JM Day of the Outlaw

The role of women in cinematic movie roles changed over the years from the typical “other” to a more progressive and alpha male style depiction during the late 1950’s and 1960’s. The second wave of feminism was present throughout this time period and was one of the driving factors behind this change in the portrayal of women. In movies like the late 1959 classic Day of the Outlaw, the women of the film presented a shift in what was normally thought to be acceptable of the time.
Throughout the film the women were treated with respect and dignity by the other characters, and this treatment of women was a key value that everyone tried to uphold. In one particular scene when Captain Bruhn’s crew began to badger the women and force themselves upon them, the captain steps in to defend the honor of the women, and make his men back down from their pursuit of the women. This depiction of male/female interaction is very different from many earlier films in the sense that earlier in the decade women would have been looked at as if they were possessions that were there to satisfy the needs of the men, as opposed to viewing them as valued members of society who should be respected. This respect for women is also very apparently shown in the relationships that were between the characters themselves. One example of this can be seen in the relationship between Blaise and Helen. Blaise and Helen in the film are former lovers and upon Blaise’s return to the town they are forced to interact with one another once again. The interaction between them is one of the upmost respect, and shows the level of respect Blaise has for Helen’s marital status even though he clearly dislikes the circumstances of Helen being off the market. It is Blaise’s actions toward Helen that we see the male characters change in attitude toward women from the earlier western films.
In the film while many women such as Helen portrayed the typical timid and reserved women, there were characters like Ernine who were much more dominant. Throughout the movie we see Ernine’s very aggressive disposition clash with many of the male characters in the film. Ernine in many instances was very similar to the alpha males because of her no nonsense attitude, and her tendency to accomplish things through action. Although she shows signs of being similar to the alpha male, she falls short in the sense that she both settles down in the end of the film in addition to the amount of language she uses to portray her thoughts and opinions.
It is very evident that this movie was in a time of transition because although it gives women a different view then in earlier films of the time period, it still casts a weak image to certain women of the film who have not adopted the attitude of the alpha male.

SK "The Day of The Outlaw"

Andre Detoth's film, Day of the Outlaw, which was released in the late 1950s, has a different portrayal of women as the "others" compared other films such as The Ballad of Little Jo and High Noon. We witnessed that women were starting to have the qualities of the alpha male cowboy in the films we have watched above. However, in Day of the Outlaw, we can see that women were characterized more as objects that were used to play around with. They play a feminine role where Bruhn and his gang see them as objects, while the townspeople see them as housewives. This definitely shows that the role of women was pretty much insignificant since they had no influence or power in the town.

Within the film, Helen Crane, who is Hal Crane's wife, offers her body to Blaise (ex-lover) in order to save Hal. This shows how she lowers herself and puts her in the category of women during the time when they had no influence or power. Men (outlaws) come into town to seek for pleasure, and it is shown that the saloon girls are shown to be one of the pleasures men desire. The film shows that women are borrowed by the outlaws to play with. Even though Helen follows orders by the men, she tries to get out of the situation she has been drived into, but she is ignored by the men which is how women in general were portrayed during the time.

Ernine, a quiet and reserved girl, is another female character who is Vic's (store owner's) daughter, and is shown to be the only unmarried woman introduced in the film. Unlike the other female characters, she is not seen as an object because Gene, who is a member of Bruhn's gang, starts to actually love her. Gene looks at her differently and even decides to leave the gang so that he can fulfull his desires of being with the woman he loves.

The release of the movie during 1959 was a time before the second wave of feminism was about to take place. The later years showed women hungry for equality and so they began to push more for their rights. Day of the Outlaw seems to look at women like they were portrayed in the 1950s, where they were merely seen as housewives.

DB - The Day of the Outlaw

The Day of the Outlaw, a 1959 film directed by Andre de Toth, is in many ways a typical western. It has cowboys, outlaws, horses and violence. However, it is rather unique within the western genre in its portrayal of women and of love. In the film, some of the women are shown to be more free thinking and independent. The time period in which the film was created was marked by a shift in perception of women and their importance in society. America was experiencing a second wave of feminism, in which it was beginning to see women as more than just live in maids whose job was to please their man and family. America was beginning to see women as men’s equals, as being equally important and requiring their own identity. In the film, some of the women, such as Helen, are admittedly portrayed in a way that was more typical of women at the time, being submissive and willing to do anything to please or protect her man. However, Ermine is a departure from the ordinary in terms of the depiction of women in western films. She is independent minded, ignoring men at times in order to get what she wants. Additionally, she in many ways dominates Gene, causing him to reconsider his life and decide he wanted to stay with her. This is extremely atypical for westerns. In most cases, men are often seen leaving women behind, often ignoring them when they plead for them to stay. It is interesting, therefore, that Gene goes against this stereotype, opting to stay and live his life with “a good woman”. The film also addresses love in ways that most westerns don’t, because whereas in most westerns the alpha male cowboys have no real love interests and are in many ways married to the land, the men in The Day of the Outlaw value women and recognize their love.

It is important to note, however, that while the film does at times recognize shifts in the perception of women, the film does still contain many of the typical stereotypes of women that exist in the western genre. Women are viewed by many as objects (of pleasure), needing the protection of a man. In other words, the film insinuates that the women are not capable of protecting themselves, which does prevent women from being portrayed as true equals to men.

DS Day of the Outlaw

In the film Day of the Outlaw, women are both objectified and seen as in need of protection. There are only four women in town, and when Bruhn and his outlaws come to town the main task set by the men in town is to protect the women. The outlaws view the women as objects of sex and entertainment, and persistently challenge the captain's orders of leaving the women alone. The audience views the roles of two women in particular, Helen and Ernine, in very distinct ways; each represents differing views of women. Helen is weak and submissive, shown through offering herself to Blaise as a means to the end of saving the life of her husband. In effect she is objectifying herself, representing a terrible weakness of women. Conversely, Ernine is more strong willed and confident. She constantly disobeys the men in the town, seen through her attempt to take Bobby as far away from the corruptive influence of being near the outlaws. Also, at the "social," she never submits to kissing any of the outlaws, whereas Helen is unable to fend off a ravenous man. Ernine represents a stronger view of women.

