1 00:00:03,338 --> 00:00:08,810 John Ford, in some ways, was the most American of filmmakers. 2 00:00:08,977 --> 00:00:11,279 You know, this Irish immigrant... 3 00:00:12,614 --> 00:00:16,718 ...who so captured the best of America... 4 00:00:16,885 --> 00:00:18,786 ...what we think of as the American spirit... 5 00:00:18,953 --> 00:00:24,259 ...the can-do attitude, the optimism, the enterprise. 6 00:00:24,459 --> 00:00:25,793 And here, in The Searchers... 7 00:00:25,960 --> 00:00:29,864 ...he really looks to the dark side of America. 8 00:00:30,031 --> 00:00:35,069 This was, I think, an attempt of Ford's to come to terms... 9 00:00:36,437 --> 00:00:38,540 ...with something deeper in the human psyche... 10 00:00:38,706 --> 00:00:40,875 ...and, in particular, the American human psyche. 11 00:00:41,042 --> 00:00:42,911 And I think that comes from Ethan Edwards. 12 00:00:43,111 --> 00:00:45,713 He's not a villain. 13 00:00:45,914 --> 00:00:47,649 But at times, he's despicable. 14 00:00:47,849 --> 00:00:49,918 You know, and, yet... 15 00:00:50,084 --> 00:00:53,855 ...you'll love him when he says, "Let's go home, Debbie." 16 00:00:54,022 --> 00:00:55,290 What is that all about? 17 00:00:56,658 --> 00:00:58,259 He did bring her back, you know. 18 00:00:58,426 --> 00:01:00,895 And it's a very powerful thing. 19 00:01:01,062 --> 00:01:02,897 I think it really... 20 00:01:03,064 --> 00:01:08,069 ...strikes us in that place in our soul that needs to be justified. 21 00:01:08,269 --> 00:01:11,239 There is some meaning to our lives. 22 00:01:30,458 --> 00:01:36,431 I was 13 years old, and we had just been graduated from elementary school... 23 00:01:36,598 --> 00:01:39,300 ...St. Patrick's Old Cathedral elementary school. 24 00:01:39,467 --> 00:01:41,769 And myself and two friends... 25 00:01:43,137 --> 00:01:46,240 ...we felt we were adult enough to go up to 42nd Street or 44th Street... 26 00:01:46,407 --> 00:01:49,310 ...whatever it was, the Criterion Theater, have dinner in a restaurant... 27 00:01:49,477 --> 00:01:53,314 ...and then go to see this new Western that was starring John Wayne. 28 00:01:53,481 --> 00:01:56,050 We were aware of Ford's name from time to time... 29 00:01:56,217 --> 00:01:57,986 ...in other Westerns that we had seen. 30 00:01:58,186 --> 00:01:59,988 We saw, actually, a lot of them on television. 31 00:02:00,154 --> 00:02:04,292 And this, however, was different. I mean, this was a different situation. 32 00:02:04,492 --> 00:02:07,128 There's no doubt, I think, we went as young people. 33 00:02:07,295 --> 00:02:09,430 We went for the star, for Wayne. 34 00:02:09,597 --> 00:02:12,900 It was at a theater called The Sherman in the San Fernando valley. 35 00:02:13,067 --> 00:02:16,604 The Sherman was a theater that my family particularly liked... 36 00:02:16,771 --> 00:02:19,674 ...because it was a second-run theater, meaning it was cheap. 37 00:02:19,841 --> 00:02:22,677 And, in fact, kids of my age could get in free. 38 00:02:22,844 --> 00:02:26,781 They would just wave you, and you would duck under the turnstile. 39 00:02:26,981 --> 00:02:29,083 And I remember walking into the theater. 40 00:02:29,250 --> 00:02:30,518 N that “me... 41 00:02:31,185 --> 00:02:34,055 was we did for Vertigo, as we did for any major movie... 42 00:02:34,222 --> 00:02:36,691 ...we just walked in, in the middle. 43 00:02:39,661 --> 00:02:42,664 The first time I saw The Searchers was in the theater. 44 00:02:42,830 --> 00:02:46,267 And it was in Westwood Village. 45 00:02:46,434 --> 00:02:48,903 And I was completely blown away. 46 00:02:49,070 --> 00:02:51,472 I mean, I'd never seen a movie like it. 47 00:02:51,639 --> 00:02:56,344 I absolutely was convinced that this was, you know, the real West. 48 00:02:56,511 --> 00:02:59,180 Somehow, whoever made the movie was channeling... 49 00:02:59,347 --> 00:03:02,350 ...an experience of the real West directly to me. 50 00:03:02,517 --> 00:03:04,852 And, of course, you know, that's what I wanted. 51 00:03:05,019 --> 00:03:07,255 I wanted to live in the real West, you know. 52 00:03:07,422 --> 00:03:09,524 I didn't just wanna be one of those characters. 53 00:03:09,691 --> 00:03:13,161 I wanted to be Scar, is what I wanted be. 54 00:03:13,628 --> 00:03:16,431 And from the opening moment where she opens the door... 55 00:03:16,631 --> 00:03:20,068 ...and the camera goes out, suddenly, we were all very moved. 56 00:03:20,268 --> 00:03:24,138 I remember it, because it made such an impression on me. 57 00:03:24,305 --> 00:03:25,606 You know, it was... 58 00:03:26,207 --> 00:03:28,409 ...so different... 59 00:03:29,210 --> 00:03:30,845 was a Western, you know. 60 00:03:31,012 --> 00:03:34,549 It was so dark and, in fact, frightening. 61 00:03:34,716 --> 00:03:36,084 And, yet... 62 00:03:36,284 --> 00:03:38,786 ...John Wayne was so engaging... 63 00:03:38,986 --> 00:03:42,690 ...graceful, heroic, but full of anger and violence. 64 00:03:44,192 --> 00:03:46,761 It always stays in my mind. It's very disturbing. 65 00:03:46,961 --> 00:03:50,131 All this stuff, watching it even more on a big screen, is very disturbing. 66 00:03:50,331 --> 00:03:51,966 Stand aside, Martin. 67 00:03:52,166 --> 00:03:54,602 He was frightening, but that was attractive. 68 00:03:54,802 --> 00:03:57,271 It was, I think, probably confusing to me. 69 00:03:57,438 --> 00:04:00,608 And yet I loved it, you know, and wanted to see it again... 70 00:04:00,808 --> 00:04:04,011 ...and again and again, as I have through the years. 71 00:04:04,212 --> 00:04:06,114 I think I saw it four times in a row. 72 00:04:06,280 --> 00:04:09,117 And then I didn't see it again for many. many years... 