FrankGrimes
-
Posts
10,876 -
Joined
-
Last visited
Posts posted by FrankGrimes
-
-
Ciao, Fordy Guns -- Damn you! Those caps from Hangman's House are phenomenal! I'm mesmerized by them. They are heavily influenced by German Expressionism. Such style! I'm still up in the air about getting the Ford at Fox box. As of the moment, I'm leaning against it. I just wish Tobacco Road were available separately. That's the title that is killing me right now. If I decide against the big Ford at Fox box, I'd look to get the Ford silents and Ford comedies boxes.
Excellent caps! And I really enjoyed your corresponding words, Miss Artsy Fartsy.
I haven't disrespected you. I'd never, ever, ever do such a cruel thing to you, Snippy.
Ha! It's FrankGrime's Favorite Sport!
Quite an interesting reply. This Grimes fella must be horrible.
Hi, Bronxie -- Ali MacGraw is a very attractive woman to this fella. You better watch out.
Jane Austen is not stiff Briish society stuff -- her novels are realistic and offer vibrant characters and acerbic social commentary! I'd check her out if I were you. See Whit Stillman's METROPOLITAN to understand the importance of her work.
Pride and Prejudice sure looks to be British society stuff to me, but I'll trust your word.
You don't like Gary Cooper?
You don't want to see Ms. Greer in CHIPS or P&P?
-
Ciao, Boca Bronxie -- We all keep our naughty thoughts to ourselves. Although I admit to a fleeting fantasy of being a bunny rabbit chasing Stuart Whitman. But not killing him, if you know what I mean.
But not killing him? I thought that's the only thing girls do to guys. But then again, that may be just the girls on this board.
Costume dramas can be very emotionally potent. And MANLY. I am thinking not only of P&P but Ford's DRUMS ALONG THE MOHAWK.
I don't mind frontier costumers, but I'm not too fond of British society stuff with formal dances and gowns. Ugh! But I can overlook such pomp if a character or story grabs me. I'm merely stubborn to start when it comes to wanting to watch a film, but I loosen up once I'm dragged to the river and nearly drowned. Some mean girl has been attempting to drown me for weeks now.
Did you see Greer in GOODBYE MR. CHIPS? A lovely performance.
No, and I don't plan on watching it. I've seen two Greer Garson films and that's enough.
I still say the worst actress of all time unfortunately looks a bit like me.
Bonjour, Mademoiselle G -- Crabby's back!
You leave Mary Cooper alone, I mean Gary. You're asking for trouble when ButterHopScotch gets here. You've disrespected, let me count the ways: Greer Garson, Elizabeth Bennet, Jane Austen, Gary Cooper and ME! Shame, shame, triple shame!
I haven't disrespected you. I'd never, ever, ever do such a cruel thing to you, Snippy.
-
Yes, I can now see your Hitch connection. Although what you don't share
(thankfully) is imo the Master's, shall we say, perverseness? (i.e., he seems to
revel in the fact that Ingrid has to have sex with Claude Rains, and, didn't he once
say he wanted the camera to focus like a laser on Tippi Hedren's face as (I'll clean
up his alleged remark) Mark is asserting his marital rights?)
Yes, I tend to keep my naughty thoughts to myself... most of the time.
Hitchloves to play naughty in many of his psychological films. He's very sneaky.
UNDER THE TUSCAN SUN is NOT ALLURING!!!! It is rather condescending
towards the female of the species. Elizabeth Bennett is a WONDERFUL ROLE
MODEL for us! Feisty, intelligent, opinionated, and Greer is MAGNIFICENT!!!! I want
to grab that Oscar away from Ginger.
I ain't a dame! I bet Under the Tuscan Sun is a lot more alluring to this guy
than Pride and Prejudice.
No, not Gary Cooper. Dana Andrews.
Dana Andrews isn't the worst actress of all time. That title clearly goes to Mary
Cooper, followed by Greer Garson.
