Siege of Stone (The Searchers Book 3)

Siege of Stone - The Searchers, Book 3
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If that makes watching The Searchers sound as exciting as attending a classroom lecture, nothing could be further from the truth. The embittered, bigoted Edwards undertakes an inner search for grace that mirrors his journey through Monument Valley. But there is no home for Ethan. In the classic final scene, Ethan returns Debbie to her family but cannot cross the threshold of their cabin.

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He remains outside, framed in the doorway, destined to wander his live-long days devoid of the comforts of home and hearth. Hailed upon its release as a touchstone in the evolution of the Western, Stagecoach is ostensibly a straightforward tale of eight passengers traveling through hostile territory.

He is respectful toward women, but awkward and timid when it comes to romance. Wayne forces the stagecoach to a halt. He stands, legs apart, a saddle slung over his shoulder, twirling his customized Winchester. Younger viewers tend to experience Shane through the eyes of Brandon De Wilde and share his hero worship of the buckskin-clad stranger with the pearl-handled revolver.

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When these same viewers grow up and come back to the film, they see the emotional layers in the adult relationships, which add greater resonance to the story. Her husband Joe Van Heflin recognizes her attraction as well as the way his son idolizes Shane, but he does nothing, hoping Shane will do the right thing when the time comes. Every scene works, every performance rings true. Director George Stevens turns the removal of a tree stump into a moment of exhilaration. The smiles Shane and Joe exchange when they turn the tide in their general-store brawl arc irresistibly infectious.

Jack Palance , as the embodiment of evil, set a standard for western villainy that is yet to be surpassed.

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This is the most beautiful black-and-white western ever made. Whereas the previous four films on this list are justly lauded as cinematic art, The Magnificent Seven has no pretensions other than to being the ultimate cowboy popcorn movie. It was a western at a time when no one else was making them. It was six hours long, when the national attention span had shrunk to the length of a Madonna video. It starred fifty-something Robert Duvall and forty-something Tommy Lee Jones, when television advertisers cared only about the youth market.

And it was produced by Motown, and that made no sense at all. But in , for four nights in February, it seemed as if everybody was watching Lonesome Dove. No classic western divides movie fans more than High Noon. Carl Foreman, a blacklisted screenwriter, based the film on personal experience, hence the cold shoulder Marshal Will Kane receives when he asks his community for help. John Wayne and Howard Hawks were outraged that Kane would try to recruit amateurs into his fight and made Rio Bravo to remind moviegoers how the West was won.

The film was taut and suspenseful, its story told on the faces of its characters and with the relentless ticking clock. With Dances With Wolves , we finally saw the other side of the tale, and how fitting that it was through the eyes of an American soldier. Dances With Wolves became a personal crusade for Kevin Costner, who coproduced, directed, starred, and raised financing overseas after a string of Hollywood studios passed. His passion was rewarded with seven Academy Awards and an awakening of our national conscience.

It was the movie Clint Eastwood had to make, before the impassive persona he created through the Sergio Leone films and his other signature character, Dirty Harry, became a typecasting trap. That same year, The Outlaw Josey Wales introduced a new type of Eastwood character, still quiet, still deadly, but also compassionate and emotionally vulnerable.

The title describes how society will judge Josey Wales — an outlaw only by circumstance — but when his quest is complete, he returns to being the farmer Josey Wales in a scene that offers hope for the future. Through it all there was James Arness as Marshal Matt Dillon, tall in the saddle and afraid of nothing, except maybe marriage to Miss Kitty.

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It has all the signature elements: dusty, desolate vistas; amoral characters such as Tuco Eli Wallach who are motivated only by profit; a showdown in a circular arena, suggesting gladiators in a colosseum; an incomparable score whose whistling theme, by Ennio Morricone, is instantly recognizable; and Clint Eastwood as the serape-clad, cheroot-chomping Man with No Name.

This film never stood a chance back in , when its star and director, Marlon Brando, spent three years fussing over every camera angle and line reading. Word got out that Mr. New York actor was making an artsy western, and One-Eyed Jacks was released to a combination of frosty reviews and public indifference. Rance Stoddard James Stewart plays a pitifully meek attorney incapable of killing sadistic outlaw Liberty Valance. But it was The Great Train Robbery , a reenactment of a heist by the ever-popular Butch Cassidy and his Wild Bunch only a few years earlier, that signifies the true beginning of the western.

With his performance in The Shootist , the Duke delivered one last valentine to his fans and costar Lauren Bacall , one last raspberry to his critics, and an elegy to the American West that — to paraphrase Andrew Sarris — represents the survival of certain vestigial virtues in an era of mealy-mouthed relativism.

Rogers give a kid a wedgie. Forty minutes of cuts killed the original American release, but the film was finally restored to its full grandeur in The Duke, whose inherent air of authority worked to his favor when he played older characters, found one of his most indelible roles as retiring officer Nathan Brittles. The highest compliment one could pay Eastwood and Unforgiven is that no one even thought to ask.

Most people discovered Tombstone after it went to video. He wore a black mask and a white hat, a confusing combination. But children always knew he was a friend.

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The inspired teaming of a cowboy and an Indian was a paradigm of racial harmony. Subsequent versions appeared in and , and a TV series debuted in and ran for nine years.

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The western was in trouble in the s, so when Blazing Saddles rode into theaters, fans wondered if it signified a genre revival or the last nail in its coffin. Ten years later, it was still the highest-grossing western in history. Moviegoers were used to seeing the U. Cavalry ride to the rescue, battle trumpets blaring. John Ford wanted to take a more in-depth look at a typical regiment; the day-to-day work of soldiers in remote outposts, their personal lives, and how they cope with the constant threat of attack. Can a man who lives by the law of the gun walk a more enlightened path?

Williamson, Chester Carlton 1948–

Quirt Evans John Wayne , on the vengeance trail, must choose between killing the man who murdered his father and settling down with a sweet farm girl played by Gail Russell, the hottest Quaker babe in movies. An underrated entry in the Wayne canon.

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Crowd-pleasing comedy that resonated with middle-aged baby boomers. Palance won the Oscar for Best Supporting Actor, and a calf named Norman became the most beloved bovine since Ferdinand. The corporate cowboys in the television series Dallas rode around in Mercedes-Benz coupes and held their showdowns in glass and steel skyscrapers.

Not exactly a traditional Western, but beneath the soap-opera excess, the Ewings were ranchers who fought among themselves but always circled the wagons against an outside threat. But J. Ewing was the most famous cowboy in America for more than a decade, and when he was shot the whole world wondered whodunit.

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Searchers, Book Three: Siege of Stone (The Searchers , No 3)

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