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Home , Against All Flags, Big Jake, Destry Rides Again, High Noon, Joel McCrea, Kim Darby

Scott A. McConnell

The Meaning of the Movie

emember Shane, and The Lone of the country. Ranger? In novel, film and television, west- For more than 150 years, especially since erns once ruled the range. Until the 1900 when the frontier period was ending, the Rwesterns were the most popular fiction genre and American West was revealed in the western novel. remained popular until the 1970s. In his book The Influential among these were Whispering Smith Searchers the western historian Glenn Frankel tells (Frank Spearman, 1906), Riders of the Purple Sage us that western novels “consistently outsold all gen- (Zane Grey, 1912), (Max Brand, res, including the closest competitor, the detective 1930) and True Grit (, 1968). With the story—whose protagonist was, after all, just another arrival of television in the United States in 1947, version of the Western hero”. Frankel notes that “of the western and its view of America dominated the 300 million paperbacks sold in 1956, one third the small screen for many years. Some of the most were westerns”. influential shows and stars during the television Western films were similarly popular. As Frankel western heyday included The Lone Ranger (star- reports, “Westerns by the mid- accounted for ring Clayton Moore), Rawhide (), one third of the output of the major studios and half Bonanza (Michael Landon) and (James the output of the smaller independents.” Incredibly, Arness). “well over seven thousand Westerns have been To most people, however, westerns are movies. made”. The (AFI) has defined Westerns were even more popular on television. the western film as “set in the American West that “From 1949 to the late 1960s, there were over 100 embodies the spirit, the struggle and the demise western series that aired on the networks,” writes of the new frontier”. Film (and western) star Gary Stephen Kiss. Westerns hit their peak of televi- Cooper once stated: sion popularity in the late 1950s: “The 1959 season opened with twenty-seven westerns in prime-time, the western picture tells stories of the pioneer constituting nearly one fourth of prime-time pro- period. The pioneers braved the elements and gramming. In January 1959, eight of the top ten we are brought close to the pioneer people rated programs were westerns.” By 1975, however, by seeing the western picture and we realize Gunsmoke, the most popular television western of our country was and is filled with people who them all, was in its twentieth and final season and believe in America. most westerns had ridden off the big and small screen. The classic period of westerns (1939 to 1969) Another star of many westerns, , was over. stated that the western “is really an original of Why were westerns so popular? The answer is American films. This is ours.” , the found in the meaning of westerns, and in the mean- greatest western movie star of them all, expressed ing of the culture that gave them birth. The mean- it this way: “When you think about the western ... ing and popularity of westerns are explained by the it’s an American art form. It represents what this American ideals and virtues that westerns repre- country is about.” “Yet,” he added, “we’ve created a sented. This does not mean that these ideals were form, the western, that can be understood in every not dramatised in other story genres. However, the country. The good guys against the bad guys. No vast majority of films and television shows of this nuances.” once prolific western genre are so American in their To understand the nature of westerns, we will content and themes that they became representative examine many western films and multiple television

64 Quadrant March 2018 The Meaning of the Western Movie shows, but I will be focusing on three of the most understand the American approach to life or what critically acclaimed, popular and influential western has been called “a sense of life”. A consequence of films. The AFI ranked , and Americans’ individualistic ideals and practices, this Shane, in that order, as the three greatest westerns. approach is how Americans characteristically view The Searchers, a 1956 Warner Bros film, starred John life: man is an independent free being whose rea- Wayne; High Noon, a 1952 release, son and hard work will result in success and happi- starred ; and Shane, a 1953 Paramount ness on this earth. Such beliefs underlie the unique movie, starred Alan Ladd. American innocence, optimism and “can do” spirit. Although America’s founding is the most important period in American history—because Individualism it forged the identity of the country and its basic et’s now turn to the American ideals and virtues institutions—this period did not become the coun- that form the character of westerns. To under- try’s most important period aesthetically. It would standL westerns, one must understand America’s be difficult to name one great novel, television show founding. Unique among nations, the United States or film about the Revolutionary War period that of America was founded on explicit principles. It is truly captures the meaning, importance and gravi- this ideology that sets the context for the American tas of those times. How many fictional heroes from expansion westward and the mean- the Revolutionary War period are ing of westerns. household names, even in America? In the Declaration of Indep­ Across the Western world, most endence, Thomas Jefferson wrote The key elements people could easily name several, that “all men are created equal, that of westerns—their maybe even many, western “celeb- they are endowed … with certain themes, characters, rities”, real and fictional. From unalienable Rights, that among London to Sydney to Toronto, peo- these are Life, Liberty and the conflicts, locations, ple know about Wild Bill Hickok, pursuit of Happiness”. This is the look and feel—have and Billy the Kid, and American creed, the essence and many would recognise the names of unique meaning of America. In undergone a long Annie Oakley, and one word, the meaning of America creative development Laura Ingalls Wilder. Many more is “individualism”. Individualism to produce a would have watched Mattie Ross, is the view that each person is an Matt Dillon and Hoss Cartwright. independent being who owns his distinctive art form. Countless millions would know of own life, can think for himself, the Lone Ranger, Shane and the should take responsibility for his Man with No Name. own actions, and must be free to keep any product Every country and age has its heroes. Heroes of his thinking and actions. That is, each person is reflect the dominant values and ideals of a specific an end in himself with an inviolable right to his life, time and place. Many of America’s most popular liberty, property and pursuit of his own happiness. fictional heroes have been the men and women of American individualism is an expression of what westerns. has been called the Aristotelian side of Western Part of the reason that so many people are civilisation. The Aristotelian worldview stresses aware of the Old West and not the Revolutionary reason, the individual, freedom, science, and life War period is that the American Revolution was a on this earth. (The opposing side of Western civi- time of philosophical heroes and events. The period lisation is the Platonic/Judeo-Christian world- is, consequently, much harder to understand and view, which stresses faith, supernaturalism, dramatise than almost any period in world history. self-sacrifice, the collective and its importance The American founding truly was revolutionary in over the individual.) In the eighteenth century, the its leaders and ideas. The western period of American Aristotelian worldview became dominant and led history was much less so; the Old West was more to the Enlightenment. The pro-reason, pro-indi- the fulfilment of the American Revolution and its vidual, pro-this-world ideals of the Enlightenment ideology rather than anything original in ideals became the philosophical underpinning of the or beliefs. The westward expansion put American United States and its political system of an indi- ideals into action. vidual rights republic. Taking seriously their right Fictional accounts of the American West may to pursue their happiness, Americans marched be the most popular artistic expression of American westward. individualism, but westerns are not usually dra- To further understand Americans one must also mas that explore ideas. Westerns are primarily

