Unforgiven is true revisionist Western shot in 1992 starring Clint Eastwood as William Munny, a widower who was formerly known as a killer and an outlaw. As a true revisionist Western we see a completely different version of the alpha male cowboy. During the 90's the role of males were substantially different and small progressive changes over the past decades have accumulated and can be clearly seen in the twentieth century male.
William plays a male that can show his emotions and let his guard down. He seeks the company on Ned Logan, who is also a former gunfighter, in order to assassinate wanted cowboys. In the course of the film, Logan dies and when Munny learns of his death he becomes livid and swears to gain revenge for the death of his comrade. The fact that Munny is presented as the alpha male cowboy and he is showing that this death has affected him so greatly that he is clearly angry enough to seek revenge is a true revision of the alpha. Logan is played by Morgan Freeman, a black man, which is accepted by viewers because blacks have advanced in society since the 30's and 40's. By the 90's the civil rights movement has substantially made a difference in the lives of blacks. Although the Civil Rights Act was passed in the 60's it took time for society to adapt, it is one thing to pass an act but for persons to accept is and change attitudes they have known for decades takes time.
Unforgiven presents a great contrast to the classic Western we once knew because it is a film of the 90's which is a completely different America.
Wednesday, March 30, 2011
Unforgivin-MR
Revisionist westerns emerged in the mid 1950s and questioned the traditional western genre entirely. These westerns began to show the questioning of many of the intrinsic values, characters, and actions that western films encompassed. The film, Unforgivin, is one of these films. Where a once alpha male cowboy has grown old, and attempts to restore his alpha status. William Munny, a historically notorious killer and criminal, resides with his two children on a farm on the frontier. Munny's wife has passed and he appears to be a changed man, crediting his wife with his transformation from a ruffian to an ordinary citizen. This role that Munny plays is traditionally against the alpha male cowboys traditional role of being a loner and refuting the home life. Munny, however, is entised to once again live by the traditional law of the gun, as he sets out on a job to kill again. He brings along his friend, Ned Logan, who happens to be African American. Traditionally Ned would have never been in this position as he would have been considered an "other," and would have played a substantially smaller role. The two men struggle to adapt to their old ways, which signifies the importance of time and the changes that it brings. Finally, the largest depiction in this film is the downplay of violence that is traditionally inherent on the western frontier. Munny and Logan shows great hesitation to get involved in any kind of violence. The traditional alpha male had no second thoughts about using violence to solve problems, but the two men in the film show that alpha males also can grow old and become weaker men.
Gunfight at OK Corral - JM
The Gunfight at the OK Corral was shot in 1957 starring Burt Lancaster as Wyatt Earp and Kirk Douglas as Doc Holiday. It is one of the few films that show two men who have the potential to be the alpha male cowboy. While watching the film it may seem that Doc is Wyatt's sidekick but he shows many qualities that represent the alpha male cowboy of the time. The film was shot in the late 1950's which was a rapidly changing time in America, the role of men and women were taking a turn and it was being reflected in Westerns. Western's of this time are usually referred to a revisionist films meaning they stray away from the characteristics of the original Western's of the 30's and even the 40's. Due to the time this film was shot it can be argued that the director intended to include two alpha male cowboys rather than one alpha because along with American society, Western's were changing.
Like Wyatt Earp, Doc Holiday displays the traditional cowboy qualities, the loner lifestyle and protecting their loved ones. Doc and Wyatt are content with solitude as they both leave their girlfriend and fiance to ensure their safety. According to Matheson and Tompkins these are both very important qualities of the alpha. It is also clear that both men follow the law of the gun rather than the written law, they both use their moral judgment to determine when and where is appropriate to draw their gun which also proves they are both alpha male cowboys.
It is clear that both men can hold their own in the film, they are powerful, dependent, loyal and loners which place them both under the category of the alpha.
Like Wyatt Earp, Doc Holiday displays the traditional cowboy qualities, the loner lifestyle and protecting their loved ones. Doc and Wyatt are content with solitude as they both leave their girlfriend and fiance to ensure their safety. According to Matheson and Tompkins these are both very important qualities of the alpha. It is also clear that both men follow the law of the gun rather than the written law, they both use their moral judgment to determine when and where is appropriate to draw their gun which also proves they are both alpha male cowboys.
It is clear that both men can hold their own in the film, they are powerful, dependent, loyal and loners which place them both under the category of the alpha.
Unforgiven-BS
The Revisionist Western traces to the late 1960s and early 1970s. Some post WWII Western films began to question the ideals and style of the traditional Western. Elements include a darker, more cynical tone, with focus on the lawlessness of the time period, favoring realism over romanticism. Anti-heroes are common, as are stronger roles for women and more sympathetic portrayal of Native Americans and Mexicans. This idea of a revisionist western can be seen in Unforgiven (1992). In the film, William Munny, a widower who was once a well-known bandit, is asked to return to his old ways and assassinate wanted cowboys. He recruits Ned Logan, another retired gunfighter who reluctantly leaves his wife to go along. Munny who has had a history with alcohol dives deeper into his past when he learns of Logans death and swears to get revenge. In Unforgiven, we see a new image of the alpha male cowboy. Someone who is vulnerable and loses his skills with the gun after taking some number of years off.
Unforgiven - DP
The 1992 film Unforgiven is defined as a rivisionist film because it does not follow the mold of a tradtional western. This film express much different thoughts and themes, and most obviously has a very different idea of an alpha male cowboy. Through William Munny and his actions, one can see the changes in thought that existed in the 90's as opposed to the 50's or 60's. The thoughts of the time were radically different than the years before them.
According to Matheson, in westerns, the only way to prove one's manhood is throught violence and risking death. The rivisionist film portrays the opposite. It lashes out against violence through Will seeing the terrible nature of his old life. He is very sorry for the things he ad done in his life and violence as a whole is shown in negative fashion in the movie. The faces of the towns people grimicing at violence emphasizes this theme. Will even vows never to kill again at the end of the film. Will tries to live graciously farming, and refrain from any violence and stress. This varies form the typical alpha male becase he is not assertive and dominant. He just wishesto go about his life and not be bothered. When Ned is killed he resortsback to his old ways but he is very unskilled which is unlike an alpha male cowboy. Will resembles the time of the film, where life just isn't the same.
Will, as well as the film, show the changes in thought that accumulated in the 1990's. Violence was no longer tolerated much and the idea of manhood changed. Men were no longer tought of as emotionless, the world became more libeal, and that is clearly illustrated in the film.
According to Matheson, in westerns, the only way to prove one's manhood is throught violence and risking death. The rivisionist film portrays the opposite. It lashes out against violence through Will seeing the terrible nature of his old life. He is very sorry for the things he ad done in his life and violence as a whole is shown in negative fashion in the movie. The faces of the towns people grimicing at violence emphasizes this theme. Will even vows never to kill again at the end of the film. Will tries to live graciously farming, and refrain from any violence and stress. This varies form the typical alpha male becase he is not assertive and dominant. He just wishesto go about his life and not be bothered. When Ned is killed he resortsback to his old ways but he is very unskilled which is unlike an alpha male cowboy. Will resembles the time of the film, where life just isn't the same.
Will, as well as the film, show the changes in thought that accumulated in the 1990's. Violence was no longer tolerated much and the idea of manhood changed. Men were no longer tought of as emotionless, the world became more libeal, and that is clearly illustrated in the film.
Unforgiven- VC
Unforgiven is a revisionist western. These films are typically defined by a focus on realism, an anti-hero and stronger women roles. These characteristics fit this film. Unforgiven focuses on the unraveling of the traditional cowboy that we usually see. Clint Eastwood's character, William Munny, portrays many negative characteristics of the cowboy. He is an alcoholic and a murderer. Throughout the film, he tries to convince everyone that he has given up his old ways. However, when Ned is murdered, Will Munny goes back to the town and shoots all of the men in the saloon. Munny possesses a lot of characteristics that show a negative side to the life of a cowboy. A negative aspect to the life of the cowboy is shown through the character of Schofield. Once he shoots the cowboy, he is horrified by what he's done and swears that he will never kill anyone ever again. This is not what we usually see in Westerns. Usually, the cowboy is very brave and never shows regret for what he has done. Unforgiven is a revisionist film that shows a different side to the cowboy.
Unforgiven - RS
A revisionist is "someone who tries to rewrite Marxism to justify a retreat from the revolutionary position" (Oxford Dictionary). The Unforgiven is a revisionist film because it deals with the ideas with communism in the south. Munny played by Clint Eastwood is an outlaw and killer who decides to take on one more job before he "retires." Munny recruits Morgan Freeman's character, Ned Logan, as his sidekick. Yet, in order to do this, Logan must leave his wife, something he is very reluctant to do.
This film portrays Munny as an alpha male who is not doing his job for good, but in a sense, for evil. He groups together with Logan and Kid to attack and kill cowboys; yet the sight of killing starts to sicken Logan and Munny, showing signs of life in their hearts. When Little Bill takes hostage and kills Logan, Munny decides to seek revenge. This is where the alpha male characteristics pop out, and proves that although this film is a revolutionary Western, it still contains an alpha.
Unforgiven - KH
The 1992 film Unforgiven does not follow the template of classic western movies – making it a revisionist western. It questions the ideals of the classic films, with a large cynicism of the violence that is portrayed in them. It also has a new type of alpha male in William Munny. This alpha is very different from the traditional image.
