Category: Great Films

The Wizard of Oz is one of the most beloved and critically acclaimed movie musicals, which was released under MGM in 1938. MGM wanted to produce an adaptation of L. Frank Baum’s children’s story, The Wonderful Wizard of Oz, determined to make a prestigious fantasy picture to rival Disney’s Snow White and the Seven Dwarfs, which had premiered the year before (Rodman 128). Critical acclaim for the film was initially mixed. However, by the mid 1970s, the film had become firmly established in both scholarly and unscholarly American cultural discourse.

We follow an orphaned girl by the name of Dorothy Gale, who lives on a farm with her uncle, aunt and beloved dog, Toto. Only to be swept away by a tornado, up from the gray, impoverished lands of Kansas, landing in the magical land of Oz. At the cost of her arrival, Dorothy’s cabin causes the death of the Wicked Witch of the East, bringing much joy to the Munchkins but not so much to the Witch’s sister, the Wicked Witch of the West. With the only wish to go home and the help of the Good Witch of the North, Dorothy and Toto embark on a journey along the Yellow Brick Road, to find the Wizard of Oz himself in Emerald City. In the brink of her quest, Dorothy runs into and befriends three lovable individuals – a scarecrow who wants a brain, a tin man who yearns for a heart, and a lion who wishes for courage.

On the more technical side of things, camera techniques and special effects were crucial in creating the film. The videography of this film relies on many techniques but perhaps more heavily on the depth of field which is used to create a sense of relative space to each object in the setting. The rule of thirds is also used often to create mood and shift focus. Finally, this movie is infamous for its sounds. Both diegetic and non-diegetic sounds are used to create a sense of mood and and contrast. The Wizard of Oz uses filming elements including depth of field, the rule of thirds and non-diegetic sounds to establish the fantasy tone of the story. In addition to camera work, many physical production tools were utilized to bring the world of Kansas and Oz. For example, the tornado threatening Dorothy’s Kansas farmhouse was in fact a huge silk sticking twisted and coiling by a blowing fan. However, shots of the tornado at a far distance, seen in the film, used actual tornado footage. Another groundbreaking element to the film includes their considerable use of matte paintings. The most stunning example is the view of the Emerald City at the end of the Yellow Brick Road, as Dorothy and her group of friends finally arrive to see the Wizard of Oz.

One of the greatest elements of this film is not just the groundbreaking technology of color and music, but the themes around childhood that completely ground the characters and the world despite its whimsical features. The Wizard of Oz powerfully fills a void that exists inside many children. For kids of a certain age, home is everything, the center of the world if you will. But over the rainbow, is the wide earth, fascinating and terrifying. There is a deep fear that unpredictable events might occur after transporting the child from the safety of home and strand her or him far away in a strange land. And what would s/he hope to find there? New friends, to advise and protect them. New challenges, to educate and strength them. And their of course their pet dog, Toto as well.

The film’s theme touches on the key lesson of childhood – that someday the child will not be a child, that home will no longer exist, that adults will not be there to help because now the child is an adult and must face the challenges of life in the strange new land alone. But it also teaches you that you can always ask friends to help you. And that even the Wizard of Oz himself, the taunting “man” that every child fears in the new adult world, is only human, and has problems of his own.

The theme not only stops there but is critically portrayed within Dorothy’s friends on the Yellow Brick Road (the Tin Man, the Scarecrow, and the Lion). Her friends were projections of every child’s secret fears. Are we smart enough? What kind of person are we? Are we brave enough? Ultimately, in helping them, Dorothy was helping herself, just as a child who is learning the ropes of life overcoming their own fears by acting brave before another child.

This deep universal message explains why so many different people from many different backgrounds have a huge heart and treasured memory for The Wizard of Oz, including myself.