Quadrant March 2018 65 The Meaning of the Western Movie action stories that dramatise rugged independence. they were so popular. But individualism is a very Although western films are not intellectual, they do broad term, entailing many different values and vir- express, more implicitly than explicitly, the ideals of tues. The dramatising of these values and virtues is American individualism. what makes the western the art form it is. Let’s now look at the key values and virtues of westerns. The individual in the western ince 1894, when the first western film clip was The moral code produced, western films have developed their esterns are famous for their strong, independ- Sown premises and language. The key elements of ent men and women of action: westerns—their themes, characters, conflicts, loca- shootingW it out during the Gunfight at the O.K. Corral, tions, look and feel—have undergone a long crea- in hand-to-hand combat with an tive development to produce a distinctive art form. Apache leader in Arrowhead, Mattie Ross hunting Westerns have, for example, many varied locations her father’s killer in True Grit. And, of course, Will spread across an ever moving frontier: plains, moun- Kane fighting the Miller Gang on the main street tains, desert, forts, ranches and towns. Further, of Hadleyville, Ethan Edwards searching for five westerns are populated with many unique charac- years to find Scar and Debbie, and Shane facing the ters such as the scout, drifter, railroader, , gunslinger Wilson in a showdown. marshal and . And, of course, the Indian. These westerners lived by a moral code. J.B. One especially important trait of the western Books (John Wayne) in spoke for the is its iconic shots: the marshal marching down the independence of the westerner when he stated, “I main street, the express rider whipping his horse won’t be wronged, I won’t be insulted, and I won’t to a relay station, a train being circled by be laid a hand on. I don’t do these things to other attacking Indians, the cavalry captain leading a people, and I require the same from them.” As did charge against a band of renegade Indians, the sing- Tom Doniphon (also John Wayne) in The Man Who ing dance-hall girl, and, of course, the fast-draw Shot Liberty Valance when he pronounced, “Out here showdown. However, the individualistic essence of a man settles his own problems.” western films is best found in the first frames of More generally, the morality of the western hero most westerns. Many westerns open the same way: was perhaps best stated by the apocryphal quote a lone man riding on a horse, often towards a town. often (falsely) attributed to a John Wayne western The world this loner is entering is often morally out character: “A man’s gotta do what a man’s gotta of kilter, and this individual can set it right. do.” The closest a John Wayne character actually Shane has the classic western opening: wild hills, came to expressing this ethic was the lead character then a man on a horse enters the frame from behind. in Hondo, who states, “A man oughta do what he He is calm, assured, alone. Shane (played by Alan thinks is right.” A similar morality was expressed Ladd) canters down to a valley, an outpost of civi- by the Ringo Kid (also John Wayne) in Stagecoach: lisation. The Searchers opens with Ethan Edwards “Well, there are some things a man just can’t run (John Wayne) riding towards a ranch house as his away from”, and in The Tall ,T when Pat Brennan sister-in-law Martha stares at him from its porch. () states that there are “some things High Noon opens with Colby (), one a man can’t ride around”. of the Miller Gang, seated near his horse, awaiting As these quotes signify, a fundamental part of another killer riding towards him. the westerner’s moral code is the virtue of moral The opening (and many times the ending) of independence. The westerner thinks and judges for a western is the dramatisation of Dr Stockmann’s himself, chooses his own values, then acts to gain individualist words at the end of Ibsen’s play An or keep them. And the westerner remains true to Enemy of the People: “the strongest man in the world his values. He has integrity. In The Alamo, Davy is he who stands most alone”. Crockett (John Wayne) defined integrity when he Note the individualist themes in clas- stated: “There’s right and there’s wrong. You gotta sic westerns. In Shane, we see how strong individu- do one or the other. You do the one and you’re als changed the American West from lawlessness to living, you do the other and you may be walking peace and development. In The Searchers we see the around but you’re dead as a beaver hat.” The theme courage and endurance each man and woman needs of integrity is deeply embedded (mostly implicitly) in order to achieve a purpose and to civilise a land. in the western genre, but in High Noon it is the And in High Noon we see the integrity individuals explicit theme of the story. Will Kane’s integrity is need in order to be able to defend civilisation. his highest value. Kane will risk his life and forsake Individualism is essential to westerns and is why his marriage rather than betray his own standards

66 Quadrant March 2018 The Meaning of the Western Movie of justice, courage and self-respect. western heroes. Shane’s belief in justice and his High Noon has a hero rare in westerns, one with loyalty to the Starretts are deep, personal values to an explicit moral dilemma. Will Marshal Kane stay him. These values are why he stays in the valley and and fight, thus keeping his integrity, or will he run fights Ryker. No matter the danger, Shane won’t and live to enjoy life with his new bride Amy? Both surrender his ideals. In The Searchers, Marty treks choices are high values to Kane. Or as the film’s across the West because of his love for his adopted title song declares, “Oh, to be torn ’twixt love and sister Debbie, never surrendering her to kidnappers, duty.” Early in the story, we see Kane happily mar- failure, his need for Laurie, or Ethan’s bullying and rying Amy. But soon after, when he learns that the desire to kill Debbie. In countless westerns, the Miller Gang is coming to kill him, he states his heroes always do what a man’s gotta do. No nuances. deepest motive: “I’ve never run from anyone before.” Kane knows that Frank Miller is a murderer, that he “will make trouble”. But Kane explains, “This is Objectivity my town. I have friends here.” Kane greatly loves he westerner could not have succeeded if he had his wife but understands that his conscience is more not been focused on reality. Although religion important to him, so he stays to fight. wasT invoked at times in westerns, especially at wed- The other great challenge to Kane to keep his dings and funerals, westerners were predominantly integrity is finding allies to help him defend the focused on the here and now. Westerners focused town. If he finds allies he has a on crossing rivers, planting seed, better chance of staying alive. His getting cattle to market, celebrating biggest enemy (and the core of the he cowboy became work, and defending their property main storyline) is the pragmatism T and family. and cowardice of his fellow towns- the most popular The thinking style of the west- people. While the film’s villains symbol of the west. erner was to call a fact a fact, and (the Miller Gang) are destroyers of then act resolutely on it. For exam- values, the towners, for a host of dif- Part of that appeal ple, in The Shootist, J.B. Books ferent reasons, are betrayers of their was the cowboy’s accepts that he is dying and resolves values. They lack integrity. The citi- manliness, especially to die his way. In The Man Who Shot zens’ many short-range arguments Liberty Valance, Tom Doniphon’s (really rationalisations) of why they as manifested in experience has taught him to believe won’t help Kane include: “It’s plain his courage. in the righteousness of his gun to committing suicide. I got no stake defeat malice, so he kills Liberty in this … I got a wife and kids.” Valance. Shane understands the And, “It’s all for nothing, Will. It’s all for nothing.” nature of Wilson and that only the gunslinger’s As the ticking clocks in the film get bigger, the death will save Joe Starrett and the farmers, so he citizens of the town get smaller. One by one the kills Wilson. Ethan Edwards knows the ways of citizens betray Kane. It wears on his . Near the the Comanche and won’t evade these facts with end of his ninety-minute wait for the Miller Gang Christian charity, as Captain Clayton does. Will to arrive, Kane goes to the stables, tired. He stares Kane will not turn off his mind to the nature of the at his horse, considering quitting the town. But Miller Gang. he can’t. He knows that surrendering his integrity Facts are facts, and truth is truth to the west- would be the end of who he is, the destruction of erner. And from truth comes life and survival. The his self and life. pioneers’ focus on reality not only underpinned High Noon brilliantly dramatises the conflict of their skill to defend themselves but also their abil- those who have principles against those who do ity to produce and trade, to develop the west. not. A conflict of those who have a self—that is, their own independent judgment and conscience— against those who think short-term, who let their Courage emotions rule their beliefs. he western hero is famous for his virtue of Will Kane is a heroic loner who stands against courage, which is amply demonstrated in the irrational mob. He is a great American indi- Tcountless westerns. Courage, generally, is the choice vidualist. Ayn Rand once wrote that “Art is the to act bravely in the face of duress or danger. And, indispensable medium for the communication of a as sang in “”: moral ideal.” In his courageous stand for his values “If I’m a man I must be brave.” Courage, however, and integrity, Will Kane is such an ideal. has different manifestations, from moral courage to Kane shares the virtue of integrity with many physical bravery. Will Kane, for example, is morally