Will Munny, having a vicious past, is seen as a reformed man in the film. His deceased wife rid him of his drinking habit, and taught him to see the error of his violent ways. He lives peacefully, farming (though not very well) with his two children. When he tries to go back to his old gun-slinging ways, it is difficult; he is older, out of practice, and harboring new moral ideals. The same can be said of his sidekick Ned Logan, who settled down with an Indian wife. Will is not the typical alpha in this film for many reasons. He has to re-learn how to shoot, and can’t even get on his horse without a struggle. Will is deeply ashamed of his past, simply saying “I don’t remember” or “I guess so” whenever it is referenced. He is weak, almost dying at one point. When Little Bill first beats him, he doesn’t even put up a fight, only crawls out of the door. He doesn’t live a cowboy life – no guns, no whiskey, and no women. Also not a typical cowboy, Ned is not able to shoot a man in the movie. There’s too much grief in his past. Both men are not accustomed to the rough terrain, expressing desire for home and bed. None of this matches the typical alpha male. At the very end Will takes back his old violent ways, but this is only in reaction to Ned’s cruel death – in an act of revenge.
In its revisionist state, Unforgiven makes a serious commentary on how violence does not prove manhood. It shows the brutal acts of men as cruel, sadistic, and unnecessary. Each time Little Bill beats a man (English Bob, Will, and finally Ned), the townspeople look away and cringe. The way the prostitutes are treated, and Delilah’s face is cut, is not acceptable. It is painful to see. Will and Ned both show serious hesitation when aiming a gun at another man, as does The Schofield Kid. The Kid’s eagerness for killing in the beginning made him seem annoying and inexperienced. When he did finally shoot a man, he said “I won’t kill nobody no more”. Solving problems through killing is not an easy or good thing in this film. Drawing a gun is a grave action that has serious consequences. As Will put it, “Killing a man is a hell of a thing”.
Will Munny, having a vicious past, is seen as a reformed man in the film. His deceased wife rid him of his drinking habit, and taught him to see the error of his violent ways. He lives peacefully, farming (though not very well) with his two children. When he tries to go back to his old gun-slinging ways, it is difficult; he is older, out of practice, and harboring new moral ideals. The same can be said of his sidekick Ned Logan, who settled down with an Indian wife. Will is not the typical alpha in this film for many reasons. He has to re-learn how to shoot, and can’t even get on his horse without a struggle. Will is deeply ashamed of his past, simply saying “I don’t remember” or “I guess so” whenever it is referenced. He is weak, almost dying at one point. When Little Bill first beats him, he doesn’t even put up a fight, only crawls out of the door. He doesn’t live a cowboy life – no guns, no whiskey, and no women. Also not a typical cowboy, Ned is not able to shoot a man in the movie. There’s too much grief in his past. Both men are not accustomed to the rough terrain, expressing desire for home and bed. None of this matches the typical alpha male. At the very end Will takes back his old violent ways, but this is only in reaction to Ned’s cruel death – in an act of revenge.
In its revisionist state, Unforgiven makes a serious commentary on how violence does not prove manhood. It shows the brutal acts of men as cruel, sadistic, and unnecessary. Each time Little Bill beats a man (English Bob, Will, and finally Ned), the townspeople look away and cringe. The way the prostitutes are treated, and Delilah’s face is cut, is not acceptable. It is painful to see. Will and Ned both show serious hesitation when aiming a gun at another man, as does The Schofield Kid. The Kid’s eagerness for killing in the beginning made him seem annoying and inexperienced. When he did finally shoot a man, he said “I won’t kill nobody no more”. Solving problems through killing is not an easy or good thing in this film. Drawing a gun is a grave action that has serious consequences. As Will put it, “Killing a man is a hell of a thing”.
Tuesday, March 29, 2011
Gunfight at the OK Corral-MR
The film, The Gunfight at OK Corral, Wyatt Earp and "Doc" Holliday are tw0 0f the dominant male characters throughout the film. Although Wyatt is the clear alpha male in the film, "Doc" serves as an interesting role that puts him in between being a side kick and another alpha male. "Doc" is a smart and cunning character who has a record of violence. He has a quick hand with an accurate gun shot, and can throw a knife extremely accuratley. This allows "Doc" to have the cool and calm demenor that he shows as he enters dangerous situation. He is morally ambiguous as he made most of his money gambling with drunks. Although "Doc" appears to be strong, he is in poor health. He has a terrible cough that weakens him as the film progresses. This seems to be the only reason that "Doc" is not the dominant male throughout the film. Wyatt is strong and does not show weakness. This places Doc in the role of a sidekick. He serves Wyatt, offering his services whenever they are needed. However, despite Doc's clear role as Wyatt's sidekick there is a particular scene in the film that suggests that the two men are on equal levels as men. When Doc is bed ridden from his cough, Wyatt says "I need you." This shows that Wyatt understands the importance of Doc's role, whereas most sidekicks remain in the background with little recognition. As the two men fight the outlaws at the end of the film, it appears that both of them may be alpha males after all.
Monday, March 28, 2011
Gunfight at the OK Corral
In Gunfight at the OK Corral, I do not believe the character of Doc Holliday can be described as an "other" in western film. Although Doc plays the role of a side kick in the film, he expresses all the traits of an alpha male cowboy. He, in turn, projects him not as a side-kick, but almost as a co-protagonist, but he much like women, ultimately fail in becoming the alpha.
Firstly, Doc comes with morally ambiguous backround. He is a former gambler who has fallen on hardships in his life, and also he is terminally ill. This may seem as evidence that he is the alpha male, but upon further examination one can see that his vices have control over him. It is his imperfections and personality that control him, not his personality that controls the world around him. He falls victim to drinking and gambling many a time, and he seem to be at the will of other things. Doc has no maral code explaining the abusive nature with Kate, and his honor of lies within what he owes to people. The only motivation he has is to repay his debts. It is the only reason why he helps Wyatt. Doc is also overly emotional and he does things out of impulse, which would never be the actions of an alpha mle cowboy.
Doc, overall, seems like a very brave yet imperfect person. He preforms many brave and daring actions, almost to seem like he is a brave and fearless alpha male, but in the end he fails. He is the one who is controlled by the world around him, he does not control the world.
Firstly, Doc comes with morally ambiguous backround. He is a former gambler who has fallen on hardships in his life, and also he is terminally ill. This may seem as evidence that he is the alpha male, but upon further examination one can see that his vices have control over him. It is his imperfections and personality that control him, not his personality that controls the world around him. He falls victim to drinking and gambling many a time, and he seem to be at the will of other things. Doc has no maral code explaining the abusive nature with Kate, and his honor of lies within what he owes to people. The only motivation he has is to repay his debts. It is the only reason why he helps Wyatt. Doc is also overly emotional and he does things out of impulse, which would never be the actions of an alpha mle cowboy.
Doc, overall, seems like a very brave yet imperfect person. He preforms many brave and daring actions, almost to seem like he is a brave and fearless alpha male, but in the end he fails. He is the one who is controlled by the world around him, he does not control the world.
Gunfight at the O.K. Corral - KH
In the film Gunfight at the OK Corral, both Wyatt Earp and John “Doc” Holliday can be seen to carry the traits of the alpha male cowboy. These can include the skill of gun shooting and running solo. However, there can only be one true alpha male, and in this case that role falls to Wyatt Earp. Doc, while not an alpha male, is still a crucial character to the movie. He can be seen as Wyatt’s sidekick of sorts.
First off, Wyatt is physically strong where Doc is weak. Doc has an awful cough all through the film, leading to him almost dying towards the end, when Kate has to take care of him. Both men have love interests, but are without the women for almost all of the action. Their treatment of women also shows a lot about their character. Wyatt, though condescending to Laura, never lays an unwanted hand on her. They have a relationship built on love. Doc and Kate on the other hand, have a relationship of desperation and fear. Doc is abusive to her, both verbally and physically – throwing a knife close to her head, and shoving her. Not what comes to mind when one thinks of a fundamentally “good” man such as the alpha. This leads to the moral code that the alpha male has for himself. Wyatt is a good man, he tries to do the right thing by people and stand up for justice. He does not fall into the temptations of bribery or gambling. Wyatt follows duty ethics, and tries to bear the responsibilities of his town, his marshal position, and to his family (when helping out his brothers in sacrifice of his own happiness). Doc on the other hand, only really follows one duty – settling any debts he owes. This is his reasoning for sticking with Wyatt for so long and helping him out. Doc is at the mercy of his emotions, drinking, and gambling. He is known for killing, and outlawed from most towns.
Aside from not being an Alpha, Doc does show some extremely loyal feelings toward Wyatt. When Doc wanted to kill Ringo, he restrained himself because Wyatt had asked him not to. Though Doc does not take the initial stand, in many of the fighting scenes he comes in part way through to help Wyatt out (like at the dance). Finally, even though on his death bed, Doc still came out to help Wyatt in the big fight, though it was not his battle to win. Doc recognizes himself as in a lower position to Wyatt, saying to Kate, “You and I, we don’t matter”. Doc, while his own man and certainly not the typical sidekick, can be considered one in a broad sense of the word.
First off, Wyatt is physically strong where Doc is weak. Doc has an awful cough all through the film, leading to him almost dying towards the end, when Kate has to take care of him. Both men have love interests, but are without the women for almost all of the action. Their treatment of women also shows a lot about their character. Wyatt, though condescending to Laura, never lays an unwanted hand on her. They have a relationship built on love. Doc and Kate on the other hand, have a relationship of desperation and fear. Doc is abusive to her, both verbally and physically – throwing a knife close to her head, and shoving her. Not what comes to mind when one thinks of a fundamentally “good” man such as the alpha. This leads to the moral code that the alpha male has for himself. Wyatt is a good man, he tries to do the right thing by people and stand up for justice. He does not fall into the temptations of bribery or gambling. Wyatt follows duty ethics, and tries to bear the responsibilities of his town, his marshal position, and to his family (when helping out his brothers in sacrifice of his own happiness). Doc on the other hand, only really follows one duty – settling any debts he owes. This is his reasoning for sticking with Wyatt for so long and helping him out. Doc is at the mercy of his emotions, drinking, and gambling. He is known for killing, and outlawed from most towns.
