With Jon Favreau’s COWBOYS & ALIENS opening in UK cinemas next week, we felt it it could be an enlightening exercise to investigate the western, and to discern how it has changed over the years. The western is one of the longest surviving genres in Hollywood, but until a relatively recent return to form, it seemed to have been fading away into the annuls of time. However, the utilisation of sheer will and determination, a virtue that many of its iconic protagonists also possessed, meant that no one could keep the good ol’ genre down.
Basic signs and conventions of the western were discernible from one of the first narrative films ever to be made, THE GREAT TRAIN ROBBERY (1903). Many generic tropes and tendencies adopted by the genre and its masters have been modified over the years, yet we still know, almost immediately, when a film or television series can be labelled as a western, because of the many easily distinguishable features attributed to it. An example of one of the more commonly re-used components is the Mise-en-scène (anything that can be seen or heard in each scene), which often includes vast landscapes, horses, guns, bandits, whores, and so forth.
Each film, and franchise, in the following collection represents a specific era in the evolution of the western genre:
Cavalry Trilogy (1948, 1949 and 1950)
– The era of the completely infallible American hero is in decline.
The cavalry trilogy consists of FORT APACHE, RIO GRANDE, and SHE WORE A YELLOW RIBBON, which were all directed by John Ford. From the opening scene in FORT APACHE, the unquestioningly patriotic theme is noticeable. As the shot focuses on the Americans, triumphant and heroic music rouses the viewer. Conversely, the score dissolves in to an altogether more sinister and devious melody when the native Americans appear. However, this biased view does not continue throughout the film(s).
Whereas native Americans had previously been portrayed as inferior beings in many Hollywood films, they were now being shown as three dimensional, nuanced characters. John Wayne’s role as Captain Kirby York is, in many ways, a voice of sympathy for their cause. He condemns those who underestimate their power, or belittle their beliefs. Although the main themes addressed in the trilogy are still fiercely patriotic, they are not nearly as rigidly bureaucratic as many films from previous eras.
High Noon (1952)– The strong, silent, but conflicted American hero emerges.
Gary Cooper is Marshal Will Kane in this tale about man’s persistent inner struggle to stick to his guns, and maintain a functioning society, even when all hope seems to be lost. The film culminates in an iconic stand-off between Kane and his nemesis, Frank Miller (Ian MacDonald), as well as Miller’s gang.
Though initially chastised for not having enough action sequences, and for not adhering to other genre-specific criteria, it has since been recognised by the American Film Institute as one of the best films of all time. It was also one of the first westerns to portray a female character as a complex being (not just a delicate and helpless flower), via Grace Kelly’s character, Amy. She is forced to make a crucial choice between abandoning Kane (her husband) in order to abide by her religious beliefs, or to assist him as he confronts the armed gang.
Yojimbo (1961)
– The man with no name comes to town.
Directed by Akira Kurosawa, this highly influential film follows a ronin (masterless samurai), as he manipulates two gangs into warring with each other.
YOJIMBO has been borrowed from and re-imagined several times, both legally and illegally. LAST MAN STANDING (1996), directed by Howard Hawkes, is an official re-make, whereas the making of A FISTFUL OF DOLLARS (1964), directed by Sergio Leone, led to great controversy and even a lawsuit. There are countless similarities between the two films, including aspects of the plot, character, themes and directorial technique. Although Sergio Leone and his production company should have secured the rights to re-make YOJIMBO, Kurosawa himself could be accused of being heavily influenced by Dashell Hammett’s novel, ‘Red Harvest’ (1929), and the work of the aforementioned, John Ford.
The Sergio Leone Trilogy (1964, 1965, 1966)
– The era of the spaghetti western.
The western reached new heights of popularity in the United States in 1959, with twenty eight different western programmes running at one time. One of these was RAWHIDE, which starred a young Clint Eastwood. He later went on to become Sergio Leone’s leading man in A FISTFUL OF DOLLARS, FOR A FEW DOLLARS MORE, and THE GOOD, THE BAD, AND THE UGLY.
Eastwood plays the heroic ‘man with no name’ in all three films. The final scenes of THE GOOD, THE BAD, AND THE UGLY, are some of the most memorable in cinematic history. As our hero faces off against the bad (Lee Van Cleef) and the ugly (Eli Wallach) in a three-way duel, the suspense is almost palpable. This is intensified further by the evocative score, ‘The Ecstacy of Gold’ which was composed by Ennio Morricone.
The Wild Bunch (1969)
– The death of the wild west.
Sam Peckinpah directed this story about a group of outlaws who are trying to survive in a rapidly modernizing America. Their aim is to pull off one last heist before retiring and living out the rest of their days in peace.
As the story progresses, they find themselves out of their depth and burdened by oppression. Furthermore, their chances of survival diminish rapidly as the amount of opposition they face increases. They are hunted by a former member of their gang, Deke Thornton (Robert Ryan), German officers, as well as Mexican Federal Army General Mapache (Emilio Fernández) and his troops. The denouement is a memorable and dramatic shoot-out on an epic scale, that symbolizes man’s age-old problem with authority and change, juxtaposed with his commendable ability to be virtuous and loyal.
Blazing Saddles (1974)
– The self-referential, satirical parody.
