Continuing my exploration of the influence of The Searchers (1956) on films, here the Western, I’m stopping in with The Unforgiven (1960) which shares and elaborates on some on the themes and even down to the imagery that’s heightened here. Also spurred on after reading a review last month of the film over at Bored and Dangerous who I in turn recommended Cheyenne Autumn (1964) to looking at the depiction of the Native Americans, which again I will touch upon.
Now I first caught this film about 5 years ago, I focused more on the mis-casting of Audrey Hepburn, now I’m not so concerned about that. I’ve also seen more films by both lead actors and the director John Huston who dabbled in practically every genre that Hollywood works it. Instead I felt from the very beginning of the film I was taken aback by the dark and mysterious soundtrack took me into a world where nothing is certain, the truth is hidden, even out in a landscape where being honest is the only way to survive and do business. It’s the arrival of a rider Johnny Portugal (John Saxon) with a saber, much like the beginning of a Shakespeare play predicting what will happen, spouting a very harsh truth that’s still cryptic enough that it lingers in the audiences mind throughout. He’s hiding in the bushes on his horse, ready to scare the life out of Rachel Zachary (Hepburn) still innocent to the world around her, the next few days are going to be quite revealing for her.
So how does this compare with The Searchers then? Well from the start, if Rachel is to be Kiowa as we are lead to believe she is the Martin Pawley (Jeffrey Hunter) or Debbie (Natalie Wood) has long been accepted into the Zachary family, with a white mother Mattilda (Lillian Gish) and three brothers who have taken in and raised this child, now a young woman as their own. Known as an abandoned child has been long been assimilated into White civilisation. So any revelation shouldn’t cause that much harm, can it? In the home of the Edwards in the John Ford original, Martin Pawley is seem as an Edwards, there’s no question of his place in the home or in the film, accepted. Debbie has been written off as a squaw, better off dead, there’s no place for her, that’s until Ethan finally on rescuing her, decides not to kill her, instead returning her to the home of the Jorgensens, in a memorable sequence that brings the film to a close. Of course that wouldn’t make much for a film in The Unforgiven, Rachel’s identity is kept secret until much later on.
This is a time which could have seen the Jorgensens move away and settle in a different town, a town that is not aware of Debbie’s past that saw her brought up and married to Comanche chief Scar (Henry Brandon), she is far from pure in the eyes of a Wild West society, she’s tainted. So what about Rachel, at the moment she’s open to the possibility but gives it little thought when her mother brushes it aside.
I’ve not even turned to the Zachary brothers lead by Ben (Burt Lancaster) who I naturally thought would be the Ethan (John Wayne) of the film. Starting out hating her, wanting to search and hoping to kill his niece for the dirty blood that runs through her veins. Instead he’s a doting son and wrangler who has returned with a big dealing in the air with another local family. You can see his love for his mother when he literally lifts a piano on his back from a cart for her. He’s a mother boy, and father of the family. Could this be the Edwards has they survive the massacre and fought off the Comanches? The Zachary’s are a happy cohesive family on the surface, they have built a home out in the frontier, even if cows like to graze on the roof.
Everything starts to go wrong when Charlie Rawlins (Albert Salmi) who had just started courting Rachel is killed by a Kiowa. This is after we have already met them at the Zachary’s homestead, wanting to trade horses for Rachel. An offer refused which backfires. The offers refused but the question of her identity now wont go away, is she a Kiowa or not, the presence of the Native Americans suggest they mean business. A posse’s formed and they go in search of who we think are the Kiowas, it’s methodical, long and good length montage that finally leads them to Johnny Portugal the blast from the past, whose placed on trial, at the wrong end of noose. The truths revealed, with no room for the Zachary’s to wriggle out of. The tone of the film now changes, the family are seen as outcast unless they release Rachel to the Kiowa’s. To the point they want to humiliate her by stripping her down to reveal the truth, making them worse than the Kiowas are perceived to be. The Whites are just as bad if not worse.
Now onto the scenes that I hazily remember, the gunfight in the homestead, the Zacharys surrounded, minus one disgusted brother (Cash – Audie Murphy) so its 4 against an army of Kiowa’s. This is like the massacre in The Searchers as we only saw before when the secure the ranch pre-attack. Just as we saw in The Stalking Moon (1968) when its was 3 against 1. Here its more dramatic, Huston doesn’t leave anything out, every character has a dramatic moment, it’s literally jam-packed for at least 10 minutes, wanting to make every second count whilst they’re cooped up in the house. Lancaster is stronger than Ethan, able to accept Rachel for who she is and even kill her own kind, where as the Indian hater would kill them indiscriminately.
Finally I must turn to the casting of Hepburn who I originally thought was mis-cast, yet it’s her innocence that makes her perfect for the role. Not aware of who she truly is, her heritage, never questioning it. Thinking for a time she can marry her oldest brother, she has no understanding of family relationship beyond the power of love. When Charlie requests to start courting with her, she jumps at the chance, maybe to make Ben jealous, not that he would be. When she sees her Kiowa brother though, the man who killed her potential husband it brings out her natural self that she has been resisting. Resulting in an unsatisfying conclusion for me. Much like friend over at Bored and Dangerous – the happy ending, her family accept her, but does the wider society that left them all to be killed. Is family love all she needs when she knows deep down what she now wants – to be with the Kiowa. Who again are treated as one dimensional – which I’m not really surprised at, they are however allowed if however briefly to enter the white mans world to claim what is rightly theirs – Rachel.