73 00:04:09,283 --> 00:04:11,552 ...until I was in cinema school. 74 00:04:11,753 --> 00:04:15,089 And I was convinced for all those years that I had dreamed it. 75 00:04:16,357 --> 00:04:18,326 This is one of the most beautiful films ever... 76 00:04:18,493 --> 00:04:21,696 ...even if you see it in 35mm, which is the only way you're gonna see it today... 77 00:04:21,863 --> 00:04:24,499 ...if you ever see it projected. Because it was shot in VistaVision. 78 00:04:24,665 --> 00:04:27,735 I cannot tell you what that Vistavision looked like projected. 79 00:04:27,902 --> 00:04:30,071 There's nothing today that can equal that. 80 00:04:31,105 --> 00:04:34,509 First of all, the extraordinary space on the screen. 81 00:04:34,675 --> 00:04:38,513 Monument Valley has never been photographed any better. 82 00:04:38,679 --> 00:04:41,149 John Ford introduced us to Monument Valley. 83 00:04:41,315 --> 00:04:42,917 Us, movie fans. 84 00:04:43,084 --> 00:04:46,954 But many people have filmed Westerns in Monument Valley... 85 00:04:47,121 --> 00:04:49,924 ...and other spectacular locations. 86 00:04:50,124 --> 00:04:55,062 But, again, the way in which Ford used those locations is unique. 87 00:04:56,264 --> 00:04:59,233 I've never seen figures in a landscape that wide... 88 00:04:59,400 --> 00:05:01,235 ...to have such an emotional resonance. 89 00:05:01,402 --> 00:05:04,172 And the poetry of his language, the visual language that he-- 90 00:05:04,338 --> 00:05:05,907 They can say, "Well, yes, the cameraman." 91 00:05:06,073 --> 00:05:09,877 Obviously. But it's the relationship that he had with the cameraman. 92 00:05:10,077 --> 00:05:12,413 You know, you gotta speak the same language. 93 00:05:12,580 --> 00:05:14,849 You know, you have to really work together. 94 00:05:15,249 --> 00:05:17,051 Ford had the best eye. 95 00:05:17,218 --> 00:05:21,489 The visuals in Ford movies have never been surpassed by anybody... 96 00:05:21,689 --> 00:05:26,227 ...including Kurosawa or David Lean. Certainly, none of the people today. 97 00:05:26,394 --> 00:05:28,563 Kurosawa absolutely said-- 98 00:05:28,763 --> 00:05:31,465 They said to him, they said, "How did you learn to--? 99 00:05:31,632 --> 00:05:36,003 Did you study particular painters'? Were there Japanese painters? 100 00:05:36,170 --> 00:05:39,473 Were there European painters?" He said, "I studied John Ford." 101 00:05:39,674 --> 00:05:45,446 A combination of, you know, Ford and VistaVision and that three-strip color. 102 00:05:45,646 --> 00:05:50,418 VistaVision was the best format ever created for cinema. 103 00:05:50,585 --> 00:05:52,286 What was great about it was that it was... 104 00:05:52,453 --> 00:05:55,756 ...not only just a widescreen, which was also higher... 105 00:05:55,923 --> 00:06:00,194 ...but had an extraordinary depth of field, everything in crystal-clear focus. 106 00:06:00,728 --> 00:06:04,098 You could see the expressions on the actors... 107 00:06:04,265 --> 00:06:06,300 ...the faces, the body movements much clearer... 108 00:06:07,168 --> 00:06:08,836 ...than a normal widescreen film. 109 00:06:09,237 --> 00:06:11,038 And so... 110 00:06:11,205 --> 00:06:13,307 ...two things happened: 111 00:06:13,474 --> 00:06:15,710 One, they didn't go in for many close-ups. 112 00:06:15,877 --> 00:06:19,580 You could see from, usually, full figure, below-the-knee up. 113 00:06:19,747 --> 00:06:23,784 And, somehow, it became more of an actor's medium. 114 00:06:23,951 --> 00:06:27,021 You really appreciate the actor. The actor could just move to the left. 115 00:06:27,221 --> 00:06:28,689 You say, "Wow, that was great.“ 116 00:06:30,258 --> 00:06:32,793 Some of the more extraordinary, deeper... 117 00:06:32,994 --> 00:06:36,030 ...scenes are all done in medium shot and wide shot... 118 00:06:36,197 --> 00:06:39,100 ...so that when Ward Bond takes that cup of coffee... 119 00:06:39,267 --> 00:06:41,068 ...in the foreground staring straight ahead... 120 00:06:41,235 --> 00:06:44,639 ...and John Wayne comes out and goes to say goodbye to Martha... 121 00:06:44,805 --> 00:06:47,475 ...there's a slight hesitation. He kisses her on the forehead. 122 00:06:47,642 --> 00:06:51,112 Ward Bond has never seen a thing. He's staring ahead, drinking that coffee. 123 00:06:51,279 --> 00:06:53,547 But, clearly, the moment is so charged... 124 00:06:53,714 --> 00:06:56,250 ...with mutual longing. 125 00:06:56,417 --> 00:06:58,986 And, you know, that's pure moviemaking. 126 00:06:59,186 --> 00:07:01,622 That's pure John Ford. 127 00:07:01,822 --> 00:07:04,025 He forces you to use your imagination. 128 00:07:04,191 --> 00:07:08,496 When you think back to how Ford told this story... 129 00:07:08,663 --> 00:07:12,566 ...one of the things you realize is that the violence in the movie... 130 00:07:12,733 --> 00:07:14,936 ...is so dark and affecting... 131 00:07:15,102 --> 00:07:18,539 ...partly because you don't see it. 132 00:07:21,575 --> 00:07:24,278 We see John Wayne come down from the canyon... 133 00:07:24,445 --> 00:07:26,447 ...where he discovered Lucy's body. 134 00:07:26,614 --> 00:07:30,584 And we're left to imagine what he saw there. 135 00:07:32,019 --> 00:07:34,221 The raid on the farmhouse. 136 00:07:34,388 --> 00:07:38,659 Harry Carey Jr.'s suicidal attack on the Indians. 137 00:07:38,826 --> 00:07:42,396 The killing of Scar at the end of the movie. 138 00:07:43,264 --> 00:07:45,833 It's not about the violence. 139 00:07:46,000 --> 00:07:49,103 It's about the effects of the violence. 140 00:07:49,270 --> 00:07:51,472 - Was she...'.7 - What do you want me to do? 141 00:07:51,639 --> 00:07:54,775 Draw you a picture? Spell it out'? 