This extravagant comedy, directed by the king of spoof, Mel Brooks, is an ingenious take on the western genre, but has a serious underlying subtext. It exposed the ignorant fascism inherent in many of the original westerns, by creating caricatures of the clichéd characters often utilised in those narratives, and by reconstructing commonly used conventions. The protagonist and hero is an African-American sheriff, of an almost exclusively white town called Rock Ridge.
At several key moments in the narrative, characters such as Hedley ‘Heddy’ Lamarr (Harvey Korman) break down the fourth wall and address the audience with great effect. Also, the climax of the film sees the two leading men (played by Cleavon Little and Gene Wilder) entering a theatre which is showing the final scenes of the ‘premier’ of BLAZING SADDLES.
Young Guns I and II (1988 and 1990)
– A new generation of rustlers, cutthroats, murderers, bounty hunters, desperadoes, mugs, pugs, thugs, nitwits, half-wits, dimwits, vipers, snipers, con men, bandits, muggers, buggerers, bushwhackers, hornswagglers, horse thieves, bull dykes and. . . well. . . you get the picture.
YOUNG GUNS is a re-imagining of the trials and tribulations of Billy the kid during the Lincoln County War, which took place in New Mexico between 1878 and 1879. Emilio Estevez (THE BREAKFAST CLUB, REPO MAN) turns out an impressive performance alongside several other young actors, who have since become household names, including his brother, Charlie Sheen, and Kiefer Sutherland.
Although primarily a revenge western, the film bares similarity to THE WILD BUNCH, in that it is also incorporates a ‘men on a mission’ scenario. Highlights from YOUNG GUNS II include a wonderful performance from the fresh-faced Christian Slater (HEATHERS, TRUE ROMANCE), as the amusingly named ‘Arkansas’ Dave Rudabagh.
The ‘Mariachi’ Trilogy (1992, 1995, and 2003)
– The slick, bold and stylised western.
This trilogy includes EL MARIACHI, DESPERADO, and ONCE UPON A TIME IN MEXICO. EL MARIACHI was Robert Rodriguez’ directorial debut, and was made for a mere $7,000. It was later re-created, and the finished article was a mixture between a sequel and a re-make, called DESPERADO.
Although they are primarily action-thrillers, all three movies display numerous signs, tropes and conventions of the western genre. Antonio Banderas (INTERVIEW WITH THE VAMPIRE, PHILADELPHIA), plays a ‘man with no name’, known only as ‘El Mariachi’ or ‘the man in black’. He is hell-bent on killing Mexico’s drug lords, starting with Bucho (Joaquim de Almeida), and using his guitar case full of scary weapons. Steve Buscemi is also a nameless character, who forewarns some low lives in a bar, believed to be frequented by Bucho’s men, that ‘El Mariachi’ is coming for them. It is a terrific scene, filled with suspense, humour, and, above all, a superb performance from Buscemi.
Serenity (2005)
– The inevitable hybrid genre.
Joss Whedon is perhaps best known for his work in the television industry. He has created numerous science fiction series’ including BUFFY THE VAMPIRE SLAYER and ANGEL. SERENITY is a continuation of FIREFLY, an enchanting series which was unfortunately taken away from us after only one season. It follows captain Malcolm ‘Mal’ Reynolds (Nathan Fillion), and his crew onboard their cargo ship.
Many themes that are often found in the western genre are addressed in SERENITY, which is considered by many to be a space western. The protagonists are essentially outlaws, who are rebelling against the oppressive ‘Alliance’ (the authoritarian antagonists and ruling government of humanity). The design of the clothing worn by most of the characters also makes it clear that this under-rated film is inspired by and infused with the western genre.
– Keepin’ the ol’ flame alive.
This re-working of the 1969 film of the same name, is directed by the prolific Joel and Ethan Coen, and is based on the novel by Charles Portis. It is undoubtedly more faithful to the novel than Henry Hathaway’s version.
Jeff Bridges’ performance as U.S. Marshal Reuben J. ‘Rooster’ Cogburn (originally played by John Wayne) is extremely captivating. He is hired by Mattie Ross (Hailee Steinfeld), after much convincing, to help her track down her father’s killer. Cogburn is a miserable and misanthropic drunkard who in spite of this, still has the ability to – you guessed it – get the job done. A stunning performance from Hailee Steinfeld as the determined and razor-tongued Mattie quickly charms the viewer into forgetting that the story is a touch predictable.
Although the western’s hay day is admittedly a distant memory, the techniques of both filmmaking and storytelling that form the crux of the genre still pervades modern cinematic productions. Additionally, there are still a few filmmakers that cherish the forgotten genre, and endeavour to keep it going. Joel and Ethan Coen are arguably at the forefront of this mini-movement, having made several contemporary films that contain western themes, including O BROTHER, WHERE ART THOU? (2000) and NO COUNTRY FOR OLD MEN (2005).
Perhaps the reason for its resilience and longevity lies within the human psyche. Many people are fascinated by the more primal aspects of life, and by characters who are unashamedly primitive. The repressed rebel inside us often fights to be freed, and that aspect of our character can be realised as we live vicariously through these onscreen anti-heroes, or bandits, or gunslingers who challenge people to a duel for something as petty as looking at their moustache in a slightly peculiar manner.
COWBOYS & ALIENS is released in the UK on 17th August 2011.