Aside from not being an Alpha, Doc does show some extremely loyal feelings toward Wyatt. When Doc wanted to kill Ringo, he restrained himself because Wyatt had asked him not to. Though Doc does not take the initial stand, in many of the fighting scenes he comes in part way through to help Wyatt out (like at the dance). Finally, even though on his death bed, Doc still came out to help Wyatt in the big fight, though it was not his battle to win. Doc recognizes himself as in a lower position to Wyatt, saying to Kate, “You and I, we don’t matter”. Doc, while his own man and certainly not the typical sidekick, can be considered one in a broad sense of the word.
Gunfight at the O.K. Corral - RS
Kirk Douglas plays Doc Holliday who in the film Gunfight at the O.K. Corral is not an "other" but considerable another alpha male. Wyatt Earp assumes the role of alpha male, but when he is forced to call upon Doc for help with the showdown. Hence, there is no specific alpha male, but two very strong male figures, instead.
Both men follow the law of the gun, as well as showing feelings of being loyal, towards friends and family. For example Holliday leaves his girlfriend as well as Doc leaving behind his fiancée in order to keep them safe, while they go into the light of danger. Although the two men do not identify themselves as a team, they work together in situations where people doubt their success. Both characters work together in order to keep the town afloat. Due to this fact, it is hard to determine which character is the actual alpha male. One could say that because the film was a revolutionary Western film, that the meaning was for their to not be one alpha, but two strong males.
Gunfight at OK Coral-VC
The sidekick is a feature in many Western films. However, in the film Gunfight at OK Coral, there is no sidekick. Doc Holliday is another alpha male cowboy alongside Wyatt Earp. There is usually only one alpha male cowboy in these films, but in this film both characters have the characteristics of the alpha male cowboy. They both follow the law of the gun. Earp leaves his fiance behind and Holliday also leaves the women he is with. Both of them put their duty before their relationships. When asked they both say that they are not a team. However, even though they are both independent and never listen to other people's advice, they back each other up. Throughout the film, they strike deals with eachother all the while protecting the people of the town. Wyatt Earp and Doc Holliday are both the alpha male cowboys in this film.
Saturday, March 26, 2011
The Day of the Outlaw
In the film The Day of the Outlaw, women seem to have a different type role in society compared to the Western films we have previously seen. Men had more respect for women, and women had more power over men that enable them to stand up to them. For example, Hal’s wife Helen decides to end her love affair with Blaise by telling him she no longer has feelings for him. Helen being a married woman and having an affair with another man was a big deal in this genre, and her being the one to make the decision to end it showed power that women in other Westerns did not have. Filmed in 1959, The Day of the Outlaw was made during the second wave of the feminist movement, which was arguably the most radical time of the movement and resulted in some of the greatest achievements of the century. Post-World War II, women entered the work force and realized their ability to do men’s work and that they were equal. Thus, women began fighting hard for their voice to be heard and for equality. This movement in history is seen in this film by they way the women have more of a voice and power over men.
Tuesday, March 22, 2011
Rooster Cogburn
During the time period Rooster Cogburn (1975) was made, women still continued on with their fight for equal rights and had begun to change society’s view of women to be important. They were fighting to abolish the picture of women to be solely just housewives who should clean, cook, and take care of her man. This film was made during the second wave of the Women’s Movement and is depicted in Rooster Cogburn with the strong female character Eula Cogburn.
Eula represents everything that the earlier Westerns saw as weak and femininely as she talks a lot, is educated, and is religious. However, Eula signifies a turning point in Western films because of how she has “weak” characteristics but still manages to embody the values and strength of the alpha male cowboy. She is strong, independent, and stands for what she believes in. This is evident throughout the film when she argues with Rooster and several times outwits him. Eula rides with Rooster on their quest to find the killers, and although Rooster refuses to see her as one, Eula’s actions and overall characteristics are equal to a man’s. During the time of the second wave of the Women’s Movement, women were trying to break the mold of the “housewife” they were born into and become equal to men. This film symbolizes the rise of women during the time and how men resisted, as seen with Eula and Rooster.
Eula represents everything that the earlier Westerns saw as weak and femininely as she talks a lot, is educated, and is religious. However, Eula signifies a turning point in Western films because of how she has “weak” characteristics but still manages to embody the values and strength of the alpha male cowboy. She is strong, independent, and stands for what she believes in. This is evident throughout the film when she argues with Rooster and several times outwits him. Eula rides with Rooster on their quest to find the killers, and although Rooster refuses to see her as one, Eula’s actions and overall characteristics are equal to a man’s. During the time of the second wave of the Women’s Movement, women were trying to break the mold of the “housewife” they were born into and become equal to men. This film symbolizes the rise of women during the time and how men resisted, as seen with Eula and Rooster.
The Day of the Outlaw-BS
The film The Day of the Outlaw was released in 1959, just around the time women were feeling "caged in" at home and searching for an escape. This issue was portrayed in the film when all the women in the film are separated from the men and forced to live in a different house. Women were clearly treated with disrespect and their feelings were ignored. The women were also treated as objects when they were forced to dance with the gang. The gang members again showed disrespect for the women further proving their ignorance in this film. In the 1950's women were trying to make the transition from the house to the workplace and this film shows that they were having a difficult time doing so. Men showed no respect towards women and felt that they were superior in every aspect. Men controlled women and the women were finally deciding that a change needed to happen. In the upcoming years the Civil Rights and Equal Pay Act would emerge and women would start proving themselves in society.
Monday, March 21, 2011
Day of the Outlaw - DP
The issues women faced i the 1950's can almost be summed up in a very particular scene in Day of the Outlaw. Hal, hoping to protect his land, plans to constrct a barbed wire fence around his property and his family that lives within it. This serves as a large metaphor, in that women had a similar "fenced-in" lifestyle in the 1950's. The 50's were considered to be the prime of domestic culture. The husband worked to provide, and the wife tended to the home and the children. Te soldiers wee back from war, and a woman seeking a professional career was once again very rare. The film finds a similar tune, and shows the struggles that women faced during the 1950's.
Helen describes such a sturggle in her dialouge with Blaise. She tells him that she feels chained-down in her marriage, and that it is keeping her from living a happy lifestyle. She grows attachment to Blaise who wishes for her to recieve this freedom. As in many westerns, the role of the woman at first may seem very strong. Helen is a woman with great peronality, she shares her views and ideals at her will, and symbolizes the change in howpeople view women. In the 1950's women started puttint their ideas out in the world, no longer did they remain silent. However, the power of women in the end is very little. The outlaws come into the town and show how vulnerable and how ill-resepected women are. They treats them as objects, and they almost remove any human traits from their personailty. They are seen as objects of pleasure, and objects that are to be used at their will.
The 1950's were a transition period for women that was reflected in Day of the Outlaw. While women's input and voice was beginning to be heard and felt, they still ultimately were restricted by society from pursuing their ambitions. Helen' struggle throughout the film shows this struggle, and expresses the pain of male dominance, and the ideas behind the women's rights movement.
Helen describes such a sturggle in her dialouge with Blaise. She tells him that she feels chained-down in her marriage, and that it is keeping her from living a happy lifestyle. She grows attachment to Blaise who wishes for her to recieve this freedom. As in many westerns, the role of the woman at first may seem very strong. Helen is a woman with great peronality, she shares her views and ideals at her will, and symbolizes the change in howpeople view women. In the 1950's women started puttint their ideas out in the world, no longer did they remain silent. However, the power of women in the end is very little. The outlaws come into the town and show how vulnerable and how ill-resepected women are. They treats them as objects, and they almost remove any human traits from their personailty. They are seen as objects of pleasure, and objects that are to be used at their will.
The 1950's were a transition period for women that was reflected in Day of the Outlaw. While women's input and voice was beginning to be heard and felt, they still ultimately were restricted by society from pursuing their ambitions. Helen' struggle throughout the film shows this struggle, and expresses the pain of male dominance, and the ideas behind the women's rights movement.
The Day of the Outlaw - KH
In the film , The Day of the Outlaw many women’s issues are taken up. First, the idea that women were being “fenced in”. In 1959 when the film was made, women were beginning to express their displeasure of the role of the housewife, an unrest with the fenced in feel of women’s role and lack of options. The movie opens up with Blaise Starrett expressing his anger at Hal Crane for planning to put up barbed wire fencing around his land. I believe this may also signify Blaise’s displeasure with Hal putting a “fence” around his wife, Helen, to whom Blaise is attached. Later in the movie, Helen talks about being constrained by her marriage, wishing to be free to go away with Blaise, but recognizing that she will be married to Hal for the rest of her life. This shows that women felt blocked in and bound to their roles of being a wife, unable to do the things they really wanted to.
The Day of the Outlaw also shows that though strong female characters can voice their opinions, they will ultimately be at the will of the men around them. Both Helen and Ernine are fairly outspoken for women, however both are still herded into the shop with the other two women when the outlaws come to town. All of the women are seen as objects of their own desire by the majority of the outlaws, to be used and played with when they so choose. It is only by the restriction of Jack Bruhn that they are left alone. Their helplessness is physically shown during the dance that is held, where they are tossed about like dolls while the men enjoy themselves. They lose their honor and respect during this scene, though it is somewhat restored by Bruhn and later on Blaise. Also, though the women try to resolve the issues the town face, it is up to the alpha male character, Blaise, to complete the task. Helen tries to stop both his fight with her husband to no avail, as well as trying to talk sense into Bruhn while they are dancing. But Blaise is the one to decide what he’ll do about Hal, and comes up with and carries out the plan to force the outlaws to leave town. Ernine attempts to get her brother Bobby back, but it is Gene who saves her when her plan is discovered. This shows that though women’s voices were coming out, men still saw them as inferior, as objects to be taken care of or used by men. Also, that any real problems that came to play had to be solved by a man, and a women’s way was seen as blathering on. This can match the view of women in the 50’s in America. Then again, women did play a more central role in the plot which was not seen in earlier films, which shows some improvement in their status.