When observing the decade in which this film was made, as well as the life story of the director Andre de Toth. For one, the decade gave rise to the barbie doll, providing a perfect model for which women to base themselves off of and compare to. At the same time, the issues of women's rights was also at the forefront. Both of these cultural influences show the dichotomous view of women at the time, with Helen representing the perfect barbie doll object of a woman and Ernine representing the further boiling of women's rights. It is also worth looking at what influences the director's life may have had in influencing the portrayal of women. Andre de Toth was married seven times, and fathered in the are of 19 children. It's obvious to infer from de Toth's marital life that he views women almost as interchangeable, evidenced by the ridiculous number of seven marriages.

BE Day of the Outlaw

The end of the 1950s into the beginning of the 1960s marked the start of the second feminist movement. Women were still fighting everyday to be equals to men. The struggle for women’s equality is portrayed in many Western films. However, in the 1959 Western film, Day of the Outlaw, women’s desire to gain rights and be respected is represented. Although at times objectified by men, women are protected and shown respect.
In past Western films, women are viewed as objects that are there to entertain the men. But in Day of the Outlaw, women are viewed as respected and valued members of the town. A mutual respect is shown between Blaise and Helen throughout the film. While they both entertain their lust for one another, Blaise respectfully declines because he knows Helen is married. Just as society started to respect women in the early 60s, Blaise ends up referring to Helen as Mrs. Crane to prove he is making progress. Also, respect for women is clear during the fight between the men and the gang trying to take over the town. While other Western films only sometimes display the alpha-male cowboy showing respect towards women, which may be just another of his duties, Day of the Outlaw demonstrates both “good” and “bad” guys showing women respect. As soon as the gang threatens to take over the town, the men immediately think to protect their women even if it means sacrificing their own life. Furthermore, the outlaws’ leader, Bruhn, illustrates his respect for women. He instructs his gang, comprised of outlaws, to never touch a woman in any way during their takeover of the town. In an effort to promote women’s equality and the proper treatment of women, the men in is this Western film respect women in all aspects.
Not only did men respect women in this Western, but a man’s love for a woman began to become what was most important to him. Ernine, the more revisionist character between the two main women, progressively becomes a significant role throughout the movie in persuading and changing the actions and feelings of men. Gene, one of Bruhn’s gang members, is heavily influenced by the power of Ernine. Women are usually seen as being powerless to a man because men paid little attention to their feelings and women in general. This Western is odd because as Ernine begs Gene to take care of her brother and ultimately stay with her, he listens. The alpha-males, Blaise and Bruhn, come to the realization that Gene and Ernine genuinely love one another and should be together. Gene makes the decision to start a new life with Ernine which is a testament to the power of love. Men in Westerns are famous for leaving women behind but society is pushing for women’s rights and men are beginning to realize how important women are.

J.O. Day of the Outlaw

Released in 1959, The Day of the Outlaw, by André De Toth, portrayed women as the classic definition of “the other”. In this film, the four women were treated either as trophies worth protecting, or on the other hand, objects for the fulfillment of sexual lust. The men of the village wanted to protect the women from Bruhn’s gang while the men under Bruhn, chiefly Pace and Tex, wanted to use the women to carry out their pleasures. Additionally, the women were not encouraged to voice out their opinions or to do as they pleased; they were expected to listen and obey. Helen Crane is repeatedly brushed aside by Blaise who is unyielding to her complains. Ernine is also scolded by Gene and her little brother because she was acting irrationally and not thinking about the situation at hand or the danger that she was putting herself in. Throughout the film, the women were commanded by both sides; moreover, every attempt to take off the leash and become their own person was discouraged and reprimanded.

The way the women were treated in this film relates to the issues and ideas during the 1950s. During this time, conservatism and anticommunist feelings blanketed the American society. Families were tight and spent plenty of time together, ate family meals and so on. More important, women wore knee-length or longer skirts, evident in Helen and Ernine’s clothing, and most stayed at home to cook meals and tend to the children. However, nearing the end of decade, moods began to change as the populace moved from conservatism to more radical ideas and sought change.

Further, women also began to express more and more of their opinions nearing the end of the decade. In the film, Ernine pronounces in one of the early scenes that she would have a farmer over a rancher as a husband because she likes change. Similarly, Helen constantly attempts to push out her opinions on how Blaise should act, but he denies her advice and sticks to his mindset. Reflective of how hard it was for Helen to propose her opinions or have her ideas, troubles, and thoughts heard, a book by Betty Friedan, The Feminine Mystique, was published four years after the film describing the dissatisfaction felt by the middle-class American housewives with the narrow role imposed on them by society. In the end, the film takes on the issue of the definite role placed upon women, distinctively showing how they gradually begin to expand past their role to claim their own purpose and position in society.

DL "Day of the Outlaw"

In Day of the Outlaw women do not play the same type of role as the “others” have in films such as High Noon, Johnny Guitar, and The Ballad of Little Jo. For awhile we saw women beginning to take on similar roles as the alpha-male cowboy, however in this film the women were seen more as just objects. To Captain Bruhn and his gang they are seen as only objects and to the townspeople they are seen as the housewife. Either way they are not seen as having any influence or power in the town; they hold very true to a “feminine” role.

From a cultural studies standpoint how women are portrayed in this film is similar to how they were seen at the time. Day of the Outlaw was made in 1959 and it was in 1959 that the Barbie doll was introduced into US markets. Just as women were treated as objects in the film it was seen by the introduction of the Barbie doll that people viewed women as an object for their pleasure and to play with. The Barbie represented an image of what was believed to be the “perfect” women. She was manufactured with the perfect image of what men wanted and what women wanted to look like.

When Captain Bruhn and his gang came into town all his men wanted to do was drink and have some fun with the women in town. But the Captain says “no women, no whiskey, and no gunning…we’ll pleasure ourselves at the end of the trail.” However, the Saturday night before they are getting ready to leave Bruhn gives in and allows his men to have a dance with the women of the town but no whiskey is allowed. There are only four women in the town and in this scene we see the gang members tossing and passing them around like they are rag dolls. Pace is the most forceful in trying to kiss and take advantage of them, but Gene and the Captain step in to make sure that nothing is done. All of the women are married except for Ernine, but she meets Gene and he is the only one from the gang who doesn’t look at her like an object for momentary pleasure. He falls in love with her and wants to change his ways and leave the gang so he can be together with her. Even though Ernine was the youngest and only one not to be married she showed her motherly instincts when she goes back to try and get her brother Bobby back from the gang. Ernine puts herself in a dangerous position by doing this because Pace tries to get a hold of her when he sees her.