142 00:07:54,976 --> 00:07:57,044 Don't ever ask me! 143 00:07:57,244 --> 00:07:59,714 One of the most powerful moments in the film... 144 00:07:59,880 --> 00:08:02,917 ...and most violent moment I remember ever in film... 145 00:08:03,084 --> 00:08:06,354 ...is when they come to the burning house. 146 00:08:06,554 --> 00:08:08,622 You know, here's the dress with blood on it. 147 00:08:08,789 --> 00:08:10,191 This ragged dress... 148 00:08:10,358 --> 00:08:12,994 ...meaning that she was nude and that she was raped. 149 00:08:13,961 --> 00:08:16,297 And Wayne comes out. 150 00:08:17,365 --> 00:08:20,501 Jeffrey Hunter comes up, and he says, "Don't go in there.“ 151 00:08:20,668 --> 00:08:22,636 And he says, "But is that Aunt Martha?" 152 00:08:22,803 --> 00:08:24,839 He says, "Don't go in there," and he hits him. 153 00:08:25,039 --> 00:08:28,009 Because he can't go in there again. 154 00:08:28,175 --> 00:08:31,679 They're just gonna let the place burn, because he didn't wanna see it again. 155 00:08:31,846 --> 00:08:35,483 And whatever it is that's in there is too much for the Duke. 156 00:08:35,649 --> 00:08:37,184 Well, I don't wanna see it either. 157 00:08:37,651 --> 00:08:39,653 It showed me right then, as a filmmaker... 158 00:08:39,854 --> 00:08:42,990 ...that it's often much better not to see things. 159 00:08:43,157 --> 00:08:45,192 Ford created that language. 160 00:08:45,359 --> 00:08:47,595 He started when movies started. 161 00:08:47,795 --> 00:08:51,866 And it's a very refined and sophisticated grammar. 162 00:08:52,066 --> 00:08:55,236 And as we grew and we watched the film on television... 163 00:08:55,403 --> 00:08:58,639 ...and I'm not talking about film critics, I'm talking about, you know... 164 00:08:58,806 --> 00:09:01,475 ...average guys, average kids, average young men.“ 165 00:09:01,675 --> 00:09:03,911 ...who were basically filmgoers and film lovers... 166 00:09:04,078 --> 00:09:06,080 ...we would suddenly become aware of more subtext... 167 00:09:06,247 --> 00:09:08,783 ...and more subtext in the picture. And once we caught on... 168 00:09:09,050 --> 00:09:12,453 ...and Ethan Edwards's character, what was really going on inside of him... 169 00:09:12,620 --> 00:09:15,656 ...it became a whole different picture. 170 00:09:15,856 --> 00:09:19,493 There are so many things in the script that are so specific and so brilliant... 171 00:09:19,660 --> 00:09:23,130 ...the way it ties together all the various themes... 172 00:09:23,297 --> 00:09:25,266 ...the way it deals with religion... 173 00:09:26,100 --> 00:09:27,568 ...in a conflicted way. 174 00:09:27,768 --> 00:09:30,604 John Ford's films are very Catholic. This is another issue. 175 00:09:30,771 --> 00:09:32,273 And they deal with morality. 176 00:09:32,440 --> 00:09:36,077 And they deal with what's right and what's wrong in a very powerful way. 177 00:09:36,277 --> 00:09:38,612 The Reverend Samuel Johnson Clayton. 178 00:09:38,779 --> 00:09:40,915 Mighty impressive. 179 00:09:41,082 --> 00:09:44,185 Well, the prodigal brother. 180 00:09:44,385 --> 00:09:45,686 The constant thing is that... 181 00:09:45,853 --> 00:09:48,789 ...the language reflects the Old Testament throughout the whole movie. 182 00:09:50,257 --> 00:09:52,827 The reverend, played by Ward Bond, is also a captain. 183 00:09:52,993 --> 00:09:56,497 Here, you have the double-edged sword-- Almost like a God of the Old Testament. 184 00:09:56,664 --> 00:09:59,767 Comments on religion are throughout the picture, you know. 185 00:09:59,934 --> 00:10:02,870 It's Ethan Edwards's attitude toward religion. 186 00:10:03,671 --> 00:10:05,973 When they find the dead Indian... 187 00:10:06,140 --> 00:10:10,077 ...and he, shockingly, especially given that it's John Wayne... 188 00:10:11,145 --> 00:10:13,848 ...shoots the dead Indian twice in the head... 189 00:10:14,048 --> 00:10:15,883 ...shooting out his eyes. 190 00:10:16,050 --> 00:10:19,086 And Ward Bond, who's not only the captain... 191 00:10:19,253 --> 00:10:21,856 ...but also a preacher, you know, says: 192 00:10:22,022 --> 00:10:25,659 - What good did that do you'? - By what you preach, none. 193 00:10:26,060 --> 00:10:28,896 He doesn't say, "By what we believe." 194 00:10:29,063 --> 00:10:30,865 He says, "By what you preach.“ 195 00:10:31,065 --> 00:10:32,633 But what that Comanche believes... 196 00:10:32,833 --> 00:10:35,069 ...ain't got no eyes, he can't enter the spirit land. 197 00:10:35,236 --> 00:10:37,872 Has to wander forever between the winds. 198 00:10:38,038 --> 00:10:40,141 You get it, Reverend. Come on, blanket head. 199 00:10:40,307 --> 00:10:46,113 He's knowledgeable about both religions, but, clearly, does not embrace either. 200 00:10:46,313 --> 00:10:49,150 And there's even that wonderful moment when Nesby, who gets shot... 201 00:10:49,316 --> 00:10:51,452 ...Ward Bond gives him the Bible to hold on to. 202 00:10:51,619 --> 00:10:54,421 Hold it. Make you feel good. 203 00:10:54,622 --> 00:10:56,524 And it's very moving. 204 00:10:56,724 --> 00:10:58,325 Well, also right in that same sequence... 205 00:10:58,492 --> 00:11:01,095 was the Indians are about to charge across the river, Mose says: 206 00:11:01,762 --> 00:11:05,833 For that which we are about to receive, we thank thee, O Lord. 207 00:11:06,033 --> 00:11:07,301 The Mose Harper character... 208 00:11:07,468 --> 00:11:11,272 ...played by Hank Worden, is some of the more eccentric readings in history. 209 00:11:11,472 --> 00:11:15,743 Don't want no money, Ethan. No money, Many. 210 00:11:15,910 --> 00:11:20,447 Just a roof over old Muse's head... 211 00:11:20,614 --> 00:11:22,783 ...and a rocking chair by the fire. 212 00:11:23,484 --> 00:11:27,054 The fool who keeps coming in and out. But winds up helping them find Debbie. 