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4-1-1993 : Uncommon Heroine Sandra Schackel Boise State University

Published as Schackel, Sandra. Barbara Stanwyck: Uncommon Heroine. History, Vol. 72, No.1, Women in California History (Spring, 1993), pp. 40-55. © 1993 by the University of California Press in association with the California Historical Society.Copying and permissions notice: Authorization to copy this content beyond fair use (as specified in Sections 107 and 108 of the U. S. Copyright Law) for internal or personal use, or the internal or personal use of specific clients, is granted by University of California Press in association with the California Historical Society for libraries and other users, provided that they are registered with and pay the specified fee via Rightslink® on JSTOR (http://www.jstor.org/r/ucal) or directly with the Copyright Clearance Center, http://www.copyright.com.

Barbara Stanwyck: Uncommon Heroine Author(s): Sandra Schackel Source: California History, Vol. 72, No. 1, Women in California History (Spring, 1993), pp. 40- 55 Published by: University of California Press in association with the California Historical Society Stable URL: http://www.jstor.org/stable/25177325 . Accessed: 10/12/2013 11:42

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Barbara Stanwyck met many challenges in her career. She took on physically demanding stuntwork that was often dangerous, prompting Union Pacific co-star Joel McCrea to remark that Stanwyck "had more guts than most men." Stanwyck took other risks by woman in film assertive challenging the stereotype of the and portraying characters who took charge of their own destinies. By breaking down such barriers, she provided a role model for other actresses of her time. Here she is pictured in Forty Guns (1957). Courtesy 20th Century Fox Film Corporation and Arts Special Collections, UCLA.

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions Barbara Stanwyck: Uncommon Heroine

by Sandra Schackel

arbara an citizen who Roles for women in and indeed much //T^ Stanwyck, intrepid Westerns, shown no fear of man, terrain, or of cinema, have been limited to two r^has traditionally over a JLx scripts long and illustrious career, stereotypes: the bad woman/prostitute and the is tackling all three in Cattle Queen ofMontana/' good woman/civilizer. Variations on these themes a reported when the film opened include the saloon singer, the whore with heart in that city in 1954.x Thirty years into her movie of gold, the spunky ranchwoman, the frontier indeed her career, Stanwyck had demonstrated schoolteacher, and the pioneer mother. Nearly as a versatile and on a man ability accomplished actress, always, the Western heroine depends in more some appearing in than eighty roles by the late capacity, and if she rejects or otherwise denies . Nominated for four in her male counsel, she is penalized for her "unnatural" none of them career, for Westerns, Stanwyck pro behavior through death, banishment, or, at the fessed to love that in ten genre best; she starred least, loss of the hero's love. These prescriptive Western movies during the and 1950s.2 In roles for women were well fixed inWestern cinema these to the Western her until the a films, Stanwyck brought 1970s, when third stereotype appeared, oine a can care spunky determination and spirit of inde the strong, independent heroine who take women in pendence unusual for Westerns in this of herself and expects to do so. Several actresses, era. So successful was she, and so enamored of including Candace Bergen in Soldier Blue (1970), was Westerns the American public, that success Kathleen Lloyd in TheMissouri Breaks (1970), and screen as followed her to the small head of the in Comes a Horseman (1978), illustrate in "The Barkley clan Big Valley" television series this image.4 in the 1960s. Prior to the 1970s, Barbara Stanwyck frequently film and television roles contrast with a Western Stanwyck's played heroine who challenged the her life. These roles in her private mirror, part, stereotypical female image. For example, inMaver longstanding need for security and independence, ickQueen (1956) and in Forty Guns (1957), Stanwyck hence the of assertive moved the many portrayals strong, beyond civilizer role to play tough, women. Yet behind this she remained women. a image vulner take-charge As result, part of her popu able and sensitive to the pressures of the profes larity in both movies and on television stemmed sion as well as cultural that expectations limited from her ability to carry out adventurous, demand the lives of most women. In not many ways, Stanwyck ing tasks usually assigned to women in films out on lived roles the big screen that eluded ordi prior to the 1970s. Although she starred in a wide women because was not to of nary society yet ready variety roles, including comedies, for the most allow women those kinds of freedoms. is Through part Stanwyck remembered for her portrayals such was acting, Stanwyck ahead of her time in the of strong, determined women who met men on 1940s and 1950s inWestern films that allowed her even terms or dominated them from the onset. to women who take of the portray charge ranch, Stanwyck's treatment of strong-willed, inde the county, and the people around her.3 pendent women was not limited to Westerns but

