American western films took over Hollywood filmmaking from 1920 to 1960. Most all classic western movies carry the same themes throughout the movies. Heroic, masculine figures who are law-abiding enforcers, but also quick with a gun control the atmosphere of their western town. The movie My Darling Clementine (John Ford, 1946) encapsulates the western genre, and goes down in history as one of the best westerns ever made. After Wyatt Earp and his brothers stumble upon the town of Tombstone while to moving cattle to California, they decide to stay after Wyatt sees the need to stick around a little longer. The heroic actions yet humility of My Darling Clementine’s main character Wyatt Earp make the movie a classic American western film.
The first example from My Darling Clementine shows Wyatt’s humility and simple lifestyle when he turns down the position of town marshal with such authority. After being offered the opportunity for being town marshal Wyatt simply says “nope...I’m just passing through”. In most classic western movies, the hero does not always start out that way. Most of the time, the best heroes and saviors come from a place of just wanting to live their life, but get thrown into the position due to their high moral standards. This example of Wyatt turning down the job, show that he does not want to be a rewarded hero,
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Wyatt mentioned to his brother James’s grave that he will stay around until kids like him can be safe again. This desire fueled the movie and motivated Wyatt to become town marshal and get Tombstone back on track as a nice western town. This desire propels Wyatt into the hero role not only for his brother’s sake, but also for the whole town of Tombstone. Every classic western film has a strong male lead who takes charge and becomes the hero others can depend on. Wyatt taking on this role, springs My Darling Clementine into a perfect American western
The times are changing and he's unwilling to give up the past. The world is becoming modernized and people like him, cowboys and ranchers, are slowly disappearing. He runs away from home because he desires to find peace within himself as well as a place where he can feel he belongs. Here begins the adventure of John Grady and his best friend Lacey Rawlins. It is important to note here the means of travel. The story is taking place after World War II, a time when cars are fairly common, yet these boys decide to go on horseback, like in the fading old days. This is just another concept of how they are unwilling to give up a fading past. When they first begin their journey, the boys are having a good time. In a sense they?re two buddies on a road trip with no real motive. Rawlins even mentions, ?You know what?I could get used to this life.? Then they meet Blevins, the foil in the plot that veers the two boys of their course and also has plays a role in the lasting change of their personality. Their meeting with him gives an insight into Grady?s character. Rawlins is against letting Blevins come along with them, but because of John?s kind nature he ends up allowing Blevins to come. It?s because of this kindness and sense of morality, he gets into trouble later on.
Ellsworth was mean, and it was ugly. The stench of the its streets fell second to the odor of the unbathed saddle tramps who had just delivered 150,000 cattle from San Antonio to its freight yards. Adding to these smells were the blends of whisky, tanning leather, kerosene and carved carcasses, a revolting combination. Gunfights were spontaneous, either over a woman or a card game. When Wyatt crossed the Smoky Hill River into Ellsworth in 1873, he may have remembered the "rules of the gunman," but had no intention of employing them. The two main “rules of a gunman” were to take his time and always be armed. Although many people had warned him that it would be naive to go westward without being properly armed, Wyatt didn’t own a gun. All he hoped for was to find a peaceable job. But, only hours after hitching his horse in town he began to wonder if perhaps everyone was right. The most boisterous spot in town was Brennan’s Saloon, off Ellsworth Square; its faro and poker tables buzzed 24 hours, bartenders tapped beer and ...
"Relocating the Cowboy: American Privilege in "All the Pretty Horses"" Pepperdine University: Global Tides Seaver Journal of Arts and Sciences. Maia Y. Rodriguez, 2014. Web. 2 May 2016. . The Western typically illustrates the journey of a man, usually a horse riding cowboy, into the Western frontier where he must conquer nature "in the name of civilization or [confiscate] the territorial rights of the original inhabitants... Native Americans" (Newman 150). What this brand of mythology promotes is precisely the values of American culture: rugged individualism, achievement and success, activtity and work, democracy and enterprise, and--most importantly--
Western movies have always been attempted and have strived for perfection. There has been a few that really captured the motion picture, history, and of course the actual story itself; but of course only one can take the cake. The movie, Tombstone is an action-filled film that is sure to entertain no matter what audience. Based on true events, the movie does an excellent job of portraying the correct history about the events that went on in Tombstone, Arizona. Everything from wardrobe, slang, props, and much more that was displayed in this outstanding movie couldn’t have hit the nail on the head any better. Just in case you may not have seen Tombstone, I believe it’s beneficial to know the plot, important details, history and information about
In 1876 Wyatt Earp was hired as an assistant Marshall in Dodge City, Kansas, one of the worst places in America at the time. In Dodge City daylight muggings and nighttime shootings were an everyday thing. When Wyatt became a lawman there he was able to stop the crimes without killing anybody, he put them in jail. One of his techniques was called ?buffaloing? where he would knock a criminal on the head with his favorite weapon, the Colt 45.
I believe that the film does indeed conform to a certain type of narrative structure expected by other films of this style. This film, through and through, is a Western, even starring one of biggest names in Hollywood Westerns, John Wayne. We’re thrown into a world of sturdy, rugged men riding around on horses, decked out in cowboy hats and belt buckles. Wayne portrays the archetypal man, honorable, reliable and
At the same time, the author makes clear the harsh realities and disappointments of John Grady’s chosen way of life. When John Grady leaves Texas at the age of 16, he seems to have a plan. He wants to become a cowboy and have a close relationship with nature. John Grady’s character is hopelessly romantic; he takes action without caring about repercussions. In All the Pretty Horses, John Grady falls in love with people or things that are unable to love him back at the same level.
In 1939, Ford cast Wayne as the Ringo Kid in the adventure Stagecoach, a brilliant Western of modest scale but tremendous power, and the actor finally showed what he could do. Wayne nearly stole a picture filled with Oscar-caliber performances, and his career was made. He starred in most of Ford's subsequent major films, whether Westerns (Fort Apache, She Wore a Yellow Ribbon, Rio Grande, The Searchers ); war pictures (They Were Expendable); or serious dramas (The Quiet Man). He also starred in numerous movies for other directors, including several extremely popular World War II thrillers (Flying Tigers, Back to Bataan, Fighting Seabees, Sands of Iwo Jima); costume action films (Reap the Wild Wind, Wake of the Red Witch); and Westerns (Red River). His box-office popularity rose steadily through the 1940s, and by the beginning of the 1950s he'd also begun producing movies through his company Wayne-Fellowes, later Batjac, in association with his sons. Most of these films were extremely successful, and included such titles as Angel and the Badman, Island in the Sky , The High and the Mighty ( my personal favorite), and Hondo. The 1958 Western Rio Bravo, directed by Howard Hawks, proved so popular that it was remade by Hawks and Wayne twice, once as El Dorado and later as Rio Lobo.
In the movie Wyatt Earp was getting ready to move to California to marry. Then he got word that his brother Virgil was in danger and needed his help with a rowdy bunch of cowboys. Dee Brown said, "Wyatt decided Dodge was too tame for him and at the end of the season he, Doc, and Big-Nose Kate left for Tombstone." His arrival in Arizona with Doc and Kate was already a problem since highly acclaimed Wyatt Earp was riding in with the cold-blooded killer, Doc Holliday. The film portrayed Wyatt's brothers as being very wary of Doc's presence, but they already knew what he had done for Wyatt so they had accepted him as friend, but that did not go for the rest of the town.
In reading “All the pretty horses” by Cormac McCarthy, we are introduced to the protagonist John Grady Cole. At the beginning of the story, John Grady is attending his grandfathers funeral in the ranch that he now shares with his mother. John Grady Cole, grew up in world where being a cowboy meant freedom and a ever growing relationship with the one thing he cared about more than anything… horses. The story seems to unravel in the early 1950s when the old west began to evolve to the new ways of the west and the definition of what made a man a cowboy increasingly blurred. As the story evolves, it becomes evident that the selling of his grandfather’s ranch leaves Grady feeling adrift and incomplete. Henceforth, he deicides to set foot on his own and find a new place to call his home. We see that the loss of his grandfathers ranch and the passing of the old west he knew, serves as a reflection of how John Grady’s character attempts to maintain this cowboy lifestyle that he witnessed growing up . John Grady Cole’s character tough young, serves as a hero in his journey of becoming a man. Combined with his passion and idealistic mentality, his love for horses and the open plains of Texas/Mexico sets him off into new adventures. Realizing that each scenario encountered paves the way towards a journey of harsh reality, this story serves as one of growth and the passionate search of the old cowboy life. Grady sets out on a journey to Mexico with his comrade Rawlins riding off into the sun with hopes of finding a new home; they rode in hopes of regaining their sense of beloning.
Somewhere out in the Old West wind kicks up dust off a lone road through a lawless town, a road once dominated by men with gun belts attached at the hip, boots upon their feet and spurs that clanged as they traversed the dusty road. The gunslinger hero, a man with a violent past and present, a man who eventually would succumb to the progress of the frontier, he is the embodiment of the values of freedom and the land the he defends with his gun. Inseparable is the iconography of the West in the imagination of Americans, the figure of the gunslinger is part of this iconography, his law was through the gun and his boots with spurs signaled his arrival, commanding order by way of violent intentions. The Western also had other iconic figures that populated the Old West, the lawman, in contrast to the gunslinger, had a different weapon to yield, the law. In the frontier, his belief in law and order as well as knowledge and education, brought civility to the untamed frontier. The Western was and still is the “essential American film genre, the cornerstone of American identity.” (Holtz p. 111) There is a strong link between America’s past and the Western film genre, documenting and reflecting the nations changes through conflict in the construction of an expanding nation. Taking the genres classical conventions, such as the gunslinger, and interpret them into the ideology of America. Thus The Western’s classical gunslinger, the personification of America’s violent past to protect the freedoms of a nation, the Modernist takes the familiar convention and buries him to signify that societies attitude has change towards the use of diplomacy, by way of outmoding the gunslinger in favor of the lawman, taming the frontier with civility.
A more modern outlook on the film recognizes the film's flaws but gives it, it’s credit as the last fully realized work of one of the most important directors in American cinema history. Ford understood that an audience's recollections of older, less complex Westerns would add a layer of expressiveness to the viewing experience. The black-and-white structure helps him achieve this. Ford’s decision to shoot the film in black and white in 1962 produced a dark, anachronistic look, while the unconcealed soundstage effects of the film’s opening scene reinforced Ford’s vision of a wilderness, interiored Western frontier. Just as Ford intended, many of the flashback scenes are masked in darkness, whereas the frame tale is immersed in light. This con...
Western films are the major defining genre of the American film industry, a eulogy to the early days of the expansive American frontier. They are one of the oldest, most enduring and flexible genres and one of the most characteristically American genres in their mythic origins - they focus on the West - in North America. Western films have also been called the horse opera, the oater (quickly-made, short western films which became as common place as oats for horses), or the cowboy picture. The western film genre has portrayed much about America's past, glorifying the past-fading values and aspirations of the mythical by-gone age of the West. Over time, westerns have been re-defined, re-invented and expanded, dismissed, re-discovered, and spoofed. But, most western movies ideas derived from characteristics known to the Native Americans and Mexicans way before the American culture knew about it. What you probably know as a good old western American movie originated from a culture knows as vaqueros (cowboys for Spanish). They are many misrepresentations of cultures and races shown throughout movies from as early as 1920's with silent films. Although one could argue that silent film era was more politically correct then now a day films, the movie industry should not have the right of misrepresenting cultures of Mexicans, Indians and there life styles in films known as western films.
Westerns are split down into sub genres for example classical westerns like "The Great Train Robbery" but there are also other western genres like revisionist westerns. Revisionist westerns occurred after the early 1960's, American film-makers began to change many traditional elements of Westerns. One major change was the increasingly positive representation of Native Americans who had been treated as "savages" in earlier films. Another example is Spaghetti westerns, Spaghetti westerns first came during the 1960's and 1970's, The changes were a new European, larger-than-life visual style, a harsher, more violent depiction of frontier life, choreographed gunfights and wide-screen close-ups.
Few Hollywood film makers have captured America’s Wild West history as depicted in the movies, Rio Bravo and El Dorado. Most Western movies had fairly simple but very similar plots, including personal conflicts, land rights, crimes and of course, failed romances that typically led to drinking more alcoholic beverages than could respectfully be consumed by any one person, as they attempted to drown their sorrows away. The 1958 Rio Bravo and 1967 El Dorado Western movies directed by Howard Hawks, and starring John Wayne have a similar theme and plot. They tell the story of a sheriff and three of his deputies, as they stand alone against adversity in the name of the law. Western movies like these two have forever left a memorable and lasting impressions in the memory of every viewer, with its gunfighters, action filled saloons and sardonic showdowns all in the name of masculinity, revenge and unlawful aggressive behavior. Featuring some of the most famous backdrops in the world ranging from the rustic Red Rock Mountains of Monument Valley in Utah, to the jagged snow capped Mountain tops of the Teton Range in Wyoming, gun-slinging cowboys out in search of mischief and most often at their own misfortune traveled far and wide, seeking one dangerous encounter after another, and unfortunately, ending in their own demise.