Sources:

https://www.rogerebert.com/reviews/great-movie-the-wizard-of-oz-1939

https://www.filmsite.org/visualeffects5.html

https://www.jstor.org/stable/pdf/24044541.pdf?ab_segments=0%252Fdefault-2%252Fcontrol&refreqid=excelsior%3A317a9a633ab885ef4a41e816b469e4b0

A name and story we all know and love (maybe more so than others), Snow White and the Seven Dwarfs made its debut in 1937 and stands as the first princess story to kick off Walt Disney’s golden age of animation. Though it does not hold title as the first feature length animated film, it was a huge leap in the quality, technology, and story capabilities of animation till this day.

However, there was many skepticism surrounding the film even before its premiere. Snow White was so far ahead of the cartoons at the time that over its three year production period, many of the film critics then questioned if it was even possible to be made. In addition, there was a rising concern revolving around the audience’s interest. It was very rare to have an audience stay captivated in a cartoon story for more than an hour but this is where Walt changed the course and perspective of animated films. In order to keep the audience engaged, Walt knew they would need to have an emotional connection to the film the earlier cartoons were unable to produce. In order to do this, Walt needed to embrace Snow White with a sense of realism. Giving the audience the feeling that this was all happening to a real person who would think and feel, allowing them to empathize with Snow White and the seven Dwarfs all while retaining the charm and fairytale elements that comes from the unreal nature of animation. Almost all of the decisions in production was pointed to embody this balance, from the writing, character movements and designs, music, and effects.

After all of Walt and his team’s tireless efforts in producing the film, the story was released, following princess Snow White, who embodies all beauty, innocence, and above all, love. White charms every creature in the kingdom, including a prince, except one – her envious, vein stepmother, the Queen. Jealous of White’s innocence and youth along with the Magic Mirror’s proclamation of her as the “fairest of them all,” the Queen sends a huntsman to kill White. Unable to complete the task against the beautiful princess, the Huntsman implores White to flee in the forest only to return the heart of a pig to the Queen. In the midst of her run, Snow White finds herself in a cottage and befriends seven lovable dwarfs – Doc, Sneezy, Grumpy, Happy, Bashful, Sleepy, and Dopey. But when the Queen discovers the truth, she thus undergoes in disguise to trick innocent Snow White with an enchanted apple which puts her into a deep sleep, only with the magic of true love’s kiss to save her – from a prince possibly?

Snow White and the Seven Dwarfs was the first film to utilize the multi-plane camera, which allowed the background to give the impression of movement beyond simply side-scrolling, as was the standard at the time. It also made possible new types of special effects, such as the movements of water, and the flickering of the stars or light. The greatest example of this occurs after Snow White and the animals have finished cleaning the dwarfs’ cottage. How the camera pulls back to reveal a forest that hadn’t previously been in the frame. This is a simulated camera move, using the multi-plane camera. One can almost imagine the multi-plane camera pulling back (i.e. up) to achieve this shot.

But Team Disney didn’t stop there. They decided to fill the film with a number of sophisticated “directing” techniques. One of greatest directing techniques in Snow White comes during the wishing well scene and the introduction of Prince Charming. We start with a high angle shot looking down into the bottom of the well, seeing Snow White’s reflection in the well water. Suddenly, Prince Charming appears behind her — in a reflection — to finish the verse of her song, “I’m Wishing” with a rousing, “Today!!” The pacing and coordination of the whole sequence conveys the essence of fate in a fairytale narrative while keeping the realistic visuals of a live action.

Another great example includes the Queen’s transformation. How the room spins around the Queen as she takes the magic potion and transforms into the witch. With the use of the multi-plane camera, we get a three-dimensional visual which creates its own form of horrifying, disorienting vertigo.

In conjunction of the realism bestowed on the characters and designs with the advanced technology of the multi-plane camera, Snow White and the Seven Dwarfs revolutionized storytelling within not only the animation realm, but in all of cinema. Of all the innovations that Disney has brought to animation, this is the one that changed everything. The emotional response to the film, then and now, is the reason why an audience can sit for over an hour and become completely absorbed in a magical world. Because no matter how fantastic and extravagant the art is, the story is grounded to the same reality that effects you and me.

