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Open GRAFF Thesis Final Draft.Pdf The Pennsylvania State University The Graduate School School of Music INDIAN IDENTITY: CASE STUDIES OF THREE JOHN FORD NARRATIVE WESTERN FILMS A Thesis in Musicology by Peter A. Graff © 2013 Peter A. Graff Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2013 ii The thesis of Peter A. Graff was reviewed and approved* by the following: Charles Youmans Associate Professor of Musicology Thesis Advisor Marica S. Tacconi Professor of Musicology Sue Haug Professor of Music Director of the School of Music *Signatures are on file in the Graduate School iii ABSTRACT Music in John Ford’s Westerns reveals increasingly complex and sympathetic depictions of Native Americans throughout his filmography. While other directors of the genre tend to showcase a one-dimensional “brutal savage” archetype (especially in the early sound era), Ford resisted this tendency in favor of multidimensional depictions. As a director, Ford was particularly opinionated about music and wielded ultimate control over the types of songs used in his films. The resulting artworks, visual and aural, were therefore the vision of one creator. To investigate the participation of music in Ford’s approach, I have investigated three archetypal products of the Western’s three early periods: The Iron Horse (1924), Stagecoach (1939), and The Searchers (1956). In The Iron Horse, an Indian duality is visually present with the incorporation of friendly Pawnees and destructive Cheyennes. My recent recovery of the score, however, reveals a more complicated reading due to thematic borrowing that identifies white characters as the source of Indian aggression. Stagecoach builds upon this duality by adding a third morally ambiguous Indian character, Yakima. This addition and the links drawn musically between white and Indian societies challenge the traditional reading of Apache villainy. The Searchers fully integrates this concept of cultural parallels, resulting in a story centered on issues of tribe rather than race. The pairing of Anglo and Indian cultures that are fully realized both visually and aurally thereby deconstructs the concept of virtue determined by race alone. Ford’s use of music brings to light his constantly iv evolving portrayal of Native Americans, allowing him to transcend the demeaning stereotypes of contemporaneous Westerns. v TABLE OF CONTENTS List of Figures .............................................................................................................. vi List of Musical Examples ............................................................................................ vii List of Tables ............................................................................................................... ix Acknowledgements ...................................................................................................... x Introduction John Ford and His Indians ...................................................................... 1 Chapter 1 Indian Duality: Ford and Rapée’s The Iron Horse ..................................... 7 The Story .............................................................................................................. 9 Production and Reception ..................................................................................... 11 Erno Rapée ........................................................................................................... 14 The Score .............................................................................................................. 16 Indian Musics ....................................................................................................... 19 Unmistakable Archetypes ..................................................................................... 21 Brutal Savage: Deroux’s Façade .......................................................................... 24 Noble Pawnee: Cavalry Surrogates ...................................................................... 32 Chapter 2 Friend, Foe, and Other: Multiple “Indians” in the Music of Ford’s Stagecoach ............................................................................................................ 36 Production ............................................................................................................. 37 The Story .............................................................................................................. 39 Three Faces of the Indian ..................................................................................... 44 Geronimo .............................................................................................................. 47 The Indian Scout .................................................................................................. 55 Yakima: Archetypal Duality ................................................................................ 57 Chapter 3 Becoming Indian: The Searchers ............................................................... 64 The Story .............................................................................................................. 65 Laurie as Man, Martin as Squaw .......................................................................... 68 Martin and Debbie: Cultural Trespassing ............................................................ 73 Martha, Look, and Ethan’s Women ..................................................................... 77 Ethan Becoming Scar ........................................................................................... 82 Epilogue Changing Perspective: Cheyenne Autumn ................................................... 93 Bibliography ................................................................................................................ 97 vi LIST OF FIGURES Figure 1.1: Cover of the piano-reduction for The Iron Horse. .................................... 8 Figure 1.2: “Cue 1: At screening,” from the score for The Iron Horse. ..................... 8 Figure 1.3: The Iron Horse, a Cheyenne Chief accompanied by Indian theme 1. ...... 26 Figure 1.4: Stagecoach, a Cheyenne scout followed by Geronimo’s theme. ............. 26 Figure 1.5: The Searchers, a Comanche Chief named Scar accompanied by his theme. .................................................................................................................... 26 Figure 1.6: The Iron Horse, Deroux in his Indian disguise, instructing the Cheyennes. ............................................................................................................ 30 Figure 1.7: The Iron Horse, parallel lines and parallel cultures. The white men line the foreground while the advancing Cheyennes are in the background. ....... 31 Figure 1.8: The Searchers, the white searcher party forms a line in the foreground while the Comanche Indians line the hillcrest in the background. ....................... 31 Figure 1.9: The Iron Horse, Cheyenne men in the foreground riding in a horizontal line while Pawnees form a vertical line as they approach. .................. 33 Figure 1.10: Stagecoach, the cavalry riding to the coach’s rescue. ............................ 33 Figure 1.11: The Iron Horse, the Pawnees riding to the train’s rescue. ..................... 33 Figure 2.1: Stagecoach, the coach leaving Tonto. ...................................................... 42 Figure 2.2: Stagecoach, arriving within the gates of Dry Fork. ................................. 42 Figure 2.3: Stagecoach, arriving at the gates of Apache Wells. ................................. 42 Figure 2.4: Stagecoach, Ringo crossing the fence to confess his love to Dallas. ....... 44 Figure 2.5: Stagecoach, Ringo and Dallas riding into the landscape. ........................ 44 vii LIST OF MUSICAL EXAMPLES Example 1.1: The Iron Horse, Indian theme 1, mm. 1–7: part 1. ................................ 25 Example 1.2: The Iron Horse, Indian theme 1, mm. 22–24: part 2. ............................ 25 Example 1.3: The Iron Horse, Indian theme 2, mm. 1–4: part 1. ................................ 27 Example 1.4: The Iron Horse, Indian theme 2, mm. 54–57: part 2. ............................ 27 Example 1.5: The Iron Horse, Deroux’s theme, mm. 1–4: part 1. .............................. 28 Example 1.6: The Iron Horse, Deroux’s theme, mm. 14–16: part 2. .......................... 28 Example 2.1: Stagecoach, the Geronimo theme, opening titles. ................................. 49 Example 2.2: Stagecoach, the Geronimo theme, the telegraph line goes dead. .......... 50 Example 2.3: Stagecoach, the Geronimo theme, smoke signals at Apache Wells. ..... 50 Example 2.4: Stagecoach, the Geronimo theme, arrival at Lee’s Ferry. ..................... 51 Example 2.5: Stagecoach, the Geronimo theme, Hatfield spots Apaches on the hill. ........................................................................................................................ 51 Example 2.6: Stagecoach, the Geronimo theme, Apaches on the hill. ........................ 52 Example 2.7: Stagecoach, the Geronimo theme, early in the chase. ........................... 54 Example 2.8: Stagecoach, the Geronimo theme with harmonic instability and metric confusion created by the triple hemiola figures, middle of chase. ............ 54 Example 2.9: Stagecoach, the new Indian theme used througout chase. .................... 55 Example 2.10: Stagecoach, Ringo and Dalla’s love theme (top) and the melody of Yakima’s song (bottom). .....................................................................................
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