Gone Again Skip to My Lou Searchers

MOVIE MUSIC U.k. CLASSICS

Original Review by Craig Lysy

Renowned director John Ford had long been recognized as a primary of the Western genre with successes, which included Stagecoach (1939), My Darling Clementine (1946), Fort Apache (1948) and Wagon Master (1950). He came upon a novel The Searchers (1954) by Alan Le May that he believed offered a powerful narrative, which needed to exist brought to the big screen. Warner Brothers Studio approved the project, purchased the film rights and tasked Ford with bringing his vision to fruition. Frank Nugent was hired to write the screenplay and Ford assembled a stellar cast, which included; John Wayne equally Ethan Edwards, Jeffrey Hunter as Martin Pawley, Vera Miles as Laurie Jorgensen, Ward Bond as Reverend Helm Samuel Clayton, Natalie Woods as Debbie Edwards and Henry Brandon every bit Scar. The story was set in Texas and inspired by a real life issue, the 1836 kidnapping of Cynthia Ann Parker past Comanche Indians. She would spend 20-four years of her life amongst them, begetting and raising three sons with her Comanche husband.

In the flick version, set in 1868, her uncle Ethan has been searching for her ever since, obsessed with avenging his brother's expiry and recovering his niece. Film allusions that he had an affair with his sister-in-constabulary and fathered Debbie further muddies the water, injecting additional powerful emotional drivers. What is compelling about the film'due south narrative is that Ethan seems driven more by revenge against the Comanche for the slaughter of his brother and Martha than by rescuing Debbie. Regarding Ethan, critic Greil Marcus wrote; "Ethan is clearly Ahab. He is the good American hero driving himself past all known limits and into madness, his commitment to honor and decency burned down to a core of vengeance." At that place is too a larger story here, racism that justifies genocide, the manifest destiny of white civilization'due south triumph over a roughshod, junior, brown skinned Indian race. Nevertheless Ford in his story telling sows ambivalence, and undermines this narrative as our hero is every chip as savage as the Indians he hunts; he shoots the eyes out of 1 dead Indian, and scalps another, he disrupts a funeral service for white victims as it is delaying his lust for vengeance, and most grievous, he tries to shoot his niece for having sexual activity with Indians.

In the final analysis Ford blurred the traditional American archetypes, exposing in a very graphic manner, their flaws and imperfections. The film was a commercial success, but remarkably secured little critical acclaim, earning no Academy Honor recognition. Over the years the assessment has changed dramatically, being named by the American Moving-picture show Institute in 2008 as one of the most influential films in the genre, likewise as the greatest American western of all time. Information technology stands today as number 12 on the American Picture show Institutes listing of the 100 greatest American movies of all time.

Max Steiner had a long and productive relationship with Warner Brothers, and given his tape of success in the western genre, Cimarron (1939), Dodge City (1939), They Died With Their Boots On (1941), and Distant Drums (1951), he was the studio's natural option. Steiner understood that American sociology was essential to the flick's narrative. As such he began the pic with a main title vocal, and interpolated his soundscape with a number of traditional ballads including "Shall Nosotros Assemble By The River", every bit well as the Confederate anthems "Dixie", "The Yellow Rose Of Texas" and "The Bonnie Blue Flag." Steiner as well created traditional bugle sounding cavalry calls and the classic Garryowen 7th Cavalry march to support the U.s.a. army. He also infused his soundscape with the guitar to provide a folksy ambiance to the story. But artistic differences soon arose betwixt him and the micro-managing Ford. After viewing the flick'due south final cut, Steiner was deeply disappointed by Ford's editing and deletion of several of his nondiegetic cues.

For the picture show Steiner created a multiplicity of themes, His primary theme is beginning heard in the Main Titles, the song "The Searchers" written by Stan Jones and sung by the Sons of the Pioneers. Its wordless melody serves as Ethan's Theme in the film. Within its lyrics and melody are institute loneliness, sadness, an estrangement of a human from home and family. Ethan is a lamentable figure, a man of lost causes; the confederacy and his affair with Martha, his brother'southward wife. For Edwards Family Theme Steiner interpolated the Civil War carol "Lorena" composed past Henry DeLafayette Webster, with lyrics by Joseph Webster. The ballad is mournful, a lamentation of a soldier longing for his now-expressionless wife. The theme is multifactorial in that information technology besides serves as a leitmotif for Martha, an allusion to her forbidden affair with Ethan. Martin'southward Theme is youthful and gregarious, carried past confident strings, although Steiner softens and romanticizes it with violin statements for scenes with Laurie and Look. The rhythmic Travel Theme offers a repeating four-note cord ostinato, with supportive woodwinds, which carries the men with its confidant and determined cadence. Juxtaposed to these western identities are three themes for the Indians; the Comanche Theme offers bold fanfare and descending tom-tom rhythms powered past tympani. The theme has non-western harmonics and rhythms, which Steiner used to juxtapose to his western themes for the white people in the film. The Indian Idyll Theme offers a gentile, woodwind laden pastorale. Its application involves Indian women in the film, a striking juxtaposition to the aggressive and masculine Comanche Theme. Lastly, at that place is Principal Scar's Theme, a menacing six-note descending construct, which perfectly captures his forcefulness and savagery.