The late 1950s was also right before the second wave of feminism was beginning to take hold. The 1960s is when women began to push more for their rights, but in 1950s women were still pictured as being the housewife. People were getting married earlier and taking on their role of being a housewife and raising their family. In order to help with the war efforts some would take jobs for their husbands when they went away. The fact that during WWII the government was asking for women’s help in the war by creating posters saying “It’s a women’s war too!” goes to show that women were beginning to gain more independence and influence in society, but still hadn’t completely grown out of the “housewife” role that they are given in this film.

NL "The Day of the Outlaw"

The 1959 film The Day of the Outlaw clearly represents a time in history where women's rights has become something of discussion and value, but not yet fully blossomed into an organized movement. There were many elements of the film that demonstrated a precursor to the women's rights movement of the 1960's and a deviation from the complete indifference towards women of the earlier Western film.

In The Day of the Outlaw, there is an objectification of women that holds true to the previous Westerns. Bruhn's gang treats women as mere objects for their own gratification: they certainly do not treat them as people. Furthermore, not only are women made to be objects in the eyes of Bruhn's men, but also the men of the town. The town men were responsible for protecting the women; women were not strong enough in the film to protect themselves in any way. This is something that is progress, but not full progress.

The reason why the previous Western, women would be basically left by the men. Look at Red River where Tom leaves his sweetheart to die to an Indian raid, this is certainly something that is a pre-women's rights reflection in a Western. Later films however, such as The Ballad of Little Jo features women who need no protection: the women are capable of handling a gun and defending themselves on their own. This middle-ground in the way women were objectified, yet at the same time defended, really demonstrates how this was a Western reflecting the thoughts moving towards women's rights.

ID Day of the Outlaw

1959 saw America on the cusp of its second feminist movement of the 1960’s. Prior to this movement, women were seen largely as secondary in society. This notion is often reflected in the Western film. However, Andre De Toth’s 1959 film, Day of the Outlaw, Presents a unique view of women in the West that is largely reflective of the events occurring during the time period that led up to the film. Women in the film, while nowhere near the same level of men, are shown respect by the men who posses power in the film.

When the outlaws invade the town, the men of the town’s first reaction is to protect the women. However, it is clear through the character of Jack Bruhn, the leader of the bunch, that the women will be respected. Bruhn’s men represent Americans before the second feminist movement, whereas Bruhn is representative of the wave of change that is about to sweep the country. This movement could have been brought on by the 1957 agreement by the Alliance of TV Film Producers to adopt the ethical code of the National Association of Radio and Television Broadcasting (Layman 147). The dedication to a new ethical standard ultimately had a ripple effect that was beneficial to women as well as men.

There are two specific characters that represent the transitional view of women perfectly in the film. Helen, the farmer’s wife, is a traditional Western woman. She is viewed as weak, and only useful to keep a clean house and satisfy a man. At one point, she even admits this weakness to Blaise, begging him not to kill her husband, and offering herself to him in any way in an effort to prevent the impeding bloodshed. This view of women is representative of the view of women after the conclusion of World War II. After the war, women were expected to stay home and take care of their husbands who were returning from the front. On the other hand, Ernine is representative of the changing view towards women. While she plays an insignificant role at the films beginning, she becomes increasingly important as the film progresses. In falling for Gene, one of Bruhn’s men, Ernine nearly ruins the entire plan to save the town devised by Blaise. Ernine exercises her relative power over Gene by begging him to stay and making him realize what he really wants out of life, a good woman. She also shows her strength in the scenes when she ventures into the saloon to save her brother from the rest of Bruhn’s men, who toss women around like ragdolls. Ernine’s character is representative of the change that was about to boil over in America in regards to women.

Works cited

American Decades 1950-1959. Ed. Richard Layman. Gale Resources: Detroit, 1994. Print.

PS "Day of the Outlaw"

During the time period between the end of the 1950’s and the beginning of the 1960’s the second wave of the feminist movement was beginning. In this movement women fought hard to gain more rights and respect from society. During this time films portrayed this movement within its works. The film Day of the Outlaw does just this, where you see women being respected.

In a majority of Westerns it is typical that women are told what to do by the men, as well as are not respected by the men because they do not listen to them or show any emotion to them. In the Day of the Outlaw this is exactly the opposite. The strongest issue addressed with women in the film was love. In past westerns the men or cowboys refuse to love a woman. Men are a part of the land and do not want to be tied down. The film shows two love stories which are very odd for a western. The first is the relationship between Blaise and Helen. Blaise is the main man in the town and had a chance to be with the woman of his dreams, but chose the land over her, typical of a western. However, Blaise comes to the realization that he still loves her and wants to be with her, but understands now that she is married it cannot truly be. Helen throughout the film shifts her feelings of love towards Blaise back and forth and tries to hide it. In the end knowing he really will never get her, Blaise puts his life on the line to save her and the rest of the town. The very rare trait of love is seen one again between Gean and Ernine. Gean comes to the town as a member of the gang, but once he sees Ernine he falls for her and makes sure he takes care of her brother and promises he won’t let anything happen to her. He struggles to leave her at the end of the film and Ernine cries as he leaves. Blaise and the captain of the gang realize Gean is in love and young, they understand he does not need to die and allow him to turn back to be with Ernine to start a new and better life. Men going back to women and starting a new life is something rarely seen previously in westerns. The film truly portrays love in a bigger manner as seen in the town. The town has only twenty people, but the men in town are characters that chose love and have settled down to have a life different from Blaise, who cannot quite understand that. These three love situations represent in society during that time period that love was becoming more mutual instead of just up to the man and that it is ok for a man to love a woman.