Quadrant March 2018 67 The Meaning of the Western Movie courageous to overcome his fears and value conflicts wagon-master. Wagon Train, one of the most popu- to keep his integrity. In The lar western television series, chronicled the courage the marshal (Kirk Douglas) demonstrates moral of pioneers. courage when he arrests the son of a good friend The ranchers in The Searchers exemplified pioneer for murder. It takes moral and physical courage for courage. The movie’s trailer blares that Ethan has “a cowboy Gil Carter () to stand to rare kind of courage”. The frontispiece of the novel the lynch mob in The Ox-Bow Incident. states its theme: Physical courage is a core trait of the heroes in westerns. There is, for example, the bravery of the These people had a kind of courage that may be seven heroes in who, against the finest gift of man: the courage of those who overwhelming odds, fight a large gang of Mexican simply keep on, and on, doing the next thing, bandits. There’s Nevada Smith hunting vicious kill- far beyond all reasonable endurance, seldom ers of his father even though he’s young and has thinking of themselves as martyred, and never never killed before. In True Grit, a sheriff says of thinking of themselves as brave. Rooster, “The meanest one is Rooster Cogburn, a pitiless man, double tough, fear don’t enter into his The Searchers contains one of the greatest acts of thinking.” Or as Rooster says of himself to Mattie courage in movies. Near the start of the film, Ethan Ross, “Baby sister, I was born game and I intend to understands that the Comanche are on a “murder go out that way.” raid” that threatens his family’s ranch, but he also In Shane, the bar-room fight between Shane and realises that his and Marty’s horses “need rest and Ryker’s six thugs dramatises Shane’s courageous grain”. Knowing that if he rides his horse now it fight for his values. Shane fights for justice, his will die and he will not reach the ranch, Ethan own self-respect and his new friends, the Starretts. stops to feed and rest his horse rather than follow Joe Starrett bravely joins the fight out of loyalty to Marty charging off towards home. The next shot is Shane and to stand up to the bullying thugs. of Ethan’s anguished face looking over his saddle The two most famous symbols of western cour- towards the homestead where the woman he loves age are the marshal/sheriff and the cowboy. One might be dying. especially popular lawman was Matt Dillon in Gunsmoke. Marshal Dillon bravely protected Dodge City from kidnappers, murderers, bullies and gun- Justice fighters. In one 1956 episode, “The Killer”, Dillon nother fundamental feature of westerns is the faces Crego (), a gunfighter he westerners’ belief in the virtue of justice. The cannot outdraw. After he recovers from wounds Awestern hero fights for right over wrong, good over inflicted by Crego, Dillon figures out Crego’s weak- evil. He does this by objectively judging the char- ness and bravely faces him again. acters of men and then by acting on this judgment. Through such television shows as High Chaparral A staple of many western films is the westerner and The Virginian, and in such movies as Red River fighting for justice against the violators of his rights. and , the cowboy became the most pop- In The Searchers, Ethan hunts the Indian killers of ular symbol of the west. Part of that appeal was the his brother, nephew and beloved Martha in order to cowboy’s manliness, especially as manifested in his wreak justice upon them. An eye for an eye, a scalp courage. In Red River, the classic cattle-drive tale, for a scalp. Ethan guns down Futterman when he whatever his flaws Thomas Dunson (John Wayne) tries to shoot Ethan in the back to steal his gold. In lets nothing get between him and his goals, not Shane, Joe Starrett wants to live free to farm in the murderous Indians, of a Mexican gran- valley. But wanting to keep the range to himself, dee, cattle stampedes, rebellious cowhands, and Ryker lowers himself from reason and persuasion finally not even his adopted son who bitterly disa- to initiating violence against the farmers. Ryker grees with him. Dunson may be tyrannical but he encourages Chris to fist-fight Shane, and Wilson to always bravely stands by his own judgment. shoot him. Shane and Starrett invoke their moral The wagon-train genre of westerns dramatises right of self-defence and fight back. Ryker reaps the bravery of pioneers. In epics like , what he sows, and is shot down by Shane in the and Westward the Women, pio- climax of the film. neers are shown overcoming nature (drought, Western men and women also respect the rights storms, mountains, rivers), animals (rattlesnakes, of others. One could not imagine Will Kane or mountain lions and scorpions) and a myriad of evil Shane wanting to violate the rights of others. To men. And they also have to deal with the odd reli- achieve their own self-interested goals they demand gious nut, murderous fellow trekker or dictatorial to be left alone. Western heroes respect the same