-
Hola, Bronxie! -- What exactly is your Hitch side? I don't think I want to
know, but tell me anyway. Do you go around telling women they're apt pupils?
Naughty little boy. And I'll trample on Miss G's line here, "dirty old man."
Take Miss G.'s and my word for it -- P&P is like THE DIRTY DOZEN compared
to the ultra-girlie I'm in romantic Italy and a gorgeous local is making love to me
but I still don't know what to do with my life and there are serendipidous signs all
around me if only I knew how to access the wisdom of my intuition and even my
landlord is a hunk, in UNDER THE TUSCAN SUN. Your male chromosomes might
actually change while watching it.
That still sounds more alluring to me than a costumer about societal manners,
wealth, and marriage. It's tough for me to take very formal stuff. Blech! I'm just
hoping Elizabeth Bennet is rebellious enough for me. If she's got some fire to her,
then maybe I won't drown in all the pomp.
And Under the Tuscan Sun doesn't have Greer Garson in it.
I'm glad you didn't ask me who I really look like. I've been told (and I've mentioneed
it last year on a thread, to nightwalker) I resemble one of the worst actresses in the
world. (she's so bad, she even makes Katherine Ross look animated)
You look like Gary Cooper?!
I wouldn't ask such a question. I'm too much of a crab to do such a thing.
-
Hi, MISS Champoo Floozy -- ...as long as he is all crab...that's
FrankGrimes to a tea!
I'm not crabby. I'm a sweet, gentle soul full of love and kindness. You of all
should know how tender-loving I am, Sour Girl. I do nothing but agree with you
and praise you every post of the way. I'm the warm, loving breeze that caresses
your every little icy word.
Hiya, BronxBabe -- I don't look like Gloria Grahame, so I don't think
Frank will be visiting me anytime soon.
Now do you really think I expect all women to look like Gloria or Grace or Gene?
Give me a little credit. Just a little. You can't even do that, can you? I'm heartbroken.
By the way, I better stay out of all this plumbing talk. My Hitch side will emerge.
I've concluded that P&P is a man flick compared to UTTS.
Impossible. Just like certain ladies around here.
-
Hi, J-Girl! I hope you don't mind me adding some caps from some of my favorite silent films.
-
Ahhh! Welcome to the Beauregard! Where the carpets are musty, the drapes are damp, the ma?tresse d'h?tel is frustrated, your every move will be scrutinized, analyzed and demonized by the guests and the pastries are like cannonballs. Enjoy your stay, M. Sauvage.
Thanks for such a warm welcome. I only watched a little of the "savage" scene and I can tell you right now the film is definitely my speed. Extra bitey!Since I won't be around when the historic moment occurs, I'll raise a glass to you in advance...
I enjoy every single one of your posts on the board... even the many wrong-headed ones. Here's to many, many more wrong-headed posts.
-
Any time, honey.
-
Why don't you go back to Prairie Dog Creek?
Thanks for the honey and molasses.
-
I'm not the one who is crabby, Crabby.
-
Well, I respectfully disagree. At the end, the two men could have been re-united by anyone, Gabby Hayes for example, holding two six-shooters in his hand, aiming one at Wayne and the other at Clift:
You've got your creative humor juices a flowin' today, Gabby.Well, there is actually truth to what you say. However, at the beginning of the film, Dunson decides to leave his girl and she ends up getting murdered by indians when the wagon trail she was in is ambushed. Dunson is deeply hurt by this, although he eventually buries his pain thanks to his successful business and his "son," Matt. Tess reaches Dunson through his pain. I think a woman can only reach Dunson.
Red River is definitely a film about male relationships (grandfather-father-son), but such relationships can be and often are greatly affected by the women they love.
-
I'm not sure about that, Dobbsy. The influence of woman on man is the most vital part of Red River, although it is done so without much screen-time.
-
Sorry but that is the way they strike me, whether others see them that way or not.