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions dominated most of her other films as well. In Acad emy Award-nominated (1944) Stanwyck is the mastermind behind both the seduc tion of insurance salesman Fred MacMurray and their bizarre plot to kill her husband. Similarly, in (1940) and (1941), Stan wyck remains the boss despite falling in love with men the she intends to trap. In time, Stanwyck's choice of roles came to reflect a tension between narrow the confines of female destiny and her drive to expand beyond those constrictions. Very a a woman was much product of the times when none expected to put marriage before career, she rose on theless to stardom the strength of roles that diverged from the traditional formula. In I ^di ^S^^^i Y V.^fl^L~ a doing so, Stanwyck proved to be role model for later actresses.5

Born Ruby Stevens on July 16,1907, in , was at Stanwyck orphaned the age of four and spent the next ten years of her life in foster homes. Although lore frequently capital on ized her waif-like early years, Stanwyck insisted was it not that grim: "Foster homes in those days were weren't cruel?they just impersonal."6 By her early teens, Stanwyck had discovered her love for entertaining by dancing to hurdy-gurdy music TTzeRed Pony featured Maureen O'Hara and Henry a as a Fonda in a set in California in city streets. At age fifteen she landed job story turn-of-the-century chorus and with the about a poor family whose kind but rough father tries girl eventually appeared to understand his son's rebellion. O'Hara Follies and in other revues. She ten-year-old Ziegfield stage on woman as a expands the good civilizer role worked her the show business pioneer gradually way up mother trying to hold her family together. Courtesy the lead in a in ladder, securing Broadway play Phoenix Films, Inc., and Alameda Newspaper Group. screen 1926. The following year she made her debut in a silent film, Broadway Nights, and in 1928 followed her vaudeville performer husband, Frank Fay, to Hollywood, where she signed contracts with both Columbia and Warner Brothers.7 By then, an in Ruby Stevens had become Barbara Stanwyck, but industry. Stanwyck explained in interview never "I came I she would lose the traits she had developed 1981, from very poor surroundings and a a a in her early years?a gritty determination, strong had towork my tail off just to get penny, penny, sense so see me of independence, and the desire to excel in that I could her. She's influenced all my West an her profession.8 life/'9 Stories of the made impression also. Stanwyck starred in her first Western in 1935, Stanwyck spoke warmly of the pioneers who to playing the title role inAnnie Oakley, but her inter opened the West settlement. In her words, "all over on est inWesterns had been with her since childhood. the immigrants coming the covered wagons a As youngster growing up in the tenements of and atop the trains, the little Jewish peddler with was on Brooklyn, her idol , the silent hero his calicos and ginghams his back, the good ine of the Perils of Pauline serials of the early movie men, the bad men, they all made this country/'10 To

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions TTzeTfl// Men featured Jane Russell?pictured with ?and in a tale a a about cattle drive?with Indian fights, blizzard, and the customary battle between the over woman. male characters the Courtesy 20th Century Fox Film Corporation and Alameda Newspaper Group.

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InHigh Noon (1952), Grace Kelly played Amy Kane, awoman in conflict with her husband? a frontier officer to use peace played by ?because of his willingness violence in defense of public order and personal honor. Amy represented the domestic civilizer stereotype assigned tomany women in films. Pictured with Kelly isGary Cooper. Courtesy United Artists Corporation and Pacific Film Archives.

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions In T/ze LflrfyEi^e, Barbara Stanwyck played a con artist who, despite falling in love with the in situation at times. victim of her scheme, remains charge of the all This attribute of dominance was found inmany of the roles Stanwyck played, and was a quality typically co-star present in her characters. Here she is pictured with . Courtesy Universal City Studios, Inc., and Pacific Film Archives.

were now romance Stanwyck, westerners America's aristocracy seek another job.n By has blossomed on and the heroes and heroines America's royalty. between the two, but Foster's ego is the line, out Little wonder that Ruby Stevens, starting with and Annie backs down, deliberately missing her one little but her natural talent, would aspire to become target during of their performances. part of that royal western family. Throughout this mildly amusing film, Stanwyck wavers in marked Stanwyck's first film in the between believing her superior abilities a genre of which she would someday be queen. and wanting to maintain relationship with Fos a Directed by and cast opposite ter, relationship shaped by deference, not domi nance. Preston Foster and Melvyn Douglas, Stanwyck As Annie, Stanwyck is sweet, vulnerable, a asser played winsome if accommodating tomboy sharp charming, and agreeable, hardly the strong, shooter signed on by the manager (Douglas) of tive woman she would become in future Western same was 's Wild West show. A crack shot, Annie roles. At the time she shooting the film, was a shows up world champion Toby Walker (Foster), she undergoing difficult period in her per a who is "scornful of shooting against half-baked sonal life because of her divorce from Frank Fay. a at a kid, and girl that," until it is suggested that she Always private person, the actress endeavored to should be the star of the show and Foster should keep her private life separate from her public life.