Another issue involving women seen in the film is the fact that the women were respected by the men on many different levels. In early westerns men would ignore women and had little or just brief conversations with them. In this film conversation with women take place many times. Blaise and Helen speak often and it is always a conversation where they hear each other out and then make a response. Even out of respect for Helen as the film goes on, Blaise tries to give Helen her space with her husband and realizes to get over her he needs to be more formal with her by calling her Mrs. Crane and she does the same to him at the beginning, but towards the end calls him Blaise because she still does care for him. Even when Helen offers herself to Blaise as a bargaining chip he says no for many reasons, but in the past westerns no matter what the reasons no would not be the answer for a man. Respect for women is also seen when the gang takes over town and all the town’s men try to protect the women and even risk being killed to go and see their women. Respect is also seen towards the women when the captain of the gang tells his men that they are not allowed to touch the women in anyway and he makes sure none of them are assaulted in any way. This is specifically seen when Tex forces himself on Helen and Bruhn steps in with a gun and stops him and then begins dancing with her formally unlike the other men. General levels of respect are becoming a growing issue in society as seen through this film.

I believe this film does a great job showing the issues during the women’s movement as well as the attitudes going on at that same time. The film shows the transformation of issues that before were mostly male dominated. In the early westerns men were not seen falling in love with women, starting a new life with them, explaining to them their true feelings, or going back to the woman after he had left them. The same goes for respect towards the woman. Men hardly spoke to women and the only thing on their mind when it came to the woman was sex and having them take care of the home or telling them what to do. Times are changing in the United States and this is being seen through the progression of western films. Women finally are becoming equals to men.

KLR Day of the Outlaw

In The Day of the Outlaw, the only four women in the town are considered to be prized possessions by the men of the town yet objects of obsession by the outlaws. As characters in a Western film, they are not easily recognized as “the others” in relation to the protagonist and alpha male cowboy. Men’s view towards women changed from the beginning of the 50’s decade to the end. In the beginning, typical men saw women as property; they were a means of obtaining food and a clean home. Towards the end of the decade, women were seen more as individuals who had the same need as men to be recognized. Just two years prior to the release of the film, the “National Manpower Council (NMC) at Columbia University published its study, Womanpower, A Statement by the National Manpower Council with Chapters by the Council Staff.” Their analysis “called women "essential" and "distinctive" workers and recommended that the Secretary of Labor establish a committee to review "the consequences and adequacy of existing Federal and state laws which have a direct bearing on the employment of women" (Feminist Chronicles).
It was a recurring topic in society that women were trying to obtain an equal standing with men. In the film, there is a contrast between the idea that women were just property to men and the idea that they were their own individual. Helen Crane exemplifies the woman who submits to men’s authority. In an exchange, she says to Blaise “I’m not courageous; I do beg you not to kill my husband.” Compared to other Western films, Helen is lacking a sense of self confidence. Later in the film, she once again throws herself at Blaise saying, “I’ll offer myself to you, on any terms you want.” Once again, she is the woman that was typical of the early 1950’s.
Ernie, on the other hand, represents the more modern female in the 50’s. When searching for her brother, she slaps the guy who was stopping her in the face. Even then, she found a way around him when she wanted to see if her brother was OK. She disobeyed the man and snuck into the house. Even after the old man told her not to go, she continued forward looking for her brother to make sure he was all right, even taking him with her afterwards. At the end of the film, Ernie was the only person who would tell the men that there was no way they were getting through the mountain as there was no path. She was the outspoken one who had enough courage to tell them the truth. Although this film doesn’t define the women as typical helping characters, it does distinguish between two kinds of women, attacking the issue of how they are seen in society.

Works Cited

"The Feminist Chronicles, 1953-1993 - Part I - "... a Passion for the Possible" - Feminist Majority Foundation." Feminist Majority Foundation - Breaking News, Feminism from Affirmative Action to Sexual Harrassment to Women's Sports. 2009. Web. 27 Oct. 2010. .

MP - Day of the Outlaw

The Day of the Outlaw was created in 1959 when the second wave of feminism had not quite hit America yet. This was a time of turmoil and when the McCarthyism was coming to an end. Women were into expected to act as men did for multiple reasons but the main reason being they were not seen as fit to accompany men in their tasks.

Helen Crane in this movie is Hal Crane’s wife and Blaise’s ex-lover. Although holding no ground over Hal or Blaise, she comes to realize that as seen in many westerns, all she has to offer Blaise is her body. When the men that come into town continually go after the women in order to try and have sex with them, the viewer comes to realize the saloon girl is what the men come to town for and when they leave, she is forgotten. When Helen attempts to offer Blaise her body in return for Hal’s life, she lowers herself to the standard of women in the west. When the outlaws come into town, they ask for women to “borrow” further showing that the saloon girl is a rarity that you do not often find out in the desert. Although seen as an outcast amongst the men by being told what to do and following their orders, Helen keeps trying to break out of the mold she has been cast into. Ignored by the men in terms of her intelligence and joining in conversations, this is the typical way a woman was to be treated in the west during the 1950’s. Although unfair, it speaks to the constantly belittlement that women went through in order to eventually gain more rights.

Ernine who is the daughter of the owner of the general store, plays another significant woman role in this film as well. Although she is very quiet and reserved, she gains the attention of one of the outlaws, Gene who tries to help her. Although Ernine shows the true characteristics of a female, she still holds power over Gene because she is simply that – a female. Although men may not want to admit it, they are often times unable to say no to a woman’s requests, especially when men had to cater to a woman’s needs such as in the 1950’s.

Ryan L Day of the Outlaw

In 1959, Andre De Toth released the film Day of the Outlaw. During this time, America is faced with the growing of the Vietnam War, the Cold War, the beginning of civil rights movements, and the release of the Barbie doll. These influences are seen in this film; however, women in particular are on the forefront. Throughout the film, women are viewed as objects or something in need of protection. They are often ignored, or not held in a high light. For example, Blaise Starrett opens the film with the intention of killing Hal Crane in order to get Helen. Later on the outlaws are lusting after, and forcing themselves upon, the women, while the entire town takes steps to protect them. Even the child Bobby orders his older sister to leave the store. Women are objectified, and when attempt to be in control of the situation, as Helen often tried, they were waved off. They are seen as something to be owned, and once owned must be protected. Starrett along with all the other men take sacrifices in order to protect the women, to such an extreme as though, women are incapable of doing so.