213 00:11:27,221 --> 00:11:31,125 He's got the most poetic and the most fascinating language. 214 00:11:31,292 --> 00:11:33,227 And his mind works interestingly. 215 00:11:33,394 --> 00:11:35,829 Mose, how far is the river'? 216 00:11:36,730 --> 00:11:40,901 I've been baptized, Reverend. I've been baptized. 217 00:11:41,068 --> 00:11:42,703 Shut up, you old fool. 218 00:11:43,137 --> 00:11:46,774 And it reflects the country, it reflects what America was, at that time... 219 00:11:46,974 --> 00:11:50,411 ...we think, or what the image that Ford was giving of it, because he was born-- 220 00:11:50,578 --> 00:11:52,379 Ford was born in the late 19th century. 221 00:11:52,580 --> 00:11:54,381 He still had aspects-- The roots were there. 222 00:11:54,548 --> 00:11:56,617 He probably knew people who were alive in the 1860s. 223 00:11:56,784 --> 00:11:58,519 I always said about Ford and Hawks... 224 00:11:58,686 --> 00:12:02,356 ...that they were closer to the West than we were. 225 00:12:02,556 --> 00:12:04,992 I mean, when Ford was starting his career... 226 00:12:05,159 --> 00:12:07,795 ...there were still bandits in the San Fernando valley. 227 00:12:07,995 --> 00:12:11,599 We see a world that was so rooted in the Puritan way. 228 00:12:11,765 --> 00:12:15,269 And, yet, dealing out there in the West, trying to create the civility... 229 00:12:15,436 --> 00:12:17,871 ...the marriage, where they're wearing their best clothes... 230 00:12:18,038 --> 00:12:21,442 ...the way they move a certain way, that's all disrupted by the fight. 231 00:12:21,642 --> 00:12:24,612 What's interesting is the nature of the image that Ford creates. 232 00:12:24,812 --> 00:12:26,547 That is that Ken Curtis and Jeffrey Hunter... 233 00:12:26,714 --> 00:12:28,882 ...are just covered with red dust. 234 00:12:29,383 --> 00:12:31,852 Even when they go in the house and start to fight again... 235 00:12:32,052 --> 00:12:34,855 ...the red dust goes flying. The authenticity and beauty of that. 236 00:12:35,022 --> 00:12:37,825 But the red dust is the earth. It's what they're living on. 237 00:12:37,992 --> 00:12:40,594 They're settling on. It's the nature of the conflict, itself. 238 00:12:42,229 --> 00:12:44,698 One of the things about The Searchers is you get a sense... 239 00:12:44,898 --> 00:12:47,968 ...of the unremitting power of the land. 240 00:12:48,168 --> 00:12:54,108 That all of this drama is played out against this vast landscape. 241 00:12:54,275 --> 00:12:59,413 It's this very, very harsh West, where distances are great, you know. 242 00:12:59,580 --> 00:13:02,883 They travel all the way down to Mexico, you know... 243 00:13:03,050 --> 00:13:06,420 ...and all the way back up to somewhere else. 244 00:13:07,521 --> 00:13:09,490 There's an extraordinary sequence of the letter... 245 00:13:09,657 --> 00:13:12,259 ...where Vera Miles reads the letter. And, interestingly enough... 246 00:13:12,426 --> 00:13:14,528 ...for the master of this level, John Ford... 247 00:13:14,728 --> 00:13:17,831 ...where you think, "Well, in the old days they used to do flashbacks... 248 00:13:17,998 --> 00:13:23,170 ...with rippling dissolves and irises in and out and zooming in and out." 249 00:13:23,337 --> 00:13:26,240 Watch this picture. She starts reading the letter, and you cut directly... 250 00:13:26,440 --> 00:13:28,509 ...to the action. it's a cut. 251 00:13:28,676 --> 00:13:31,478 This begins to intercut. There's a story within a story. 252 00:13:31,679 --> 00:13:35,149 Talking about technique, the intercutting of the flashback... 253 00:13:35,316 --> 00:13:38,185 ...or the narrative is very straightforward. 254 00:13:38,352 --> 00:13:41,322 The audience is not catered down to. 255 00:13:41,989 --> 00:13:43,857 And I think what was very effective... 256 00:13:44,024 --> 00:13:48,529 ...I liked in that, was that she starts reading the letter... 257 00:13:48,696 --> 00:13:52,333 ...and then it goes into Jeffrey Hunter's voice. 258 00:13:52,499 --> 00:13:55,402 So, you know, if you think about that... 259 00:13:55,569 --> 00:13:58,605 ...that's a sort of daring thing to do. 260 00:13:58,772 --> 00:14:01,842 But it works perfectly smoothly because it's logical. 261 00:14:02,042 --> 00:14:04,044 The way the letter is used in The Searchers... 262 00:14:04,211 --> 00:14:06,613 ...is kind of a unique storytelling device... 263 00:14:06,814 --> 00:14:10,050 ...because it serves in the sort of foreground... 264 00:14:10,217 --> 00:14:13,520 ...to illuminate what's going on back home, as it were... 265 00:14:13,687 --> 00:14:17,858 ...and also, structurally, is used to condense... 266 00:14:18,025 --> 00:14:20,994 ...the enormous passing of time. 267 00:14:21,929 --> 00:14:25,132 The letter also lets us see that Vera Miles... 268 00:14:25,299 --> 00:14:28,502 ...while still yearning for Jeffrey Hunter's return... 269 00:14:28,669 --> 00:14:32,639 ...is getting increasingly angry and frustrated. 270 00:14:33,640 --> 00:14:37,644 There's an innocence to Martin Pawley and Vera Miles... 271 00:14:37,845 --> 00:14:40,848 ...that plays out almost as children, in a way. He's a boy. 272 00:14:41,014 --> 00:14:44,318 The women are around them, she loves him. He doesn't get it. 273 00:14:44,485 --> 00:14:48,422 I think that is the counterpoint to the truth... 274 00:14:48,589 --> 00:14:51,425 ...to the truth of what Ethan knows and-- 275 00:14:51,592 --> 00:14:54,361 In the most dark way, you know. 276 00:14:55,195 --> 00:14:57,197 Interestingly enough... 277 00:14:57,364 --> 00:15:00,701 ...she, later, turns in her wedding dress and sounds just like Ethan Edwards. 