The Day of the Outlaw also shows that though strong female characters can voice their opinions, they will ultimately be at the will of the men around them. Both Helen and Ernine are fairly outspoken for women, however both are still herded into the shop with the other two women when the outlaws come to town. All of the women are seen as objects of their own desire by the majority of the outlaws, to be used and played with when they so choose. It is only by the restriction of Jack Bruhn that they are left alone. Their helplessness is physically shown during the dance that is held, where they are tossed about like dolls while the men enjoy themselves. They lose their honor and respect during this scene, though it is somewhat restored by Bruhn and later on Blaise. Also, though the women try to resolve the issues the town face, it is up to the alpha male character, Blaise, to complete the task. Helen tries to stop both his fight with her husband to no avail, as well as trying to talk sense into Bruhn while they are dancing. But Blaise is the one to decide what he’ll do about Hal, and comes up with and carries out the plan to force the outlaws to leave town. Ernine attempts to get her brother Bobby back, but it is Gene who saves her when her plan is discovered. This shows that though women’s voices were coming out, men still saw them as inferior, as objects to be taken care of or used by men. Also, that any real problems that came to play had to be solved by a man, and a women’s way was seen as blathering on. This can match the view of women in the 50’s in America. Then again, women did play a more central role in the plot which was not seen in earlier films, which shows some improvement in their status.
The Day of the Outlaw- VC
The Day of the Outlaw is a western film that portrays women poorly. This movie was released in 1959. During this time, women were fighting for more rights, but were still struggling to gain their equality with men. This issue is shown in the film. The opinions of the women are not valued. For example, when Helen Crane is trying to talk to Blaise and convince him not to kill her husband, he ignores her and brushes her aside. This movie also shows how women still are not equal by the way they are treated. In the movie, the women are treated as objects by Bruhn and his gang. They take all of the women and seperate them from the men of the village and force them to stay in a seperate house. Then, the women are also treated poorly when the gang force them to dance with them. This film shows how even though women in the 1950s are gaining more rights, they are still struggling for equality.
The Day of The Outlaw-MR
The Day of the Outlaw was released in 1959, which was the beggining of a turning point for women in America. Although the Civil Rights and the Equal Pay Act were not passed until the mid sixties, women in America emerged as unhappy with their roles at the time. The film clearly depicts the unjust roles that women had during this time as they were treated as objects by men.
The film presents a number of women that are unfairly treated as objects of pleasure throughout the film. Primarily, when the outlaw gang enters the town, members of the gang want to "borrow" and "use" the women of the town for their pleasure, and promise to return them when they are done. This clearly reflects the historical ignorance of men in society, as men clearly viewed women as being inferior, weak, and unintelligent creatures. The women of the town were forced to dance with the gang, even as the majority of the gang members clearly violated the womens bodies. They were at the mercy of the powerful men that did what they pleased and were carless of the womens' rights.
However, one member of the gang represents the desired traits of a real man. Gene, the youngest member of the gang. Is a caring, sensitive man that recognizes the wishes of women. Although a participant in the dance, he makes it clear that Ernine does not have to dance with him if she does not want to. Treating Ernine with respect make her care for him, causing him to turn around from the gangs activities. Ernine's desire to have a man like Gene shows the desired changes that women to see in mens' view of them in society.
The film presents a number of women that are unfairly treated as objects of pleasure throughout the film. Primarily, when the outlaw gang enters the town, members of the gang want to "borrow" and "use" the women of the town for their pleasure, and promise to return them when they are done. This clearly reflects the historical ignorance of men in society, as men clearly viewed women as being inferior, weak, and unintelligent creatures. The women of the town were forced to dance with the gang, even as the majority of the gang members clearly violated the womens bodies. They were at the mercy of the powerful men that did what they pleased and were carless of the womens' rights.
However, one member of the gang represents the desired traits of a real man. Gene, the youngest member of the gang. Is a caring, sensitive man that recognizes the wishes of women. Although a participant in the dance, he makes it clear that Ernine does not have to dance with him if she does not want to. Treating Ernine with respect make her care for him, causing him to turn around from the gangs activities. Ernine's desire to have a man like Gene shows the desired changes that women to see in mens' view of them in society.
Rooster Cogburn
The 70's were a radical period of social change in American Culture. Womens' role in America changed drastically during this time. Women traditionally in the background of American life, began to take a more dominant role as they began to vote, enter the work force, and make their once silent voices heard. The film, Rooster Cogburn, was filmed in 1975 amidst all of the changes pertaining to women. The film shows the distinction between what the traditional thoughts of what the role of women should be and how that role has evolved.
The film focuses on the adventure of, Rooster Cogburn, the United States martial and the alpha male cowboy of the town. When Rooster, being a hardened man by the west, meets Eula Goodnight he is hostile and repremansive towards her. Rooster clearly represents the traditional and uneveloved view of womens roles at the time in the country. He consistently speaks down to her, and treats her as an inferior as he constantly refers to her as a burden. However as the film progresses, Eula is a more complex character that Rooster comes to realize and even enjoy.
Eula, an intelligent and well educated women, was introduced as a strict bible abiding woman. When she first meets Rooster she is constantly condoning his behaviors as a man. She criticizes him for drinking, shooting a gun, and even his personal higene throughout the film. Unhappy being viewed as inferior, Eula makes it her duty to show that she is just as strong as Rooster is. She secretly knows how to shoot a gun, and even has a drink with Rooster at the end of the film. Eula being a vocal and persistent woman eventually is accepted by Rooster for who she is. Rooster, although still views himself as the dominant one, is forced to consider Eula an equal as she refuses to accept his view of her role.
The film focuses on the adventure of, Rooster Cogburn, the United States martial and the alpha male cowboy of the town. When Rooster, being a hardened man by the west, meets Eula Goodnight he is hostile and repremansive towards her. Rooster clearly represents the traditional and uneveloved view of womens roles at the time in the country. He consistently speaks down to her, and treats her as an inferior as he constantly refers to her as a burden. However as the film progresses, Eula is a more complex character that Rooster comes to realize and even enjoy.
Eula, an intelligent and well educated women, was introduced as a strict bible abiding woman. When she first meets Rooster she is constantly condoning his behaviors as a man. She criticizes him for drinking, shooting a gun, and even his personal higene throughout the film. Unhappy being viewed as inferior, Eula makes it her duty to show that she is just as strong as Rooster is. She secretly knows how to shoot a gun, and even has a drink with Rooster at the end of the film. Eula being a vocal and persistent woman eventually is accepted by Rooster for who she is. Rooster, although still views himself as the dominant one, is forced to consider Eula an equal as she refuses to accept his view of her role.
Day of the Outlaw - RS
As concerns women as "other," this is an odd film. From a cultural studies point of view, what women's issues does the film take up? Give examples.
Jack Bruhn, played by Burl Ives, comes into town with his his gang, expecting women to come to his beckoning call. An example of this, occurs when at the social, when the women are passed around the dance floor, just as a bottle of alcohol may be passed around a bar. The men did not care how the women felt, all they cared about was themselves and the satisfaction they received from demeaning them.
Additionally Helen Crane, played by Tine Louise, cheats on her husband with Blaise. Yet the relationship is not a secret, although the husband may not know, the rest of the town does. An example is when Helen goes to Blaise's room, she asks Hal if he wants to go with her. Him rejecting to go, can indicate that he knew of the relationship and therefore rejected to go. Helen defines the women's movement by going against what the "other" was supposed to behave like.
Sunday, March 20, 2011
The Day of the Outlaw - JM
The film The Day of the Outlaw was shot in 1959 which is around the time when women's rights were well fought for issue. The Equal Pay Act and Civil Rights Act were not passed until the mid 1960's therefore women were not treated as equals. At this time women worked the same jobs as men but were paid less than them. This film depicts the attitudes of society at the time because women were beginning to gain greater rights and being taken more seriously but they hadn't gained full independence yet.
In the film The Day of the Outlaw women are presented according to the events of that time. Women appeared to be equal to men because the women's movement was in place but in reality they had not obtained true equality. The women were presented as mere 'toys' that were implemented to be pleasures for the men of the film for instance Bruhn makes the women gather in a room and forces them to dance with the members of his gang. This dancing scene evokes the true helplessness of the women. It is not until the alpha male cowboy, Blaise, takes the women away from the town that they are truly safe. Although women were more respected in this time, the film presents unfair, unequal treatment of the women than many other films of that time and previous decades. In the film Bruhn assures the men of the town that the women will not be harmed unless he instructs his men to do so. This proves that the women were ultimately objects, not people. When Tex and Pace want to have relations with women they must be granted permission by Bruhn. This shows that the women are being held on a higher pedestal but are not totally free because they are under the rule of Bruhn. These women are much more typical females in a Western because they are helpless and need the alpha male to save them.
Females were beginning their journey to equality and greater respect, they had not yet made a dent in the issues they were facing. The film depicts this by showing the respect for women and the higher regard they were beginning to be held in. Although women were creating a brighter future for themselves, the belittling mindset of the outlaws that objectified women mirrors society's objetcion of women's rights and their right to equality.