68 Quadrant March 2018 The Meaning of the Western Movie freedom in others. Woe unto him who violates this In Little House on the Prairie, we see the devel- code of the west. Part of western justice is the west- opment of the community of Walnut Grove. We erners’ fight for his own freedom and that of oth- witness Americans building farms, growing crops, ers. This is especially seen in Shane, The Magnificent learning in schools, developing businesses. All were Seven and The Alamo. the work of pioneers dedicated to making better In many westerns, the fight for justice is the lives for themselves. central conflict of the story. In Gunfight at the The Searchers shows the hardships the pioneers O.K. Corral, Wyatt Earp rids Tombstone of the endured to tame a hostile land: freezing winters, dangerous Clantons. In Warlock, town tamer Clay baking summers, loneliness and the vast emptiness. Blaisedell (Henry Fonda) cleans the town of hell- Ethan’s neighbour Lars Jorgensen tells him, “It’s raising cowboys. The Fastest Gun Alive, 3:10 to Yuma this country that killed my boy.” More importantly, and My Darling Clementine dramatise good citizens The Searchers dramatised pioneers overcoming the battling criminals. And the climax of many west- hardships of frontier life. Or as Mrs Jorgensen says: erns depicts good Americans victorious against evil. It just so happens we be Texicans. Texican is nothing but a human man way out on a limb. Productiveness This year and next, and maybe for a hundred hen people are free to apply their reason and more. But I don’t think it’ll be forever. Some skill to improving their lives, human progress day this country’s gonna be a fine, good place Wresults. The deep-seated American belief in progress to be. Maybe it needs our bones in the ground was a result of Americans’ Enlightenment thinking before that time can come. and is a hallmark of Americanism. In their New World, Americans believed that human progress The importance of the telegraph was depicted in was inevitable and unending. Western Union, the power of the Winchester rifle in Man applying his reason to change his environ- Winchester ’73. The life-changing consequences of ment and condition has resulted in humans building the stagecoach were shown in a myriad of westerns, huts, creating fire, digging wells, blocking rivers, including Stagecoach and Wells Fargo. The techno- and developing the world in countless other ways. logical advance of the railroad greatly developed the In America specifically, progress especially entailed American West. The “iron horse” transported pio- man taming the vast western wilderness for produc- neers, shipped beef and connected towns, and fea- tive purposes. The theme of bringing civilisation to tured in countless westerns, like Denver and the Rio the “Wild West” is intrinsic to westerns. The march Grande and How the West Was Won. Union Pacific, of American progress is depicted in plains becom- starring western regulars and ing fields, rivers becoming dams, deserts becoming Joel McCrea, portrayed the coming of the railroad. mines and towns, ravines being crossed by bridges, The plot follows the building of the Union Pacific mountains being drilled for tunnels. Westerns show railway to meet up with the Central Pacific railway. the raising of cattle and sheep, the planting of crops, The railroaders battled to overcome nature (snow the building of towns. Westerns dramatise the suc- and mountains) as well as Indians and outlaws. In cess of new technology—coaches, steamers, trains, the television show Iron Horse, Ben Calhoun (Dale telegraph, Winchester rifle and Colt revolver—all Robertson) has to overcome many obstacles to fin- of which changed history and helped tame a wild ish his recently acquired railroad. land. Civilising the west also meant bringing law and More specifically, in Shane, the development of order, creating a peaceful life so production, com- the land is dramatised through cattle ranchers and merce and trade could take place. Peace required farmers. The cattle ranch and cattle drive were piv- the pacification of what classic westerns depicted otal to many western stories, including such films as two types of men antithetical to progress: the as Cattle Drive and Red River, and of course to outlaw and the hostile Indian. Many westerns the popular television series Rawhide with Clint portrayed pioneers or lawmen fighting white out- Eastwood. In Red River, we see the ambitious Tom laws so that citizens could live free, productive Dunson create from raw Texas grassland a cat- lives. Additionally, traditional westerns also com- tle ranch with 10,000 head that he needs to drive monly portrayed Native Americans as aggressors, hundreds of miles to Missouri. Cattle ranch televi- enemies of progress and champions of stagnation. sion series like Bonanza, The Big Valley and High In Stagecoach, the brave travellers fight the murder- Chaparral showed the intelligence, skill and dedi- ous Apaches. In Fighting Caravans and Only the cation needed to work the land to create economic Valiant the soldier heroes battle raiding Indians. In bounty. The Searchers, the Comanches rape, murder, kidnap

Quadrant March 2018 69 The Meaning of the Western Movie and terrorise settlers but in the film’s climax, Scar In True Grit, Mattie Ross (Kim Darby) always and his band are defeated and peace and family are knows her mind and goes confidently about her busi- restored. ness. No matter her disappointment with Rooster Scar, Wilson and Frank Miller do not develop Cogburn, the interference from La Boeuf, or the the land, do not build businesses or create technol- conniving of Colonel Stonehill, Mattie charges for- ogy. They destroy and plunder those who do. Most ward. Courageous and resourceful for any age, but classic westerns are unequivocal in their condemna- especially so for a fourteen-year-old, Mattie carries tion of the initiation of violence against settlers and a Colt Dragoon to kill her father’s murderer and support the pioneers’ right to produce and to defend when disgusted with Marshal Cogburn’s drunk- themselves. In such westerns, evil enness, she upbraids him: “Now I is the destruction of the productive. know you can drink whiskey and I While westerns don’t often saw you kill a rat, but all the rest delve deeply into ideas, they do Competence is a has been talk. I’m not paying for almost invariably depict human mandatory virtue talk.” progress positively. The western is in westerners. And Rooster Cogburn, drunk, a paean to man improving himself, sober, testifying in court or hunt- of men and women struggling to Westerns so typically ing killers, always believes in his make better lives for themselves. show the American ability to get the job done. In True This progress was the enactment Grit’s fiery climax, without any fear of the deep belief Americans had as productive and or doubt, Rooster faces the killer in their country’s founding ideals efficient that western Ned Pepper and his three hench- of individual rights, progress and heroes became men. Pepper asks Rooster: “What’s happiness here on earth. your intention? Do you think international symbols one on four is a dogfall?” Rooster of American skill replies, “I mean to kill you in one Self-esteem minute, Ned. Or see you hanged in prominent attribute of the on- and competence. Fort Smith at Judge Parker’s con- screen westerner is his self-con- venience. Which’ll it be?” To which fidence.A Like many western heroes, Ned replies, “I call that bold talk Ethan Edwards is self-assured. After Ethan kills for a one-eyed fat man.” Rooster growls, “Fill your Futterman, Marty, who was Ethan’s unknowing hand, you son of a bitch!” and confidently charges bait to trap Futterman, challenges Ethan, “What the four killers, dispatching three of them. That is if you missed?” Ethan replies, “Never occurred to the way of the western man. me.” Shane is coolly confident in his gun skill, as are Wyatt Earp and Doc Holliday in Gunfight at the O.K. Corral and the Man with No Name in Competence The Good, the Bad and the Ugly. Consider Captain ecause the westerner was dedicated to using Lance in Only the Valiant. No matter what danger- reason in what he did, he learned confidence. ous order, betrayal from a subordinate, or ploy by BAnd because of this confidence the westerner stuck the Apaches Captain Lance faces, he always trusts with things and became competent in what he did. himself to find an answer. It took great skill to trek across a continent, to A western hero always knows the ethical thing develop a ranch, to fight outlaws. Many film gen- to do. He never hedges. He makes up his mind res have characters who are competent, but compe- and backs it up with action. In Rio Bravo, Sheriff tence is a mandatory virtue in westerners. Westerns Chance (John Wayne) confidently faces the villains, so typically show the American as productive and supports his friends and rejects help he doesn’t need. efficient that western heroes became international In one scene, Chance confidently tells the powerful symbols of American skill and competence. The villain Burdette: western hero was expert at riding horses, driving coaches, shooting guns, mining gold, crossing wild I don’t like a lot of things. I don’t like your rivers, hunting buffalo, building railroads, fighting men sittin’ on the road bottling up this town. I Indians, and so on. don’t like your men watching us, trying to catch Witness Wyatt Earp (Henry Fonda) in My us with our backs turned. And I don’t like it Darling Clementine. Tombstone was under threat by when a friend of mine offers to help and twenty killers led by the Clanton family, but Marshal Earp minutes later he’s dead! And I don’t like you, knew how to defeat them and did so efficiently. Burdette, because you set it up. During the showdown at the O.K. Corral, Earp

