For those who know who John Wayne was, the typical assumption is probably that the characters he played were alpha males (for those familiar with the term “alpha male” anyway).

Having seen my share of Duke flicks, I can testify that his characters were never pick-up artists (PUAs)–something that seems to go hand-in-hand with alpha behavior. (In fact, it was usually the woman who pursued and approached him–especially in the Howard Hawks movies.) That and a few other personality traits perhaps make a further study of the John Wayne persona worthwhile in the future.

 

But I used the word “persona” intentionally, rather than mention any specific role he played. Critics of the Duke point out that he wasn’t really an actor, but a movie star. There’s some truth to that, because the characters he played were usually the same guy, just with different names and historic contexts for the different movies.

To over-simplify it for a moment: John Wayne was almost always the hero.  I say “almost” because there are a couple exceptions when he was called on to play an antihero.

One of those exceptions occurred when he was curiously cast as Ghengis Khan in The Conqueror. The most interesting exception was the role he played in a John Ford western called The Searchers, and that’s what we’ll look at now.

The Searchers is a great film for many reasons. One of the most basic of those reasons is the characters it is built around.

The role of Ethan Edwards was a real departure in the screen career of the Duke. Yes, he still exuded toughness, strength and cocksurity, but underneath that was a vengeful, bitter racism that made him the darkest character Wayne ever played.

Unless you watch carefully for details, you’ll miss that Ethan’s

parents were murdered by Commanche. Ethan Edwards is a fanatic. His hatred of the Commanche has caused him to learn their language and customs, and even think the way they do. Ironically, this obsessive racism has made him a perpetual outsider among the white settlers in 1868 Texas.

The clip below reveals a lot about the plot, the characters, and what’s gone on behind the scenes. Watch carefully and take special note of how the hierarchy shines through.

You can spot the alpha dog right away, can’t you?  Ward Bond’s swaggering alpha bravado is right at home in…nay, demands to be…the center of attention. He’s a natural leader, and he barks orders at everyone lest they forget who’s in charge. The posse he’s putting together is made up of betas and arguably a couple delta males. Then you can feel the power shift as Ethan Edwards makes his presence known.

Ethan Edwards at this stage of his life is a “sigma male.” He’s the only one in the film the Reverend/Captain Samuel Johnson Clayton (Bond) can’t bully, intimidate, or inspire to follow his leadership. Not only that, but Ethan overrules his authority without hesitation or apology, and turns the impromptu interrogation around on Clayton by questioning his loyalty to the Confederacy.

Exhibit B is Ethan’s sister-in-law Martha. Notice how she caresses Ethan’s coat, and all the unspoken feeling that passes between them when she hands it to Ethan? Important subtext was revealed right there:

Martha married and bore children to stable beta-male provider Aaron Edwards, but her desire is (and always has been) for bad boy Ethan, who left her to go fight in the Civil War.

Female hypergamy hasn’t changed at all since 1868.

Also notice how Sam Clayton witnesses this, but doesn’t find it surprising at all.

Another interesting character is Martin Pawley, played by Jeffrey Hunter. He’s an adopted orphan, in his late teens. He’s an outsider when the story begins. Seems like a beta male, with some alpha tendencies that grow as he matures into a man. (Unfortunately, he fights like a girl.)

Back to Ethan Edwards and the Reverend/Captain Sam Clayton: There’s a scene leading into the climax of the film where a young cavalry officer finds Ethan and Martin who have just crashed a wedding (and Martin took back the bride-to-be from his beta rival, Texas Ranger Charlie McRory). The cavalryman is looking for the Captain of the Texas Rangers, and, upon observing those present, he assumes it’s Ethan Edwards until corrected.

Something about Ethan just makes people assume he’s in charge. Sam Clayton is miffed about this and takes to humiliating the young lieutenant. Ethan, who is often amused by the drama that goes on between other people (most of whom he regards with barely-hidden contempt), actually joins in on the roast of the young Yankee officer (who is played by Wayne’s son and becomes an increasingly comedic/pathetic character as the film goes on).

There are a lot of reasons to watch The Searchers, re-watch it, and analyze it visually and thematically. One reason is that, half a century before there was a “manosphere” or any discussion of the socio-sexual hierarchy, director John Ford knew how it all plays out in the theater of life.