No need to say you're sorry. Just smack me, Tough Girl.
Some gals just have a toughness to them but they still remain feminine. Barbara
Stanwyck was a very tough gal but she was also feminine, too. She wasn't a sweet
girly-girl, though. Ava Gardner's "Maxine Faulk" in The Night of the Iguana is very
tough. She'll spit in the face of a guy, yet she remains feminine.
-
Howdy, Ken -- I prefer Red River,
I wasn't sure which film you liked more since you are a Ford man.
but I think that Ella Raines would have been a better choice than Joanne Dru. Ms Raines was a Howard Hawks discovery.
Wow! That's an exciting thought. Ella would have definitely spiced up "Tess."
Howdy, Fordy Guns -- Perhaps if Dru's character had been introduced sooner and had been given time to develop, I would have liked her more.
I kind of doubt it. I think more Joanne Dru would have bothered you all the more.
I didn't really get a sense of her being a "pleader", she seemed very mannish in fact.
Tess attempts to be very tough but she is not. It's all for show. When she is pushed, she
starts to become more of a "pleader." She pleads with Dunson at one point and then with
both Dunson and Matt at the end.
That bit with the arrow was unbelievable. I mean, really unbelievable. Hawks tends to force his heroines to act like men and I find it phony unless it's purely in fun.
Some gals are very tough, ala Barbara Stanwyck. It doesn't mean they are "mannish," though. I actually like the arrow scene. It's a very interesting "meet cute."
-
She's so very effective at knowing what tortures you best!
Ohhh no, that means more Greer Garson, Gary Cooper, and Celine Dion are
headed my way then. I need to find my lonely place.
Of course, if you would be nice and the gentleman you claim to be, Ranse (and admit I'm right), no such extreme measures would be necessary.
A gentleman? I'm no gentleman. Would a gentleman call you a "floozy"? I think not.
I'll admit you are right when you are right. I'm still waiting for that moment.
Are you gonna spend your final posts before 10,000 calling me horrible names?
I'm starting to feel weepy like Jackie. There's only so much hurt one man can take.
And to think, I'm nothing but sweet and kind to you, Snippy Squaw.
-
You're the snippy one
You must be hungover. Don't you know who you are talking to, Snippy Squaw?
and you know where you can go.
Francie's room to watch the fireworks?
Theresa will send you there---express.
Why must you always look to Sweet T to do YOUR dirty work? The poor lass.
-
That's absolute rubbish and you know it, you're just deliberately being
provoking.
That does not sound like something I'd do. Once again, you must have me
confused with another man. I'm always very serious and you would be the
very last person I'd provoke. You are plenty snippy enough without me
prodding you.
-
Hiya, Jackie -- Oh, geez.... you made me cry with screen caps again. How
pathetic is it to be sitting at the computer crying over a picture of John Wayne
looking at the ground?
I guess this Ford fella is all right if he can make a woman cry.Frank- this is my new screen saver- it works perfectly on my desk top, thanks
to John Ford's off center framing. I didn't think much of the picture at first, but
when it was blown up nice and big on my desktop, I just loved it. Every time
I turn on my computer, I smile.
I must say, I really like you, Jackie F. Any gal with a "Laurie Jorgensen" screensaver
is lovely in my book.
Ciao, Missy G -- He has good intentions but he'd have been dead the
first week.
That speaks to his inexperience but not his sacrifice and commitment. Martyand Ranse take the big final step, unlike those two cowards, Ethan and Doniphon.
-
I forgot to mention that in the book, in that scene in your earlier screencaps of
Martha putting Debbie out the window to hide---in that scene LeMay has the
father, Aaron, instructing her what to do and Martha says hardly a word.
Ford definitely got that one right. What mother wouldn't break down under such
a horrible circumstance?
Also, Laurie doesn't show as much emotion publicly in the book---her one burst
of emotion so far was alone in her bedroom---two examples of how Ford fleshes
out the female roles.