Nosotros open grandly in "Chief Title" where Steiner eschews the apply of his Warner Brothers logo music, instead opening with thunderous fanfare and tom-tom declarations of the Comanche Theme, one of his nigh powerful film openings. As the opening credits roll we segue at 0:22 into the song "The Searchers" sung by the group Sons of the Pioneers, supported by a guitar, and strings. The folk vocal introduces the film's narrative nicely. We close with a screen fade to black, which displays Texas 1868. We segue seamlessly into "The Prodigal Returns", a splendid cue where we show to Steiner's compositional gift as he introduces and weaves together a number of his master themes. We open with the Edward's Family Theme equally Martha Edwards opens the ranch house door to reveal a archetype western chaparral vista. In the distance a lone passenger, Ethan Edwards approaches supported by the iconic Amalgamated anthem "The Bonnie Blue Flag", but the anthem is plaintive, shorn of information technology bravado as the Confederacy, and Ethan by extension, were defeated. Ethan'due south Theme joins to back up his arrival as we conclude as nosotros began with the Lorena melody.

"Martin Pawley" reveals Ethan's adopted son Martin arriving on horseback during supper atop a spirited and confidant rendering of his theme. At 0:34 we segue into the Lorena melody every bit he joins his family unit for supper. Ethan is common cold and remarks that Martin could be mistaken for a half-brood. Plaintive woodwinds speak to the awkward reunion. After super in "A Medal For Debbie", Ethan'due south nephew Ben is presented with a gift, his saber, which elicits he to ask him why information technology has taken him and so long to render from the war. Before Ethan can reply, Aaron sends Ben off to bed. Martin decides to also plow in for the night and says good night to anybody. The tension remains with Ethan and a reticent somewhat pensive rendering of Martin's Theme carries the scene. At 0:44 we segue atop the Lorena tune as nosotros see Ethan present Debbie with a gift, his medal of Valor medal. In "Newly Minted Gold" Aaron, states that he is welcome to stay equally long as he wants, which prompts Ethan to say he will pay his way as he offers two bags of golden coins. The Edward'due south Family Theme opens the scene and is joined by a twinkling harp mysterioso conveying Ethan's Theme, as he presents Aaron with pristine, unused gilt coins. At i:04 we are jolted by bold horn declarations, which support the approach of riders early morning time the next mean solar day. The thematic coaction of this cue is spot on.

In "Fond Good day" a Texas marshal, the boisterous Reverend Captain Clayton has arrived. He imperiously deputizes the men to assistance him bring some cattle thieves to justice. Ethan gently kisses Martha on the forehead and the men depart. You lot tin can tell in her eyes that she has feelings for Ethan, feelings that do not go unnoticed by the Reverend Clayton. Steiner supports the kiss with Ethan'southward Theme and the departure with a tender rendering of the Edward's Family unit Theme by harpsichord and gentile strings. "Moving Out" provides some enjoyable thematic interplay. The scene reveals the men riding off in search of the bandits. Interplay of the Travel, Edwards Family and Ethan's Themes makes for a very satisfying cue, which perfectly supports the film's imagery. At 0:43 finger cymbals, woodwinds and drums emoting the Comanche Theme inform us of the presence of Indians. In "Anxious Pioneers" strings furioso and the Travel Theme carry the men's progress until they make the grim discovery of the Jorgenson cattle slaughtered. Ethan deduces that this has been a ruse to lure the Jorgenson's from their at present caught homestead, which elicits a palpable terror in the men. The party rides off rapidly in agony, with the exception of Ethan and Mose, who remain to feed and residual their horses. Equally Ethan rubs his horse mortal fear rises up in him and the Lorena tune inform the states of his thoughts of Martha. We scene change to the Edwards homestead at nightfall where Aaron discerns troubling signs of an approaching Indian raid. Steiner sows fearfulness with brief quotes of the Comanche Theme set atop grim low register strings opposed by a violin sustain and plaintive woodwinds.