In the film The Day of the Outlaw women are presented according to the events of that time. Women appeared to be equal to men because the women's movement was in place but in reality they had not obtained true equality. The women were presented as mere 'toys' that were implemented to be pleasures for the men of the film for instance Bruhn makes the women gather in a room and forces them to dance with the members of his gang. This dancing scene evokes the true helplessness of the women. It is not until the alpha male cowboy, Blaise, takes the women away from the town that they are truly safe. Although women were more respected in this time, the film presents unfair, unequal treatment of the women than many other films of that time and previous decades. In the film Bruhn assures the men of the town that the women will not be harmed unless he instructs his men to do so. This proves that the women were ultimately objects, not people. When Tex and Pace want to have relations with women they must be granted permission by Bruhn. This shows that the women are being held on a higher pedestal but are not totally free because they are under the rule of Bruhn. These women are much more typical females in a Western because they are helpless and need the alpha male to save them.
Females were beginning their journey to equality and greater respect, they had not yet made a dent in the issues they were facing. The film depicts this by showing the respect for women and the higher regard they were beginning to be held in. Although women were creating a brighter future for themselves, the belittling mindset of the outlaws that objectified women mirrors society's objetcion of women's rights and their right to equality.
Sunday, March 13, 2011
Rooster Cogburn - JM
During the 1970's there was a wave of changes concerning women's rights. The steps made changed the view society had on woman as they began to take on different roles. The Equal Pay Act of 1963 prohibited businesses from pay discrimination based on gender in civil service. One year later the Civil Rights Act banned discrimination in the work place not only based on race, religion and national origin but gender as well. This was a time for woman to break out of their shells and enter the working world. Women began to freely express their thoughts, feelings and desires. The film Rooster Cogburn was released in 1975 when women's rights were increasing therefore the role of " the other" was increasingly more dominant.
In the film we see the dominant female as Eula Goodnight. Eula represents the new independent woman of the 70's. She is intelligent and has substantial knowledge of the Bible but she is still able to stand her ground when challenged with a gun by Hawk. She confidently says Bible verses and he shoots at her feet, she is unaffected. This shows her fearlessness and her faith in God, normally a female does not stand up to a man so the fact that Eula holds her ground shows the difference in women in this time.
Eula wants to take par tin the journey with Rooster to hunt down Hawk and his posse, she wants to be treated as an equal and included on the hunt for the criminal. She maintains this idea of herself as an equal when she saves Rooster's life in many occasions. In western films it is very rare that an 'other' much less a woman steps in to save the alpha. This proves that Eula is worthy of being treated like an equal. Although she saves Rooster on more than one occasion she still maintains her femininity by constantly talking, having faith in God.
The film Rooster Cogburn we see the redefining of the role of the other due to societal changes concerning women's rights. These revisions certainly do not follow the classic view of women but they definitely present the changing views of women throughout the 60's and 70's.
In the film we see the dominant female as Eula Goodnight. Eula represents the new independent woman of the 70's. She is intelligent and has substantial knowledge of the Bible but she is still able to stand her ground when challenged with a gun by Hawk. She confidently says Bible verses and he shoots at her feet, she is unaffected. This shows her fearlessness and her faith in God, normally a female does not stand up to a man so the fact that Eula holds her ground shows the difference in women in this time.
Eula wants to take par tin the journey with Rooster to hunt down Hawk and his posse, she wants to be treated as an equal and included on the hunt for the criminal. She maintains this idea of herself as an equal when she saves Rooster's life in many occasions. In western films it is very rare that an 'other' much less a woman steps in to save the alpha. This proves that Eula is worthy of being treated like an equal. Although she saves Rooster on more than one occasion she still maintains her femininity by constantly talking, having faith in God.
The film Rooster Cogburn we see the redefining of the role of the other due to societal changes concerning women's rights. These revisions certainly do not follow the classic view of women but they definitely present the changing views of women throughout the 60's and 70's.
Thursday, March 10, 2011
Rooster Cogburn- ER
Throughout the 1960's and the 1970's, the United States was shifting towards equality. The movie Rooster Cogburn greatly demonstrates how the country was changing. This movie prevailed with "others" which included a female role, an Indian role, and an oriental role. Previous Westerns had "others" in the background but they didn't add much to the story line. In this film, the Indian and female characters were both important figures that helped the alpha male cowboy. The United States at this time were very focused on female empowerment and so it doesn't come as a surprise that the lead female character would be so strong. Eula Goodnight, played by Audrey Hepburn, is a very strong character that endures everything that the alpha male cowboy does. She is able to use a gun with great skill and can also ride horse back. She is a woman who stands her ground and doesn't back down when threatened by enemies. Although she's very religious, that doesn't stop her from avenging her father's death. Eula is incredibly sharp and has a wit that Rooster Cogburn admires. In previous Western films, women weren't really able to speak their mind and if they did they were often ignored. There are many instances where Eula speaks her mind to Rooster Cogburn and he listens to her. This is seen when Rooster Cogburn attempts to drink alcohol while Eula is sleeping. She then tells him that he shouldn't be drinking and Cogburn decides to follow her advice.
Wednesday, March 9, 2011
Rooster Cogburn-BS
In the 1970's huge steps were being taken towards equal rights for women. Earlier in the 1960's, the Equal Pay Act of 1963 banned sex discrimination in pay in a number of professions and secured an executive order from JFK eliminating sex discrimination in the civil service. The following year, the Civil Rights Act of 1964 banned workplace discrimination not only on the basis of race, religion, and national origin, but also on the basis of sex. In the film Rooster Cogburn, which came out in 1975, there are dominant roles of "the other" played by a woman, an Indian boy, and a chinaman.
The 1970's was the time of the woman. After being sent back into the household when the men returned home from the war, the desire for equal rights exploded. Women became more vocal, stating their belifs and opinions, this can be seen in the role of Eula Goodnight played in Rooster Cogburn. From the beginning, Eula is an independent woman with great knowledge and respect for the Bible. When threatened wtih a gun by Hawk, a known criminal, Eula stands her ground passionately reciting verses from the Bible, while Hawk fires shots at her feet. This one of the first times we she a woman challenging a man in a film. Eula also shows her desire to be an equal, when she demands that she accompany Rooster on the journey to hunt down Hawk and his posse. Although Eula saves Rooster's life on several occasions, she still maintains her feminine behavior and actions by constantly having something to say. After one of Eula's rants to Rooster, he turns to Wolfe and says, "If they ever give them the vote, God help us!" This shows that although women in the 1970's were gaining some ground with equal rights, they were still not nearly as respected as men in the world.
Rooster Cogburn - DP
The film Rooster Cogburn bring the aspect of "other" in western film to the forefront. The film portrays a strong individual from the "other" category, a woman named Eula Goodnight. Eula represents the views and the changes taking place in tjhe 1970's. As the fil was shot in 1975, it expressed the chaning views in the roles of women, which easily could be seen by Eula's part in the story.
Although Eula is prodominantly a typical feminine character, she breaks the mold of a domestic housewife. She lives by religion and usually submits to Rooster's dominance. However she is very different than the usual western woman. She is educated, showed by when she helps Rooster with his records, and she is a very independant woman. She was raised independant and has a sorft of dominating personality as well. She comes along with Cogburn, leaving her home in search of her father's killer. This event is largely symbolic. Her leaving her home represents the movement of women in the 1970's doing just that, leaving home. Women realized their equal place during the time of the film and started branching out of the home to the oppertunities of the world. Women's equality is symbolized with Eula's wit. She learns how to survive traveling with men, and even learns to master a gun. She even kills a man in the film, showing she is just as capable of the things men do. She saves the life of Rooster showing her mettle and also the power of women. All in all, Eula's character is that of a powerful woman. She is a character that symbolizes the changing view of women, and also the drastic change in the lives of women in the yars to come.
Although Eula is prodominantly a typical feminine character, she breaks the mold of a domestic housewife. She lives by religion and usually submits to Rooster's dominance. However she is very different than the usual western woman. She is educated, showed by when she helps Rooster with his records, and she is a very independant woman. She was raised independant and has a sorft of dominating personality as well. She comes along with Cogburn, leaving her home in search of her father's killer. This event is largely symbolic. Her leaving her home represents the movement of women in the 1970's doing just that, leaving home. Women realized their equal place during the time of the film and started branching out of the home to the oppertunities of the world. Women's equality is symbolized with Eula's wit. She learns how to survive traveling with men, and even learns to master a gun. She even kills a man in the film, showing she is just as capable of the things men do. She saves the life of Rooster showing her mettle and also the power of women. All in all, Eula's character is that of a powerful woman. She is a character that symbolizes the changing view of women, and also the drastic change in the lives of women in the yars to come.
Rooster Cogburn - RS
Examine the film as a revisionism of “the other.” Consider the time period the film was made in order to understand the issue from a cultural studies point of view. Does it in any way follow the classic view of women? Explain with examples.
Katharine Hepburn's character, Eula Goodnight, is the daughter of Reverend George Goodnight, who is killed in a violent death by a groups of ruthless criminals. Eula makes Rooster Cogburn, played by John Wayne, her sidekick in order to find the criminals who had killed her father. Eula plays a strong female role, leaving the home to go on a journey. Although she is not the alpha in this film, she still plays a revolutionary character that shows the cultural changes going on in the mid 70's.
In the 70's, women were fighting for their rights to become equal in a world dominated by men playing the alpha role. For example in 1972, Congress passed a bill which prohibited the discrimination on the basis of sex in public schools. Katharine Hepburn was already a star at the time Rooster Cogburn was released, but her role in the film defined the powerful woman that she was. Just as Eula Goodnight devoted her life to finding her father's killers, Katharine devoted much of her life to philanthropic missions.
This film shows Eula as a strong dominant women, running within the circles of a male dominant society. In addition to searching for her father's murders' she in addition helps Rooster recover explosives that have been stolen. Given the fact that this mission is a dangerous one, also shows the courage that Eula has, just as the women of the mid 70's had; standing up for their rights.
