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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). As mentioned by Thomas, various visitors to Tombstone in the film, including Wyatt Earp himself, openly question the future of the town.

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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. This sequence (which will be referred to as the 'Curch Sequence') reveals the fundamental techniques and themes of the film.Д«efore beginning the explication of the sequence it is useful to remember the background behind the sequence. 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. 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. 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. 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.

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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. 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). 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. 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. John Ford's My Darling Clementine (1946) gives the viewer a rich connection between symbolism and theme throughout the course of the film. Analysis of a Sequence from My Darling Clementine

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