In "The Shadow Of Principal Scar" Martin and Martha are terrified and sent Debbie to hibernate by the grave of he grandmother. Their efforts are for naught as an ominous shadow envelops Debbie who looks up to run across Primary Scar. Nighttime low register strings ascend as a tremolo and culminate with his bullhorn smash, which sounds the attack. "Drastic Render" reveals Ethan and Mose riding desperately to the Edwards ranch. They pass Martin, whose horse gave out, not stopping to help hem. Muted trumpets and tense drums carry their progress, ending abruptly as Ethan pulls up short of the ranch, which is ablaze. "Edwards House Ablaze" offers an emotional powerhouse with perhaps Steiner's most impassioned writing. The ranch is ablaze and Ethan runs in to find survivors, simply to observe the remains of Martha'south horrific violation. Steiner offers crashing orchestral chords of torment and aching strings agonia, which wrench our hearts. The music descends in writhing hurting equally the Edwards Family Theme plays as a lament and a plaintive solo violin informs us of Ethan's pain and regret. Nosotros stop on a truly tragic rendering of the Lorena melody, which passes unto the silence of death.

In "Rescue Posse Moves Out" we see Ethan shockingly violate the decorum of the burials by bellowing out "There'southward no more than fourth dimension for praying – put an Amen to it!" The widow Jorgenson pleads with him to non be consumed past vengeance, but her words fall on deaf ears equally Ethan volition non be delayed or deterred. Nosotros open up with the solemn strains of the hymn "Shall we gather at the River", which is severed by Ethan's declaration. Plaintive strings carry the widow'south plea, and equally Ethan departs with a party of Rangers an ambitious rendering of his theme carries their progress. The marriage of film narrative and score hither is first-class. They run into a cached Comanche, and to the Reverend'due south horror, Ethan shoots outs the corpse'southward eyes so he can never find the path to the spirit world. "Ethan's Scouting Report" reveals Ethan, who had ridden ahead of the party to scout, returning with news of an Indian encampment by the river. A crescendo by ascending strings bellicoso support the scene.

"Indian Escort And Attack" offers a score's highlight, with its longest and start action cue. Ethan discovers that they are being flanked on both sides by Indian war parties. The drum rhythms of the Comanche Theme sound and intensify equally they ride. The Travel Theme carries their progress with a rise tension in the horns with interplay of a stalking and menacing Comanche Theme. At ane:15 Steiner begins a crescendo on the Comanche Theme, which erupts at 2:42 as the men bolt for the river rather than be encircled, with the Comanche in hot pursuit. Steiner whips his orchestra into frenzy every bit they cross the river, dismount and accept up defensive positions. An overconfident Chief Scar orders a frontal set on atop the Comanche Theme, which results in heavy casualties and forces a retreat. When the Reverend orders the men to cease fire and then the Indians can collect their dead, Ethan becomes enraged and threatens to continue lone.

In "If They're Still Alive" Ethan, Martin and Brad set off on their ain in pursuit of the girls. Dissension mounts with Brad challenging Ethan's negativity regarding the fate of the girls. Ethan's Theme and a plodding rendering of the Travel Theme carries their progress as they struggle nether the searing desert sun. In "Mysterious Trail" hoof prints of a single rider causes Ethan to set-off on his own. He returns subsequently exhausted, thirsty and with nothing to show for his efforts. The men comment that he is missing his coat, which Ethan asserts he must accept lost. A plaintive rendering of the Lorena melody supported my nativist drums and dire horns acquit the scene, culminating in fanfare as Ethan returns. "False Sighting" reveals a hopeful Brad who claims he saw Lucy alive in the Comanche camp. Ethan crushes his spirits by stating that it was not Lucy, as he had found her corpse and cached her in his coat. A hopeful and surging line of ascending strings and horns carry Brad's hope, only to be severed by Ethan's devastating news.