The biggest and most pleasant surprise in the Ford films I have seen to date are
his female characters. I have loved most of them. I think he does a phenomenal
job of presenting the audience with very complex, emotional women while all the
same making them rather simple and easy to understand.
However, Olive Carey is the spitting image of Mrs Jorgensen (Mathison) as
written. She perfectly captures her plain honesty and sympathy.
So LeMay actually got one of the female characters right then, eh? I really like
Ma Jorgensen because she looks tired most of the film. She's a woman who puts
a lot of energy towards being a wife and mother.
I also like what you mentioned about Ethan's "that'll be the day" and Marty's
"not likely". I wouldn't have picked up on the similar way the expressions are used.
Thanks. Marty has a lot of Ethan's stubborn determination inside of him.
No, you are wrong. In the book it makes it clear that several times Marty was
ready to give up and had lost all hope but that Ethan's implacability kept him going
and eventually, kept him going if only to keep Ethan from killing Debbie. Marty just
isn't made of the same degree of stuff that makes a man like Ethan keep on
keeping on.
Book?! I'm talking Ford's film. Marty doesn't want to give up. He's even more
gung-ho than Ethan because he's leaving a woman that loves him behind. Ethan
has no ties.
And Ethan understood the Comanche mind more than Marty.
That's the inexperience I speak of. Marty's a young lad.
You talk like a lawyer. I was referring to your general habits; these wonderful exceptions merely PROVE the rule.
Ohhh, for goodness sake. It's not like I write just a little thing here and there and that's it.
I put some real energy into my efforts. You're just bitter because you want to be the first
person to fill me full of lead in Hadleyville.
-
Howdy, Miss Demanding -- Yes but who kept on searching? Marty would
have given up long before---Ethan would NEVER give up.
Wrong! Marty wasn't going to give up either. And it was HE who demanded to go
get Debbie at the end. He and only he. Ethan didn't care if that "Buck" lived or died.
The only thing ineffectual about Marty was his inexperience and his lacking funds.
I am so used to you watching movies and NOT talking about them, I guess
I assumed more might be hoped if you listened to a commentary.
Hey! I've spent hours discussing The Man Who Shot Liberty Valance and now
The Searchers. I also spent time talking about The Misfits and, gasp,
Gone with the Wind. Where's the love? I'm heartbroken.
Howdy, Chris -- I'm not near as smart as most of you
Pish-posh!
but one thing has always bothered me about the film (forgive me if you've
covered it.) Why would Ethan spend five years slogging all over creation with
a man, who is determined to find Debbie and bring her home, if all he wants to
do is kill her? I thought, "why bother?" She's dead to him anyway. Part of me
wants to be a romantic and think that he really intended to bring her home all
along. She's part of him (no matter how little) and worth saving as much as Marty
thinks so. He's conflicted, no doubt, otherwise why pull the gun on her but I just
don't see him being so nasty as to kill his kin. Maybe he went along to keep
Marty from getting himself killed.
He never surrenders. I believe, for Ethan, the search starts off as a search for Debbie
(and Lucy) but it ends up becoming more of a mission to kill Scar; to avenge
the deaths of his mother, Martha, and the rest of his loved ones.
I'm of the belief that Ethan only turned against Debbie when she rejected them. She
was basically spitting in their faces and, most importantly, spitting in the faces of
Martha and Aaron. Debbie is siding with the enemy. She's a traitor in the eyes of
Ethan. She's impure.
-
I agree with the second part but I don't even understand the first part. What do you
mean by "find himself"?
Ethan needs to heal his soul and he's not going to be able to do this while hanging
around. This is the search for Ethan. He must find who he is today and, more
importantly, who he wants to be tomorrow. What he really needs is a good woman.
Martha's death, in a morbid way, may help to free him. I know the death of Scar certainly
frees him.