Rooster Cogburn - KH
The film Rooster Cogburn clearly has a dominant alpha male figure of the same name, but also shows Eula Goodnight as a very strong individual with beliefs and the ability to take care of herself. The film, made in 1975, reflected the changing attitudes toward women during the time it was made. With the equality and women’s rights movements taking place in full force, Eula’s character was necessary to represent the strong female image that was rising. Rooster expresses an important statement about women towards the end of the film, “she is what she is ‘cause that’s what she wants to be”.
Eula holds some typically feminine values and characteristics throughout the movie, most notably being her religion. She always has a bible quote handy, and lives by the Lord’s word (generally disproving of the alcohol Rooster is often seen with). She prays over the fist man she kills. Eula is educated, which she shows when helping Rooster with his transaction records that he was certainly struggling with. She recognizes a man’s physical dominance, for example when she put up a big fight about leaving her town, until Rooster made it clear he was willing to use brute force. She then simply replied “oh” and went to pack up. One of the most characteristic feminine traits that Eula holds whole heartedly is that of talking…a lot. In the end though, it is her talking, nagging, and manipulation of words that gets Rooster his job back.
For every way that Eula is a conventional “other” character, there are more examples of her redefining the role. She grew up independent, and feels no need for a man or a family – and so she is dependent on no one. She is not weak, never crumbles. Even when Hawk is shooting at her feet, she does not flinch nor stop reciting her prayer. She decides to follow Rooster on the ride, and she does, despite multiple protests. She is able to hunt a fine bird, when the men are only able to get an owl and possum. Another key difference is that not only does her wit outmatch any of the men she meets, but she can wield a weapon with as much skill as them as well. She even masters the big gun when they were surrounded by Hawk’s men. It is her keen shot that saves Rooster’s life at one part of the film. Eula is not the typical western “other”, she is a strong, independent character who does not bow down to the will of the alpha, and has no problem telling him her thoughts (even if they’re that he’s dirty and drunk). As Rooster said, she’s got more backbone than femaleness, and she always gets the last word – to the very end.
Eula holds some typically feminine values and characteristics throughout the movie, most notably being her religion. She always has a bible quote handy, and lives by the Lord’s word (generally disproving of the alcohol Rooster is often seen with). She prays over the fist man she kills. Eula is educated, which she shows when helping Rooster with his transaction records that he was certainly struggling with. She recognizes a man’s physical dominance, for example when she put up a big fight about leaving her town, until Rooster made it clear he was willing to use brute force. She then simply replied “oh” and went to pack up. One of the most characteristic feminine traits that Eula holds whole heartedly is that of talking…a lot. In the end though, it is her talking, nagging, and manipulation of words that gets Rooster his job back.
For every way that Eula is a conventional “other” character, there are more examples of her redefining the role. She grew up independent, and feels no need for a man or a family – and so she is dependent on no one. She is not weak, never crumbles. Even when Hawk is shooting at her feet, she does not flinch nor stop reciting her prayer. She decides to follow Rooster on the ride, and she does, despite multiple protests. She is able to hunt a fine bird, when the men are only able to get an owl and possum. Another key difference is that not only does her wit outmatch any of the men she meets, but she can wield a weapon with as much skill as them as well. She even masters the big gun when they were surrounded by Hawk’s men. It is her keen shot that saves Rooster’s life at one part of the film. Eula is not the typical western “other”, she is a strong, independent character who does not bow down to the will of the alpha, and has no problem telling him her thoughts (even if they’re that he’s dirty and drunk). As Rooster said, she’s got more backbone than femaleness, and she always gets the last word – to the very end.
Tuesday, March 8, 2011
Rooster Cogburn- VC
The film, Rooster Cogburn, was released in 1975. The 60's through the 80's was a very influental time for women. Women were trying to gain equal rights as men both legally and socially. This desire for equality was reflected through film. In Rooster Cogburn, we see a shift in the role of women and people of different cultures. In this film, the role of 'the other' changes.
One of the main characters is a woman. Traditionally in Westerns, women didn't have a good role and weren't respected by men. At the start of this movie, the alpha male cowboy, Rooster Cogburn, doesn't like the woman. He doesn't want her and her Indian friend, Wolf, to travel with him. She refuses to take no for an answer and travels along side the alpha male cowboy. At one point, she even saves his life. The woman in this film, ends up helping the alpha male cowboy fulfill his duty, which is very rare in Western films.
We also see a change in the role of 'the other' through Wolf, a young Indian boy who travels with the alpha male cowboy as well. When Wolf expresses his desire to be a martial just like Cogburn is, he teaches Wolf a lot and encourges him to be a martial. In most western films, Native Americans also weren't respected and their roles in the films were very limited. However, in this film, Wolf was a sort of sidekick to the alpha male cowboy. We also see a change in 'the other' when Cogburn has an oriental man as his sort of servant. However, we still see the alpha male cowboy's rejection of people from different cultures when we see him interacting with this man. At one point Cogburn yells at him for not learning English.
This film really portrayed a change of the role of 'the others'. It provided a leading role for women right along side the alpha male cowboy. It showed the alpha male teaching the young Indian boy and encouraging him to be a martial. We also see people of different cultures start to enter into western films.
One of the main characters is a woman. Traditionally in Westerns, women didn't have a good role and weren't respected by men. At the start of this movie, the alpha male cowboy, Rooster Cogburn, doesn't like the woman. He doesn't want her and her Indian friend, Wolf, to travel with him. She refuses to take no for an answer and travels along side the alpha male cowboy. At one point, she even saves his life. The woman in this film, ends up helping the alpha male cowboy fulfill his duty, which is very rare in Western films.
We also see a change in the role of 'the other' through Wolf, a young Indian boy who travels with the alpha male cowboy as well. When Wolf expresses his desire to be a martial just like Cogburn is, he teaches Wolf a lot and encourges him to be a martial. In most western films, Native Americans also weren't respected and their roles in the films were very limited. However, in this film, Wolf was a sort of sidekick to the alpha male cowboy. We also see a change in 'the other' when Cogburn has an oriental man as his sort of servant. However, we still see the alpha male cowboy's rejection of people from different cultures when we see him interacting with this man. At one point Cogburn yells at him for not learning English.
This film really portrayed a change of the role of 'the others'. It provided a leading role for women right along side the alpha male cowboy. It showed the alpha male teaching the young Indian boy and encouraging him to be a martial. We also see people of different cultures start to enter into western films.
Thursday, March 3, 2011
Johnny Guitar/Two Mules for Sister Sara
The films, Johnny Guitar and Two Mules for Sister Sara, are more modern western films that depict women in more dominant roles. Thus, women in these films are classified as "others"
because of their lack of ability to fill the role of the alpha male cowboy, but considering their dominance in the films they too deserve a classification of their own. During World War II, women worked in the labor force which was traditionally reserved for men. After the war ended, women were removed from the force to make room for men again. Therefore, women began to be unhappy with their "traditional" roles of staying at home to be a caretaker. Women then began to emerge in society as a more vocal, dominant and powerful group. These two films cleary reflect these changes in society.
In the film Johnny Guitar, there are two women who dominate most of the film. Vienna and Emma, are two very powerful and vocal women that clearly reflect the image for a worker during World War II. At times they are dominant over the males that surround them. For example Emma, when a large group of men had ignored her opinion, had no problem yelling at all of them and questioning their manhood. Vienna, also has an enormous amount of control over every aspect of her life. She is extremely defensive, especially when men try to impead on her ability to have the dominant role. In the beginning of the film, there is a stand off between two groups of men. Vienna refuses to back down throughout the standoff, and threatens violence a number of times. The two women try to destroy eachother at the end, almost as if they were cowboys themselves taking care of their own problems.
The Clint Eastwood film, Two Mules for Sister Sara, brings back a dominant male role back into the picture while encorporating a dominant female character as well. The alpha male cowboy, Hogan, tries to be there hero and views Sara as a weak and vulnerable target for harm. Therefor he tries to micromanage her as if she constantly needs to be protected or saved from danger. Sara, however, posses a power that Hogan initially does not see. Sara is brave, vocal, and not as pure as she seems to be even though she is a nun. She drinks, swears, and smokes and eventually proves to be in love with Hogan at the end of the film. Sara also saves Hogans life a number of times, and Hogan saves hers. The film clearly depicts the battling roles for dominance in men and womens lives.
because of their lack of ability to fill the role of the alpha male cowboy, but considering their dominance in the films they too deserve a classification of their own. During World War II, women worked in the labor force which was traditionally reserved for men. After the war ended, women were removed from the force to make room for men again. Therefore, women began to be unhappy with their "traditional" roles of staying at home to be a caretaker. Women then began to emerge in society as a more vocal, dominant and powerful group. These two films cleary reflect these changes in society.
In the film Johnny Guitar, there are two women who dominate most of the film. Vienna and Emma, are two very powerful and vocal women that clearly reflect the image for a worker during World War II. At times they are dominant over the males that surround them. For example Emma, when a large group of men had ignored her opinion, had no problem yelling at all of them and questioning their manhood. Vienna, also has an enormous amount of control over every aspect of her life. She is extremely defensive, especially when men try to impead on her ability to have the dominant role. In the beginning of the film, there is a stand off between two groups of men. Vienna refuses to back down throughout the standoff, and threatens violence a number of times. The two women try to destroy eachother at the end, almost as if they were cowboys themselves taking care of their own problems.
The Clint Eastwood film, Two Mules for Sister Sara, brings back a dominant male role back into the picture while encorporating a dominant female character as well. The alpha male cowboy, Hogan, tries to be there hero and views Sara as a weak and vulnerable target for harm. Therefor he tries to micromanage her as if she constantly needs to be protected or saved from danger. Sara, however, posses a power that Hogan initially does not see. Sara is brave, vocal, and not as pure as she seems to be even though she is a nun. She drinks, swears, and smokes and eventually proves to be in love with Hogan at the end of the film. Sara also saves Hogans life a number of times, and Hogan saves hers. The film clearly depicts the battling roles for dominance in men and womens lives.