278 00:15:00,968 --> 00:15:04,004 You're not going. Not this time. 279 00:15:04,171 --> 00:15:06,940 - You crazy'? -It's too late. 280 00:15:07,107 --> 00:15:08,709 She's a woman grown now. 281 00:15:08,876 --> 00:15:11,912 We suddenly see that she's a racist too. 282 00:15:12,079 --> 00:15:13,614 Fetch what home? 283 00:15:13,781 --> 00:15:16,450 The leavings of Comanche bucks, sold to the highest bidder... 284 00:15:16,617 --> 00:15:22,055 Remember, she's saying these things to Martin, who's part Indian himself. 285 00:15:22,322 --> 00:15:25,426 And not only does she say that Ethan Edwards will kill Debbie... 286 00:15:25,592 --> 00:15:29,062 ...but she says Martha would want him to. 287 00:15:29,229 --> 00:15:32,499 The emotion over this issue runs so deep... 288 00:15:32,666 --> 00:15:35,803 ...that a woman would want her own daughter killed. 289 00:15:37,271 --> 00:15:39,306 Ethan. 290 00:15:39,473 --> 00:15:41,842 What about Debbie? 291 00:15:45,045 --> 00:15:48,282 I think the reason, or one of the reasons, that The Searchers... 292 00:15:48,449 --> 00:15:51,885 ...is such a rich, rewarding experience... 293 00:15:52,085 --> 00:15:55,355 ...to have again and again through life... 294 00:15:55,556 --> 00:15:58,592 ...is that we all see ourselves in this character. 295 00:15:58,792 --> 00:16:01,195 I think to a certain extent-- You can make a mistake and say: 296 00:16:01,361 --> 00:16:05,866 "Ethan Edwards is John Ford.“ But I think it's not that simple. 297 00:16:06,033 --> 00:16:09,102 By that time I think he was looking for something more in himself. 298 00:16:09,269 --> 00:16:11,038 To express himself a different way. 299 00:16:11,238 --> 00:16:14,608 How far could he go as a filmmaker? 300 00:16:14,775 --> 00:16:17,678 And I think for this he had to turn inward. 301 00:16:17,845 --> 00:16:20,714 He was a man like Ethan Edwards... 302 00:16:20,881 --> 00:16:23,817 ...who also knew what it was like to be an outsider... 303 00:16:23,984 --> 00:16:26,887 ...a stranger from hearth and home. 304 00:16:27,054 --> 00:16:31,325 Having gone through the war... 305 00:16:31,492 --> 00:16:34,027 ...the way he did. Having seen the sights he saw. 306 00:16:34,194 --> 00:16:37,931 Having directed over 140 movies. 307 00:16:38,098 --> 00:16:42,035 This was a man who had a lot of Ethan Edwards in him. 308 00:16:42,336 --> 00:16:47,107 This was a man who knew what it took to keep going... 309 00:16:47,274 --> 00:16:49,209 ...when everyone else wanted to stop. 310 00:16:49,376 --> 00:16:51,879 Who had the strength and perseverance... 311 00:16:52,045 --> 00:16:55,682 ...that must have been both intimidating and also inspiring. 312 00:16:55,883 --> 00:16:58,986 So from what he did with Ethan Edwards in this picture... 313 00:16:59,152 --> 00:17:02,222 ...is take the Wayne persona somehow... 314 00:17:02,389 --> 00:17:07,427 ...start to give it a more interestingly deeper psychological complexity... 315 00:17:07,628 --> 00:17:09,763 ...and develop it in later films he made. 316 00:17:09,963 --> 00:17:11,598 I don't know if it was successful... 317 00:17:11,765 --> 00:17:13,867 ...but he was trying to go in that direction, to push himself. 318 00:17:14,034 --> 00:17:18,839 That is the man John Ford changing over time. 319 00:17:19,006 --> 00:17:25,379 And it's also the culture changing. And him being impacted by it. 320 00:17:25,579 --> 00:17:28,348 You certainly don't feel he dealt with race... 321 00:17:28,515 --> 00:17:30,817 ...the way he does in The Searchers... 322 00:17:30,984 --> 00:17:33,820 ...because the culture was changing and he wanted to make a hit. 323 00:17:34,021 --> 00:17:38,659 There's nothing about this decision that seems commercial in its intent. 324 00:17:39,393 --> 00:17:43,497 All of this was deliberate. It begins with Martin Pawley... 325 00:17:43,664 --> 00:17:47,200 ...who is of mixed blood, which he wasn't in the novel. 326 00:17:47,367 --> 00:17:50,404 And the first time we see him, he rides up... 327 00:17:50,571 --> 00:17:53,807 ...and jumps off his horse Indian-style... 328 00:17:53,974 --> 00:17:58,211 ...and Ethan Edwards says to him very disparagingly: 329 00:17:58,378 --> 00:18:01,348 Fella could mistake you for a half-breed. 330 00:18:01,548 --> 00:18:05,819 Not quite. I'm eighth Cherokee. And the rest is Welsh and English. 331 00:18:06,019 --> 00:18:07,754 At least that's what they tell me. 332 00:18:07,955 --> 00:18:10,991 Questions of race run through every minute of The Searchers. 333 00:18:11,959 --> 00:18:15,028 And we see the violence and racism of our society... 334 00:18:15,195 --> 00:18:17,197 ...from which none of us is immune. 335 00:18:17,397 --> 00:18:21,802 You speak pretty good American for a Comanche. 336 00:18:22,002 --> 00:18:23,470 Someone teach you'? 337 00:18:23,670 --> 00:18:28,775 The similarities between Scar and Ethan Edwards... 338 00:18:28,976 --> 00:18:33,847 ...are so numerous that one feels Scar is his alter ego. 339 00:18:34,047 --> 00:18:38,585 You speak good Comanche. Someone teach you'? 340 00:18:38,785 --> 00:18:42,389 He was dealing with a subject that was important to him. 341 00:18:42,589 --> 00:18:47,427 And undoubtedly he had deep feelings... 342 00:18:47,594 --> 00:18:50,597 ...about the way he had dealt with this subject in the past. 343 00:18:56,737 --> 00:19:00,007 We're all used to hearing the sound of the bugle... 344 00:19:00,173 --> 00:19:02,309 ...and having a certain reaction to it. 345 00:19:02,476 --> 00:19:06,313 He comes the cavalry. Here come the good guys. 346 00:19:06,480 --> 00:19:09,182 John Ford celebrated this in several movies... 347 00:19:09,349 --> 00:19:11,852 ...most notably in She Wore a Yellow Ribbon. 