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, by Glenn Frankel
Free PDF , by Glenn Frankel
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Product details
File Size: 3972 KB
Print Length: 432 pages
Publisher: Bloomsbury USA; 1 edition (February 19, 2013)
Publication Date: February 19, 2013
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B009SJZI60
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#5,076 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
I would love to give this book five stars, partially to poke a finger in the eye of the one-star reviewers who want their history black and white. Many of the one-star reviews, aside from those offended by Frankel not being goodthinkful, seem to have missed the point. This is not a book about The Searchers, it's a book about the idea of The Searchers. That is why Frankel spends many pages on Texas history, discusses Alan LeMay in context, and concludes with the countermythologies of Quanah Parker. The idea that the Anglo West was NOT racist (a prevailing one-star view) is a compound of silliness and ignorance that it's hard to take seriously. Frankel tries carefully to balance the racist bombast of white Texas history (Did 19C Texas have a single governor who didn't need to be whipped and tossed down a well?) with the stark (but apparently deniable) savagery of the free range Comanche, which of course offends the black and whities of both sides. He has done a good job of putting together the best of information, but this is not a book about information, it's an interpretation, and a good one.If you are haunted by the moral ambiguities of The Searchers, that great and profoundly racist film peppered with embarrassing slapstick and yet stark in its moments of honesty, you will enjoy this book. Frankel is examining the American soul and Ford, a sentimental bully and great artist, is as close to that soul as any of our filmmakers. Frankel weighs the pontificating against The Fate Worse Than Death against the reality of colliding and merging cultures; and he reminds us that the one thing worse that being captured by Indians was being rescued. He spends what might seem a long peripheral section on Quanah Parker, the Comanche leader who brilliantly navigated White America's schizoid attitude toward "the Indian." He traces the racist thread of The Searchers from the book (written by a man who had written sympathetic novels about Indians but consciously and deliberately chose this time to "tell the Texan side") through the development of the film and then full-length into the film's reception. It's an ambitious undertaking, and the resulting book is a great read.So why only three stars? Well, for starters, it is not "magnificent prose." Frankel is a journeyman writer. Barry Lopez, Larry McMurtry and Timothy Egan write "magnificent prose;" Frankel gets the words on the page, sometimes repetitively, seldom memorably. It is also true that Frankel can't be entirely relied on for accuracy (he does indeed put the Navajo reservation in northWEST Arizona, and I think he offers two different "translations" of Palo Duro, for example), and that taints the reliability of his original research (primarily on Cynthia Ann Parker). He spends far too much time lingering over the story of Parker. I've read a great deal about both her and her son Quanah (including Lucia St. Clair Robson's wonderfully evocative novel, Ride the Wind), and their story can be told more precisely and succinctly than Frankel does.Finally, the three stars are about a frustration other readers may not share. The most unknown and unexplored piece of the terrain Frankel is navigating is the transition from LeMay's novel to Ford's film, and this is the least informative section of the book. I read The Searchers more than 20 years ago, in the context of the film, and I remember how huge the gap seemed to me, between the novel and film. One solid spot in that gap is Frank Nugent's screenplay, which Frankel barely mentions, aside from reminding us that the screenplay is the recipe, the director is the cook. I read the screenplay (yesterday, in fact), and the gap between Nugent and the film is more than half the space. I wish Frankel had spared us some of the repetition in the first section and used the space to tell us, for example, if the emphasis on Martie's "Indian instincts," completely cut from the film, was part of Nugent's contribution or sourced from LeMay's original. In a word, the screenplay is considerably more racist (by which I mean inaccurately derogatory to Indians) than the film. I remember the novel that way, and I'm looking forward to reading it again in the context of Frankel's research and opinions. (Ironically, there is an essay on precisely this subject easily available in university libraries, by Arthur M. Eckstein.)In summary, this is a book I'm glad to have. I don't have the time or energy to research Ford or John Wayne, nor really much interest in them. Frankel gives me a reliable grasp of who they were in the context of this great film. I would not have hunted down the screenplay or read the novel again, if Frankel had not intrigued me with his own views. Like it or not, The Searchers is one of the greatest films ever made (in the view of critics), one of the ten great westerns (in the view of Western scholars and buffs), a casebook of American racism (in the view of American Indian critics, artists, and scholars), and a powerful indictment (because of Ford's essential humanism) of "Indian hating." This book is a fine way to meditate on those contradictions.On second thought, four stars.