Wednesday, March 2, 2011
Johnny Guitar/Two Mules for Sister Sara KO
The films Johnny Guitar and Two Mules for Sister Sara differ from the typical Western films because they have strong female characters playing the leading roles, making them the ‘others.’ During the times when these films were made, the nation was rattled with the fear of communism and women were filled with hope at the beginning of the women’s movement. The characters Sara, Vienna, Emma are an accurate depiction of the idea of otherness as well as a reaction to the events that took place during the time periods that the films were made in.
The film Johnny Guitar was made in 1954 post Word War II where the women were entered the labor force, thus woman felt more powerful after succeeding to do a “mans” job. This strong, powerful image of a woman is seen throughout this film with the characters Vienna and Emma. Vienna is depicted as a powerful and independent woman by owning her own business outside of the town, a saloon. Like the alpha male, Vienna is an isolated character that does not fit in with the townspeople. Because Vienna had different views and principles, the townspeople proceeded to see her as a threat. This decade was also a time when the nation was filled with fear of communism where people called the police on their neighbors if they suspected they were communists. Similar to how Americans were fearful of communists, the townspeople were fearful of Vienna. This is furthered shown when Emma points the finger at Vienna for her brother’s death when Emma doesn’t even have any real evidence. Emma is another strong female character who bosses men around, packs a gun, and acts before thinking. From the beginning of the women’s movement to the scare of communism, the women in this film depict the strong, independent woman of the 1950s.
The alpha male cowboy comes back into play in Two Mules for Sister Sara, but so does the female character. Predictably, the alpha male cowboy, Hogan, comes to save the damsel in distress, Sister Sara. Only, Sister Sara does the same for Hogan. Sara’s character portrays a very strong woman who displays male characteristics (i.e. she drinks, smokes, and swears). Compared to other women, Sara is an ‘other’ when she is acting as a noun and when she is representing the runner of a whorehouse. This film was made in 1970, during the second wave of the feminist movement during the Vietnam War. Thus, Sara is a strong and independent thinker who could be seen as Hogan’s equal.
The film Johnny Guitar was made in 1954 post Word War II where the women were entered the labor force, thus woman felt more powerful after succeeding to do a “mans” job. This strong, powerful image of a woman is seen throughout this film with the characters Vienna and Emma. Vienna is depicted as a powerful and independent woman by owning her own business outside of the town, a saloon. Like the alpha male, Vienna is an isolated character that does not fit in with the townspeople. Because Vienna had different views and principles, the townspeople proceeded to see her as a threat. This decade was also a time when the nation was filled with fear of communism where people called the police on their neighbors if they suspected they were communists. Similar to how Americans were fearful of communists, the townspeople were fearful of Vienna. This is furthered shown when Emma points the finger at Vienna for her brother’s death when Emma doesn’t even have any real evidence. Emma is another strong female character who bosses men around, packs a gun, and acts before thinking. From the beginning of the women’s movement to the scare of communism, the women in this film depict the strong, independent woman of the 1950s.
The alpha male cowboy comes back into play in Two Mules for Sister Sara, but so does the female character. Predictably, the alpha male cowboy, Hogan, comes to save the damsel in distress, Sister Sara. Only, Sister Sara does the same for Hogan. Sara’s character portrays a very strong woman who displays male characteristics (i.e. she drinks, smokes, and swears). Compared to other women, Sara is an ‘other’ when she is acting as a noun and when she is representing the runner of a whorehouse. This film was made in 1970, during the second wave of the feminist movement during the Vietnam War. Thus, Sara is a strong and independent thinker who could be seen as Hogan’s equal.
Two Mules/Johnny Guitar - DP
Starting during WWII, women gained prominance. Theyheld men's jobs and worked hard and gain much respect of the the others around them. Johnny Guitar and Two Mule's for Sister Sara, portray the change in western views. The "others" such as women start playing a more integral role in the story and thus society. The alpha male in westerns started to become more attached to this "other" and these films made it a point to descrbe just how important the "other" were.
Johnny Guitar potrays the strength of women very vividly. Vienna is a very strong and powerful woman. She owns her own saloon and she is in a place of great power in the town. She even has strong enough ambitions to create her own town. This portrays the 50's, in which the movie was made, where women gain there own sense of ambition. They realize they possess the equal power of men. Vienna, in this story, almost serves as an alpha male cowboy. However, another alpha male like women, Emma also shares this sense of power. She is the leader of the townspeople and a long-seeded enemy of Vienna. They both duel at the end of the film, just as men do, showng that they are almost equal. However they both fall short of Matheson's definition of an alpha mal cowboy when everything is said and done. Emma is controlled by emotion, while Vienna needs to be saved by Johnny.
In Two Mules the role of the "other" is a key part of the story in assisting the supposed alpha male. Hogan is healed, aided, and protected by Sara. Sara is portrayed as a strong human being because of her wits and ability. She first tricked Hogan into believing that she is a nun, then helps him destroy the train, and help infiltrate the French fortress. She is almost a side-kick of sorts and Hogan seems almost dependant on her. She is his largest source of assistance. This film was made inthe 70's, and it clearly shows thoughts of the time. The civil rights movement was in full-force and women wished for equality. The world started to notice and respect women more, which is why Sara was portrayed as an aid or a side-kick, an equal.
The two films show very clearly how the roles of the people who surround the alpha male are very important. The minor characters are becoming more prominent and more important in the western genre. This illustrates the thoughts of the times when the films were made and it shows how America made its transition to becoming less conservative.
Johnny Guitar potrays the strength of women very vividly. Vienna is a very strong and powerful woman. She owns her own saloon and she is in a place of great power in the town. She even has strong enough ambitions to create her own town. This portrays the 50's, in which the movie was made, where women gain there own sense of ambition. They realize they possess the equal power of men. Vienna, in this story, almost serves as an alpha male cowboy. However, another alpha male like women, Emma also shares this sense of power. She is the leader of the townspeople and a long-seeded enemy of Vienna. They both duel at the end of the film, just as men do, showng that they are almost equal. However they both fall short of Matheson's definition of an alpha mal cowboy when everything is said and done. Emma is controlled by emotion, while Vienna needs to be saved by Johnny.
In Two Mules the role of the "other" is a key part of the story in assisting the supposed alpha male. Hogan is healed, aided, and protected by Sara. Sara is portrayed as a strong human being because of her wits and ability. She first tricked Hogan into believing that she is a nun, then helps him destroy the train, and help infiltrate the French fortress. She is almost a side-kick of sorts and Hogan seems almost dependant on her. She is his largest source of assistance. This film was made inthe 70's, and it clearly shows thoughts of the time. The civil rights movement was in full-force and women wished for equality. The world started to notice and respect women more, which is why Sara was portrayed as an aid or a side-kick, an equal.
The two films show very clearly how the roles of the people who surround the alpha male are very important. The minor characters are becoming more prominent and more important in the western genre. This illustrates the thoughts of the times when the films were made and it shows how America made its transition to becoming less conservative.
Johnny Guitar/Two Mules- VC
The films Johnny Guitar and Two Mules of Sister Sara reflects the change of the role of women as "the other" in society. In Johnny Guitar, one of the main characters, Vienna, is a women. She carries a gun and has some of the characteristics of the alpha male cowboy. The 'villian' in the film is also a women. Thus film represents the shift in the role of women. Women have a much more prominent role in the films. In Two Mules for Sister Sara, a woman plays a very different role than what is regular for them in Westerns. She is an important, main character. She also rides along side the alpha male cowboy, something that is very rare in Westerns. The alpha male cowboy usually views 'the other' as useless. However, in this film, he relies on sister Sara numerous times to help him and she does. It almost appears as though the character (Clint Eastwood) and sister Sara have joint characteristics that make up the alpha male cowboy.
Johnny Guitar/Two Mules
Beginning in the 1970's women began to flood colleges and the workplace, gaining more respect as well as the Equal Pay Rights of 1963. Women's overall status in society was beginning to change and they were starting to gain recognition of their opinions and beliefs. This can be seen in the films Johnny Guitar and Two Mules for Sister Sara. In Johnny Guitar the two female roles, Vienna and Emma, act as the alpha males in the film. Vienna owns her own business and orders her employees, who happen to be men, around. The men make comments about Vienna, how she dresses and acts like a man. Also Emma, a cattle rancher in town who outwardly dislikes Vienna and the posse that hangs around Vienna's saloon, orders the men around in the film and states her opinions without any reservations about how she is portrayed. In the film Two Mules for Sister Sara, Sara disguises herself as a nun, tricking Hogan the drifter who saves her from being gang raped. She later reveals that she is a prostitute and helps Hogan infiltrate the French camp in order for the Mexican army to attack. Throughout these two films, many issues and strides towards equal rights were taking place.
Johnny Guitar/ Two Mules- JM
In western films the alpha male cowboy is the hero, the main character and the focus in the film, the others are described as anyone other than the alpha male character for example woman. The films Johnny Guitar and Two Mules For Sister Sara are both shot during the decades of the advancement of female roles in society. Granted both films are shot about 15 years apart they both display a more modern, 'alpha' female role.