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions on To cope with her personal disappointment, she down bannisters, elope horseback, get married career. on a diverted her energy to her the prairie in rainstorm, shoot and dress rab a Four years and her first Academy Award nomi bits, throw crockery, and survive flood in which as on nation later, Stanwyck starred Molly Monahan, her twin babies drowned. Stanwyck thrived a the Irish "spitfire" daughter of railroad engineer action and always welcomed it in her work. in Cecil B. DeMille's epic, Union Pacific (1939). In Sometimes this determination on her part caused this saga of the struggle to build the transcontinen unexpected consequences for other cast members. tal railroad, Stanwyck is the postmistress of "End For example, while working with veteran actor of Track," the town that moves westward with the on the set of The Furies in Tucson in as a railroad's progress. Serving the spunky, good 1950, Stanwyck decided to do dangerous riding woman scene a was stereotype, she is pursued by two compet herself although double available. sent ing suitors: Joel McCrea, the troubleshooter Although not eager to do so, Huston agreed to do own as was out from Washington; and , the gam his riding well, because he not going to to a bler determined stop him. Stanwyck is the medi be outdone by woman.14 Actor and actress became ator, the facilitator who unites East and West, and close while making this movie, and Huston's in the process, herself with McCrea. Despite her a sauciness, Molly is still "tamed enough" to be suitable match for the hero, and as mediator fur ther fulfills the civilizer role. One of the most popular hits of a blockbuster saw year in films that the release of Stagecoach, Gone With theWind, and The Wizard of Oz, Union Pacific career as a marked the beginning of Stanwyck's stuntwoman. Though filmed in black and white, the movie had plenty of color?and action. The list of DeMille-style events included two spectacular a an massa train wrecks, mail-car robbery, Indian cre, and numerous saloon brawls and horseback chases through wild Wyoming. "That makes Union Pacific the largest conglomeration of thrills and cold-blooded murder since Pauline was in Peril," reported the Brooklyn Daily Eagle.12 "Pauline," on however, held her own, leaping off and box a cars, chasing (and catching) wagon, and battling co-star attacking Indians, prompting her McCrea was to note that Stanwyck involved "in every more most thing. She is fearless and has guts than men."13 Unlike many other female stars, Stanwyck prided herself on doing her own stuntwork and continued to do so during the filming of "The Big in the 1960s. For her and Valley" courage bravery, i^i^i^Hr Miff i 111i^^^^B the actress gained the admiration and respect of crews career. film and co-stars alike throughout her Stanwyck's next Western, The Great Man's Lady Barbara dressed as a frontier heroine, allowed her much latitude in her stunts. Stanwyck, (1942), dances with newspaper magnate William Randolph This Western was one of favorites Stanwyck's Hearst at a costume party hosted by Hearst at his in Marc because of the challenge the role presented. Physi beach house 1938. Courtesy Wanamaker, Bison cally demanding, the script called for her to slide Archives, Hollywood.

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions death shortly after filming was completed deeply 1- saddened all the cast and crew. ^^^^^^^^^BBKKk^^M own stunt Stanwyck's doing her work frequently made directors nervous. In TheMoonlighter (1953), a poorly received, low-budget, 3-D Western, direc a scene tor Roy Rowland recounted in which the heroine tumbled down a waterfall into a fast was moving river in the High Sierra: "She capable own of doing her stunt work and completely unafraid. She always wanted to do her stunts, but we not an could risk the possibility of accident. Barbara understood this, but she still pleaded."15 woman was She got her opportunity when her stunt scene. not available to shoot the waterfall Although bruised from the many rocks she encountered on on her plunge into the river?on her back, her on never side, her stomach?Stanwyck complained or held up the film. This air of professionalism and dedication characterized her entire career. One other dramatic action scene, one in which she traded bullets with , helped "save" a this film for Stanwyck. The reaction of reviewer scene While Barbara is best remem to this revealed gender expectations in the Stanwyck perhaps bered for her of 1950s: "Stanwyck, stylishly thin and looking mighty portrayal tough, strong-minded a out ranchwomen clad in hat and boots, she was able small beside horse, it with rifles with to that over fights carry independent spirit into non Ward Bond and wins." The reviewer also noted western roles as well. Here she is pictured in that, "This, as anyone who has ever seen a West The Lady Eve (1940). Courtesy ABC Visual Com ern munication and Alameda knows, is practically impossible. Bond may Newspaper Group. lose a screen battle here and there but never to a a woman at wisp of with rifles fifty yards."16 was Such action unexpected to moviegoers because women it exceeded cultural prescriptions for in Western film. Although Stanwyck carried it off scene well, this apparently caused audiences to a "fidget bit."17 stamina and bravery that they gave her their tribe's on most The actress's physical endurance the set revered name, "Princess Many Victories," a brought high praise from both , and made her member of their Brave Dog Society, a Stanwyck's co-star in Cattle Queen ofMontana (1954), citing her "very hard work?rare for white and the Blackfeet Indians who appeared in the movie woman."19 Stanwyck followed this experience with near scenes filmed in their homeland Glacier National other demanding riding and stunt work in a scene a moun Park. Reagan recounted bathing in TheMaverick Queen (1956) and Forty Guns (1957). water was was one tain lake where the temperature in the Although Stanwyck of the few major was a stars some mid-forties. Although there double availa female to risk injury in action scenes, B were ble, Stanwyck knew that her face should be seen, Western actresses doing similar stunts. Betty a a rather than that of her double, shot from dis Miles, for example, wrestled gun away from her tance. "She came out blue, but did not hesitate co-star in The Return of Daniel Boone (1941) and to onto a do another take," reported the cameraman.18 climbed runaway stage in Sonora Stagecoach were so The Indians impressed with Stanwyck's (1944).20 But Stanwyck's developing reputation

