No Sex (only implied). No Nudity.
A Few kisses


While nothing is shown whatsoever, there are several implications/references towards being raped by the Indians.
The main antagonist takes several white women as his “wives” against their will, and says so explicitly.


It is heavily implied that Martha was raped before being killed, we see a sickened, horrified look on Ethan’s face as he sees her corpse (offscreen), and when a sobbing Martin attempts to see the corpse as well, Ethan roars not to let him, punching him until he stops trying.
The side of a man’s butt is visible.
A young woman is implied to have been raped off screen.


Film review:Translated by www.rabudo-ru.com


First of all, the film has more laughs than I thought. As someone said, the racist attitude of the film is too obvious. The wilderness search part is always depressed, serious and nervous, and the white family is full of laughter.

In a sense, the film is divided into two clues, one is the family line and the other is the wilderness line. Of course, according to my interpretation, this has nothing to do with racial discrimination. In fact, in traditional western films, family and wilderness, civilization and wildness have always existed as a pair of projects, while western heroes as the protagonists of western films always have both attributes and can not really integrate into either side.

In fact, the hero Ethan is out of tune with the civilized world. Whether he treats his relatives’ funerals, his ambiguity about his sister-in-law, and his cruelty and untimely, all show that he is essentially closer to the Indians he hates (in fact, his Indian language is as good as scar’s English). He’s actually a scar among whites. But he is eager to integrate into civilization, return to his family and get the love of his sister-in-law. His persistent search for his niece is actually mixed with these two emotions, one is the uncontrollable impulse of revenge and bloodthirsty in the wild, and the other is the strong complex for the dead family.

The beginning of the film is to open the door and see Ethan coming from the wilderness. The end is to see Ethan turn and leave the house from the door frame, and the door closes. A door separates family from wilderness, civilization from wildness. Heroes always try to enter this door, but they find that they will never come in.

Martin’s image is consistent with Joey in the wild man in 1954 and Marty in the thunder of the earth in 1969. They all witness the heroic behavior as young people. The difference is that Joey adored Sean from the beginning, and his testimony just confirmed Sean’s mythical skill over and over again. Marty was very distrustful and disdainful of the sheriff at the beginning, but after experiencing hardships together, she found that the hero was still the hero of the year. Both reflected the young people’s attitude towards their parents at that time and their efforts to restore their reputation. In the searcher in 1956, the relationship between Martin and Ethan is the most worthy of taste. Martin doesn’t worship Ethan. The reason why he has been searching with Ethan is not because he trusts Ethan. On the contrary, he feels Ethan’s madness. From the beginning, he foresees that Ethan may kill his niece, so he is determined to stop him. The mythical image of the parents and the mythical image of the Western hero were first alerted by the youth in this film and questioned their killing behavior.

Martin’s family line is a sub line of the film outside the wilderness search line. This sub line is the most interesting part of the film and also full of joy. As Martin’s girlfriend Lori, like all western women, she always persuaded Martin to put down his gun, get off his horse and return to his family. But Martin refused Lori out of uneasiness about Ethan. After that, although Martin wrote to Luo Li, the people who sent the letter to Luo Li took the opportunity to pursue Luo Li. Finally, Lori married the messenger. On the wedding day, when everyone was singing and dancing, Ethan and Martin came back. Then Martin and the man had a duel and a rogue fight.

This paragraph made me quite happy. Besides being funny, the director actually made a comparison with Ethan. Martin is still a man with a home. In fact, he did follow Lori into the door at last. Only Ethan is really alone forever. He lingered at the door for a while, turned his horse, left, and then closed the door. So the hero and the family are separated. Behind the door is civilization, community and family. Heroes are never allowed in.

Indians in this film somehow have the motivation of behavior, rather than being a prop character that completely promotes the development of the plot as in the past Westerns. Scar killed because the white man killed his son. Actually, scar is very similar to Ethan. But the Indian’s status as a subject still doesn’t exist. The lovely Indian girl “saw” it just for fun. For some reason, she was bought by Martin as a daughter-in-law, and Martin kicked her out of bed. To tell the truth, although I also laughed at this period, I also felt very uncomfortable. I really didn’t treat people as people. And “look” was innocently killed by the White army.

Martin’s semi Indian identity is meaningless in this film, because it has not had any impact on Martin’s action or promoted the development of the plot. Many people like to emphasize Martin’s Indian descent, but in my opinion, it doesn’t mean much to the film, nor does it prove that the film is more sympathetic to the Indians.

——————All the above are digressions, gorgeous boundaries————————

Well, what I actually want to say is that many parts of the film remind me of Hitchcock, because its use of surprise and suspense is very obvious.

Both places in the film surprised the audience without warning. One is the title of the film. Ethan’s brother’s family and the priest are having a happy meal, but someone said he had stolen a cow before entering the house. He also joked that it’s OK to raise pigs in the future. No one will steal pigs. The director didn’t give any hint. This sentence felt as irrelevant as all they said. If they were distracted, they might not pay attention at all, but who could have thought that the stolen cow led to the tragic end of the massacre of Ethan’s brother’s family?

Let’s imagine what would happen if Hitchcock handled this paragraph? He may let the audience know in advance that this is the consistent strategy before the Indian sneak attack (as shown in the mentally ill, first show how a victim is killed, and then it will be scary every time someone enters the hotel, especially close to the bathtub). This “time bomb” known to the audience in advance will show a sense of tension and anxiety in the whole otherwise dull and even boring breakfast scene. Especially when the men decide to go out to track the cattle thief, the audience will shout in the bottom of their heart, please don’t go, they just want to lure you away and then sneak into your family!