"Bad News For Jorgenson" Brad is consumed by rage and foolishly rides off to avenge her death. Dark low annals strings support violins agonia as we run across Brad'due south anguish. From this bursts rage as he bolts with his equus caballus alone and unstoppable on a doomed quest for revenge. Strings furioso and horn declarations propel him, yet are presently silenced by a grim argument of the Comanche Theme, which informs us of his death. In a scene change we see the coming of winter snows, which forces Ethan to call off the search until leap equally they return to the Jorgenson ranch. Ethan'southward Theme on strummed guitar and horns acquit their progress. In "Laurie Welcomes Martin", Laurie the remaining Jorgenson daughter prims herself and rushes to greet Martin, with whom she is smitten. Strings romantico carry her to him, and he is clearly taken by her sight equally his masculine theme is softened for a romantic rendering on solo violin. Steiner's music carries this joyous reunion perfectly. "Stubborn Marty" reveals Ethan riding to Futterman's Trading Post subsequently hearing news regarding Debbie. A string crescendo carries Ethan's departure. Martin is insistent on joining him, much to the dismay of Laurie. At 0:12 refulgent strings inform us of her romantic longing, entwining with the romantic variant of his theme in archetype Steineresque way. We conclude with uncertainty born past strings and harp as Martin departs.

"Decoy For Futterman" offers a marvelous tension cue. Ethan and Martin are camped for the night, only all is not as it seems. Futterman, the trader who sold Ethan information on Debbie is intent on bushwhacking him to get the residue of his money. Ethan sensed his duplicity and sets a trap, with Martin unknowingly being a decoy. Dark strings, harp glissandi and formless pianoforte sow unease as the men arroyo. Nosotros build slowly to a crescendo at one:27 when horn declarations behave Ethan's fury as he guns downwardly the men from his hidden position. Dark strings carry their passing and nosotros end on comic woodwinds as an aroused Martin objects to how Ethan used him. "Indian Idyll" is a score highlight, which offers an extended rendering of the Indian Idyll Theme, a woodwind-laden pastorale. Laurie has received a letter of the alphabet from Ethan and reads it to her family unit. Scar's Theme opens the cue every bit the letter relates their pursuit of him. We see Ethan and Martin are trading goods at the Indian bureau where Indians come to merchandise. They hope to glean data on Debbie's whereabouts. The Comanche Theme supports the setting, yielding to the Indian Idyll Theme at 0:38. Equally Martin sells the Indians hats, a comic variant of his theme entwines with the Indian Idyll Theme to support the moment. When Ethan obtains information on Master Scar he pulls Martin abroad to follow the lead. At 1:39 nosotros scene change atop the Travel Theme as we see Ethan and Martin riding on the trail in search of Scar. An Indian woman (Expect) follows them on horseback, as Martin has evidently not simply purchased a coating, only a married woman! The Indian Idyll Theme carries her progress, shifting to and fro with the men'south Travel theme.

"Mrs. Pawley" offers wonderful thematic coaction. Look tries to serve Martin food, but he is uncomfortable and declines. When he beds down for the night she lays adjacent to him, which elicits him to cruelly kick her away, causing her to roll downwardly a loma. The gentility of the Indian Idyll Theme on violins and finger cymbals supports her efforts to serve and care for her man. Martin's Theme joins on violins in a beautiful tête-à-tête, which is severed when he boots her down the hill. In "Keep Their Bellies Empty" Await becomes terrified when Martin speaks Scar's name. Nighttime strings intone Scar's Theme and we see information technology terrifies her. The adjacent day Look has left and the snows have come up. Ethan shoots a buffalo for meat, but and then proceeds to slaughter the herd stating "Keep their bellies empty." Steiner supports the scene with inspired coaction of the Travel Theme, the Indian Idyll Theme on oboe, and the Comanche Theme, unleashing thunderous tympani for the buffalo stampede. We close on a afar bugle phone call, which informs us of the US cavalry. We menstruum seamlessly into "Cavalry Atrocity" equally we see a column of US cavalry riding forth. Ethan and Martin follow the bugle sounds and discover a massacre of the Indian village. We open to a proud marcia militare, which supports the cavalry. At 0:58 nosotros scene change to the massacre where Look's body is establish. The Indian Idyll Theme joins on solo oboe at i:xix as a lament as they survey the carnage. A plaintive Martin'southward Theme enters at ane:43 every bit he gazes at her dead body. At 2:04 the inspiring Garryowen March of the 7th Calvary carries their progress equally they boldly ride into the trading postal service.

