I think reading 21st century post-racial sentiments onto a 1950s Western is irrelevant and unfair, and anyway SEARCHERS is about "seriously, I just used a racist word when I really meant "Guardians"" the way MOBY DICK is about a whale. It's about the nature of obsession, and what "heroism" is, and what it took to carve civilization out of an unforgiving wilderness. The Indians are totems, symbols of unforgiving Nature. Wayne stands with his fist upraised, shaking it at the hurricane. Ultimately, the love of family overrides his instincts and he rescues his niece, despite her having gone "native". He returns her to that cabin on the plains, and the movie ends with the family going inside, but the Duke cannot enter their world. He is uncivilized; he is necessary for civilization but not a part of it. He walks away from the camera as the door to the cabin closes behind him. This scene bookends the opening of the film, in which the door first opened and the camera went out into the West... And it's TEXAS like its CIMMERIA. It's "the West", and that's all it has to be. It's not a nature documentary. But even on the most literal (and least mythic) level, the movie doesn't celebrate Wayne's attitudes toward the Indians. In the end, he is as "other" as the Indians, and he is shut out (literally) for it. Still his hate fuels him, and gives him the strength to continue the search, just as love fuels the others. He was a necessary beast whose time was passing, but he got the job done. if anything, Ford is attacking racism as one of the bases for genocide against the native population. Even the more genteel characters express racist attitudes toward the indians, and especially toward miscegenation. That was the world in which Wayne's ETHAN EDWARDS lived. Edwards' racism is primarily motivated by desire for revenge against acts of cruelty actually committed by the commanches in the story against his family and community, not some small-minded prejudice formed outside experience. He is a complex character that to simply dismiss out of hand as a hateful racist is to miss the point entirely. Ford's westerns always had that corny, sentimental humor going on in the background, but this had a much hotter flame burning in the foreground, for which SEARCHERS deserves every accolade its achieved.