70 Quadrant March 2018 The Meaning of the Western Movie has to find a way to cross an open stretch to get instance, Scar calls Ethan “Broadshoulders” but to the heavily armed Clanton barricade. He crosses Ethan’s strength is more than his physical or mental by hiding in the swirling dust of an arriving stage- toughness, it is especially his moral surety and con- coach. Earp (and others) then skilfully defeat the fidence to quickly choose a course of action. Ethan Clantons. ignores Captain Clayton’s commands at the river Shane is an especially eloquent example of and shoots at the Indians. Ethan doesn’t ponder or competence, and not just as a gunfighter. One of fret about entering Scar’s camp. He finds a clever the most poignant scenes in westerns is the tree- ploy to enter and soon confronts and taunts Scar. stump-removing scene in Shane. The scene depicts The men of westerns are , laconic and the clearing of the land for productive use but also strong, whether they are marshals or railroaders or dramatises the skill and efficacy of the westerner. cowboys. And they are admired by other charac- Shane and Starrett trade cut for cut, shove for ters for their masculinity. In Shane, after the saloon shove, in a test of skill and strength to remove the fist-fight where Shane and Starrett vanquish Ryker’s stump and conquer nature. Together they upend the bullies, Marian tells Joe and Shane, “It was ugly stump, watched by the admiring Marian and Joey. and you were both wonderful,” while the worship- In production notes for The Searchers, the associ- ful Joey declares, “I bet you two could lick anyone.” ate producer Patrick Ford describes the Ethan char- When discussing the roles for men and women acter in the novel thus: “There is a greatness to him, in westerns, one needs to remember that men are too. His courage, relentlessness and frontier skill are physically stronger than women and that western- magnificent.” ers lived in violent times. It is therefore consistent Arguably the most dramatic and popular legend that the lead roles in westerns were most often men. of the Old West is that of the fast gun. Wild Bill Women in westerns, however, were often mentally Hickok, John Wesley Hardin and Wyatt Earp are strong and confident individuals. In fact, before famous across the world as western gunfighters. In today’s superhero movies there was no other film film, J.B. Books and Shane are renowned experts genre that allowed women to be so independent and with a six-shooter. And remember Clint Eastwood’s confident. The women in westerns, like their male deadly skill as the Man with No Name. In The counterparts, were imbued with American optimism Fastest Gun Alive, starring western regular Glenn and ambition, and were usually competent, whether Ford, the fast-draw legend is twisted by Ford’s char- they were pioneer trekkers, singers, saloon owners acter being a super-fast draw who has never drawn or cattle queens. Westerns depict a period when against a man. The riveting climax of many west- women were becoming freer. American women of erns was the marshal or cowboy hero facing an evil the time were the most independent women in the gunslinger in a showdown. The hero drew faster and world and also expressed American individualism. shot more accurately. They could think for themselves, take advantage On television, western heroes were equally of new economic opportunities, and often created skilled and competent. Ben Cartwright (in Bonanza) more wealth and better lives for themselves. They always had a solution for the many problems his had grit. They needed it. family faced on the Ponderosa, as did the no-non- The so-called traditional view of femininity— sense ranch foreman the Virginian in the series of women as dainty and weak, only concerned with the same name. babies and dresses—had little reality for historical Living in the American West often meant sur- pioneer women. Besides sharing the same dreams viving in a wilderness or lawless land. The westerner and ideals as American men, pioneer women had to know what to do. To be incompetent meant endured the same hardships on the trail that the failure and death. Westerns starkly show that man men suffered, the same deprivations in the settle- survives and prospers by his knowledge and skill. ments, the same diseases, crime and Indian attacks. The American West was no place for the weak or stupid, male or female. Western women had to be American masculinity and femininity mentally strong and confident. Real-life western estern film and television characters exhibit female heroes included frontierswoman and scout a uniquely American masculinity and Calamity Jane, sharpshooter and showman Annie Wfemininity. Oakley, and pioneer Laura Ingalls Wilder. The Ethan Edwards, Shane, Matt Dillon and many West also had tough female outlaws such as Pearl other western heroes are admired as “real men”. Hart, Belle Starr and Etta Place. They are strong, competent and independent. What Compare the strength and independence of the makes their manly virtues especially masculine American women of the Old West with, for exam- is the decisiveness in which they enact them. For ple, the women of England and Europe of that time.