348 00:19:12,019 --> 00:19:15,589 But here in The Searchers he turns this on its head. 349 00:19:16,089 --> 00:19:21,061 Ethan Edwards and Martin Pawley hear the bugle of the cavalry. 350 00:19:21,261 --> 00:19:24,031 And what do they find after the cavalry is gone? 351 00:19:24,631 --> 00:19:26,566 They find a massacre. 352 00:19:27,100 --> 00:19:30,470 This had never been seen in a Hollywood movie before. 353 00:19:30,637 --> 00:19:33,674 And the very thing that he's accused of, being a racist... 354 00:19:33,840 --> 00:19:35,208 ...is proof that he isn't a racist. 355 00:19:35,375 --> 00:19:38,078 That he does this movie because he deals with this. 356 00:19:38,245 --> 00:19:41,848 He shows that the humanity goes way beyond us. 357 00:19:42,015 --> 00:19:44,985 That he wants Martin Pawley to have the tainted blood. 358 00:19:45,152 --> 00:19:50,090 He wants Ethan to look and say, "She ain't white anymore." 359 00:19:50,257 --> 00:19:52,893 And then to save her at the end. And this kind of thing. 360 00:19:53,060 --> 00:19:56,530 He wants to go beyond that. He's anything but racist. 361 00:19:56,730 --> 00:19:59,800 This is 1956 when it came out. It was shot in '55... 362 00:19:59,966 --> 00:20:02,769 ...it was right around the time of the Cold War... 363 00:20:02,936 --> 00:20:06,339 ...it really was the breakdown of censorship in Hollywood... 364 00:20:06,540 --> 00:20:08,842 ...which was beginning to confront and deal with these issues... 365 00:20:09,009 --> 00:20:12,012 ...and here it is up on the screen. 366 00:20:12,179 --> 00:20:14,414 There's a kind of savagery in the film. 367 00:20:14,614 --> 00:20:16,983 You understand the hatred. You understand why he's hated. 368 00:20:17,150 --> 00:20:19,920 You understand that we hate, if we read the book or see the film. 369 00:20:20,087 --> 00:20:22,456 But you understand why he's reacting that way. 370 00:20:22,656 --> 00:20:26,593 And the tragedy of the destruction of the Native Americans... 371 00:20:26,760 --> 00:20:32,632 ...the tragedy of the clash of one culture and civilization taking over another. 372 00:20:32,833 --> 00:20:37,070 Tribalism, that's what the movie's about, not race but tribe. 373 00:20:37,771 --> 00:20:39,639 They're so far apart. 374 00:20:39,806 --> 00:20:43,243 ...that they look upon the Native Americans as not even human... 375 00:20:43,443 --> 00:20:46,813 ...or from outer space. Look at the scene with the white “captives"... 376 00:20:47,581 --> 00:20:50,817 ...at the fort, with that extraordinary and very telling line... 377 00:20:50,984 --> 00:20:54,688 ...where the soldier says, "It's hard to believe they're white.“ 378 00:20:54,888 --> 00:20:57,924 And he says, "They not. They're Comanche." 379 00:20:58,091 --> 00:21:00,494 And as he's walking out of the room... 380 00:21:00,660 --> 00:21:05,098 ...he suddenly pauses and wheels around... 381 00:21:05,298 --> 00:21:09,703 ...and the camera just dollies right in on his face. 382 00:21:09,870 --> 00:21:11,805 And one of the great close-ups in movies... 383 00:21:11,972 --> 00:21:13,473 ...when the camera moves in on Wayne's face. 384 00:21:13,974 --> 00:21:17,144 There's no light on his eyes. It's just from here on down. 385 00:21:17,310 --> 00:21:19,846 And it's just unbelievable shot. 386 00:21:20,013 --> 00:21:24,918 And you just see this look that you can read in contempt. 387 00:21:25,118 --> 00:21:31,458 You can read in loathing. And just the coldest, hardest eyes one could ever see. 388 00:21:31,625 --> 00:21:34,327 And it's like looking into the eyes of hell. 389 00:21:34,528 --> 00:21:37,197 And you see that he's twisted there. By that point he wants to kill. 390 00:21:37,397 --> 00:21:42,969 Wayne does it so wonderfully, just conveys so much with his expression. 391 00:21:43,170 --> 00:21:45,572 But it is also enhanced by the camera move. 392 00:21:45,739 --> 00:21:51,978 And John Ford as a director is so spare in his camera movement... 393 00:21:52,145 --> 00:21:54,815 ...that when he moves the camera it has a meaning. 394 00:21:55,649 --> 00:21:57,117 Also the language. 395 00:21:57,284 --> 00:22:01,488 Human rides a horse until it dies, then he goes on afoot. 396 00:22:01,655 --> 00:22:06,827 Comanche comes along, gets that horse up, rides him 20 more miles... 397 00:22:07,027 --> 00:22:08,595 ...then eats him. 398 00:22:08,795 --> 00:22:13,934 Wayne's extraordinary cadence, his pacing of the language. 399 00:22:14,100 --> 00:22:17,304 His security in the language, which is very interesting... 400 00:22:17,504 --> 00:22:20,240 ...because he was always underrated as an actor. 401 00:22:20,407 --> 00:22:23,376 - Totally underrated as an actor. - Only the Duke could do it. 402 00:22:23,710 --> 00:22:27,280 And I love the fact that people actually have the audacity to say: 403 00:22:27,447 --> 00:22:30,217 "Oh, the Duke wasn't a really great actor." 404 00:22:30,417 --> 00:22:34,287 Who but John Wayne actually could say it the way he says it. 405 00:22:34,454 --> 00:22:38,625 "The turning of the earth.“ "As sure as the turning of the earth." 406 00:22:38,825 --> 00:22:41,127 It's just-- It's biblical. 407 00:22:41,294 --> 00:22:44,464 So we'll find them in the end, I promise you. 408 00:22:44,664 --> 00:22:46,633 We'll find them. 409 00:22:46,800 --> 00:22:50,203 Just as sure as the turning of the Earth. 410 00:22:50,437 --> 00:22:52,572 It feels when we watch The Searchers... 411 00:22:52,739 --> 00:22:56,309 ...and watch John Wayne's performance in this movie... 412 00:22:56,543 --> 00:23:00,380 ...that we are seeing the truth... 413 00:23:00,547 --> 00:23:05,218 ...and because the truth is ugly and increasingly deranged... 414 00:23:05,385 --> 00:23:09,322 ...and completely contrary to the movie-star image of John Wayne... 