Sources:

https://thefilmspectrum.com/?p=18800 

https://www.jstor.org/stable/pdf/26446669.pdf?ab_segments=0%252Fdefault-2%252Fcontrol&refreqid=excelsior%3Ad233582c0b461cdd426122f7b36d7781 

http://screenprism.com/insights/article/how-did-the-multiplane-camera-invented-for-snow-white-and-the-seven-dwarfs 

Vertigo (1958) is Hitchcock’s another great film that is characteristic of tricks, suspense, and murder. Compared to Hitchcock’s horror film Night of the Living Dead (1968), Hitchcock does not make this film a visual-based horror genre but a mixture of psycho, art, and technique. Honestly, this film has allowed me to experience both a bright and dark side of humanity in a mysterious atmosphere. We see Madeleine’s husband Gavin has made an elaborate murder plan to kill his wife to get his inheritance. Through making up a series of fake stories to prove Madeleine’s mental illness and hiring a woman looking like Madeleine, Gavin makes his intentions of killing Madeleine visible to the audience. However, when all things for the murder plan are well planed, Hitchcock seems to create some unexpected stories to add the sense of vertigo by featuring Scottie’s falling obsession with Madeleine. Not guided by the ideas about the so-called weird behaviors of Madeline, Scottie follows her and saves her. Hitchcock creates the plot of Scottie’s romanticism and passionate love with Madeline to feature the bizarre situation of their romanticism. That has made me think a lot of techniques used in other psychological thriller genre films.

One scene stood out of the who movie is when Scottie brings Judy to the Bell Tower where Madeleine died. In this scene, Scottie forces Judy to confess her crime behavior and tell whether Madeline is alive not not. It is set inside of the tower and Hitchcock gives a low-key lighting throughout the scene that makes the face and body of the characters not that clearly to be seen. This creates a sense of tension for the plot that hooks the audience to predicate what will happen between Scottie and Judy. In this scene, the shots are also frequently given to the staircase while Scottie is struggling to go to the top of the tower. This has well offered us a visual symbol of Scottie’s mental instability. But he made it, this made the audience to sense the narrowly escape of Scottie from the bad fortune while he has witnessed the death of Judy. Hitchcock has hidden a lot of invisible clues in this staircase scene to connect his lust and the shock of both Madeleine and Judy’s death at the same place.

As the title has implied, Hitchcock has employed a lot of shots that give the audience of a sense of vertigo. The effects of vertigo are not given as what most people have expected the rapid whirl, but rather through giving an intense focusing. This can be witnessed from the title sequence of this movie. Also, the beginning scene that Scottie is struck in the rooftop chase, the shots of Scottie’s facial expressions and the floor have paved a good way resonating with the title sequence as well as the title of the film “Vertigo”. Another key scene gives a sense of vertigo is when Judy emerges as Madeline in the house. The ghostly green miasma around the door makes her luminosity kind of blinding for the audience. This resonates with the title of the film implicitly.

Peter Bradshaw in a post from The Guardian has discussed, “Vertigo also combines in an almost unique balance Hitchcock’s brash flair for psychological shocks with his elegant genius for dapper stylishness.” This critic of this film makes the audience to reread the subtle relationships between the superficially luxurious look and guilty of an immoderate lust and sex in a psycho model. To a large extent, it helps me learn how Hitchcock makes a blonde’s appearance and psychological obsession is mutually connected.

What makes this film has much to do with the use of actors and actresses, the Hollywood classical zooming and 180-degree rule, and the mise-en-scene. Novak both play Madeleine and Judy throughout this Hitchcock film. Her look and costumes transfer over and over through the luxurious scarlet of Ernie’s Restaurant from the beginning to a jarring market with flowers, Hitchcock has crafted her perspectives on the direction of the storyline in a skillful way. Most interestingly, this film is more likely to psychologically thrill the audience by featuring the well-planned murder of Madeleine and Madeleine and Judy’s death at the tower. The themes of crime, sex, and lust are mixed together without blurring the boundaries between the characters. This is one of the best psychological thriller films Hitchcock has made that has heavily affected my ways of appreciating a psychological thriller film in American industry.

