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The Searchers (1956)
Ford gave John Wayne the most repellent part of his career and framed it in two doorways.

:STATS
[icon:CLOCK] Runtime | 119 minutes
[icon:STAR] Director | John Ford
[icon:CHART] Budget | $3.8 million
[icon:FIRE] Cinematography | Winton Hoch

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The Hate In The Frame
Ethan Edwards rides back from a war he will not discuss to a homestead that is burned within twenty minutes, and spends five years looking for a niece taken by Comanche raiders. The search is not a rescue. It becomes clear early that he intends to kill her for having lived among them, and the film's tension is whether the young man riding with him can prevent it. Ford shoots Monument Valley as something enormous and indifferent, and puts his hero in the one place a Western hero never belongs: outside the door, looking in. The film opens with a door opening onto the desert and closes with the same door closing on a man who cannot be allowed inside, and everything that matters happens between those two shots.

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Watching The Searchers
2 Returning
4 Bereaved
5 Desecrated
3 Grinding
4 Discarded
5 Reprieved

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That'll be the day.

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What to watch for
[ ] The opening and closing doorway shots as the film's whole argument
[ ] Ethan always framed slightly apart from every group he rides with
[ ] Martin Pawley described as part Cherokee and treated accordingly by his own side
[ ] Monument Valley used across five years with no attempt at continuity of season
[ ] The shift in Wayne's voice when he says the line about what he intends to do

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Winton Hoch shot it in VistaVision, which is why the landscape holds detail from foreground rock to the far mesa, and why the film looks larger than its contemporaries.

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Its influence is unusually traceable: Scorsese built Taxi Driver on it, Schrader wrote Hardcore from it, Lucas lifted the burned homestead for Star Wars.

:LINK
https://www.imdb.com/title/tt0049730/
The Searchers on IMDb: full cast and crew