MY DARLING CLEMENTINE essay

 Analysis of a Sequence from My Darling Clementine

 

John Ford's My Darling Clementine (1946) gives the viewer a rich connection between symbolism and theme throughout the course of the film. The film's theme can be considered the expansion of American society into the "civilized" West and what this expansion meant in terms of the evolving American identity. If one takes the events portrayed in Ford's film to represent a version of America's quest for self-identity, its emergence as a distinct, if still young, culture, the film's intricate technical capacities attain an even greater power. As Deborah Thomas remarks in her study of My Darling Clementine, the symbolism of the film is fairly self-evident, with "the violence of the murderous Clantons presented as an aspect of that Western freedom from restraint which characterizes the space beyond the frontier" and, even more logically, the association of Wyatt Earp with "the civilizing aspects associated both with the law and more broadly with the half-built church and the schoolhouse" (Thomas, 10). The symbolism of the film is built on a relatively simple series of associations, but these associations are expressed through an intricate series of cinematic techniques and narrative devices which enhance not only the perceived "realism" of the film, but its "mythical" impact as well.

In order to more fully describe how the film operates at these simultaneous levels of expression, it is useful to explicate, as clearly as possible, the technical devices, narrative techniques, and symbols of a chosen sequence of the film. Because Ford succeeded in giving overall unity to this film, it is entirely possible to choose any sequence of the film in order to establish the overall necessary points regarding technique and theme. However, certain sequences, particularly the sequence chosen for the following discussion, offer a chance to not only probe the technical and thematic aspects of the film, but to do so in a way which is streamlined and simple. The sequence in question begins when Wyatt Earp and Clementine meet in the hotel lobby and concludes when they walk to the still-unfinished church together. This sequence (which will be referred to as the "Curch Sequence") reveals the fundamental techniques and themes of the film.

Before beginning the explication of the sequence it is useful to remember the background behind the sequence. Of special importance is that fact that the unfinished church and school represent obvious symbols of the ambiguity of Tombstone's future, so that when the sequence in question begins, Wyatt and Clementine find themselves in a similarly ambiguous situation: not knowing how to articulate or pursue their own future. As mentioned by Thomas, various visitors to Tombstone in the film, including Wyatt Earp himself, openly question the future of the town. In fact, "Doc's suggestion to Clementine that that Tombstone is no place for 'her kind of person' provides a tension with Wyatt's insistence that all decent people are welcome in town" (Thomas, 11). The tension between the two characters, Clementine and Wyatt Earp symbolizes the tension about the future of Tombstone.

The relationship between Wyatt Earp and Clementine is, symbolically, the relationship between law and order and the domestication of the western frontier. Clementine's presence in Tombstone before the church or the school have been completed seems out of place -- even dangerous -- but to Wyatt, her presence is a sign that civility and order and domestication are beginning in the frontier.

As the "Church Sequence" begins, Clementine is waiting to depart from Tombstone. The scene is somber, but obviously "civilized" as Clementine enters the scene and places her suitcases on the floor with a loud bang. The sound of her luggage hitting the floor is the only sign that something is deeply wrong with the picture and that Clementine is upset. She is also conspicuously alone and the sound of her bags hitting the floor points to a sharp contradiction with the visually "civilized" look of the interior because it points out that no-one has helped her (a lady) with her luggage. When she rings the "service" bell, the bright happy sound is an ironic contrast to her condition. The ringing of this bell is also a foreshadowing of the coming scene of the church. The sound of the bell is very important because it, just as the church-bell, symbolizes marriage -- specifically the marriage between Wyatt and Clementine which, in turn symbolizes the "taming" of the American West.

As Clementine rings the service bell again and again, the symbolic idea behind the scene is that no-one in Tombstone will rise to embrace the civilized future. No-one will be Clementine's "bridegroom" and complete the marriage which the unfinished church, unfinished school, and ringing bells allude to; the relationship between Clementine and Wyatt is also "unfinished" and the sense of mythic resonance is that their relationship is tied to the future of Tombstone. The unanswered service bell enhances the sense of desperation and loneliness that are the root reasons for Clementine's departure. Throughout the beginning of the scene, sunlight beams into the interior even as Clementine becomes more frustrated and dejected, giving a hopeful resonance to the visual aspect of the scene.

The first cut in the sequence moves to a close-up of Clementine's dejected and somewhat frustrated face. This choice of edit is brilliant because it completes the sense of isolation and shows that Clementine has been abandoned by Tombstone. Just as she reaches for a handkerchief to wipe her eyes, the sound of thudding boots comes over the scene. The sound of Wyatt's boots is a response to the service-bell. He is the answer. He is the missing bride-groom. There is a second camera-cut and this shows Clem-tine and Wyatt in profile, with Wyatt crossing at almost a right angle to where she is sitting, until his back is facing her. When he strokes his hat-brim, the viewer is suddenly aware that Clementine is also wearing a hat and the symbolism is that of royal crowns: they are destined to "rule" the American West.