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions included more than stunt work; her choice of roles the wilderness, Hannah places his needs before a clearly shaped her style. She went beyond the hers, sublimating her desires to his. As pioneer heroines in B movies who, in the 1940s, gradually bride, she fiercely protects her husband and shields him his were moving away from dependent daughters and from those who would interfere with goals. to towns submissive ranchwives. Stanwyck became the pro But when he attempts manipulate the over Hannah totype of the spunky ranchwoman who could people the coming of the railroad, run as as and ride the range and the ranch well the sadly recognizes his moneygrubbing ways Western him. wranglers, predating Jane Fonda's various leaves Thinking her dead, Hoyt remarries, a a career roles in the 1960s and 1970s.21 As result, great and rather than blemish his by reappearing came to in part of Stanwyck's appeal from her ability his life, Hannah sacrifices herself to obscurity.23 men. engage in adventures usually assigned to Stanwyck's personal life did not mirror Hannah were Equally appealing her grit and determination, Semplar's self-sacrifices. Instead, the Stanwyck the result of having grown up independently. This Taylor marriage underwent difficult times during sense strong of independence is apparent in many the 1940s, when Stanwyck's popularity seemed to of her Western roles, including Molly Monahan in decline. Still, she and Taylor, to all appear Union Pacific, Sierra Jones in Cattle Queen of ances, remained the happy Hollywood couple in Montana, and Kit Banion The Maverick Queen. despite frequent separations because of profes Yet this public image is frequently in conflict sional requirements. Fan magazines touted the one with the private Barbara Stanwyck, who placed stars' seeming devotion to another and their on as great value the traditional roles of wife and "perfect" Hollywood-style marriage, much they mother. Perhaps because her formative years lacked would the Janet Leigh- marriage in a fully functioning family situation, Stanwyck the 1950s. In reality, great differences separated an to create a two stars recon developed urgent need stable family the that apparently could not be in her adult years. She was deeply disappointed ciled. For example, although Taylor loved to fly when her marriage to Frank Fay failed in 1935, airplanes and ride motorcycles, Stanwyck disliked over leaving her with recurring custody battles both and preferred to spend what little time they son had at their adopted Dion, then three years old. Her together home. More serious problems to rumors second marriage, actor Robert Taylor in 1939, included of Taylor's dalliances away from in mar also ended divorce after thirteen years of strug home and Stanwyck's need for control in the to maintain a as as two gle marriage well thriving riage. Finally unable to deny their unhappiness, careers. women movie Like many in later decades, the couple announced their divorce late in 1950. same Stanwyck found herself caught between the worlds Coincidentally, The Furies, released the year, of and career. Not some domesticity surprisingly, per mirrored of the emotions Stanwyck had expe her not in haps, Stanwyck credited work, her private rienced her marriage. Ambition, revenge, jeal with to her life. and world, providing meaning "My ousy, passion color this dark, moody Western set on a work is responsible for all the good things that New Mexico ranch. Walter Huston plays come into . . . in a have my life ," she remarked late self-made cattle baron; Stanwyck is his iron are the 1950s. "I feel most completely alive when I'm willed daughter. The two actors well matched a new in no starting picture."22 principles, capabilities, and drive. Having in contrast to is Quite her personal life the intention of sharing her father's affections with her role she in The Great new a "stand-by-your-man" played rival, , Stanwyck throws Man's Lady (1942), made during her marriage to pair of scissors at her during her first visit to the As Hannah the ranch. Taylor. Semplar, thirty-three-year Initially, Huston admires his daughter's old actress from sixteen to 109. Told in a series and to ages pluck accedes her wishes, reinforcing the of flashbacks over a the one-hundred-year period, stereotype of the manipulative, dominant female. movie is a classic paean to the theme of woman's In time, however, the love between father and to self-sacrifice. Devoted her husband Ethan Hoyt daughter turns to hatred after the cattle baron a a a (JoelMcCrea) and to his dream of building city in hangs her friend, leader of group of squatters