In understanding these aspects, it is important to recognize where the director is coming from, and why he views women as such. De Toth was married seven times, whilst having nineteen children. It seems as though De Toth was not one for believing in one woman. This film took place upon the release of the Barbie doll, and when women's rights were beginning to become a large issue. Obviously, there were opposing sides, and it is clear De Toth was not one who favored women's role as an individual.

MB "Day of the Outlaw"

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.

In the film Day of the Outlaw (1959), the role of women in terms of the "other" is different from the typical Western. In the film a group of Outlaws seek shelter in the Town so that their leader can receive medical attention. While in town the outlaws seek the comfort of the town's four women. However the leader doesn't allow for any of his men to have any of them.

The's films emphasis on the role of women was portrayed by their role in society as an equal. While women did the simple tasks of the town like cook and clean, the men of the town were respectful to them. In the eyes of the outlaws,, apart from the leader, women were just objects. They appeared to be a form of entertainment for the outlaws at the expense of the Town. The advertising media of the 1950s used pin-up models to draw attention to certain posters. These women were viewed as sexual objects and provided little connection to the products that they represented. Similar to the pin-up models of 1950s advertisement the outlaws viewed the women of the town as objects.

Within the film the role of women within the family structure resembled the post World War II viewpoint. During the war women helped fuel the American war machine, and were the majority of the American work force. After the war many women remained in the workforce while still fulfilling their role at home. Women's presence within the home also increased and they became more vocal about family decisions. The women within the Day of the Outlaw have their own distinct voice and opinion on life. They resemble the women of the post World War II era and the rise of womens rights/and voice within America.

RT Day of the Outlaw

The film, Day of the Outlaw, was produced in 1959 by Andres De Toth. In the film a group of outlaws run into a small town so that their injured leader can rest and receive medical attention. While there, his men continuously try to take advantage of the four women in the town. The outlaws view the four women as objects, wishing to only have a short-lived physical relationship with them. The outlaws try time and time again to kiss the women and rip clothing off of their bodies. However, the injured captain and one of the outlaws, Gene, does not allow the other outlaws to do so.

As a member of the town, the women hold simple tasks around the town showing no real deviance from stereotypical "housewife standards". The four women cook, clean, and aren't given much work that is stereotypically "masculine". This coincides with the objectification of women by the outlaws. They aren't given much freedom or individuality, sticking to work that the men want them to do. Additionally, all of the women are married or thinking about soon becoming married. A strong part of their life is obtaining a union with a male figure and the objectivity of the process. One of the characters, Mrs. Crane, is married to one of the men in the town despite being loved by and loving Mr. Starrett. She offers herself as a reward if Mr. Starett refuses to kill her husband. Mrs. Crane pictures herself as an object, a means of reward that can be traded from one man to another.

It is interesting that this film portrays women in such a way, given that it follows such events as Rosa Parks' refusal to give up her seat and the case decision of Brown v. The Board of Education. The film comes after the empowerment of those who previously had unfair rights and one was led by a female. However, during this same time period the barbie doll was released several months before The Day of the Outlaw. The perfectionism and objectiveness of women was heightened by this new product and corelates clearly with the mentality of the film. Past female roles and the arrival of new products such as the barbie doll had a profound impact on The Day of the Outlaw despite recent events such as Brown v. the Board of Education.

JP "Day of the Outlaw"

In Andre De Toth’s film, Day of the Outlaw, the audience observes women represented as simple objects to outsiders and the number one focus for protection from the Town’s men. An army captain and his gang of outlaws ride into town causing Blaise Starrett and Hal Crane to put their problems aside in order to keep their small town safe.

As in most, if not all Western films, the audience is able to connect what is going on in the country at the time to what is being represented in the film. Throughout Day of the Outlaw, the audience examines women’s roles in the 1950s through the four women of the town that is under the endangerment of Captain Bruhn and his men. The women are presented as nothing more than an object of entertainment for the outlaws. They have a Saturday night social, where they are tossing the four women around amongst themselves, like rag dolls. Holding onto them tightly and aggressively putting them up against walls attacking their faces for pleasures. This connects to the introduction of the Barbie doll, which was a creation by Ruth Handler in 1959. The women are representing mere toys to the outlaws throughout the film.

By the end of the 1950s, the average age of marriage for women in America dropped to twenty, and was still dropping, into the teens. Out of the four women portrayed in this film, three of them are married and the fourth, youngest woman is talking about what kind of man she wants to marry; simply implying marriage is on women’s minds starting at a young age.

Lastly, during WWII, women were encouraged to enter the labor force. Women finally realized they could do the same work that men had been doing for so many years. Once the war ended, many women didn’t want to give up their jobs. They were told that now that the war was over they should return to their more traditional roles as housewives and mothers, so the men could reclaim their jobs. From the late 1940s through the 1950s there was a lot of pressure on women to accept such roles as wives and mothers, dependent on their husbands, and committed to living their lives for their families. While watching Day of the Outlaw, the audience observes the respect women recieve from their men and the voice and set of beliefs they have of their own,. Yet, they are still committed to their domestic responsibilities and abiding by their husbands or male figures around them.