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Although freer than most women in the world and so many strong women who were such a distinctive able to take advantage of factory jobs from indus- feature of the genre as did westerns. trialisation, English women had less freedom and To argue the case, let’s examine in more detail opportunity than their American counterparts. Barbara Stanwyck’s character in Forty Guns, Sam They were especially controlled by a rigid class Fuller’s moody 1957 western. Stanwyck plays system. In Europe, women were generally more the self-made cattle queen and “boss of Cochise subservient and dependent than their New World County”, Jessica Drummond. The song played at counterparts. They had no frontier to escape to, no the start of the movie describes Drummond as a wagon trains taking them to opportunity, no guns “high-riding woman with a whip, no man can tame to defend themselves, and no farms to help tend. her”. A female film character never had a more dra- The freedom of the American West gave pioneer matic introduction than Drummond has in Forty women great challenges but also much independ- Guns. Across the stark black-and-white landscape ence. It is little wonder that so many European men thunders a column of forty gunmen, headed by and women migrated to the Americas. Drummond, dressed in men’s black clothing, rid- Westerns may have had their fair share of silly ing imperiously on a pure white horse. Drummond pretty heads, gossiping church harpies, sweet is intelligent, confident and strong, even when she schoolmarms, pretty ladies in dis- meets a man who is stronger than tress, and whores with hearts of her, a tough marshal whom she gold, but western films and televi- ore than any tells, “You shot yourself across the sion shows also had many strong M map.” Drummond’s persona as the and confident women. Who could other film genre, strong female leader dominates the forget as the westerns allowed film. feisty handful Frenchy in Destry And consider the Raquel Welch Rides Again or as the hardcase women to be heroic, western Hannie Caulder. Welch Altar Keane in ? smart and confident. once noted the type of women Remember also the strong-willed One important unique she liked to portray: “I never liked Vienna (Joan Crawford) in Johnny cute women. I always thought that Guitar or Raquel Welch as the gun- character westerns women should be extraordinary and toting avenger Hannie Caulder. Or gave the world was magnificent.” Welch played Hannie western regular Barbara Stanwyck Caulder as tough and heroic. As as shooting ace Annie Oakley the independent the avenger against her husband’s or as tough territory boss Jessica American woman. three murderers and her rapists, the Drummond in Forty Guns or as the dedicated Hannie learns the skills ruthless Vance Jeffords in The Furies. of a gunfighter and in the climax And there was the strong in High Noon, fights each of her rapists. In 100 Rifles, Welch plays Broken Lance and Arrowhead. And that other west- another strong woman, the Indian revolutionary ern regular Maureen O’Hara as the no-nonsense Sarita. Martha McCandles in , the fiery bullwhip- Strong women were also a part of television cracking Katie Howard in Comanche Territory, and westerns. In Gunsmoke, the smartest business ­person the sensitive but unforgiving Kathleen Yorke in Rio and one of the strongest individuals in Dodge City Grande. was Miss Kitty (Amanda Blake). Miss Kitty was That strong women were prevalent in westerns principled in her work and belief in justice and did not mean that other film genres did not have often stood toe to toe against the villains. During confident and determined female protagonists. the climax of the “Mannon” episode, Miss Kitty There was the occasional female swordfighter or confronts her rapist, hoping to undercut him psy- warrior, such as Spitfire Stevens (Maureen O’Hara) chologically so he can be killed by Matt Dillon. In in and Joan of Arc in several mov- The Big Valley, the Barkley family was headed by the ies. And there was the strong queen in historical steel-willed matriarch Victoria (Barbara Stanwyck). dramas, such as Queen Christina and The Private In this 1960s series, Victoria Barkley is the mother Lives of Elizabeth and Essex, and the villainous of four quarrelsome children, and the operator of woman in film noir or suspense thrillers, such as a large ranch. The show is centred on the Barbara Mrs Danvers in Rebecca. And there were dramas, Stanwyck character. She runs the ranch, leads her such as Mrs Miniver, where a woman was coura- family and deals with such crises as being locked geous, or stories of tough shrews or neurotics, as in an insane asylum, being kidnapped, and dealing often played by Bette Davis, and female detectives, with bandits, thieves and land grabbers. She also such as Miss Marple. But no other film genre had knows how to wield a shotgun.

72 Quadrant March 2018 The Meaning of the Western Movie

Glenn Frankel has written that ’s the traditional European one, where deference to women “are strong, fearless, determined, and in the the collective is paramount and, more specifically, to end triumphant”. In The Searchers, for example, Mrs England, where one knows one’s station and duties. Jorgensen is intelligent on the importance of pio- Or even in contrast to Australia, a former frontier neers, love and happiness. She bravely endures the colony with many rational values, but where no one loss of her son and the massacre of neighbours. She must rise above the herd unless he or she genuflects and her daughter Laurie (Vera Miles) are better edu- to it. Such views are alien to the American, who cated and more intelligent than their romantic part- views his own success, achievement and happiness ners, Lars and Marty, respectively. Both are good as the norm of life. men who do their jobs well, but both have women American benevolence was prevalent in west- who are miles ahead of them in their understand- erns from their inception to the late 1960s. It was ing of people and the world. Lars brags of his wife, expressed in how classic westerns looked. The “She used to be a school teacher, you know.” Mrs Searchers, for instance, shot in brilliant Technicolor Jorgensen was not shy to give Ethan this insight- and wide-screen Vista Vision, revealed a gloriously ful advice: “Don’t let the boys waste their lives in vibrant world. No western ever looked more larger- vengeance.” than-life, more mythological than The Searcherswith Arguably the greatest female heroine in any west- its Monument Valley vistas and towering figures ern is Mattie Ross in True Grit. Mattie is strong, like Ethan Edwards. And remember that intro- resourceful and moral. As the true hero of the story duction of the menacing but stunning Scar (Henry (not the Rooster Cogburn character), Mattie firmly Brandon). The music that opens The Searchers and advises her father on guns and ponies, tracks down Shane heralds rare men and great deeds. Rooster and confronts him, outwits La Boeuf, ably Stylised good guys and bad guys shone on the bargains with and bests the slippery horse trader western screen. For example, Shane’s gunfighter’s Colonel Stonehill, stands up to Rooster and his outfit was a buckskin top, black gun-belt with sil- drunken ways, and relentlessly hunts her father’s ver buckles, and, of course, a white hat. The villain killer, even to shoot him with her Colt. After Mattie Wilson was dressed in black hat, vest and cravat, courageously rides her pony across the rushing river, and often wore a malevolent smirk. You stepped Rooster exclaims, “She reminds me of me!” back when you first saw Wilson. Shane and Wilson’s More than any other film genre, westerns opposite looks symbolised their opposite principles. allowed women to be heroic, smart and confident. The climax of their conflict symbolised which of One important unique character westerns gave the those principles was right. world was the independent American woman. Most importantly, westerns were benevolent in their spirit. The characters in classic westerns were most often productive, competent people striving in Benevolence a world where success was possible and happiness he fundamental acceptance by Americans of often attained; a world where heroes rode tall into the beliefs and virtues discussed above has a glowing sunset. At the close of The Lone Ranger, Tgreatly influenced the American approach to life the Lone Ranger and Tonto would ride confidently or sense of life. Ayn Rand defined a sense of life away, off to another adventure: “Hi ho Silver, as “the integrated sum of a man’s basic values”, and away!” Justice had been achieved and the good had noted that a “culture, like an individual, has a sense triumphed. In the climax of The Tall ,T the hero of life … an emotional atmosphere created by its (Pat Brennan, played by Randolph Scott) kills the dominant philosophy, by its view of man and of three villains. Witnessing the deaths, Doretta cries. existence. This emotional atmosphere represents a Brennan puts his arm around her and says, “Come culture’s dominant values.” Because America was so on now, it’s gonna be a nice day.” They wrap their deeply a product of the Enlightenment, Americans arms around each other and walk off towards their had a strong reliance on reason and a deep expe- happy future together. rience of its efficacy in the world. This experience Shane beautifully captures the western spirit of gave Americans a confident, this-worldly focus and rationality and goodness. Shane, Joe and Marian a great trust in their own futures. Americans viewed are self-aware, moral and benevolent individuals. the world as an arena of endless possibility. In short, They know what their feelings mean, what their Americans viewed life benevolently. This benevo- values and goals are. They know what is right to lence is reflected in such popular beliefs as “The do in the world, big and small things. For example, American Dream” and America as the “The Land near the start of the story, after Shane helps Starrett of Opportunity”. stand up to Ryker, Starrett invites Shane to dinner. The American sense of life can be contrasted with They eat pie and now as friends they work shoulder