**************After writing this review, I obtained a copy of The Searchers and I can offer a few useful pieces of information. First and foremost, Marty is not "part Indian" in the book. On the contrary, the narrator makes a big point of his white parents, describing his father as a dark Welshman with blue eyes and his mother as a stunning, probably Irish, redhead. LeMay makes the three families (the Mathisons [Jorgensons in the film], the Pauleys, and the Edwards) pretty typical Scots-Irish of the era. So the whole trope of Martin's Indian blood was invented by Nugent (with whatever nudging from Ford) and then dialed back and modulated very carefully during the creation of the film.Some other important elements: (1) Amos (Ethan in the film) is not a rabid racist in the novel, just a man with a very dangerous temper and (2) he is killed before rescuing Debbie. (3) Martin does not spend the entire seven years of the search in a kind of perpetual post-adolescence. He sleeps with the tavern dancer and Laurie marries Charlie. (4) The strongest racist statement in the novel is made by Laurie, essentially her "and Martha would want him to" speech, but it is not in the context of desperately trying to change Marty's mind, is it, so to speak, in cold blood. (5) While the Comanches are not painted favorably in the novel, their motivations and culture are described with some empathy. Ironically, the embarrassingly racist element of the novel is LeMay's ugly attitude toward the Spanish.I haven't gone back to compare Frankel's discussion with my own observations, but I remain disappointed that he did not take the time to do more thoroughly what I have done in the paragraphs above.
First you need to know that this book dedicates a very small part to the making of the movie. I saw this movie when it first came out and 60 years later it's still my favorite and I think that this is the movie Wayne should have gotten the Academy Award for. There is some background info on Ford, Wayne, and some of the other people involved with the making of the movie but most of the book details the real life of the people the fictional book "The Searchers" was based on which in turn the movie was made from with a lot of changes. The Parkers moved to East Texas in the early 1830s and settled in Comanche territory. Cynthia Ann Parker was a young girl when she was kidnapped by the Comanches and lived for many years with them where she became a wife and had several children. An uncle spent years trying to find her just as the character in the movie looked for his niece. When she was freed she lived with family members that she had mostly forgotten but she was never happy and wanted to return to the Comanches, which she never did. One of her sons, Quannah Parker, became the most famous Comanche chieftains. So if you're just interested in the movie there isn't much here but if you want to know the full background and like history you came to the right place.
The Searchers was first seen on the silver screen in 1956. It has grown in stature and is considered by many film historians as the greatest Western ever made. It's director was the legendary John Ford (1894-1973) and its star was John Wayne. The movie is based on the real life story of the abduction by Comanche Indians of Cynthia Ann Parker in 1836 in the Texas Panhandle. During that time she had three children and was married to a chief. She was returned to her family in 1861 during a US Army raid on a Comanche village. She had become transformed from the nine year old child she was when she was captured to a woman whose only culture was now Cheyenne tribal life. She and her daughter lived with relatives and she died a few years following her return to white civilization. Years passed and the legend of Cynthia Ann Parker became Texas legend. Her half-breed son Quanah Parker become nationally known as a leader of the Comanche nation and a friend of Theodore Roosevelt. Her story was the basis of the novel by Alan Lemay which was turned into a movie by John Ford and M.C. Cooper with the help of money provided for the project by CV Whitney. The book is divided into the following sections:1. Over 180 pages which deal with the Cynthia Ann Parker story and the unsuccessful search to rescue her made by her uncle John Parker. He was the character on which the John Wayne role of Ethan was based.2. A section on the life and career of Quanah Parker showing how he became a rich and prominent land owner and favorite of the cattle barons of Oklahoma. He made sure his mother's story became well known and a monument was erected in her honor in Oklahoma.3. A chapter deals with the life of John Ford and his career. Ford won 4 Oscars for best director for The Informer; Stagecoach (the film which made John Wayne a star); How Green Was My Valley and The Quiet Man. Ford could be cruel and callous abusing his stars such as John Wayne and slapping Maureen O'Hara. He had several affairs. Ford was an Admiral in the U.S. Navy. A tough old cuss who was a master of the movies. One of the greatest directors who ever lived.4. John Wayne-Iowa born USC football player who worked his way up from forgettable B pictures to become the greatest Western star of all under the rough tutelage of John Ford,. An icon of the American man5. Production notes on the film made in Monument Valley location used by Ford in many movies. It is located on the Arizona-Utah border.. Ethan is like an Ahab in his search for his niece Debby. An excellent book on The Seekers, the Indians of the southwest and how myth and history intermix.
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