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions her child, her saloon, or her man. Sometimes she must become the villain to do so, as in The Violent Man (1954). In this film, she plays a scheming ranchwife in love with her disabled husband's brother. She is unable to save her land or be with the man she wants in this violent melodrama, but that does not stop her from trying.26

As Sierra Nevada Jones in Cattle Queen of a Montana, Stanwyck is rancher's daughter who is determined to file on her deceased a father's land. After trailing herd of cattle from runs Texas to Montana, she into competition from a a land-grabbing local villain. Overcoming weak script, Stanwyck holds her own against both the villain and local Blackfeet Indians who side with the villain. Here she goes beyond the traditional woman-as-civilizer role; she can take care of her more uses a self than adequately, and when she men on gun, she is doing what the first the frontier did?establishing order. But in this film she is not on acting entirely her own, for she received her mission from aman, her father, who filed the claim name in her and then brought her to Montana the following year. Frequently inWesterns, the female provides the motivation for the action rather than Barbara Stanwyck was quick to credit acting as the initiates it. In this film, her father's death sanctions source of and in her life. work stability happiness "My her actions in the land. Still, she is for all the that have come retaining family responsible good things does not her alone. Ronald into my life," she commented in the late 1950s. This accomplish goal Reagan is the and under Examiner photograph was taken inOctober mysterious gunman government cover recover 1937. Courtesy Hearst Newspaper Collection, University of agent who helps her the land and Southern California Library. vanquish the Indians. After the last battle he remarks, "You have all you want now," to which she replies, "Including you?" This simple ending reflects the mores of the 1950s, when the heroine, even one as competent as Sierra Nevada Jones, is on a their ranch, appropriately named "The Furies." not fulfilled without man/husband to complete Stanwyck then teams up with a gambler (Wendell her life. Corey), though she "admits that she doesn't like In 1956, Stanwyck starred opposite Barry Sullivan man a being in love but capitulates when that does in The Maverick Queen, title she earned by rounding come around," and together they attempt to force up stray cattle?mavericks?and branding them as own. Kit owns her father into bankruptcy.24 Despite the vicious her As Banion, Stanwyck also the ness most of Stanwyck's character in this film, she is Maverick Saloon, of the town, and works brimming with energy, her riding is strong, and closely with the Wild Bunch?very closely, since she is comfortable in her western surroundings.25 she is in love with Sundance (Scott Brady). A love soon Stanwyck completed six westerns in the 1950s, triangle develops, however, when she falls in a a new and in each she portrayed clear-headed, hard love with faro dealer (Sullivan) she has hired. woman on to a on driven intent keeping either her land, But he proves be Pinkerton detective the

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions as trail of the Wild Bunch. The climax to this weak gunmen" who go everywhere with her. And, comes Western when Kit dies in Sullivan's arms the movie's title song reveals, "There was some an earlier in was after speech which she tells him that, thing about her since she sixteen that attracted her men to despite Virginia upbringing, she is not "fit" for the the Maverick Queen, most dangerous woman woman him. By the standards of the day, the bad the West's ever seen!"28 When the U.S. cannot have the hero, and she has become the bad Marshal (Sullivan) and his brother (Gene Barry) woman virtue of her maverick business deal arrive to by establish law and order in Cochise County, ings, although she "did what she had to do to get Arizona, Stanwyck is less than friendly. Soon, where she is."27 an on however, attraction develops, based opposi Stanwyck and Sullivan co-starred in another tion to one another, and this attraction dooms Western in the 1950s, Forty Guns (1957). Samuel their lives and leads to the film's final dramatic Fuller wrote, produced, and directed this violent confrontation.29 film, initially called Woman with a Whip?a title When the marshal jails Stanwyck's brother (John that symbolized Stanwyck's determination to be Ericson), she and her forty gunmen ride into town own master. an her Again, Stanwyck plays outlaw to free him. Ericson then kills Barry on his wedding a a woman, "stallion-riding leader of band of hired day, provoking Sullivan to kill him. In the closing

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Barbara an Stanwyck, center, discusses preparations for awards program with attorney Bernard S. Jefferson, Urban League board president, left, and Wesley R. Urban executive was a Brazier, League director. Stanwyck presenter at the April 1956 ceremony. Courtesy Hearst Newspaper Collection, University of Southern California Library.