The western Johnny Guitar was filmed in 1954, right after World War II had ended during which woman had begun to participate in the workforce because there was a lack of manpower as a consequence of the high demand for men in the war. During this time woman began to be more respected and seen as substantial contributions society rather than just housewives. This film presents what I consider to be two strong female characters, Vienna and Emma. Vienna is a business owner in the town who has gained the respect not only of her male subordinates but of other men in the town. She also dresses like a man, has guns and her appearance is quite masculine, according to one of the men, he " has never seen a woman who was more man". She is a strong female because although she is harassed to leave the town she holds her ground and not only stays but insults those who pressure her. Emma, the second female who I believe to be an appropriate representation of an ' other', also has masculine features such as short hair and wears guns. Although the film represents a revision of ' others' in western, the advancing role of women in the fifties in still in its beginning stages therefore the director stays true to tradition and keeps the alpha male cowboy as the dominant character. Vienna shows her feminine ways when Johnny Guitar must save her, she cannot do this on her own - she needs the alpha male. According to Matheson and Tompkins a cowboy does not show their feelings because this is a feminine trait, In Johnny Guitar we see Emma's femininity emerge when she falls in love, separating her from the alpha male immediately. Although both woman are excellent examples of the emerging modern woman they are still kept distinct from certain traits of the alpha male cowboy.
The film Two Mules for Sister Sara was released in 1970, 16 years after Johnny Guitar. In the 70's the views and expectations of woman had changed even more drastically. Sara is the powerful female character in this film and during the film she pretends to be a nun when in reality she is a prostitute. She is able to deceive everyone, including Hogan. We also see her strength and courage because she saves Hogans life on many occasions, it is in these situations that we see her true revised female character emerge because she does not need the cowboy to save her- she saves him.
Both films show the development of the revisions of woman as 'others' but the fact that the films are from two different decades, 15 years apart, results in Sara being a more 'revised other' than Vienna and Emma. During the 70's the women's movement was in full force and they were producing more results that ever before, in 1972 the Equal Rights Movement (ERA) was passed granting women equal rights in America. Therefore society's view's and ideologies of women were much more flexible in the 70's than in the 50's because women were able to participate in so much more. The emergence of a regularly working, strong woman was surfacing and clouding the ancient role of women as mothers and housewives. It is due to the time era and these cultural influences that the role of a female in a western was revised over time and a strong, 'alpha' female was able to emerge.
The western Johnny Guitar was filmed in 1954, right after World War II had ended during which woman had begun to participate in the workforce because there was a lack of manpower as a consequence of the high demand for men in the war. During this time woman began to be more respected and seen as substantial contributions society rather than just housewives. This film presents what I consider to be two strong female characters, Vienna and Emma. Vienna is a business owner in the town who has gained the respect not only of her male subordinates but of other men in the town. She also dresses like a man, has guns and her appearance is quite masculine, according to one of the men, he " has never seen a woman who was more man". She is a strong female because although she is harassed to leave the town she holds her ground and not only stays but insults those who pressure her. Emma, the second female who I believe to be an appropriate representation of an ' other', also has masculine features such as short hair and wears guns. Although the film represents a revision of ' others' in western, the advancing role of women in the fifties in still in its beginning stages therefore the director stays true to tradition and keeps the alpha male cowboy as the dominant character. Vienna shows her feminine ways when Johnny Guitar must save her, she cannot do this on her own - she needs the alpha male. According to Matheson and Tompkins a cowboy does not show their feelings because this is a feminine trait, In Johnny Guitar we see Emma's femininity emerge when she falls in love, separating her from the alpha male immediately. Although both woman are excellent examples of the emerging modern woman they are still kept distinct from certain traits of the alpha male cowboy.
The film Two Mules for Sister Sara was released in 1970, 16 years after Johnny Guitar. In the 70's the views and expectations of woman had changed even more drastically. Sara is the powerful female character in this film and during the film she pretends to be a nun when in reality she is a prostitute. She is able to deceive everyone, including Hogan. We also see her strength and courage because she saves Hogans life on many occasions, it is in these situations that we see her true revised female character emerge because she does not need the cowboy to save her- she saves him.
Both films show the development of the revisions of woman as 'others' but the fact that the films are from two different decades, 15 years apart, results in Sara being a more 'revised other' than Vienna and Emma. During the 70's the women's movement was in full force and they were producing more results that ever before, in 1972 the Equal Rights Movement (ERA) was passed granting women equal rights in America. Therefore society's view's and ideologies of women were much more flexible in the 70's than in the 50's because women were able to participate in so much more. The emergence of a regularly working, strong woman was surfacing and clouding the ancient role of women as mothers and housewives. It is due to the time era and these cultural influences that the role of a female in a western was revised over time and a strong, 'alpha' female was able to emerge.
Johnny Guitar/Two Mules - RS
Johnny Guitar was released in 1954; a time in which the first nuclear submarine was launched as well as the Brown vs. Board of Education debate. The film starts out with Vienna as the main character, going against the townsmen and women with the idea to put the railroad close by in town. Throughout the film, Vienna plays the largest and almost alpha male type of role; standing for what she believes is right and wrong. Her ex-lover, Johnny Guitar comes back into town and re-announces his love for her. They both are set on a journey when Vienna is accused of stealing from a bank, and must escape from being hung by her nemesis Emma; who has never liked her. Vienna continues to play the opposite role of what is expected of her, and challenges Emma to a showdown, to which she kills Emma despite of being wounded. Vienna, although being in a relationship with Johnny still takes the role as the alpha cowboy; even defining the rule of the gun as shown in the battle with Emma. In regards to the Brown vs. Board of Education debate, it relates to this film in regards of the lesser person, with the least amount of right at the time, using there voice as well as power as an individual to stand up for what they believe in, and what they think their manifest destiny is.
Two Mules was released over 15 years after Johnny Guitar and still contains a female character who plays a large role in the action-adventure the west constantly delivers. Hogan saves Sara from being gang-raped and the two start their journey of bringing Sister Sara back to her Mexican camp. Along the way Sara tells Hogan she is actually not a nun, and really a prostitute. The fact that this film contains a women who uses her body to make money, shows the less strict attitude of the 70's. By the end of the film Sara not only uses weapons but helps Hogan to destroy both trains and fortresses.
Johnny Guitar/Two Mules - KH
In the times of the 50’s, the women’s movement was beginning to bubble – following their participation in the workforce during WWII. In 1970, the women’s movement was in full stride, and making serious progress. The two films set during these periods show the changing emotions and attitudes towards women by the way the female characters are portrayed. The women’s role as an “other” in respect to the alpha male cowboy was changing and showing development. The role of the “other” evolves in these films, to be more closely tied with the alpha in many ways.
In Johnny Guitar (1954), Vienna and Emma are two of the main characters, around whom the plot centers. Vienna is a strong individual who owns her own business. She has men working under her who respect her, and almost all the men in the town fear her (for the female power she has achieved). She dresses like a man, has hair like a man, and is strapped with guns. According to one of the men, “never seen a woman who was more man”. She stands her ground when the group of townspeople give her 24 hours to get out of town. She responds to every insult in kind. Vienna also knows how to use her body to influence men and get what she wants – which is how she was able to build her own saloon. Emma, her enemy, is also a strong female character – with short hair, guns, and anger. In these ways Johnny Guitar revises the view of the “other”, but in others it keeps men in the dominant position. Vienna must rely on men to save her – such as when Johnny saves her from being hanged. As well as falling in love. Emma is completely ruled by her emotions (a very feminine characteristic), which just happen to be anger. Still, they both mimic many qualities of the alpha
In Two Mules for Sister Sara, Sara is also a very strong female figure that almost redefines the position of the “other” to the alpha male. First off, she is able to fool Hogan into thinking she is a nun, when in reality she is a prostitute. She is smart enough to use this disguise to help her survive. Sara is the one who makes the attack on the French possible, with her knowledge of the layout of the fort and habits of the soldiers. Also, she shows courage all throughout the film, even saving Hogan’s life on more than one occasion. Instead of needing the alpha and being dependent, it is more of an equal relationship between the two. In some ways it is clear he is in a higher position (such as the horse vs. the mule), but they both save each other’s lives in the movie.
Both films help to revise the view of the “other” and the necessity they have to the story line. Two Mules, being made almost twenty years later, is a bit more free to demonstrate it. But all of the women listed above broke out of the stereotypical mold for women in westerns – religious, weak, dependent, peaceful. They are strong characters that represent the strength that women had during the 50’s and 70’s as they fought for equality.
In Johnny Guitar (1954), Vienna and Emma are two of the main characters, around whom the plot centers. Vienna is a strong individual who owns her own business. She has men working under her who respect her, and almost all the men in the town fear her (for the female power she has achieved). She dresses like a man, has hair like a man, and is strapped with guns. According to one of the men, “never seen a woman who was more man”. She stands her ground when the group of townspeople give her 24 hours to get out of town. She responds to every insult in kind. Vienna also knows how to use her body to influence men and get what she wants – which is how she was able to build her own saloon. Emma, her enemy, is also a strong female character – with short hair, guns, and anger. In these ways Johnny Guitar revises the view of the “other”, but in others it keeps men in the dominant position. Vienna must rely on men to save her – such as when Johnny saves her from being hanged. As well as falling in love. Emma is completely ruled by her emotions (a very feminine characteristic), which just happen to be anger. Still, they both mimic many qualities of the alpha
In Two Mules for Sister Sara, Sara is also a very strong female figure that almost redefines the position of the “other” to the alpha male. First off, she is able to fool Hogan into thinking she is a nun, when in reality she is a prostitute. She is smart enough to use this disguise to help her survive. Sara is the one who makes the attack on the French possible, with her knowledge of the layout of the fort and habits of the soldiers. Also, she shows courage all throughout the film, even saving Hogan’s life on more than one occasion. Instead of needing the alpha and being dependent, it is more of an equal relationship between the two. In some ways it is clear he is in a higher position (such as the horse vs. the mule), but they both save each other’s lives in the movie.
Both films help to revise the view of the “other” and the necessity they have to the story line. Two Mules, being made almost twenty years later, is a bit more free to demonstrate it. But all of the women listed above broke out of the stereotypical mold for women in westerns – religious, weak, dependent, peaceful. They are strong characters that represent the strength that women had during the 50’s and 70’s as they fought for equality.
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