Andrew Goodman Day of the Outlaw

Set in Wyoming, Day of the Outlaw (1959) is an odd Western film as it pertains to women being portrayed as the “other.” This is so as Blaise Starrett, the film’s white alpha male cowboy, goes to town under the guise of telling Hal Crane to remove wire fencing from his property so as to allow Starrett’s cattle to move unimpeded. Starrett is in love with Crane’s wife, Helen, and hopes that he can use this quarrel as an excuse to kill Crane so as to claim Helen for himself. However, while in town, Starrett speaks with Helen. They commiserate and come to the conclusion that although they love each other, Helen must remain with Hal. Before Starrett and Crane can resolve their quarrel, Captain Bruhn and his men arrive to take control of the town. Containing only twenty people, four of whom are women, the town is isolated and powerless to defend itself from this predicament. Bruhn’s men wish to drink and “borrow” the four women in order to “pleasure” themselves. However, Bruhn forbids his men from doing this. Before arriving in town, Bruhn had been shot. Both he and Starrett know that he hasn’t much time before he dies, leaving his men to destroy the town and thus, harm the women. Starrett agrees to lead the men out of town so as to ensure that the townspeople, especially the women, will be safe.
As the four women in town are valued by the men in town, the women are not actually portrayed as the “other.” Rather, they are portrayed as useful members of society who need to be protected from the criminals who have invaded the town. Yes, the women are regarded as mere objects by Bruhn’s men, however, the alpha male cowboy in the form of Starrett, is willing to sacrifice himself so as to ensure the safety of the women. Were the women meaningless and categorized as the “other,” it is unlikely that Starrett would be willing to do this.
From a cultural studies point of view, the film takes up the issues of (1) objectifying women and (2) women’s rights in general. In terms of objectifying women, 1959 marked the release of the Barbie Doll, which portrays women as nothing more than desirable toys. In the film, the women are forced to dance with the men. Although this is preferable to rape, it is an undesirable experience. During the dance, the men pass the women around amongst themselves and attempt to kiss them. Clearly, Bruhn’s men, with the exception of Gene, consider women to be inconsequential. In terms of women’s rights, 1959 marked the proposal of the birth control pill. At this time, many women were dying during the process of receiving illegal abortions. The availability of legal birth control was a proposal to aid in the elimination of this problem. Thus, the film does shed some light on the struggles of American women in 1959. Additionally, as Day of the Outlaw is released during the Cold War, the idea of an outside force, in the form of Bruhn and his men, taking control of the town is noteworthy. The Cold War was marked by a fear of outsiders (communists and especially Russians) taking over America, which is symbolized by the town. Thus, Day of the Outlaw contains clear references to important aspects of American culture in 1959.

KLR-Rooster Cogburn

Throughout the decades of the twentieth century, opinions of women in relation to their equality with men have developed to a point where by law they can no longer be discriminated. However, they have always been seen as a bit inferior and not quite as tough and physical as a man. In the 1970’s, although their opinion was respected, their presence in male dealings was never expected. They still held that classic stereotype that women are fragile and feminine.
In Rooster Cogburn, Eula Goodnight represented the change in how society viewed women. Throughout the film, Rooster Cogburn presented stereotypes about women at the time, and Eula constantly broke them.
In the beginning of the film, the gang arrives at Fort Ruby causing trouble with the Goodnights. When threatening Eula to back off, one of the outlaws starts shooting at her so as to scare her off. It was expected of women to be scared and retaliate at this point. However, although the outlaw kept shooting closer and closer, Eula didn’t even flinch, showing how determined she was to trust in a higher power.
In the woods when they were trying to trap the gang, one of the outlaws escaped from Rooster’s view and crept up alongside him, ready to kill. Unknowingly, Eula followed him with her gun and at the perfect moment, shot across a distance and hit him. For someone who didn’t believe in murder and who had barely any practice with a gun, it was surprising to see her perform so well. Rooster first gave credit to Wolf for shooting the man, not knowing that the real credit belonged to the woman in the trio.
Throughout the film, the idea of women talking and language came up in both positive and negative aspects. Rooster Cogburn found it offensive that Eula spoke like a classic Yankee, making her try to speak more vulgarly. On their ride to the river, Eula pointed out that men didn’t mind if women were smarter and could outshoot men, just as long as they were quiet about it. Throughout the entire film, Eula constantly reminded Rooster of how bad it is to drink and be an alcoholic. Rooster’s main annoyance with her was her talkative manner. However, at the end of the film, it is just this trait that gets him his position as Marshal back. Eula demonstrates that a woman doesn’t have to be physically strong in order to show that she has power; merely using language wisely will do.

SK "Rooster Cogburn"

The typical Western film shows the alpha male character as the most significant role within the film while "the others" usually play small roles that have little power. However, in the 1970s film Rooster Cogburn, "the others" started taking on larger and more important role within the film. As usual, the alpha male cowboy, Rooster Cogburn, maintains his dominant role. However, the movie shows that a woman, Eula Goodnight, and a Native American, Wolf, are the "other" characters that challenge Rooster Cogburn's dominance.

A 1975 film, Rooster Cogburn is definitely a movie that was influenced by the women's rights movement. Individuals can witness that the change in women's role in society during the time of the 1970s show a correlation within the gradual change of "the others" in the Western films released during that time period. While women gained more equality/rights, so did the "others" with more dominant roles in the films.

Unlike the previous films viewed that took place from the 1930s to 1950s, Rooster Cogburn portrays Eula Goodnight as a woman who is nearly as worthy as an alpha male cowboy. A religious woman, Eula Goodnight is never afraid to speak out her mind to the public and even gets in a fight with a group of thieves. She is courageous in that she never runs away from a gunfight, and instead prays. Eula further joins a gun fight and doesn't hesitate shooting one of them for even one second. Rooster Cogburn realizes her act of bravery and power, and even states that she has "more backbone than feminism", which gives the viewers an idea of how different Eula is compared to the other typical Western females. Eula doesn't need a male companion in order to survive in the West because she is as strong as the alpha male. Unlike an alpha male, Rooster Cogburn tells Eula that it is pleasing for him to be around her, which is a sign of expressing his feelings. Eula Goodnight is definitely a femal character that shows a role of dominance within the film.

Apart from Eula Goodnight, there is another character that has importance within the film. Wolf, the Native American boy, is the other character that plays a significant role in Rooster Cogburn. Viewers of the film can see that there is a close relationship/companionship between Rooster Cogburn and Wolf because Wolf wants to become like the alpha male, and Cogburn guides him through the path of becoming a Marshall. Throughout the movie, Wolf helps Cogburn numerous times. He is a key character in helping Cogburn and Eula survive throughout their journey. Wolf helps them gain extra time in running away, spooks the horses, and also remained as a look out for the other characters many times. Cogburn relies heavily on Wolf with significant roles that gives them the advantage in surviving, which eventually shows that Cogburn trusts Wolf.