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the waters of a mountain lake While filming Gztf ZeQueen ofMontana (1954), Barbara Stanwyck braved icy a a stunt double so that the cameraman could shoot her at close Such during bathing scene, foregoing range. and determination not won the admiration of co-star Ronald but also earned her professionalism only Reagan were so her that the respect of the Blackfeet Indians who appeared in the movie. They impressed by tenacity made her a member of their Brave her hard work?rare for a white woman/' they Dog Society, citing "very Courtesy RKO Radio Pictures, Inc., and Arts Special Collections, UCLA.

uses sister as a woman so battle, Ericson his shield, but the bad cannot win the good man, des Sullivan, ignoring his personal feelings toward pite her prowess, this heroine is left loveless. Stanwyck, shoots them both, killing Ericson. The American film critics denounced this picture but as original script called for Sullivan to kill both Stan Europeans applauded it, and it possibly served and but an wyck Ericson, the studio objected, and she inspiration for the violence of the Sergio Leone was scene only wounded instead. The final finds style "spaghetti Westerns" of the 1960s.30 a Sullivan leaving town and Stanwyck, humbled, Stanwyck's next Western took the form of cap him. running after Again, because of stringent cul tivity narrative that explored the sensitive issue of ran tural prescriptions for acceptable female behavior, racial mixing. "Go ahead and hate me, Hook"

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions V'i^^^^^^^^^^^^B HiH*^^^^^H chief rather than killing herself. Her only hope for comes compassion and understanding from the tol erant Hook, with whom, after her husband's death, she eventually finds love. Although she clearly deserved the community's respect for enduring con her captivity, the climate of the 1950s was not to or ducive sympathy understanding of the issue of miscegenation.32 Although Trooper Hook was Stanwyck's last feature-length Western film, she did not forsake over her favorite genre. Then fifty years old, she was aware well of the liability, in American culture, was some of aging, but adamant that she still had thing to contribute to her profession. Mindful by the mid-1950s of the possibilities of acting for tele vision, she conceived the idea of a Western series a starring woman, but she could not convince the networks to offer one. want action shows "They " a women and have theory that don't do action, Stanwyck angrily retorted. "The fact is, I'm the best action actress in the world. I can do horse ABCs "The which debuted in 1965, Big Valley/' drags and jump off buildings, and I have the scars featured Barbara Stanwyck as Victoria Barkley, the to prove it."33 the fall of 1965, lob matriarch of awealthy San Joaquin Valley family By Stanwyck's for a Western series bore and in 1870s California. The role allowed Stanwyck bying finally fruit, to bring her characterization of the independent she debuted as Victoria Barkley in ABC's "The western woman from films to while television, Big Valley." rejecting the notion that she was trying to be female version of Ben Cartwright, patriarch of After years in film, often the the "" clan. Courtesy ABC Visual Com forty portraying self-willed had a clear munication and Alameda Newspaper Group. heroine, Stanwyck idea of how she wanted to play Victoria, was the heroic matriarch of the Barkley clan. And it not in velvet and lace but as "a real frontier woman, on one see the storyline posters for Trooper Hook, released not of those crinoline-covered things you me I most in 1957. "Hate because saved myself from in Westerns."34 Before she accepted the role, torture . . . I a sure Apache because gave their chief she made that the producers understood her on a son!"31 In this film, her last Western the big interpretation of the lead character. "I'm tough screen, Stanwyck moved away from the dominat old broad from Brooklyn," she told them. "Don't a woman to me want ing, villainous female role and played try make into something I'm not. If you was someone whom whites scorned because she captured to tiptoe down the Barkley staircase in by Apache Indians and subsequently gave birth to crinoline and politely ask where the cattle went, a son. a was a As Cora Sutliff, Stanwyck is brave, deter get another girl. That's not me." Nor Barkley woman son mined whose love for her gives her the "mother knows best" character; she was a woman to was strength face, and live down, the disapproval of who willing to argue and disagree with her a prejudice-driven community. Joel McCrea, her children. Despite her sexist language, Stanwyck's man in were leading for the sixth time her movie career, feminist leanings clear in her interpretation a "rescues" a plays Hook, cavalry sergeant who her of the script. As result, in "" Stan and returns her to her husband. Upon her return, wyck transferred to television the strong, indepen on both her husband and the townspeople shun her dent Western heroine she had developed the for becoming the sexual partner of the Apache silver screen.