But John Ford chose surprise over suspense. When a group of people found the dead cattle that had been killed and left on the roadside, they suddenly realized that they had been tricked. At this time, the picture immediately jumped to Ethan’s brother’s family. They saw the Indians approaching their house from a distance. But this last surprise was at the cost of the tedious breakfast scene. Because they didn’t know the major turning point that would happen next, the breakfast section couldn’t attract the attention of the audience at all, and their conversation became pure family affairs.

Another surprise is that Ethan came back from the search without telling Martin them anything. Then in the evening, when someone said he saw Ethan’s niece, Ethan suddenly told him that what you saw was an Indian in her clothes, because the girl had been killed. I saw her body during the search and buried her.

This paragraph has a surprise effect, which I think is better than suspense effect. Because when the man said he found Ethan’s niece, the audience would be happy, and the long search finally came to fruition. At this time, Ethan suddenly told the girl that she was dead, which would immediately turn the audience’s mood from joy to sadness. This kind of emotional regulation of the audience is handled quite well.

The biggest suspense throughout the film is whether Ethan will eventually kill his niece. Because Ethan’s madness and his intention to kill his niece have been shown many times in front of the film, his search behavior has a complex emotional mobilization effect on the audience. On the one hand, the audience hopes that his search will succeed, because it has lasted for five years (and if he finds it early, Martin can go back early to stop Lori’s wedding with the messenger man); But at the same time, the audience will worry about his search, because once he finds his niece, he is likely to kill her immediately.

In the last part of this complex emotion, the audience’s heart was completely mobilized. Martin rode after his niece. Everyone thought he was going to kill the poor girl. Who knows, he picked up the girl. He said, child, we’re home.

In addition, I will think of some psychological mechanisms of genre films. The so-called suspense is actually a “premise”, which leads to the complete distortion of the connotation of the scene shown later. For example, Hitchcock’s most experimental “soul snatching”, which does not rely on editing to achieve the greatest suspense effect, is amazing. Because suspense is largely caused by editing. But the suspense of soul snatching lies not in any editing, but in the “premise”. The premise is that after they kill someone, they hide the body in the table. Because of the table containing the corpse (and the audience knows this), all the life scenes behind have the color of suspense, tension and terror.

Let’s imagine what a boring and terrible movie it would be if the audience didn’t know there was a body hidden in the table! From beginning to end, a group of people eat, chat and clean the table, without content, change and plot conflict. Until the end, a surprise. However, because the audience knows the corpse in the table in advance, the same scene and the same dialogue are endowed with completely different connotations, which will cause completely different emotional reactions of the audience. The parents of the deceased ate at the table where their son’s body was hidden, and the murderer was still joking with the parents, which made people feel creepy; Every time someone tries to open the table, it makes people nervous, because the body may be found soon.

Therefore, because there is a “premise”, the whole narrative can make people nervous and expect through insignificant things.

Genre films are largely man-made to create this premise. For example, “wild man”, we know this is a western film, so when the hero Sean first appeared, although no one introduced him, although he showed great forbearance and self-restraint, and even some people insulted him face to face and poured wine on him, he did not resist, but we would not really think that he was a loser as shown on the surface. We know that he must have unique skills. He must be a hero. Therefore, every provocation to Sean mentioned above is endowed with a different connotation, which makes the audience have different emotions, a kind of suspense, tension and expectation. Will Sean do it this time? How much longer can Sean endure? How good is Sean?

So, although Sean really shot in the last few minutes of the film, he really got rid of all the bad guys in just a few minutes, and then the film ended (the audience who came for the wonderful action scene would be disappointed). But the first half won’t make people feel any dull. In fact, because the director has created the atmosphere so well, the tension and suspense have always stimulated the audience. Every time we expect Sean to kill soon, and then our expectations fail; Then there is more tension, more expectation, and then failure again. Until finally, Sean’s anger pulls out the gun, which really makes you realize what is “climax”. The director’s scheduling is obviously not all due to the director’s personal credit, but to a greater extent, it is due to the audience’s expectation and suspense caused by the default of the type film routine. Because we know that Sean must be a hero and Sean will draw a gun.

Similarly, horror films actually rely on this type of default and suspense. Many people think that horror films mainly rely on surprise, which is actually wrong. Because before the last second shock, there is a long suspense and tension. This tension is the real source of terror, and the last shock releases your sense of terror.

This long tension is that you know what will happen. You just don’t know when and how it will happen. But the conventions between horror films and the audience tell you that when a fixed scene appears and strange music appears, something terrible will happen. The silly character in the film obviously doesn’t know this. He is still acting as usual, and the audience knows that he will be killed soon (of course, sometimes the director will deliberately joke). Therefore, in a state of tension, suspense, expectation and fear, we wait for the customary moment of terror, and the longer the moment is delayed, the more painful, nervous and afraid the audience will be. When the ghost (or murderer) really appeared as promised and killed the character, the audience was relieved, because the suspense disappeared and the tension disappeared (if there was any terrorist effect at this time, it was the degree of blood and nausea, which had nothing to do with the suspense).

Therefore, genre films are largely to create a “premise” for the audience. Only when the audience watches the film with the heart of knowing the “premise” in advance can they feel happiness, reconcile and read out the hidden meaning behind the picture.

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