John Ford’s The Searchers1
John Ford’s 1956 The Searchers has attracted more scholarly attention than any other Western, including that of receptions scholars who have noted its kinship with Homeric epic. This chapter enlarges on the most important of these arguments – Martin Winkler’s study of John Wayne’s Ethan Edwards as an Achilles figure and the author’s own analysis of the film as an Odyssean journey – recognizing the psychological identification between protagonist and enemy-as-alter-ego long noted by Western scholars as an important parallel with the dynamic found in ancient epic and expanding on the importance of women’s sexual fidelity to male honor and identity. This chapter then brings the Aeneid into the conversation, demonstrating that like Virgil’s epic, The Searchers is a self-questioning, multi-layered reflection on heroic achievement, offering a problematic hero and extolling the glories of empire while acknowledging the sacrifices inherent in its establishment. Finally, this chapter considers this film as a commentary on racial and Cold War tensions in 1950s America, reflecting on how this fits in with the larger comparison with ancient epic.