One of the great sequences in cinema is one that’s been written about to death: Martha opening the door, revealing the vast expanse of the West and a lone rider approaching the house at the start of The Searchers (1956). Even in John Ford’s vast and stunning filmography there might not be a more stunning image. Its key is its continuous and surprising motion—the black frame is opened up by a door, then the world expands to a widescreen frame as the camera steps out the precipice with Martha, and the walls give way to sandy expanse. Читать дальше...