 

Bradshaw, Peter. “Vertigo Review-still spinning its dizzying magic.” theguardian. Retrieved from

https://www.theguardian.com/film/2018/jul/12/vertigo-review-alfred-hitchcock-james-stewart-kim-novak

https://www.newyorker.com/culture/richard-brody/vertigo-the-search-for-a-cure

The Sound of Music （1965）

The Sound of Music is an American musical drama film in 1965 and directed by Robert Wise. This film is considered as one of the most exceptional films in the mid-1960s. Besides, this film represents the climate of Hollywood musicals.  In the play, the heroine Maria is singing incessantly, which is her yearning for freedom and pursuit of happiness and happiness. This film narrates a story that a nun Maria came to retired naval officer Captain Georg’s house to work as a private teacher. She soon became popular with the children. Captain Georg gradually fall in love with Maria.

This film won the best picture award, best director award, best editing award, best sound award and best score award at the Academy Awards in 1965, which are still regarded as the gods of song and dance films. Music not only depicts the characters, sets off the atmosphere, but also plays an important role in promoting the plot.

In his film, music is very successful in depicting characters’ psychology, setting off the environment and atmosphere, and promoting the plot development. Music plays an irreplaceable role in the process of film development. Music popular tune is easy to be more accepted and recognized, and the art form of music makes the film to express feelings more deeply in people’s hearts, causing strong resonance of people, finally make the film music function is fully reflected.

 

 

https://journals.equinoxpub.com/index.php/JFM

https://www.filmsite.org/soun.html

https://www.theguardian.com/film/2018/may/17/the-sound-of-music-review-julie-andrews-christopher-plummer

 

 

Film Analysis Essay 1 The Wizard of Oz (1939)

The little girl named Dorothy lives with her aunt and uncle on a farm in central Kansas. One day, the tornado hit, in order to find her beloved dog, Dorothy was not able to hide in time. A powerful tornado swept Dorothy’s cabin into the air. After some time, the hut finally fell to the ground and killed an evil witch. Below the guidance of kind-hearted north witch, Dorothy and her dog set out for wizard oz the emerald city that lives, pray he can help him go home. On the way, Dorothy meets a scarecrow, a tin man and a lion who have no brains.

This film is one of the most popular musical adventure films in MGM. One of the most important reasons why this movie is a classic is that it shows a kind of rite of passage. And it was played every year at Christmas and Easter. Despite the technological backwardness of the 1930s, this fantasy film is a timeless classic. The reasons are as follows:

1. The rare color film in those days. For us to create a magnificent fairy tale world.
2. The beautiful music and Judy’s rich infectious voice. The song “Over the Rainbow” has been covered many times since, but I can’t think of any other version that compares to Judy’s original.
3. “classic educational story. “There is no place like home.”

In addition to the comparison of characters and scenes, the constant repetition and variations of music theme always emphasize the changes of Dorothy’s emotions, and the same music theme also helps to unify the story in a unified style.

In terms of content, characters Dorothy met representing different meanings, such as the lion without courage, the tin man without heart, the scarecrow without wisdom, and the witch of the east with love and the witch of the west with evil. Dorothy is determined to run away from home for her dog, away from the aunts and uncles who raised her, ignoring the fact that she has a warm home and wants to go to a more perfect place. But every corner of the world where there will be a perfect place to send the existence. Oz, although there is a full of love little person and love the witch, but she also met a defective lion, tin man, scarecrow, she was in love like to go to the mage with three to get the courage, heart, wisdom, but they are not all the way all goes well, there will be full of evil witch to rock the boat, although they upset their lack of wisdom has the courage to love, but when Dorothy was a witch, when to go to catch them in order to save Dorothy, but showed remarkable courage, wisdom and love.