In "Charlie Serenades Laurie" Laurie continues reading Martin's alphabetic character in which he discloses that he will exist away for a second Christmas. She is dismayed and Charlie seizes the moment to move in by serenading her. While playing a guitar he sings the folk tune "Skip To My Lou", which is and then taken up wonderfully past full orchestra as we encounter in a scene modify, the silhouettes of Ethan and Martin against the sunrise. "Main Scar's Campsite" reveals a Mexican intermediary escorting Ethan and Martin to a coming together with Scar at his camp. There is tension in the air and Steiner informs u.s. that this is Scar'south domain by supporting the scene with a menacing rendering of Scar'due south Theme and the Comanche Theme, which join in a threatening synergy. "Teepee Talk" offers a revelatory moment as a defiant Scar boasts of his scalp trophies, his revenge for the death of his two sons by white men. Ethan is startled when he discovers that it is Debbie who brings the spear to Scar. Scar'south Theme carries the scene, as information technology is his domain. At 0:48 a drum coil and orchestral strike launch an angry Ethan'southward Theme, that joins when he views the white scalps on the lance, which to their amazement is presented past Debbie. Steiner'south music actually supports this tense meeting of adversaries well.

"Debbie Appears" offers a powerful scene and score highlight where Steiner just delivers the goods. Debbie appears above the men's camp and a rising ethereal tremolo of strings usher in a stirring confluence of the Ethan Family Theme and Lorena tune – an allusion that Debbie is Ethan'south daughter. She asks that they leave, declaring, "These are my people". This enrages Ethan equally the ultimate betrayal and he draws his gun to kill her. Martin however, blocks his shot and at ane:fourteen the Comanche Theme sounds every bit an pointer strikes Ethan in the shoulder, the onset of Scar's attack. Steiner whips the theme into a marcia bellicose equally the men flee into a defensible crack. The Comanche motifs dominate the fight equally Ethan and Martin mange to hold them off, fifty-fifty managing to shoot Scar'due south horse from under him. Afterward the retreat at iii:15 Martin obtains water to tend to Ethan's wound, which Steiner supports with a twinkling harp. We conclude upon a plaintive rendering of Ethan's Theme as he offers Martin his final will and testament.

In "Unwed Bride" Ethan and Martin return home and manage to interrupt Laurie and Charlie'south wedding ceremony ceremony. Steiner reprises the hymn "Shall we get together at the River", which is omitted from the album to back up the scene. As Martin and Laurie lock eyes nosotros come across that she nonetheless loves him, and the romantic variant of Martin's Theme supports their reunion and hug. Charlie is angry at the disruption, and the sight of Laurie in Martin's arms, and then he and Martin fist fight. Soon a cavalry Lieutenant arrives and brings orders from Colonel Greenhill for Captain Clayton to deputize a party to join in the attack on Scar's army camp. "Overlooking The Indian Camp" was dialed out of the film by Ford. Ethan stands atop a hilltop overlooking Scar'due south camp, where he assesses Scar'southward number of warriors. He rejoins his men and plans his set on. Steiner vision was to back up the tension with a textural cue, which included a fleeting statement of Scar'southward Theme. In "Sus scrofa Back Approach" Martin is still wary of Ethan and and then demands to be lowered into the camp to rescue Debbie before the attack. Martin penetrates the campsite undetected; withal Scar senses something in the wind. Fortune smiles with the arrival of United states of america cavalry at the Rangers camp. Ethan's Theme supports the scene with a descent of strings as Martin is lowered into the military camp. Once inside the Comanche Theme dominates until horns declare the arrival of the cavalry.

"Marty Rescues Debbie" reveals Martin finding Debbie with a plodding variant of his theme supporting his efforts. When she recognizes him every bit her brother the Lorena melody carries her joy. Before they can escape, Scar enters the tepee, severing the tune grimly. He is gunned downwardly chop-chop past Martin, which Steiner supports with an orchestral spike. In "Attack On The Indians" Steiner offers a score highlight with some outstanding action writing. Martin's gunshot leads the Reverend to launch the attack and they tempest into the Comanche camp, killing everyone in their way. The Bugle call of the US cavalry charge propels the men into battle. Steiner uses an assault of horns, percussion, and repeating ascending strings furioso crescendos to support the boxing. Attempts of the Comanche Theme to assert itself are snuffed out. When Ethan finds Scar, he takes his knife, and in a horrific act of revenge, scalps Scar. Ethan then spots Debbie and pursues her on horseback. Flight music carries her and Ethan's Theme supports his pursuit with dramatic power. Debbie eventually stumbles allowing Ethan to finally overtake her. Instead of killing her, he lifts her up tenderly in his arms and states, "Let'south go abode Debbie." Steiner supports the moment with the Lorena melody, once once more providing a subtle allusion to her parentage. It is interesting to notation that the original script, which was changed by Ford had Ethan stating, "You sure favor your mother", a more overt acquittance of he being her male parent.

