Blogging By Cinema-light: Don't Make a Scene: The Searchers

Sunday, May 7, 2023

Don't Make a Scene: The Searchers

The Story: Another one of those posts about the visual economy of John Ford.

There are stories (oh, there are stories) of John Ford's respect for the word on the printed page. Or lack there of.

There's the (maybe apocryphal) story of Ford on location, and a producer came up and complained that Ford was three days behind schedule. "Three days?" Ford rasped at the exec. Then, he took the shooting script, thumbed through it, counted out the number of pages he could shoot in three days...and ripped them out. "There!" he growled. "We're on schedule!"

Here is a section of The Searchers that is pure John Ford, the director telling his story through pictures...leaving out words...and cliches. Now, notice that there are few words here, and they're not from the script. They're "suggested" by the script, but Ford presents them in an entirely pictorial light, improving the little snippet of "business" and adding something extra—character.

Here's how the script has it, as written by Frank Nugent, from the novel by Allen LeMay:

EXT. THE EDWARDS' HOUSE -- DAWN LIGHT As Ethan emerges he is brought to a momentary halt by sight of a couple -- Brad and Lucy -- in each other's arms, standing near the saddled horses of the posse. Clayton and Jorgensen following him out, spot the couple, who now belatedly are conscious of their audience.

JORGENSEN Brad!... Is no time for lolly- gagging...

In confusion, Lucy runs back around the side of the house as Brad -- unrepentant -- grins at his irascible old man and heads for his waiting horse. Clayton chuckles and turns toward Martha, who has followed them out.

And there's this, from earlier in the script:

Ethan -- cup to his lips -- looks over its rim at Martha as Aaron starts to put on his shirt. Their eyes meet briefly, then she looks away. Ethan sloshes the dregs of his cup into the fire -- some of it spattering Mose.

The implication is that there is some unspoken something between Ethan Edwards and his sister-in-law Martha, but neither of them would dare reveal it and only take the moment to acknowledge it while Ethan's brother has his shirt over his head.

Ford,, instead, combines the two, drops that second part, and implies it a different way. And while he's at it, makes sure that the Rev. Clayton sees the passing affection, but will stay silent, acting like he knows nothing of what he's seen.

It is only done with a handful of shots. But, that chaste indiscretion speaks volumes of the unspoken feelings between Edwards and his sister-in-law...and provides a large part of the vengeful impetus for Edwards throughout the entire picture.

It's amazing. Ford was a genius at making "pictures".

The Set-up: Ethan Edwards (John Wayne) has come to the home of his brother Aaron (Walter Coy), wife Martha (Dorothy Jordan), and their three kids Lucy (Pippa Scott), Ben (Robert Lyden), and Debbie (Lana Wood). Ethan fought for the Confederacy, never surrendered, and disappeared, probably on a vengeful crusade of robbing and looting. He's not talking. But, the visit is short; Comanche warriors have stolen cattle from the distant Jorgenson ranch, and the Reverend Captain Samuel Johnson Clayton (Ward Bond) is recruiting a posse to try and bring them back. Preparations are being made.

What they don't know is that the rustling party was merely a ruse. Soon, the Edwards clan will all be dead.

Save for one.

Action.

EXT. THE EDWARDS' HOUSE