The mainframe of the story is that Dorothy dreamed that she was transported to Oz by a whirlwind. After meeting many friends on her way home, she solved some difficulties and successfully returned to her home in Kansas, only to find that she was just having a dream. That story is the standard of A – B – A – oz – Kansas (Kansas) type structure, the change of the color (black and white – color – black and white) also shows that this structure, the black and white (Kansas) and color (oz), the specific content of the story are filled in the framework of this big, thus creates A complete story.

https://www.filmsite.org/wiza.html

https://daily.jstor.org/consumerism-and-the-wizard-of-oz/

https://www.ahschools.us/cms/lib08/MN01909485/Centricity/Domain/818/Grade%2012%20Economics/oz.html

 

Gangster films represent a film genre that is often critically acclaimed. It displays gangsters, more often than not in an objective lens. Creators tend to portray a crime-induced life to steer away from. However, at times, the discourse of the crime film narrative is often sexist and inaccurate.

In a New York Post, Kyle Smith proclaims that “Women are not capable of understanding GoodFellas.” With an overt generalization, Smith ironically displays on how he, himself, did not comprehend Martin Scorcese’s GoodFellas. He reasons with the “wiseguys never have to work (…) doing what guys love above all else: sitting around with the gang, busting each other’s balls.” Fittingly enough, Smith also did not have to lift a finger in the level of thinking in digesting Scorcese’s film. Scorcese’s portrayal of “busting each other’s balls” and the male gangster camaraderie  is a precedent to the eventual downfall of the perceived close-knit brotherhood. In the end, Henry Hill breaks one of the primary rules of the mob: do not snitch on each other, so the idea that this exemplifies trust and brotherhood in a positive connotation falls apart with knowing how Henry turns out. In retrospect, the comedic relief of “cheerfully insulting one another” is the superficial shield to the insecurity that is masculinity (Smith). The men insult one another as if to display that nothing pierces their facade—a masturbation of each other’s egoes. 

But when this framework gets infiltrated by an outsider, the gang’s insecurity shows its fragility. In the infamous Billy Bats scene, Billy comments on Tommy’s old ways of shining shoes. Tommy overreacts with violent anger going as far as “whacking” Billy Bats. Smith describes Billy’s comments as “improper ball-busting.” The lines who can insult or not in the mob are arbitrary. It is merely an excuse to draw lines between “us against them,” which is the whole premise of a gang. Tommy displays how fragile his ego is when he assumes that the comment was an insult, but as Smith describes in his article, insults are often done “cheerfully” (Smith).

https://www.youtube.com/watch?v=7pQ6fd6iO_c

In opposition, in the scene where Henry exclaims of how Tommy is funny, Tommy teases and intimidates Henry of acting like he is insulted by the remark. The gang laughs it off that Tommy completely intimidates Henry, a harmless jab by two comrades. But, Scorcese carefully places a line Tommy says in the end, “I worry about you sometimes, Henry. You may fold under questioning.” The harmless joke turns out to be a foreshadowing of the downfall of the mob.

Smith makes the comparison of the GoodFellas to Sex and the City, and how the women in the critically acclaimed HBO TV show tend to bring up their personal problems; therefore, the men in GoodFellas are superior for not letting this poison Smith’s love for the bustings of the balls. However, the demise of the gang stems for the suppression of the information towards each other. Their lack of communication ends up being their downfall and mistrust with each other—along with the use of cocaine. A prime example of the effect of how the toxic masculinity that Smith seems to be so eagerly glorify is how Henry Hill ends up telling all. Because of the suppression of what Smith perceives as feminine qualities, Henry eventually comes to a rupture. Smith also presents the relationship between Karen and Henry to be that of exemplary ball-busting marriage. Smith states, “[Karen] promises to keep the party going” implying another form of suppression through the tough times. If Karen keeps the party going even with the DEA completely at Henry’s tails, Smith completely misses the point of the dangers of suppressing the inevitable.

The argument of ball-busting being a harmless promotion of the masculine ethos misses the fact that the demise of the  GoodFellas is what Scorcese wants to convey to the audience. Most of the film’s runtime involves the good times of the mob—how their camaraderie kept the ship afloat, so Smith’s comprehension of the events seems to leave out the ending. Ironically, the aspect he glorifies the most is the root cause of their demise. Gangster films are ultimately great, but the discourse around it seems to be inaccurate with the people that it is written for merley confirms their misogyny. Smith exudes of the male hubris Scorcese attempts to steer him away from. Sadly, he is just not capable of understanding the GoodFellas. Sorry, Kyle!