415 00:23:09,489 --> 00:23:12,292 ...it seems like an incredibly brave performance. 416 00:23:12,459 --> 00:23:15,095 You watch the disintegration of this man throughout the picture. 417 00:23:15,295 --> 00:23:17,530 He becomes crazier and crazier. It's very shocking. 418 00:23:17,697 --> 00:23:19,499 This is what made the film grow. 419 00:23:19,666 --> 00:23:21,501 I think ifs really the character of Ethan. 420 00:23:21,668 --> 00:23:24,004 His relationship ultimately with Marty Pawley. 421 00:23:24,204 --> 00:23:27,607 The father-son relationship there, how that develops. 422 00:23:27,774 --> 00:23:31,344 The relationship between Ethan Edwards and Martin Pawley... 423 00:23:31,511 --> 00:23:34,848 ...is clearly at the core of The Searchers. 424 00:23:35,015 --> 00:23:36,816 The Searchers, it's plural. 425 00:23:37,017 --> 00:23:40,487 And you see through the course of the movie... 426 00:23:40,654 --> 00:23:43,356 ...this character grow up, literally. 427 00:23:43,523 --> 00:23:46,326 He has blossomed into the one... 428 00:23:46,493 --> 00:23:50,330 ...that we look to, to in fact stop Ethan Edwards... 429 00:23:50,530 --> 00:23:53,566 ...from the horrible act that he's contemplating. 430 00:23:53,733 --> 00:23:57,304 It ain't gonna be that way. She's alive. She's gonna stay alive. 431 00:23:57,470 --> 00:23:59,906 John Ford for many years... 432 00:24:00,140 --> 00:24:04,077 ...was in fact Ethan Edwards to John Wayne's Martin Pawley. 433 00:24:04,244 --> 00:24:09,049 The stories that you hear of the way that he would tease him. 434 00:24:09,215 --> 00:24:11,184 The way that he would sort of abuse him... 435 00:24:11,351 --> 00:24:15,055 ...and yet the way that he would also give to him... 436 00:24:15,221 --> 00:24:18,658 ...in the way that Ethan Edwards gives to Martin Pawley. 437 00:24:18,825 --> 00:24:21,328 Everybody has told me how hard Ford was on John Wayne... 438 00:24:21,494 --> 00:24:24,331 ...but I don't think that was so by that time. 439 00:24:24,497 --> 00:24:27,100 You get a sense-- They hadn't done a film in a while. 440 00:24:27,267 --> 00:24:30,737 And so you get a sense that maybe they didn't know... 441 00:24:30,904 --> 00:24:33,306 ...how many of them more they were gonna be able to do. 442 00:24:33,506 --> 00:24:37,110 The collaboration between John Wayne and John Ford... 443 00:24:37,277 --> 00:24:41,815 ...is one of the great actor-director collaborations in movie history. 444 00:24:42,015 --> 00:24:46,353 And every once in a while, we'll see a picture... 445 00:24:46,519 --> 00:24:49,556 ...where an actor-director collaboration... 446 00:24:49,723 --> 00:24:55,061 ...produces both a performance and a movie... 447 00:24:55,228 --> 00:25:00,533 ...where we feel that the truth before us... 448 00:25:00,800 --> 00:25:04,904 ...that the actor's delivering in his performance... 449 00:25:05,071 --> 00:25:07,707 ...is so raw and so real... 450 00:25:07,874 --> 00:25:09,943 ...that for the first time... 451 00:25:10,143 --> 00:25:14,647 ...we're actually seeing the essence of that man. 452 00:25:15,181 --> 00:25:19,919 And in fact the essence of the filmmaker with whom he is working. 453 00:25:20,086 --> 00:25:22,455 From Stagecoach, 1939, when Johnny Ringo... 454 00:25:22,655 --> 00:25:25,058 ...played by the American Western hero... 455 00:25:25,225 --> 00:25:30,663 ...the mythological hero-- The gunfighter who's really a good guy. --to the cavalry. 456 00:25:30,830 --> 00:25:34,267 And this is John Wayne's progression as an actor, to playing Captain Brittles... 457 00:25:34,434 --> 00:25:37,470 ...the older man, to finally The Searchers... 458 00:25:37,637 --> 00:25:40,673 ...was the arc that he took this young actor. 459 00:25:40,840 --> 00:25:44,144 And went with him and used him as, in a way, his device... 460 00:25:44,310 --> 00:25:46,513 ...to explore himself changing. 461 00:25:46,713 --> 00:25:50,150 I think Brittles to a certain extent had a lot to do with Ford himself too. 462 00:25:50,316 --> 00:25:52,018 From She Wore a Yellow Ribbon. 463 00:25:52,185 --> 00:25:53,620 You can also see a change in America. 464 00:25:53,787 --> 00:25:58,925 You can see the change-- His perception, I should say, of America. 465 00:25:59,125 --> 00:26:00,660 He couldn't understand today. 466 00:26:00,827 --> 00:26:04,197 He couldn't understand the whole concept that we have everything... 467 00:26:04,364 --> 00:26:06,066 ...and we don't know what to do with it. 468 00:26:06,232 --> 00:26:10,203 The biggest thing to him was not this movie or not any other movie. 469 00:26:10,370 --> 00:26:12,906 The biggest thing to him was World War ll. 470 00:26:13,073 --> 00:26:15,408 Was being in the OSS and being an admiral. 471 00:26:15,575 --> 00:26:17,310 That was much bigger than being a director. 472 00:26:17,477 --> 00:26:20,780 There's no amount of Oscars that even came close... 473 00:26:20,947 --> 00:26:23,850 ...to what it was for him to serve his country. 474 00:26:24,017 --> 00:26:26,186 That generation that fought World War ll... 475 00:26:26,352 --> 00:26:29,255 ...and the generation that was raised in the Depression and everything... 476 00:26:29,422 --> 00:26:33,726 ...they had that attitude, that sort of stoic John Wayne kind of thing. 477 00:26:33,893 --> 00:26:36,496 You never crowed about anything you did. 478 00:26:36,663 --> 00:26:40,033 You just walked away. That was John Wayne in The Searchers. 479 00:26:40,200 --> 00:26:42,669 He'd walk out the door at the end. 480 00:26:42,869 --> 00:26:45,638 I've done what I did, now I'll go on to what's next. 481 00:26:45,805 --> 00:26:47,907 It's like a generation has passed. 