Quadrant March 2018 73 The Meaning of the Western Movie to shoulder to cut out the tree stump. Another Marty until his highest value is achieved, the rescue example of westerners’ benevolence in Shane is the of Debbie. way Starrett and the farmers will help Fred Lewis Benevolence was also a trademark of televi- and his family rebuild their home after Ryker burns sion westerns. Each week viewers would see the it. In the climax of the film, as in most westerns, Cartwrights succeed on their ranch and Matt Dillon the good guys (the builders and creators) defeat the win for the good guys. And there were many benev- evil guys (the destroyers). Shane shows that though olent western heroes beloved by children. Standing westerners might have to struggle to create or defend tall among them were Hopalong Cassidy, Wild Bill their values, they live in a just world. At the end Elliott, the Cisco Kid, and the most famous of them of Shane, Shane has vanquished Wilson and Ryker all, the Lone Ranger. Clayton Moore lived that role, and righted the world of the valley. As he’s leaving, imbuing the Ranger with the elegance and gravitas Shane asks Joey to tell Marian that “everything’s all of a matinee idol in a benevolent world. The Lone right, and there aren’t any more guns in the valley”. Ranger walked with decisive purpose and was hand- Even in a story as harsh as The Searchers, some and poised. He looked nifty in his sky-blue American benevolence shines through, primarily outfit with black gun-belt, boots and mask, and of inside the ranchers’ homes. In the outside world, course he used only silver bullets. The Lone Ranger brutal nature and human evil might wasn’t shy to state a moral lesson lurk, but these Texicans don’t let along the way, often speaking in it defeat them. Inside their loving ll heroic and principles or aphorisms suitable for homes, caring relationships and A kids. Tonto was equally stylised and friendly respect dominate. At the benevolent art benevolent, from his distinctive vis- end of The Searchers, Ethan returns can inspire us, but age to his attractive buckskin outfit, Debbie home, and Marty will to his loyalty to the Ranger and all marry Laurie. Even Mose Harper westerns, because he and the Ranger stood for. The (“that old goat”) achieves his goal. of what they are derring-do of the Lone Ranger and He locates Debbie and earns his and because of their Tonto was heightened by rousing rocking chair by the fire. classical music and was dramatically The marriage scene in The great popularity, introduced each week by Rossini’s Searchers is not just John Ford giv- have inspired us “William Tell Overture”. ing his audience relief from the dark That westerns showed men and tension of Ethan’s search and anger. perhaps more than women who were purposeful, ambi- The scene also expresses frontier any other film genre. tious and successful does not mean benevolence and humour and shows that some classic westerns did not the good fellowship and relaxation have dark streaks or themes. One that westerners need away from the constant strain such motif was the western hero at the end of the of hard work and danger. The Marty and Laurie film riding off alone to some unknown future. This subplot symbolises the benevolent relationships that is the fate of Shane, who rides back into the hills, are possible for pioneers. Its focus is not on the pain alone and wounded. And the fate of Ethan Edwards. and failure of the life possible outside the home but As the rest of the families enter the Jorgensen home, on the purpose of these lives and struggles: to be Ethan remains outside and ambles away, imply- happy. Laurie and Marty might be at opposite pur- ing that he is fated to be alone. But in the main, poses and understandings during the story, but at its westerns, especially those on television, had happy end they find fulfilled love and walk hand in hand endings with positive meanings. It became a cli- into her home, as Marty brushes the dirt of the trail ché around the world that in westerns the cowboy from his hat. always gets his girl and the cavalry always arrives on Because of her American values and virtues, time. Western stories and heroes inspired millions Laurie Jorgensen represents the unique beauty of of children and adults, giving them not only the the American woman, with her purposefulness, vision of American benevolence but also the vision innocence, and a “go get ’em” spirit. Laurie is at of what a good American is. ease with herself and explicit in her worldly ambi- tion, not afraid to seize what is hers. She kisses Marty, declares they are engaged, and she watches Morality tales him bathe, unabashed. When Laurie’s face lights rom The Lone Ranger for children to Shane for up watching or talking of Marty, the screen bursts adults, westerns were morality tales. They taught with the joy and confidence of . Yet usF how to live. Shane, for example, showed that for Laurie is wise enough to know that she can’t have civilisation to grow good men must stand up for

