This review originally appeared on Pol Culture.
Director John Ford's The Searchers (1956) is a mainstay on lists of the best movies ever made, and it is perhaps the greatest picture in the Western genre. It is certainly one of the key American adventure films. The story begins in 1868, when a disaffected Confederate veteran (John Wayne) returns to his brother's home in Texas. Shortly afterward, the brother and most of his family are murdered in a Comanche raid on the house. There was one survivor: the brother's nine-year-old daughter, whom the Comanche have taken prisoner. Wayne's character and the girl's adopted adult brother (Jeffrey Hunter) embark on a quest to rescue her. But there's no easy resolution: when they locate her years later, they find she's become a Comanche. The picture set the stage for the anti-heroic adventure films that came to dominate Hollywood in the decades that followed. The Wayne character is an abrasive, alienated misfit, and a vicious racist to boot. (It's easy to imagine anti-hero icon Clint Eastwood in the role.) The basic plot--an outsider searching for a girl who's been taken from her family, only to find she's been assimilated by the people who have taken her--has been lifted by innumerable films and TV shows since. The picture also set the standard for epic-style location shooting. Most of the picture was shot in Monument Valley, on the Arizona-Utah border, and the use of the landscape pretty much defines the word "spectacular." The scenery would be awe-inspiring by itself, but Ford and his cinematographer Winton C. Hoch make it even more impressive by effectively integrating it with the action. It's one of the few pictures that's worth seeing for the visuals alone. The film also stars Ward Bond, Vera Miles, and as the blue-eyed Comanche chief, Henry Brandon. Natalie Wood plays the kidnapped girl at 14; her sister Lana plays the girl at nine. The screenplay, based on a novel by Alan Le May, is credited to Frank S. Nugent. Max Steiner provided the score.