When the two characters begin speaking to one another, Clementine confesses that she is waiting for a stagecoach to take her back East because the people in town belive that she has over-stayed her welcome. Tombstone does not want to be civilized; it has rejected the domestication that Clementine's presence symbolizes. Wyatt's reply to her that she is "giving up too easy" (Clementine) expresses the sense of self-reliance and fortitude that will be necessary to civilize the frontier. When Clementine responds by saying that Earp does not understand a woman's pride, their conversation is abruptly interrupted by the sound of trampling feet and church-bells.

When Wyatt and Clementine follow the group of women toward the sound of the church-bells, they stop short at the door and stand in the obvious position of a bride and groom. At that point, while the bells are ringing, Clementine -- speaking to a third man who is staged in the position of a minister -- remarks that the church-bells are the first she'd heard for months. She then looks wistfully at Wyatt. There is a moment of lingering motionlessness and silence with only the church-bells ringing, which highlights the sense of urgency between Wyatt and Clementine. When Wyatt and Clementine are again left alone together, the camera is to Wyatt's back, but Clementine's face is clearly visible: at once sad and hopeful. Without speaking, she dashes outside. Wyatt follows.

The next camera cut, to the exterior shot of the hotel 'porch" and Tombstone, is a scene-change, but still continues the "Church Sequence." The change of vision and sound is startling. This camera cut is one of the most brilliant transitions in the film because the abruptness of the change is in keeping with the film's theme: the viewer is suddenly shifted from the calm, faintly hopeful, orderly interior of the hotel lobby to the dust-choked, vast frontier outside, where even from the vantage point of what had previously seemed like the most civilized place on earth, it is hard to see Tombstone as any kind of town at all. This sudden shift is meant to highlight the film's central conflict: that between civilization and the untamed West.

The next shift in camera-angle is to a shot which highlights Clementine. She wears a spotless sundress and gloves and a flowered hat. With Earp standing beside her and the church-bells ringing she says "I love your town in the morning, Marshall, the air so clean and clear" (Clementine). This statement is a stark contrast to the previous vision of dust and stage-coaches, and as she inhales deeply, Clementine says "The scent of the desert flower," (Clementine) which is a richly poetic image of hope. When Wyatt responds, "That's me. Barber." (Clementine) the implication is tat he has embraced the civilizing influence that Clementine represents.

As the sound of church-singing begins to mingle with the bells, Clementine asks Wyatt if she may go with him to the still unfinished church and it is clear that, had she not asked him to go, Wyatt would not have been attending the church services. This is another sign that Wyatt is submitting to the civilization symbolized by Clementine. His own instincts, however, are incomplete and he needs her to remind him to go to church. The church, as previously mentioned, symbolizes the union of Wyatt and Clementine which is the union of law and order with civilization. At this point, the sequence has reached a feeling of great hope and positivism which is a strong contrast to the opening scene when Clementine came, alone into the hotel lobby with her luggage.

The transition for the sense of loneliness and isolation to a sense of hope and order and harmony happens simultaneously with the growing relationship of Clementine and Wyatt. The implication is that the harmony of Tombstone's future somehow depends on the harmony of their relationship. If it is understood that Wyatt symbolizes law and order and that Clementine symbolizes domesticity and family-life, then the reason the two musty be together is clear, especially in light of the previous vision of the untamed frontier and the ongoing, implied threat of the Clantons.

When Clementine takes Wyatt's arm and the two begin to walk to the church, the sequence has reached its full articulation of theme. What Ford's symbolic and narrative construction communicates in the celebration of the American expansion into the West and a celebration of the attributes which he viewed had allowed this great expansion to take place. For Ford, law and order, the family, the church, and the rule of rational society were the elements of character which allowed the American frontier to be settled and tamed. In the sequence which was discussed above, the symbolic meaning of the characters, setting, and even camera angles and sound all contribute to the articulation of this theme of positivism and hope.

Because the technical and symbolic elements of the film work so well in unison, the resonance of the film's theme is made to quite strong and compelling. The feeling of unity that comes from an appreciation of the film's technique corresponds to the hopeful and optimistic theme of the film which stresses harmony, self-reliance, and the "marriuage" of ideals. The "Church Sequence" can be regarded as an abbreviated or condensed statement of the film's theme, as a whole and as such it stands out as a gem in this brilliant and important film.

 

References

Thomas,Deborah (2001); Reading Hollywood:Spaces and Meanings in American Film. London: Wallflower Press 10 - 25

http://www.youtube.com/watch?v=bqeT8KlkaHk

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