In Contention

Tag: The Searchers

  • The films you’re supposed to love, but don’t

    Gene Kelly in Singin' in the RainBound to raise many a film buff’s hackles, The Guardian carries an entertaining piece today by novelist Tim Lott on the subject of “the worst best films ever made” — in other words, the roundly lauded and canonized classics that routine appear on “all-time greatest” lists but, well, simply aren’t all that.

    It’s a wholly subjective issue, of course, and Lott is unashamedly provocative (if overly glib) in tackling it, taking down some seriously big targets along the way. Films in the firing line include “The Searchers” (which he accuses of both racism and “rude mechanicals”), “Les Enfants du Paradis” (“dated, overlong and absurdly wordy”), “On the Waterfront” (“a masterclass in ham acting”) and “Death in Venice” (“a colossal piece of soft-focus masturbation”).

    I disagree on most counts, but now and then his venom strikes a chord of with me. I wouldn’t go as far as he does in calling “La Dolce Vita” a “turgid, lazy mess of half-realised conceits,” but I agree that it’s not a film that has aged particularly well; compared to the still-pristine “8½,” its experiments in anti-narrative look idle and incomplete. And I’m glad someone else has the courage to say that subsequent decades of radical reinvention in the field of the movie musical make “Singin’ in the Rain” look like a very ordinary achievement indeed. (I’ll just come out and say it: I can’t stand Gene Kelly.)

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  • The Duke’s greatest hits

    John Wayne in Sands of Iwo JimaAs Kris mentioned Wednesday, this week marks the 30th anniversary of John Wayne’s death.  I’ve always respected Wayne’s performances and have for a long time, long before it was fashionable, to be sure.

    It was considered somewhat ridiculous for an acting student to admire Wayne’s work in the 1970s and 1980s. My God, we were supposed to be worshipping at the altar of Marlon Brando, Robert De Niro and Al Pacino! Our professors hammered home the importance of truth in a performance, which I of course believe to be essential.  But I’ve always felt that Wayne’s finest performances were as truthful and as real as anything Brando did.

    Wayne could not do Shakespeare, and was horribly out of place in certain genres, but in his element — the American western, the war film, high adventure or romantic comedy — he was as good as anyone working in movies. There were some critics who appreciated his work while he was alive, but most came around after his death in 1979, which to me is rather sad.

    I have proposed a book on Wayne, slightly different from those out there already, that would focus on his best work on film. There are 11 performances in the Wayne filmography that were truly outstanding, in my opinion.  Here is perhaps a primer for Wayne fans, new, old and emerging — a list of his best performances and some comments as to why I think they deserve to be remembered forever. Let me know what you think.

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  • Respect for The Duke

    In light of Kris’s recent westerns piece, I thought it might be worth it to give some space to what I believe to be one of the most underrated actors of all time.

    Cinematical recently carried a marvelous article on John Wayne, supporting the belief that the screen legend was an exceptional actor (in the right role) and that perhaps Hollywood and the critics had not given him his due while alive.  Certainly his work was appreciated by audiences, who made him the top box office star for more than 20 years.

    I grew up watching Wayne and even defended him as an actor some time ago to a very skeptical university professor.  Using the actor’s performances in “The Searchers” and “The Shootist,” I wrote my paper and received an “A.” I figured I must have proved my case. But my professor passed me in the hall a year or so later and told me I had converted him to the Duke, and he had now seen many more of his films.

    Obviously part of the issue had been just that: he had not seen all of Wayne’s work — and he was more than a little attached to Sir Laurence Olivier (in my opinion the most overrated actor in the history of the cinema). But you could always see Olivier acting, working the trade.  I defy you to catch the Duke mugging.

    While Wayne often portrayed a variation of what audiences perceived him to be in real life, there were characters that challenged him as an actor and allowed him to stretch. Though he won the Academy Award for his jaunty performance as the tough old one-eyed geezer in “True Grit,” he certainly should have won for his raging Ethan Edwards in “The Searchers” and been nominated for at least a half dozen others.

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