They had the good intentions and they were more "civilized" I agree, but they
were ineffectual and would have ended up in the bone orchard without Tom and
Ethan.
Yes with Ranse, but not so much with Marty. Marty did go into the snake's den and
take out the king cobra all by himself.
Whaaaat? Why??!!! What do FP and SWAYR have to do with Clem? Excuses,
excuses. Tsk tsk and double shame.
I'm thinking those two films may come up with Scott Eyman more so than Petey. I thought
you would be getting on me to actually WATCH more Ford films more so than listen to a
commentary track.
-
I know, I know! But it still is too hard to take! It's just not FAIR. Ethan is as
deserving of love and rest as any man at this point, and only those people crowded
into that little house can give it to him but they DON'T.
That's not the love and rest Ethan is seeking. He needs to go find himself. I think
that once he finds himself, he could come back and do what I believe to be his
ultimate duty: be a father figure to Debbie. Ethan will continue to carry a torch
for Martha and the greatest thing he could do for her is make sure her little Debbie is
safe and sound. Again, men should not abandon their girls.
It's like Hallie turning her back on TOM.
Tom took her for granted. He assumed she'd always be his girl because he was
the man in town.
So THEY are the cowards, if you ask me, not ETHAN, not TOM. But they
must pay...and pay....and pay.
No, no, no. Ranse stood up to Valance and it was Marty who stood up to
Scar. Without the bravery of these two men, who knows how much more killin'
would have gone on.
Oh my goodness! I forgot to answer your question about the Bogdanovich
commentary for The Searchers and the answer is NO. I am glad you reminded
me. I want to really "settle in" for that one. I love Pete's commentaries.
Bogdanovich has a wonderful eye for filmmaking, a passion for classic film, and
a love of Ford, so I'm assuming the commentary is going to be quite informative
and very entertaining. I really love Bogdanovich's commentaries because they
are "director-oriented" and he does have a pretty good sense of humor, albeit
very dry.
So that leads me to a question of my own: did you listen to SCOTT's
commentary on My Darling Clementine??????
No, I have not. I'm afraid to do so since I haven't talked about the film that much yet.
I'm thinking I may need to watch Fort Apache and She Wore a Yellow
Ribbon first, too.
-
Good Evenin', Mrs. Edwards -- My goodness gracious, Frank! You're
becoming a real Ford connoisseur!!
Lynn threatened to scalp me if I didn't contribute to her thread. So do you think it's
safe to ask the biggest question on my mind, who is the bigger coward, Ethan
Edwards or Tom Doniphon?
Yes, I'll remain civilized, just like your darlingRanse.
Perfectly expressed! And perfectly in keeping with that delicate thread which
runs through so many of John's films, this persistently felt presence of the past
looking out for the future, tenderly and hopefully (but always expressed obliquely).
Uh-oh. You have been drinking again. You first paid me a compliment and then
you made a magnificent point while using lovely language. I think you've had
enough for one night, Missy.
You're becoming quite expert! I have to admit that I NEVER noticed before that
Wayne makes that gesture there---I only notice it at the end. Golly Mose!
That tears it! You're off to the slammer to sleep this one off!
I wept just reading the bit about the lonesomeness of Ethan and the lyrics to
"Ride Away". I can never hear that song unmoved.
You don't cry. That's just your ice melting.
I still wish someone had called to him to come and join them inside.
You know better. That's not the point of "searching" for one's self. Ethan's search
continues... and it may never end.
-
Howdy, JackieF! -- Wow, Frank! When you join the party, things start really
heatin' up! Great caps.... and great observations.
Thank ya kindly, ma'am.
I, too noticed Marty's kiss on Martha's forehead the last time watching the movie
and thought it was very telling.
I thought it was a nice little touch by Ford. The smallest of things can say a lot about
a character(s).
