister, "Ethan will put a bullet in her brain. I tell you Martha would want him to." This outburst makes it clear that even the supposedly gentler characters hold the same fear of miscegenation.[38]

Randy Roberts and James Olson write that Ethan Edwards:

"...is also an obsessed maniac. White settlers are not simply the advanced vanguard of civilization; they are racists. Indians are not just noble savages; they are savage killers. The frontier is not a place of opportunity; it is a wasteland.... In the character of Ethan Edwards, John Wayne had extended the Western hero to the border of evil.[45]

Ethan and Martha

An important plot undercurrent is the obvious mutual attraction between Ethan Edwards and his brother's wife, Martha. Although no dialogue alludes to it, many visual references to their relationship are seen throughout the film.[46][47][48] Some critics have suggested that this unspoken passion implies that Debbie—who is specifically described as eight years old, as Ethan returns from an eight-year absence—may be Ethan's daughter. Such a situation would add further layers of nuance to Ethan's obsessive search for Debbie, his revulsion at the thought that she might be living as a Native American, and his ultimate decision to bring her home—and then walk away. Beyond the ostensible motivations, it might depict a guilt-ridden father's need to save the daughter he made by cuckolding his brother, then abandoned.[49]