Sources

https://pdfs.semanticscholar.org/7e9d/3db2be6a0b29b17933348d04490adc350297.pdf

https://nypost.com/2015/06/10/sorry-ladies-youll-never-understand-why-guys-love-goodfellas/

https://www.rogerebert.com/reviews/goodfellas-1990

 

In Xiaolin Chen’s The Use of Symbols in Schindler’s List, non-linguistic symbols are examined in the film by Steven Spielberg, and how these symbols “promote the development of the story in a unique ideographic manner” (Abstract). While he perfectly tells the narrative of Oskar Schindler in a very detailed manner, Spielberg’s use of color symbolizes the thematic binary of morality in Schindler’s List which is formulaic of a code to be decoded. Chen makes the argument that “All members of society have a common cultural belief (…) to understand the meaning behind the code” (1). The commonality of all society hinges on the basic difference between good from bad. 

Nothing actualizes the dichotomy of morality more than Schindler’s realization of the binary in the scene of the liquidation of the ghetto. Schindler sees a girl in red walking amidst the chaos; and throughout the whole film, the audience is restricted to the color palette of black and white. However, Spielberg carefully breaks this restriction when he chose to display the little girl in a red coat. While aesthetically an assumption could be made that the device is utilized to underscore the bloodshed, narratively, the moment is where Schindler gets down from his high horse and ascribes to the perspective of humanity. Spielberg’s option to work outside the parameters of black and white parallels that of Schindler’s watershed moment. From then on, Schindler empathizes to whom that suffers. Within Schindler, another binary arouses: the Oskar from the past is no longer—the Oskar post-girl-in-red is now the protagonist of the story.

The sound of bullets rapidly infiltrates the audience’s ears, but Schindler fixates on the girl in red along with the audience. The angelic choir attempts to drown out the sound of violence and horror, but it merely amplifies the complete dread that the film constantly unveils. The horrific side of morality is always concealed—it is mostly unsurfaced, but when it arises, it is far louder than the other, unfortunately. So, Spielberg invites the audience to recognize the girl in red like Schindler. 

A tracking shot of the girl assumes the perspective of Schindler. A group of to-be-executed is at a focus while the girl in red is still tracked by the camera out of focus. Spielberg overwhelms the audience with devices that conveys the chaos and confusion because what is ensuing has no explanation for it. As the girl hides under the bed the red on the coat is no more. She now joins every other victim of the massacre as a statistic. 

In his review of the film, Roger Ebert questions “Why did [Schindler] change? What happened to turn him from a victimizer into a humanitarian?” and he assumes that Spielberg does not truly answer the question. But, Chen’s argument certainly unveils Spielberg’s assumption of what changed Schindler. In Ebert’s binary of a victimizer to humanitarian, Schindler realizes that sitting idle and not doing anything is within the same parameters of victimizer. Hence, the girl while under the bed, does not differ from anyone anymore. She is immediately put in the restrictions of black and white like every other character in the movie. But for a moment, the girl in red is the catalyst to Schindler’s mission that is his list.

However, in a Time article, it is mentioned that an Israeli newspaper quoted the film as “Spielberg’s Holocaust park,” and questions Spielberg’s motivation of the movie. While the theme of binary is present throughout the film, another in the realm of the critique of the film gets deconstructed. Spielberg preaches of the evils of morality and displays it in an objective way, but this does not take away from the gratification of a lesson learned at the expense of those who truly suffered. The feeling of guilt is commodified within the film, and this is not an argument of how the film should have never even been made. But, an awareness should be explored on why a critique from the Israeli newspaper exists.

In the ending scene, Schindler repeats, “I could’ve got more.” It is a crowning achievement of Liam Neeson to convey helplessness that Schindler exhibits within his mission. However, it also begs the question as to why the audience needs a lesson of morality when the said binary of morality should be a commonality in all of society as Chen presented. This guilt felt in the film removes all agency of sitting idly like how Schindler is in the scene of the liquidation at the ghetto. The film tells of a lesson, but the conversation around the film tells of a greater story and accepts the perspective from the victims.