I also think it is fascinating that each time Ethan gives something, he gets really
snotty. In the scene at the dinner table, when Aaron says to Marty (I'm paraphrasing)
"Ethan is the one that found you", Ethan says, "it just happened to be me, no need
to make more of it". No one is making more of it!
It really shocks the table when he says that because it feels very cold towards
Marty. Ethan is basically saying, "no big deal," to saving Marty's life. But I think
Ethan just didn't want to discuss his finding Marty. He wanted to get off the topic.
The way Ford concludes the scene is very intriguing to me because he shows us
Ethan looking down the table at Marty three different times in a matter of seconds.
He's clearly interested in Marty for whatever reason.
At first I thought it was his hatred of Marty's Indian blood. Now, I think it's a clue
to Ethan's true character and he does NOT want people thinking he is weak, or
sentimental, or maybe he just doesn't want to be perceived as hogging attention?
I believe there's some truth to that.
Maybe he doesn't want anyone connecting him and Marty, or finding something
out?
This is something I have thought about since revisiting the film. The constant looks
Ethan gives Marty at the table stick with me.
I don't know, but he does it again when he gives Debbie the medal. He says"
Doesn't mean much, now" or words to that effect. He makes less of his really
important actions. He tries to throw away his good side somehow. Or he is trying
to hide something.
I do believe Ethan is attempting to be modest but I also get the sense he isn't telling
the entire story. Martha is the one who clues me in on this with Ethan.
The part where Ethan tells Marty "There's something I want you to know ....." is the
real mystery isn't it? The rest of the sentence can't be " I've decided not to kill Debbie
and bring her back home, because this scene is before he tries to shoot her.
It's definitely not that.
Is he going to say "I'm leaving you all my property"? I don't think so, because they
just had a fight, and Ethan made it very clear Marty was not kin to the family....
I don't see Ethan leaving him his property.
Maybe he just wants to say I'm sorry? No the tone in the scene does not add up
to such a statement, and I don't think Ethan would ever say it.
Ethan was speaking in a very kindly tone, but I don't think he was going to apologize
to him.
Something to the effect of I had an affair with Mrs. Pauley and you're my
son.... HMMMMM.
Now that would be interesting.
Howdy, Fordy Guns! -- Bravissimo, Frank! I must say you have made the
strongest case yet for me regarding the possibility of a blood tie between Ethan
and Marty. And it's not through words but through the caps, especially the similar
actions and expressions of Marty and his Uncle.
Thank ya kindly, ma'am.
I wonder if any of the many other writers who have covered this movie in depth
have observed these things?
I'm sure they have. Have you listened to Peter Bogdanovich's commentary track
yet? I haven't, but I'm excited to do so. You know how much I love Petey.
The Pauley's were known to the both the Jorgensens and the Edwardses, so how
could it be explained that Ethan was the father of Marty? I can't see Martha---nor
Aaron and the neighbors, but especially Martha---viewing Ethan the same if she
knew he'd fathered a child out of wedlock (and with an Indian woman?) and abandoned
the mother. A woman like her could stand his being 10 different kinds of outlaw or
murderer---but that (and right in the midst of their little community)? If she was in
love with him? That is the part that still doesn't gel with me. And Aaron is not
lying, clearly, when he says that about Marty being found by his Uncle after his
parents were massacred---he must have been there to see it and there is nothing
to indicate he is a man who could lie so lightly about a thing like that.
All excellent points. What you just wrote has a lot to do with why I don't believe
Ethan and Marty are father and son.
In the book, what Ethan wanted to tell Marty was that he should stay behind
with Mathison (Jorgenson) and make a start for himself with Laure--and that if he
(Ethan) didn't come back, he was leaving his (Martha & Aaron's) ranch to Marty.
I still think this may be what he intends to say in the movie version---he does say
it later on. If his "true" parentage is what he is about to reveal,
Could the father/son relationship between Ethan and Marty be more symbolic and
spiritual? Ethan has lost Martha and Debbie is Aaron's child restored to her
home---but Marty is like him, rootless, so in his mind could he have come to
think of him as his and Martha's child?