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions Set in in San Victoria was at the 1870s California's Joaquin Valley, Barkley Stanwyck her strongest? the series centered on the and powerful wealthy clear-headed, capable, loving, and strong. She loved and their interactions with the role and it an Barkley family settlers gave her utmost, winning Emmy area. in the surrounding Although initial reviews for her performances in 1966 and additional nomi were soon lukewarm, the show improved and nations in 1967 and 1968. But she insisted that she an enthusiastic As the was no gained following. widowed "female Ben Cartwright" and took excep matriarch with three sons and one Stan tion to daughter, reviewers who frequently compared the wyck appeared in all but seven of 112 episodes. Barkley clan to the Cartwrights of NBC's equally She either carried the shared completely segment, popular "Bonanza" series. "Our family is much it with a of talented stars or some variety guest stronger," she insisted. "Our family behaves like any member of the or when . . . family, appeared briefly normal family. We fight, argue, discuss things. someone as woman else starred. appeared The I'm playing has plenty of battles with a Audra, the only Barkley daughter; her boys. She's very vital person. So are her son a sons. played Jarrod, the oldest and lawyer; Peter They have minds of their own."38 Despite was Breck played Nick; and Heath, the Stanwyck's protestations, the two series were son of late husband. illegitimate Victoria's Again indeed similar, since both starred lone parents who were ahead of the times, Stanwyck wanted Majors to ready with advice and guidance for their but an play the widow's illegitimate son, the network grown children and occasionally enjoyed adven was horrified at the idea and retained the original ture or romance on their own.39 as was casting of Majors his father's bastard child.35 Stanwyck's role in "The Big Valley" her last as a was A close family relationship developed among the Western heroine. The series dropped in as a cast. As Stanwyck had done with others through 1969 result of weak Nielsen ratings and the out a to in her career, she made special effort help decline popularity of the Western genre, although Evans to the less-experienced and Majors. Under the the program continued air in syndication during can seen. actress's nurturing guidance, both novices improved the 1970s and still be The actress contin came their acting skills and to love and respect ued to perform in television specials into the 1980s a was an their mentor. Evans, who would become televi and nominated in 1983 for Emmy for her as sion superstar for her role in "Dynasty" in the outstanding performance the wealthy, domi 1980s, grew especially fond of Stanwyck. She said of neering matron, Mary Carson, in the mini-series on career: me Stanwyck's effect her "She taught "The Thorn Birds." Because she looked younger in the most important thing my career, which is to than her years, Stanwyck needed special makeup a . . . be professional and when Iwork with peo to "age" her appropriately for the role. Once again can on ple, they always say 'you tell who taught you horseback, Stanwyck kept up with the rest of about the business because you're very profes the cast, despite her seventy-five years.40 Her final came as sional.' I'm very grateful to her for that."36 The TV appearance in 1985, Constance Colby a special affection that developed among "The Big Patterson in "Dynasty II: ," weekly was Valley" cast members important to Stanwyck. series that made its debut that November and was sense Here, late in her life, the of family that reunited Stanwyck with her "Big Valley" daugh had eluded her. Understandably, her disappoint ter, Linda Evans. ment was keen when the series was canceled in Stanwyck lived out the few remaining years of 1969, and "The Big Valley" set no longer served as her life quietly in her long-time Beverly Hills home. as to or her surrogate home. Just she had refused conceal either her age was a actress come to terms The Barkley heroine significant role for her graying hair, the had was Western Stanwyck. It the first and only adult with the inevitability of aging in youth-obsessed a woman went lim California. "You have to know when featuring who that beyond the southern ited roles of saloon singer, prostitute, spunky you've had your hour, your place in the sun," or some ranchwoman, pioneer wife, other varia she advised. "To be old is death here. I think it's woman tion of the good woman/bad dichotomy.37 kind of silly. Be glad you're healthy. Be glad you

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions '' ^^^^Kj-^1 /j^^^lkl ^^^^^ttwL^jSmI ^^^V ^^^^^^^1 ^bbbbbbbbbbI I

The cast of "The Big Valley" may have provided Barbara Stanwyck with a surrogate family during a time of A personal sadness. close relationship developed between Stanwyck and her fellow actors, and she made it a point to provide guidance for novices Linda Evans and Lee Majors, teaching them about professionalism in Hollywood. Pictured left to right are , Stanwyck, Evans, Majors, and Richard Long. Copy right Four Star International, Inc. Courtesy Alameda can out on own." at get of bed your Finally, age Newspaper Group. eighty-two, Stanwyck followed longtime friends and sometime rivals, and Joan Craw ford, in death, succumbing to congestive heart on no failure , 1990. At her request, funeral service was held, and the actress was buried quietly and without fanfare.41