DB - Rooster Cogburn

In most westerns, when we think of the “other”, what comes to mind is immigrants, women, blacks, Hispanics, and anybody else who is not a white male. The other rarely adds much to the films overall storyline and are almost never anything other than minor characters. In the case of the film Rooster Cogburn, however, this is not the case. Eula Goodnight, a woman and major character, is far from the traditional gender stereotypes placed upon women during the time period featured in the film. She is strong willed, as opposed to being subservient or beneath some man. She even participates in a battle, in one instance saving Rooster, which is nearly unthinkable for a woman to do in a western. Eula is a manifestation of the new perception of women during the 1970’s. Feminism was experiencing a period of high popularity, with many advances in women’s’ rights coming around, such as the right to have an abortion. However, there are still a few ways in which she still fits the classic view of women. For example, she cooks for Rooster, something that is absolutely expected of women in the classic perception of their responsibilities. To be fair, she also caught and killed said dinner first, which doesn’t fit the stereotype. It is worth noting as well that, in spite of her independence, she does recruit a man (Rooster Cogburn) to help her, whereas typically in western movies we see the lone alpha male cowboy riding out alone to confront the enemy or problem. With a slew of recent civil rights victories, feminist ideals were piquing the interest not just of the American populace, but also of movie producers. Rooster Cogburn is clearly a reflection on the new perception that women are indeed capable of hanging in there with a man, of doing what she wants without being told what to do.

JM Rooster Cogburn

Western films are known for the dominating presence of an alpha male in conjunction with a group of “others”, which generally include the majority of female characters in many western films. As the years progressed for western filmmaking many social aspects began to impact the portrayal of not only the alpha male cowboy and his role, but also the role of the “others” and their significance to the movie. During the 1970’s America was influenced by the Vietnam War, and the end of the women right movement. It was for this reason that many movies of the time portrayed many women in more masculine and powerful roles than had previously been typical. In addition to the expansion of women’s roles in movies, the role of the alpha male began to decrease, which allowed the group of “others” to come to the forefront.
In Rooster Cogburn, Eula Goodnight takes on the task of seeking revenge for her father’s death and to recover a large quantity of stolen explosives. This movie shows a large change in the female character from earlier movies because of Eula’s desire to track down her father’s killer. This seems like an odd concept in many ways for a western because many westerns would emphasize the image of weak and submissive women, rather than a proactive and justice seeking individual. This movie also shifted away from the pure emphasis of the importance of the alpha male cowboy. In Rooster Cogburn, the main hero Rooster Cogburn is struggling to regain his position as an appointed U.S. marshal. This seems odd because a normal western film portrays the alpha male as one who abides by his own morals and by his own ethics based code. These normal characters do not usually reflect the need for social acceptance, nor do they portray a sense of need to abide by the law. This shift from law of the gun, to rule of law shows the change in the social exile that an alpha male typically is faced with.

MP - Rooster Cogburn

The movie, Rooster Cogburn, depicts Eula and Wolf, a nun and Native American, traveling with Rooster through the west during a time when women and Native Americans were not expected or allowed to do much of anything. Although the film was made in 1975 when the women’s rights movement was over for the most part, this film does not reflect this time period.
Eula is a strong willed character who uncharacteristically keeps up with Rooster throughout the movie. Talking over others and ignoring what she is told to do are two of Eula’s most frequently seen characteristics. Although talking more than the alpha male cowboy is a characteristic expected of women, talking over the men, is not. Constantly showing she can keep up with the boys and even out do them seems to be Eula’s mission throughout the movie. At one point, both Rooster and Wolf come back saying they couldn’t find a turkey but she already had one cooking in the midst of their sentence. Cooking and preparing the food is something that is expected of a female during this time but not to hunt that food first. In the beginning of the movie, she tells Rooster she is going with him even if he does not want her to because she feels a duty to go, just like the alpha male cowboy has a duty to capture the villain. Relating herself to a cowboy reflects how much of an outsider she is to the usual women who would have stayed home and let the men do the dirty work.
Wolf, the Native American boy who travels with Rooster and Eula through the film proves to hold his own amongst the alpha males that he ends up surrounded with. Although cast as the outsider, he aspires to be a Marshal just like Rooster. At one point, he asks Rooster if he has ever heard of someone of his race that has been a Marshal before and when Rooster says no, Wolf becomes even more determined. When given a task, he takes his command promptly and tries his very best to complete that task. Traditionally, Native Americans do not fight with guns or are given guns yet Rooster gives Wolf a gun in order to help protect himself and Eula.

J.O. Rooster Cogburn

In the typical Western film, "the other" usually pertains to women, immigrants, blacks, and Native Americans. These characters generally play a minor role in the Western films as they are there for background and for necessary dialogue for the alpha male cowboy. However, as seen in Rooster Cogburn, Eula Goodnight, a woman, seems to break this classification of the other and instead plays a more significant role in the film. Eula is portrayed as a religious and strong-willed woman who is determined and knows how to speak for herself. Unlike the classic woman, Eula travels alongside Rooster and even fights his battles, killing one of the villains before he could shoot Rooster.

Representative of the time-period, the 1970s was a period filled with the continuously growing women’s movement for equal rights in society. With the film produced in 1975, a lot of the early decade’s ideals and struggles are represented in the plot line. Just as women during this era were not afraid to stand up for their rights, Eula was not afraid to voice her opinion. More notable, Eula was capable of standing up to Hawk’s threats; she did not flinch at the bullets being sprayed around her. Eula Goodnight’s character represented the determined and competent nature shown by the women of that era, and unlike the typical Western, such qualities in her character differentiate her from the classical title of “the other”.

DL "Rooster Cogburn"

Most western films typically have a similar character base; there is always an alpha-male cowboy in the film, sometimes two, and then the rest of the characters are considered the “others.” The others are usually women, Indians, or men who don’t hold the same distinct qualities as the alpha-male. In some of the earlier films we watched the others don’t have an influential role but the past few the “other” is beginning to take almost as big a role as the alpha-male.

Rooster Cogburn was made in 1975 a time period when women were beginning to take more of a role in society because they were treated more as equals. The feminist movement began in the 1960s and carried into the 1970s. In 1973 it became legal for a woman to have a choice in whether or not to have an abortion. And in 1976 woman were beginning to be admitted to the service academies. These two things in particular show that woman were gaining rights to make their own decisions and were gaining some of the same opportunities males had. Rooster Cogburn shows how women were taking more of a role through the character Eula Goodnight. Eula lived in Fort Ruby and was the daughter of the Reverend so she was very religious just like her father, but she could also hold her own very well. When her father was killed she took it upon herself to travel with Rooster to take down Hawk and his gang telling him that it was her “duty” to find her father’s killers. This is interesting to look at because Eula is considered an “other” in the film but it is often the alpha-male who is doing something because they say it is their duty not the other.

