The film is a favorite of the “film school brats” generation. Scorsese, Milium, Schrader,.Lucas…it came along at a certain time for all of them, and they all read into it/took from it shots and themes that they’d carry over into their own films. I’m no westerns expert (my tastes on that front lean more towards Peckinpah than Ford) but I gather it’s one of the few films that takes on (in a ham-handed fifties way, but whatever) the underlying racism of the western expansion and the fallout from the civil war. Wayne’s character is explicitly racist towards the Natives, and was also a Confederate soldier, but has to confront his attitudes at the climax if he’s going to rescue his niece, which may seem shallow plot-wise now, but at the time wasn’t the norm.
As for the acting, I believe it was about Wayne’s performance in this film that made John Ford exclaim, “I never knew the bastard could act!”
Further to the film school brats stuff, the film was directly quoted and some might say even remade, with some of the iconic films of the 70s and 80s. This came up in a discussion at film school and always stuck with me:
The Searchers, absolutely bare-bones summary: A soldier representing an old order comes home from out in the desert, then sets out to rescue a young girl who’s been abducted by “savages,” after they destroy the family home. At the climax he disguises himself as an Indian to get behind enemy lines and save the girl who views her abductors as family.
Star Wars: Leia is the kidnapped girl. The shot of Luke’s Tattooine farm (out in the desert) after the Stormtroopers have laid waste to it is shot-by shot a reproduction of the scene where the homestead has been massacred after Luke has been lured away. Luke and Han disguise themselves as Stormtroopers (Indians) to infiltrate the Death Star. And so on.
Taxi Driver: Travis Bickle, after coming home from a war in which he was on the losing side, bigoted toward the Blacks in the city, sets out to “rescue” a girl from her pimp, who’s got long hair like an “Indian.” Travis shaves his hair into a mohawk (disguises himself as an Indian) to infiltrate the brothel (the enemy camp) and save the girl who views her pimp as family.
Hardcore: Jake Van Dorn’s daughter runs away while on a trip to L.A. (read: is abducted by savages) and Jake sets out to rescue her, disguising himself as a porn producer (“savage” to his religious mind) and aligns himself with a porn star (comparable to Wayne teaming up with the “half-breed” from his brother’s farm) to infiltrate the porn community and save the girl who sees her pimp as family.
Paris, Texas: Travis comes home out of the desert, then sets out to “rescue” his wife who’s disappeared into a big city where she’s working in the sex industry; he disguises himself as a patron of the sex club…you get the picture. This one isn’t as violent as the others, at least onscreen, but it’s revealed that she ran away because of Travis’s mania years earlier. Wenders also quoted the final shot of The Searchers at the end of Kings of the Road, with the shot of the protagonist walking away from camera, framed by a closing door.
Anyway, it seems thin, but watch one or two of them in a row sometime and it’s rather striking.