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This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions actress on as Throughout her long and illustrious career, the strength of her roles aggressive, a women. Barbara Stanwyck maintained public per determined In many ways, Stanwyck lived sona a out on screen women that masked complex, private person. roles the big that ordinary one She became of Hollywood's greatest stars might have emulated but for cultural constraints so. although she failed towin the profession's highest that prevented them from doing an own a accolade, Oscar. In her inimitable fashion, Throughout her career, tension existed between women so Stanwyck explained away her disappointment. the strong Western she often portrayed was 'Tve had my time and it lovely. I'm grateful for in film and her private life. Her film roles mirror, move room it. Now I have to aside and make for in great part, her longstanding need for security a somebody else. I'm not jealous of anybody. Well, I and independence. Two divorces and continually take it back. Maybe Miss Hepburn because she unhappy relationship with her son Dion Fay seemed won no three academy awards. But sing sad songs to reinforce her determination to succeed.43 How for Barbara Stanwyck. What the hell! Whatever I much of this personal unhappiness accounts for a had, it worked, didn't it?"42 From street-tough the strong roles she chose is unclear, but the paral a are city kid, she grew into versatile and accomplished lels suggestive.

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women to Like many of today, Barbara Stanwyck struggled balance her private and to come to a career professional life, place where domestic and responsibilities could coexist. the one peacefully On hand, Stanwyck's roles mirrored her apparent need for security and independence. On the other, her roles hid a vulnerability to the demands of her work and the cultural limitations placed on the lives of most women of her time. The photo is from The Lady Eve (1940). Courtesy Universal City Studios, Inc., and Pacific Film Archives.

54 CALIFORNIA HISTORY

This content downloaded from 132.178.2.64 on Tue, 10 Dec 2013 11:42:28 AM All use subject to JSTOR Terms and Conditions Barbara Stanwyck, nominated for ^ four Awards her wM *^ ^ael [ Academy during ^K ^ \K^^m^m career, was over for the honor passed l^^? ^^ml^^r^^ ' each time. She never expressed any I i however. In I Bp^L^^jf^^B ^m: regretspublicly, 1982, J^ ^^""C^Ib ^B the theAcademy ofMotion Picture Arts and Sciences her a iMflll^^H^H^^h^l gave special ^^^^^^fl^^^^M^BB Oscar as a tribute to her lifelong in mB^^^^^^^^^^^^m. achievements film.Courtesy ABC I kHH^^B^H^^H^^^B I VisualCommunication andAlameda | aN^^^Sh^^^^H^^B NewspaperGroup. ft f<:J^hSIHI^^B^^^B

In her was on a Western roles, then, Stanwyck far of this image the small screen, role that more than a faint-hearted heroine waiting for the contrasted sharply with the traditional wife and hero to rescue her. she was not as Although quite the mother portrayed by such actresses Harriet Nel woman who in the son In totally independent appeared and Donna Reed. "The Big Valley," Stanwyck 1970s, personified in the films of Jane Fonda such pioneered the role she had developed in films, as Comes a Horseman and The Electric Horseman, she thus fulfilling one of her long-held dreams and the essence represented necessary bridge between the sub illustrating the of her career as an uncom woman asser missive good stereotype and Fonda's mon heroine. 0 women. was a tive Clearly, she forerunner to Fonda as as an and such, served important role model for other actresses. One of the many interpreters of Western heroines?Maureen O'Hara, Joanne Dru, and Arthur are took the Jean others?Stanwyck on See notes beginning page 96. civilizer role and expanded it beyond the standard success was approach. Also contributing to her her Sandra assistant at Boise State as a stuntwoman, for in this she Schackel, professor of history ability activity is the author the Social House directed her and determination into University, of award-winning energies phys Women Public in New and sometimes scenes keepers: Shaping Policy Mexico, ically demanding dangerous 1920-1940 New Mexico Press, 1992). Her as (University of that commanded the respect of the public well teaching and research fields include the history of American as of her co-stars and film crews. her own Doing women and theAmerican West, with special interest in popu stuntwork further enhanced her roles as strong, lar culture. She contributed "Images of Women in Western assertive women. was her con Equally important Film" to Shooting Stars: Heroes and Heroines inWestern to as tribution television the "founding mother" Film (Indiana University Press, 1987).

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