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"Medioce?"
Hmmmm not so sure
But
It is vastly overrated.
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Posted: |
Apr 16, 2019 - 4:27 PM
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By: |
Rameau
(Member)
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"As Ethan delivers Debbie “home” (not really; all he has done is brought her to the nearest white people), he remains outside the doorway, pauses, then turns and walks away alone."
I don't quite get that, it would make sense if she had a home, but it's been burned down & all her family killed.
The director Lindsay Anderson was a huge John Ford fan & made a brilliant two part documentary about him (BBC I think), & he didn't rate The Searchers at all, he thought My Darling Clementine was a much better film. I really like it & think it's a great fifties western, but I can't watch the Blu-ray, as the colours look so weird, so as far as I'm concerned it's like a lost film.
Maybe Warner don't rate it that much either.
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CLEMENTINE is better imo.
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I would have taken this review more seriously if it wasn't a political screed.
You actually clicked on?
Ben
Ps I never click that's links. The URL tells all we need to know
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I love it when sixty-three-year-old films can trigger today's oversensitive, tender-nippled folk. Is there one unsore areola among the millions of Boomers and their younger but equally-hideous reflection, the Milennials?
" Glad to see your absence hasn't dulled your sharp mental edge"
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I would have taken this review more seriously if it wasn't a political screed.
You actually clicked on?
Yes. The review didn't need passages like this:
"The acclaim comes from obsessives who have seen the movie so many times that they see things that simply aren’t there, often motivated by a leftist loathing of American mythology that, to put it mildly, Ford and Wayne did not share. A conventional midcentury Western somehow became the Left’s favorite cowboys-and-Indians allegory, a metaphor for Vietnam, McCarthyism, and the civil-rights era."
As Alfred Hitchcock often said, "It's only a movie."
See? I'm right.not to click these idiotic threads.
Btw the revival of interest was mainly driven by the 70s generation of filmmakers who were also film buffs.
Very few of them were overtly political
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I would have taken this review more seriously if it wasn't a political screed.
You actually clicked on?
Yes. The review didn't need passages like this:
"The acclaim comes from obsessives who have seen the movie so many times that they see things that simply aren’t there, often motivated by a leftist loathing of American mythology that, to put it mildly, Ford and Wayne did not share. A conventional midcentury Western somehow became the Left’s favorite cowboys-and-Indians allegory, a metaphor for Vietnam, McCarthyism, and the civil-rights era."
- Jim Phelps
e."
Now we know what Phelpsie was doing on vacation.
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The idea of taking on a highly praised cinematic work is, I feel, a valid one (I've tried it) if the writer is up to the formidable task: willing to be fair and considerate of the given film's strengths, addressing weaknesses without belaboring them, being repetitive, or nitpicky. The "critic" here makes too many false assumptions (inferred by his oxymoronic heading) on why others appreciate this film including some absurd politically based generalities. Perhaps that is because he feels the need to bolster his own weak and wrong-headed findings. I'd love to debate him regarding what I see as this film's real merits explained in my review here:
http://thecinemacafe.com/the-cinema-treasure-hunter/2014/4/14/opening-up-a-treasure-the-searchers
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Posted: |
Apr 20, 2019 - 7:27 AM
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By: |
Jim Phelps
(Member)
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From the article:
"Of Ethan, Crowther says his “passion for revenge is magnificently uncontaminated by caution or sentiment.” So: the opposite of complicated."
No sentiment? Not complicated? The scene at film's start when Ethan and his sister-in-law, Martha, share a brief but deeply affectionate moment. Watch how she lovingly folds his coat and observe Ethan's tender, even awkward movements around her--they love one another deeply, but things turned out differently, as she married Ethan's brother. I love how Ward Bond is looking off into the distance while we full well know that he, Bond, is aware of their feelings for one another. Bond gives them as much privacy as those circumstances will allow.
Another moving scene is Ethan frantically searching the burning remnants of the house looking for Martha--he doesn't call for his brother, does he?
With those scenes in mind it is completely obvious why Ethan doesn't kill Debbie: she's the only family he's got AND she is the last remnant of the woman he loved but could never have.
There I go again: seeing things that just aren't there. 
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