You just wrote what I feel: symbolic and spiritual. I think Ethan sees himself in
Marty. I believe Ethan could have had the life Marty can have but he passed up
on it. I think Martha was his "Laurie" and he could have settled down with her.
Ethan doesn't want Marty to make the same mistake he did because I think he
sincerely regrets it.
As the film progresses, you do get the sense than Ethan is a father to Marty. He
actually enjoys his company and I think he admires that Marty stands up to him;
he's not afraid to put his life on the line for what he believes in. This is Ethan
through and through. In the end, I think it's Marty that helps convince Ethan that
Debbie is worth saving. I believe Ethan saw all Marty was willing to risk for his
"sister." It was like looking in a mirror, like looking at your "son."
Lonely men can become very coarse over time and they will often lose their way. What
can bring them back is the presence of a woman and/or family. Ethan has been
without this for years but Martha and, especially, Marty help bring him back. Sadly,
Ethan is left to wander alone again at the end of the film. His heart, more broken
than it was before.
What makes a man to wander
What makes a man to roam
What makes a man leave bed and board
And turn his back on home
Ride away
Ride away
Ride away
A man will search his heart and soul
Go searchin' way out there
His peace of mind, he knows he'll find
But where, oh Lord, Lord, where
Ride away
Ride away
Ride away
This is what I really think Ethan was going to tell Marty:
Ethan turns his back and walks away. I believe he thinks Marty is going to react and
feel the same hate and rage that he does about the murder of his own mother.
This is where Marty is different than Ethan. He basically says, "it's not about me, it's
about my 'sister.'"
Ethan is surprised by the fact that Marty is not angered by the news that his mother
was murdered by Scar.
What I love about this cap is that it plays like a father telling his son, "no." Ethan
doesn't bark these words at Marty. In fact, it's quite the opposite. Ethan is speaking like
a father who doesn't want to lose his son. He can't even look him in the eye because he's
scared to show he cares about him. I also love the Harry Carey Sr. homage at this point.
I think it adds to the tenderness of the moment.
Sam steps in and tells Marty, go right ahead. I like the usage of the word "son," too.
Ethan is looking at Sam like a father would to a man who is circumventing his word.
Meanwhile, Marty keeps his eyes on Ethan, his "father."
In the next few caps, Sam lays the law down with Marty.
After Sam gives the "okay" to Marty, Marty stares into Ethan's eyes. He's basically
acting like a son looking for the "okay" from his father.
Ethan, in his own way, lets Marty know that he's still against his decision but it's his
decision. It's very father-son.
Marty looks Ethan dead in the eye. No words are said and none need to be said. This
is the language many men speak. It's the language many fathers and sons speak.
One of the most touching scenes in The Searchers is done with great subtlety.
Just before Marty is to be lowered into the canyon, Ethan looks him in the eyes. Once
again, nary a word is said. This is a father letting his son know that he's proud of him
but also very concerned for him. Marty is attempting to leave childhood and enter
manhood. This is very reminiscent of Ford's Rio Grande ending.
Ethan gives Marty not one but two pats of encouragement.
And in classic father-son fashion, he makes the second pat while looking down at
the ground. He's attempting to conceal his true, honest feelings from Martin. He really
does care about his "son."
This cap can be viewed metaphorically. It's a "letting go" moment.
Hitch
Silent Film Gallery
in Silent
Posted
Post all you want Scotty!
Thanks, J-Girl!
Thanks for the caps, I must see this one day. The shadows were used brilliantly to cast a malevolent presence, especially in the picture with deer antlers. The dark figure creates an intimidating atmosphere.
Ooohhh, "malevolent presence." I like that! Warning Shadows is sort of a morality tale, ala The Devil and Daniel Webster. It speaks to the inner demons that lurk in the shadows of our soul.
Here's another one of my favorites: