In “The West-Hardboiled: Adaptations of Film Noir Elements, Existentialism, and Ethics in John Wayne’s Westerns”, Matheson describes various characteristics of typical “Wayne Westerns”, and why his image continues to grow stronger throughout the years. One of the key things that John Wayne brings to his movies is that he “introduces twentieth-century preoccupations and attitudes into the 1880’s (890)”. His films generally reflect the times in which they were made, often including post-war feelings of disillusionment and social breakdown. He is critical to the film noir genre, as his work often includes pessimism, bleak subjects, and cynical characters. Both the characters and their relationship with the milieu show the emotional and moral wilderness of the films. The landscape often reflects the characters emotions, and adds to the dark shadowy film noir feel.
Also contributing to the elements of film noir is Wayne’s Westerns’ cynical critique of capitalism. Usually, the villains of a Western can be easily observed as dirty, grimy, and antisocial. This holds true in Wayne’s films as well, but with the added threat of the Dandy. “When dirt does not signify a predator, clothing does (894)”, meaning that if a businessman in the film is too clean, too put together, then he is attempting to conceal his true savage nature. He is a possibly a more dangerous foe than the gritty obvious villain. Though in the movies, everyone (including the alpha male) is somehow corrupted, not just the villains of greedy capitalism.
Wayne’s characters almost always encounter the problems of freedom of choice and existentialist thinking. Since the world is ultimately corrupt, it is up to each man to stand by the meaning he creates for himself – live by his own moral center. “A man who settles his own problems is indeed the sum of his actions (897)”. This personal responsibility and ethical code often leads the “antihero” into double binds. He can never truly be part of society, and he is far too polluted to truly be a hero. He can however, live a fundamentally ethical life by fulfilling his own potential. In pursuing the “highest good” and living by a degree of virtues, the antihero can live up to his own personal responsibility in a corrupt society within Wayne’s film noir works.
In “The West-Hardboiled: Adaptations of Film Noir Elements, Existentialism, and Ethics in John Wayne’s Westerns”, Matheson describes various characteristics of typical “Wayne Westerns”, and why his image continues to grow stronger throughout the years. One of the key things that John Wayne brings to his movies is that he brings twentieth century issues into a post-civil war setting. His films generally reflect the times in which they were made, often including post-war feelings of disillusionment and social breakdown. He is critical to the film noir genre, as his work often includes pessimism, bleak subjects, and cynical characters. Both the characters and their relationship with the milieu show the emotional and moral wilderness of the films. The landscape often reflects the characters emotions, and adds to the dark shadowy film noir feel.
ReplyDeleteAdding to the elements of film noir Westerns (Including but not limited to Wayne’s Westerns) is a cynical critique of capitalism. Usually, the villains of a Western can be easily observed as dirty, grimy, and antisocial. This holds true in these films as well, but with the added threat of the Dandy. Often, if a businessman in a film is too clean, too put together- then he is attempting to conceal his true savage nature. He is a possibly a more dangerous foe than the gritty obvious villain. Usually a type of sociopath who doesn’t understand right from wrong. This is in direct opposition to the alpha male cowboy, who does understand what is morally acceptable and what is not. Though in the movies, everyone (including the alpha male) is somehow corrupted, not just the villains of greedy capitalism. The alpha male is somehow stained by his past actions, making him more cynical. This earns the alpha of these films the title of “hard-boiled”.
Matheson makes the point that Hard Boiled characters such as those that Wayne plays almost always encounter the problems of freedom of choice and existentialist thinking. Since the world is ultimately corrupt, it is up to each man to stand by the meaning that he creates for himself – to live by his own moral center. This personal responsibility and ethical code often leads the “antihero” into double binds. He can never truly be part of society, and he is far too polluted to truly be a hero. The alpha male can, however, live a fundamentally ethical life by fulfilling his own potential. In pursuing the “highest good” and living by a degree of virtues, the antihero can live up to his own personal responsibility in a corrupt society within film noir works.