Sources

https://www.atlantis-press.com/proceedings/iccessh-18/25898107

https://time.com/5470613/schindlers-list-true-story/

https://www.rogerebert.com/reviews/schindlers-list-1993

 

The Searchers is a great Western film that follows a story of a Civil War veteran who struggled to save his niece from another tribe in West Texas. The story was happening during the early 1950s an 1960s. Honestly, this film allowed me to experience how one’s race and kinship shape one’s way to live in the world. In this film, the settings of the story are designed in the wilderness of West Texas where people are living with violence and wars. Nonetheless, it is in such a unique social background that director Ford wants its audience to see how people make their lives during that period.

 

In this story, Ethan is the only one who is highly expected to find his 8-year-old niece Debbie. In his process of finding Debbie, Ethan is accompanied by his nephew Martin who is Debbie adopted brother. However, Ethan treats Martin always in a harsh way because he does not really acknowledge Martin and Debbie as true relatives but rather two mixed-blood adopted children. When he and Martin find Debbie, Ethan does not want to rescue her but to kill her because of her assimilation with Indians. However, Martin has struggled to stop his uncle’s wrong ideas and protect his sister. Though Ethan did rescue Debbie from the chief Scar and return their home finally, the kinky depiction of his racism forces me to consider whether Debbie and Martin and even other indigenous Indians will struggle to survive with his or her race? Or birth? I feel a little confused about the answer.

One of the moments in this film stood out to me is when Ethan sweeps Debbie onto the saddle, saying “Let’s go home, Debbie.” The scene functions as a transition of the whole story for implying Ethan’s obsession of dignity, dominance, and redemption for his Indian slaughter. The middle shot of Debbie and Ethan allow the audience to see how the eye contact between the two characters goes. Also, the sound at background becomes softer at this scene that helps enhance the relationship between Debbie and Ethan and push forward the plots to the audience.  Most importantly, in the scene, the costume of Ethan and Debbie have separately enhanced their own identity. Ethan’s standard cowboy look and Debbie’s indigenous cloth and hairstyle have paved the way for their different fortune and life.

One of the critical conversations I read about the film is from film critic David Thomson. For this film, Thomson said that he has been compelled to watch The Searchers again and again and every time he’s not sure how it’s going to end…this resonates with me a lot because the mystery of Ethan’s morally ambiguous figure is a little hard to capture for me. Throughout the film, Ethan is portrayed with a kind of dual personalities, such as he both wants to return to Debbie’s home and leave that home, and he both wants to rescue Debbie and kill Debbie. These dual characteristics of Ethan make it a little hard to conclude where the story goes and what a person Ethan is.

In another way, the themes of this film are family, racial prejudice, and sexism are going to resonate with the society we are living in. Many scenes of the film are about the Edwards family members talking to each other in the small cabin or standing at the door to welcome the return of Ethan and Debbie separately. This is a big topic of the society where each one sees family as a big part of their lives. What’s more, women in this film are portrayed as sexless and inferior to men, which can be observed from the Comanche tribe where women and children imprisoned and white women are raped and become wives of Scar. This is depicted as an unspoken theme in this film but I feel that it has made a big difference to the society because it allows people to identify what kind of a relationship between women and men should be established in this society. Overall, from the filmmaking techniques such as the mise-en-scene, the themes of racism, family, and sexism, and the storyline, The Searchers allow the audience to experience what a Western film is like and what white settlers and Native Americans were living together with violence and tolerance. Most importantly, what makes it a great film is largely because what the characters are experiencing gives the audiences a deep thought about gender, family, and race we are experiencing in daily life.

 

 Frankel, Glenn. “‘The Searchers’ was influential film in its day and still resonates today.”washingtonpost. Retrieved from

https://www.washingtonpost.com/lifestyle/style/the-searchers-was-influential-film-in-its-day-and-still-resonates-today/2013/07/04/8b6d5e48-dffb-11e2-b2d4-ea6d8f477a01_story.html?utm_term=.f05c213941a4