74 Quadrant March 2018 The Meaning of the Western Movie their rights. High Noon taught us that to truly live to kill Joe Starrett. Shane respects the goodness in we must live with integrity. The Searchers showed us Chris and, ignoring their past conflict, shakes the that to succeed we need grit and endurance. These cowboy’s hand. The relationship between Shane are important life lessons. In a 1962 article, Ayn and the hero-worshipping Joey has moral lessons. Rand addressed the significance of westerns this Shane respects Joey’s need to look up to him and way: his father and to act like a man. Part of Shane’s reason for fighting the bullies in the saloon is to The appeal of crime stories and Westerns show Joey courage. Later Shane teaches Joey how does not lie in the element of violence, but to shoot a gun. He advises Joey’s mother: “A gun is in the element of moral conflict and moral a tool, Marian; no better or no worse than any other purpose. Crime stories and Westerns are the tool: an axe, a shovel or anything. A gun is as good last remnant of romanticism on our airwaves. or as bad as the man using it. Remember that.” As No matter how primitive their terms, they deal Shane farewells Joey, he counsels him, “Grow up to with the most realistic issue of man’s life: the be strong and straight.” battle of good and evil. They present man as In The Searchers, Ethan has a morality that no a purposeful being who is able to choose his outside force can break. Watching Ethan seek jus- goals, to fight for his values, to resist disaster, tice against the killers of Martha, refuse to kowtow to struggle and to win. to Captain Clayton’s badge, and confront Scar, we learn that to succeed one needs a rock-hard char- For children, there was no greater example in acter. We know that nothing will stop Ethan or westerns of “the battle of good and evil”, of explicit change his values, except his own experience and American moral lessons, than The Lone Ranger. thinking. Ethan’s code is at times harsh and bel- Often during their adventures the Ranger would ligerent but we respect his courage to live life by declare to Tonto the importance of fighting for his own standards. Those standards are based on law and order and progress or some other impor- fact and experience, and they are successful. That tant ideal. “The Letter Bride” episode, written by is a moral lesson. Wells Root, dramatised the ideal that all races are Even when the protagonist in classic westerns equal. A Chinese “good friend” of the Ranger and was not a hero in a white hat, the story still often Tonto is being terrorised by racists who kidnap dramatised a moral lesson. Note the cautionary his Chinese fiancée. The Ranger explains why the tale of . Seduced in his youth by the kidnappers have taken Lee Po’s girl: “The lowest excitement and adventure of the gunfighter’s life reason the human heart is capable of … Because but now in his middle years, Jimmy Ringo hun- their skin is a different colour to yours.” When one gers for the quiet life with his separated wife and kidnapper later snaps at the Lone Ranger, “What’s young son. Ringo’s youthful irrationality costs him wrong with it?” The Ranger replies, “I’ll tell you his life. The Gunfighter is a morality tale by negative what’s wrong with it. Chinese are people and have example. the right to life, liberty, and the pursuit of happi- ness that you have.” Clayton Moore once stated: “I like playing the American heroes good guy. I’ll wear the white hat for the rest of my he ideals, virtues and traits discussed above life. The Lone Ranger is a great character, a great when integrated produce a unique hero: the American. Playing him made me a better person.” AmericanT westerner. The western hero is an inde- Millions of children around the world who learned pendent man or woman with virtues such as ration- ethics from the Lone Ranger understood what ality, competence and courage. The western hero Moore meant. fights for values such as freedom, rights and his In Shane and The Searchers, and many other own self. This hero acts in a world where progress, westerns, adults are taught more subtle moral les- justice and goodness win. sons. Like other western heroes, Shane is unfail- The heroes of classic westerns have inspired ingly loyal and just in all his dealings, either for millions around the world. We see Will Kane and the good, such as the Starretts, or against the bad, think about integrity. We watch Shane and become such as Ryker. Shane also shows us wisdom in the familiar with benevolence and competence. We fol- way he deals with Chris, the young cowboy who low Ethan Edwards and are girded by his courage. challenges Shane to a fist-fight and loses badly. In a We behold Mattie Ross never wavering ethically lesson for us all, Chris reflects on his own bullying and are motivated to act similarly. We thrill see- and after seeing more clearly the nature of Ryker, ing the Magnificent Seven overcome great odds turns against him and warns Shane of Ryker’s plot and applaud seeing Maverick outsmart evil. We

Quadrant March 2018 75 The Meaning of the Western Movie straighten seeing Matt Dillon stand resolutely of morality and confidence have been replaced by against malice, and cheer watching the Wilder “complex” and self-doubting “regular Joes”. The best family realise their dreams. These western heroes heroes extant on our screens today are born with stand tall and to look them in the eye we raise our- superpowers or have acquired them accidentally. selves. In doing so, we make ourselves better peo- Any virtues that these heroes may have are buried ple. All heroic and benevolent art can inspire us, in valueless violence, mindless chases and special but westerns, because of what they are and because effects. And characters with superpowers cannot of their great popularity, have inspired us perhaps truly inspire adults; they are not human. In the val- more than any other film genre. ues desert of today’s films, great heroes struggle to Western heroes became symbols of the find life. And thus western heroes died. American. Travel the world and ask many older non- The fundamental reason western heroes and Americans which Americans they admire and you westerns died was the reversal in the dominant will often hear the names Clint Eastwood, James intellectual values of America. Reason has been Stewart and John Wayne—all western stars. A year supplanted by mysticism and scepticism, self-inter- before Wayne’s death in 1979, the actress Elizabeth est by self-sacrifice, individualism by collectivism, Taylor testified to Congress that John Wayne “gave and economic development by environmentalism. the whole world the image of what an American As a consequence, the prodigious, independent should be”. It was primarily through the western individual pursuing his own rational values and hero that the world knew and loved the American. self-interest is no longer revered. Such heroes do The marshal and cowboy hero were America. not represent the philosophy and sensibility of our But over the last four decades Hollywood has times. The western hero is out of step, out of kilter, declined. The once giant silver screen has become with the current mores. Classical westerns will not smaller and dimmer. The type of characters return until the rational ideals and heroic virtues Hollywood now presents and the nature of the lives that made the real American West and inspired it portrays have shrunk. Reasons for this decline western movies are again dominant. include scripts populated with “flawed” characters in clichéd, shallow value conflicts, the tragic and naturalistic sensibility of many producers and direc- Westerns and life tors, and the low tastes of many viewers. But the n article on classic westerns should end posi- actors of Hollywood have also imploded. Although tively and with a clear understanding of the there are many very talented actors today, they are mostA profound meaning of the western. The deep- rarely “stars” that symbolise high values and virtues, est meaning of westerns is that they dramatise who leap from our screens as idealised individuals. values and virtues crucial to life. Westerns are We had Charlton Heston and John Wayne, Greta an American art form that show how to live on Garbo and Maureen O’Hara. Actors and acting this earth. Westerns teach us that to live we need reflect the culture that gives them birth and suste- to value reason, independence, justice, courage, nance. The stars have fallen to earth. Except for a progress, benevolence and heroism. The motto for few rare bursts of brilliant light, our screens today the westerners who made the American West and no longer explode with stories of giant heroes or for those who later fictionalised or enjoyed their shimmer with visions of actors able to play great- stories could be: “Go west, young man and woman, souled men and women. go west and live.” But the implosion of actors, screen stories and The life-affirming nature of westerns is the heroes is a consequence of something much greater: deepest cause of their once unparalleled popular- a change in ideals and beliefs. Our world today ity. Across the world, millions of American-minded extols the , the mediocrity, the loser. It has people enjoyed a value affinity between their life- become commonplace to make screen “good guys” supporting American ideals and westerns. If the and “bad guys” morally equal or to make screen meaning of westerns were put into one word it “heroes” a grey sludge of virtue and vice. Nobody would be: America. today is a pure hero and nobody is better than any- one else, we are told. These egalitarian ideals helped Scott A. McConnell is a writer and story consultant topple the hero from the silver screen, as did the in and Melbourne, and the writer of artistic preference for small worlds of “ordinary” the western screenplays My Father’s Son, The Two or “gritty” slices of “life”. Larger-than-life giants Cowboys and Dudageree.

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