482 00:26:48,074 --> 00:26:49,742 There was no more room. 483 00:26:49,909 --> 00:26:54,013 The generation that was necessary to defeat the Indians... 484 00:26:54,180 --> 00:26:57,817 ...the generation that could carve out this homestead on the frontier... 485 00:26:57,984 --> 00:27:00,687 ...was now no longer applicable. 486 00:27:00,854 --> 00:27:05,525 The next generation would have children and raise cattle and oil. 487 00:27:05,725 --> 00:27:09,262 It is sad at the end. 488 00:27:09,729 --> 00:27:12,098 And yet it's more than that... 489 00:27:12,265 --> 00:27:16,769 ...because I do feel that he has progressed... 490 00:27:16,936 --> 00:27:21,774 ...to a place, the beginning at least, of a kind of peace. 491 00:27:21,941 --> 00:27:24,410 It's not a quote “happy“ ending. 492 00:27:24,577 --> 00:27:27,714 He didn't come through the door, and he's not going to live there at the house. 493 00:27:27,881 --> 00:27:31,851 But who would ever believe that. He's not one of those people. 494 00:27:32,051 --> 00:27:33,319 And he walks away-- 495 00:27:33,486 --> 00:27:36,789 And of course John Wayne had the most beautiful walk in movies. 496 00:27:36,956 --> 00:27:39,792 He walks away with that incredible grace. 497 00:27:39,959 --> 00:27:43,196 And you feel that there is a kind of peace. 498 00:27:43,363 --> 00:27:48,034 At least the beginning of it, about him, an acceptance of certain things. 499 00:27:49,769 --> 00:27:54,307 I think, ultimately, besides the visual power that his pictures still have... 500 00:27:54,474 --> 00:27:56,509 ...and his ability to throw images on the screen... 501 00:27:56,709 --> 00:27:59,479 ...that are just so stunning... 502 00:27:59,646 --> 00:28:03,316 ...and to know intrinsically how the people should be moving... 503 00:28:03,483 --> 00:28:07,854 ...in the frame, within those images, to give you the point of view of the story... 504 00:28:08,021 --> 00:28:11,958 ...to tell you what's happening... Ultimately, I think the reason... 505 00:28:12,125 --> 00:28:14,360 ...why he'll always be remembered as a great artist... 506 00:28:14,527 --> 00:28:16,663 was a filmmaker, is that it's about the people... 507 00:28:16,829 --> 00:28:18,331 ...and how he dealt with the people... 508 00:28:18,498 --> 00:28:21,834 ...that he really loved the people. And he has a lot of heart. 509 00:28:22,001 --> 00:28:25,838 And it's the way the people overlap. It's the family at the table. 510 00:28:26,039 --> 00:28:27,740 It's the overlapping of dialogue. 511 00:28:27,907 --> 00:28:29,909 And it's just one shot. The camera doesn't move. 512 00:28:30,076 --> 00:28:33,580 But watch and study what each of those actors is doing in that frame. 513 00:28:33,746 --> 00:28:35,014 Wait a minute, sister. 514 00:28:35,181 --> 00:28:38,818 I didn't get any coffee yet. Just-- Oh, doughnuts. Thank you, sister. 515 00:28:38,985 --> 00:28:40,920 I'm sure fond of them doughnuts. 516 00:28:41,120 --> 00:28:43,189 I started to get moved just watching that scene... 517 00:28:43,356 --> 00:28:45,091 ...because I lived that way. I saw that way. 518 00:28:45,258 --> 00:28:46,960 Everybody would come into your apartments. 519 00:28:47,160 --> 00:28:49,095 In the summer the doors were open. 520 00:28:49,262 --> 00:28:51,364 If there was a party, you go into the other person's-- 521 00:28:51,531 --> 00:28:53,366 If there was an argument, you'd stop them. 522 00:28:53,533 --> 00:28:56,970 All this is going on, and that's the kind of thing that affected the work I do a lot. 523 00:28:57,136 --> 00:28:59,239 When we were growing up and looking at those films... 524 00:28:59,405 --> 00:29:03,176 ...we said, you've got to do that. You've gotta use the things in your own life. 525 00:29:03,343 --> 00:29:05,311 You've gotta use your own feelings about things. 526 00:29:05,478 --> 00:29:07,647 You've gotta go back to them again and again. 527 00:29:07,814 --> 00:29:10,283 You could tell how much he loved that. 528 00:29:10,450 --> 00:29:13,152 And that's what we tried to put in all of our films. 529 00:29:15,455 --> 00:29:18,758 The inspiring thing about seeing a movie... 530 00:29:18,925 --> 00:29:20,994 ...like The Searchers again or thinking about it... 531 00:29:21,160 --> 00:29:22,895 ...or talking about it... 532 00:29:23,062 --> 00:29:27,567 ...is it takes one back to all the reasons that one wanted to be a filmmaker. 533 00:29:27,734 --> 00:29:33,239 And while I don't see a direct influence... 534 00:29:33,406 --> 00:29:37,443 ...on me, stylistically certainly, from John Ford... 535 00:29:37,644 --> 00:29:41,914 ...what is unquestionably an influence on me... 536 00:29:42,081 --> 00:29:44,317 ...is the example he set. 537 00:29:44,484 --> 00:29:47,720 The courage he showed in making this movie. 538 00:29:47,887 --> 00:29:52,659 And that's a great thing to be reminded of in this era of focus groups... 539 00:29:52,825 --> 00:29:56,095 ...and all the importance that's put on the opening weekend. 540 00:29:56,296 --> 00:30:00,199 Here you have this movie, 50 years later we're looking at it... 541 00:30:00,366 --> 00:30:03,536 ...and we're talking about it and we're finding relevance in it... 542 00:30:03,703 --> 00:30:07,674 ...and new meaning in it. And yet at the time it was made... 543 00:30:07,874 --> 00:30:12,545 ...overlooked by the critics for the most pan. 544 00:30:12,712 --> 00:30:16,983 Overlooked by the Academy, no Academy recognition. 545 00:30:17,150 --> 00:30:20,653 It tells us once again, if we needed to be reminded... 546 00:30:20,820 --> 00:30:24,390 ...that time is on the side of the artists. 547 00:30:24,557 --> 00:30:29,295 And time is the only true criteria by which a work of art can be judged. 548 00:30:31,230 --> 00:30:33,900 Let's go home, Debbie.