In "Home Once more / End Title" Ethan and Martin render to the Jorgenson'due south who cannot believe their eyes at the sight of Debbie. Guitar and horns conductor in a warm and hopeful rendering of Ethan'south Theme, which swells into a beautiful string laden rendering of the Lorena melody. As they go in to celebrate, Ethan remains exterior, a man still estranged, condemned as the lyrics of the title song country, to roam. "The Searchers" sung in heartfelt manner by the Sons of the Pioneers concludes the motion-picture show. A coda of the Comanche Theme was excised from the final cut, as Ford desired that the movie cease on "The Searchers" closing argument – a final tweak of Steiner's nose me thinks. "The Searchers" offers a bonus cue where the Sons of the Pioneer accompanied by a solo guitar sing all four verses of the song.

Please let me to thank James D'Arc and Ray Faiola for this long sought restoration of Max Steiner's masterwork. The score was preserved on acetate discs in the Steiner Collection at Brigham Young University and the digital remastering by Ray Faiola and Chelsea Rialto Studios is excellent. The cues were recorded inexplicably on 78-rpm discs and some cues had noticeable groove wear. The creative squad fabricated the decision to not over-process the restoration in an effort to preserve Steiner's original audio. While this at times resulted in some audio imperfection, it did not for me detract from the listening experience. This was i of Steiner's finest efforts for what are possibly the greatest Western of them all. He created 7 fine themes and for actuality, infused his soundscape with a number of archetype American ballads and marches. His song "The Searchers" perfectly captured the essence of the anti-hero Ethan Edwards, whose sad story carried the flick. In scene later scene Steiner'due south music fleshed out the character emotions, the Texican and Comanche identities, and the beautiful Monument Valley vistas with its uniquely colour stratified buttes. For me, "The Searches" offers testimony to a perfect confluence of picture imagery, narrative and music. This score is a masterwork of the late Golden Age, one of the finest in Steiner'due south canon, and I highly recommend its purchase for your collection.

For those of you unfamiliar with the score, I have embedded a Youtube link to a wonderful seven minute suite, which features Steiner's primary themes: https://world wide web.youtube.com/picket?five=Gu8moDEJd-Y

Buy the Searchers soundtrack from the Movie Music U.k. Store

Track Listing:

• Primary Title (vocals past Sons of the Pioneers) (ane:36)
• The Dissipated Returns (ane:52)
• Martin Pawley (i:xix)
• A Medal For Debbie (1:49)
• Newly Minted Gilt (ane:16)
• Fond Farewell (0:46)
• Moving Out (1:25)
• Anxious Pioneers (2:13)
• In the Shadow of Chief Scar (0:21)
• Desperate Return (0:35)
• Edwards House Ablaze (2:00)
• Rescue Posse Moves Out (1:42)
• Ethan's Scouting Written report (0:22)
• Indian Escort and Attack (7:03)
• If They're Still Alive (one:07)
• Mysterious Trail (1:00)
• Fake Sighting (0:20)
• Bad News for Jorgenson (3:33)
• Laurie Welcomes Martin (0:52)
• Stubborn Marty (0:52)
• Decoy for Futterman (2:08)
• Indian Idyll (3:19)
• Mrs. Pawley (1:24)
• Proceed Their Bellies Empty (2:59)
• Cavalry Atrocity (3:18)
• Charlie Serenades Laurie (vocal past Ken Curtis) (i:35)
• Primary Scar'south Camp (ii:01)
• Tepee Talk (1:47)
• Debbie Appears (iv:24)
• Unwed Bride (0:46)
• Overlooking the Indian Camp (i:04)
• Pig Back Approach (1:23)
• Marty Rescues Debbie (ane:22)
• Attack on the Indians (two:35)
• Dwelling house Over again/Terminate Championship (vocals by Sons of the Pioneers) (two:20)
• The Searchers (vocals past Sons of the Pioneers) (4:02)

Running Fourth dimension: 68 minutes 30 seconds

Brigham Young University Film Music Archives FMA-MS121 (1956/2015)

Music equanimous and conducted past Max Steiner. Orchestrations by Murray Cutter. Score produced past Max Steiner. Anthology produced by James d'Arc and Ray Faiola.

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Source: https://moviemusicuk.us/2017/06/19/the-searchers-max-steiner/

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