Eula is a strong minded women and Rooster describes her saying “she sings a load tune.” He did not want her tagging along telling her “you go crocheting or finger fixing or whatever it is you women do.” This is what men believed women’s role in society was. They didn’t think they should be out shooting again, but instead be at home cooking or taking care of the house. But Eula thought differently; she bought a gun and traveled with Rooster. At one point she has to use the gun to kill a man to protect Rooster and he thought Wolf was the one who took the shot because it was so on point. Much of the role Eula played was different from the classical view of women and taking more of the shape of view of women in the feminist movement. She was very independent and felt she could do just as much as a man could.
Eula in one scene of the movie does something many women did at the time; she cooked dinner for them. But unlike other women of that time she went out and shot the turkey then brought it back to cook. Like many other women Eula did not believe men should drink so much and when she sees how dirty Rooster is she tells him he need to clean up. After making these remarks Rooster goes on to say how he believes that’s all women ever want to do, just change men. These few scenes showed more of the classic view of women which was that they made the meals for the men and were often nagging on them to change in some way.

There is another person traveling with Rooster and Eula who could be considered an “other” as well. Wolf is an Indian who had also lived in Fort Ruby and at one point in the movie Wolf asked Rooster if he thought an Indian could ever become Marshall because that is what he wanted to be. This goes to show that Indians were still the others in the film; they were never going to hold the same roles as an alpha-male did because society in some ways still looked down on them.

MB "Rooster Cogburn"

The role of "the other" within western film increases as the time period when the Western film was made inches closer to present day. The role of "the other" in the 1975 film Rooster Cogburn was highlighted in their supporting role to the alpha male cowboy. However unlike most sidekicks who receive little attention Eula, a female, and Wolf, an Indian boy, gain the respect of the alpha male cowboy.

Eula and Wolf respect was gained through their loyalty to Rooster when nobody else came to help and by their ability to save Roosters life in battle. As an Indian in a western film, Wolf's classical role is to be relatively unintelligent and follow the whites aimlessly to all ends of the earth. However Wolf is none of this he is intelligent, and he shows his individual skills while he attempts to take the nitroglycerin from the bandits. 1968, the Indian Civil Rights Act was passed, giving Indians basic rights. In early Western film the classical viewpoint of the female is that they are characteristically weaker than the men and require their strength to survive. However in Rooster Cogbrun, Eula appears to the audience as a powerful and physically inclined women. She holds her own within battle and knows how to handle a gun. Eula's strength reflects the early 1970s and the rise of women's rights through the second women's movement. 1973 saw the passing of Roe vs Wade which gave abortion rights to women. 1975 also saw the first women's bank open up in New York City.

JP "Rooster Cogburn"

Rooster Cogburn was directed by Stuart Millar in 1975. This is a time where the feminist movement was in full swing and women were getting more and more respect from the country. Katherine Hepburn plays the role of Eula Goodnight, she is a confident, very religious woman who lives with her father on settled land, where she is a teacher to their Indian friends.

Eula's character represents the exact attitude women had and were given during the 1970s. This was a time where women were starting to gain prominent roles in the country. She stands up to Hawk, a bad cowboy who rides into their land with his crew, showing she has no fear for what men can do women. She repeatedly recites religious prayers, showing she has her own beliefs and will not change her tone or presence because of the ignorant man in front of her. Eula stands up for herself and exemplifies how women of the 1970’s have finally gained the respect they deserve, and can handle their own.

When Rooster Cogburn, the alpha male cowboy of the film, rides into Eula’s land, he confronts Eula and her Indian friend while they are putting their father’s to rest. Cogburn was sent out to catch Hawk and his crew, and stop them from a rumored robbery. After giving his sympathy for their loss, Cogburn tells them not to worry and that he will make sure they are hung. Eula doubts him right away, and questions his ability of making sure the cowboys are caught. Cogburn voices his concern about leaving Eula alone, and wants to take her with him; he believes women can’t take care of themselves as a typical Western man would think.

As Cogburn, Eula, and Wolf travel to find Hawk and his crew, the audience watches the representation of women role growth in our country through the character of Eula. She embodies individual views and can act in the same way of a Western man, while maintaining the “classic” view of women; taking on the responsibility of the care taker and tending to the children. The audience observes this through multiple scenes throughout the film. One example is when Hawk and his crew are attacking Eula’s Indian friends. Eula's first instinct is to take care of the children, once they are safe she is able to make moves towards the fighting situation that is at hand. Eula is exemplifying how women still inhabit many “classic” qualities, but have the new opportunities to speak up when necessary.

PS "Rooster Cogburn"

The film Rooster Cogburn is a true western film which represents revisionism of “the other.” The 1975 film was released while racial segregation and the second feminist movement was taking place. In this film we see the “other” gain power and grow as a character. Through the “other” characters of Eula and Wolf one can see the transformation of these characters now and from early westerns.


Eula is a very strong willed character who wants to be listened to, respected, and taken seriously. Tompkins explains in her book that the women in westerns are pretty much are brushed aside for the most part and are ignored as well as told what to do. In this case this is the exact opposite for her. She makes sure Rooster listens to her. He ends up respecting her so much that he makes sure she is always protected either by himself or Wolf. Eula has so much power for a woman that it even upsets the gang when they encounter her. The power surprises the gang and gets them upset because it is something that is not very common in the west. Eula shows her very traditional woman characteristics as she cares for the young Indian children when the gun fight breaks out.


Again, very uncharacteristic for a woman in the western is the fact that Eula wants to go after the gang who has killed her father. She very much is involved with going after the murderers and avenging her father. Most times woman would stay at the home because they are too scared to leave or because the men tell and force them to stay. In this case Eula makes no not an option and shows her strength. She also shows her skills when Rooster and Wolf go to hunt a turkey for dinner and all they get is a possum and when they return they find Eula preparing and cooking a turkey she had hunted on her own. This is out of the ordinary for a woman. They know how to cook and prepare food, but a woman hunting is something never seen in a western. Eula is a very strong character and through this film it is evident that women being the “other” have grown in westerns.


The film also introduces another “other” character with much more of a minor role than Eula. Wolf is a Native American and through western culture from the beginning they are viewed as negative characters that are most always the antagonist and can never out do the cowboy. Wolf in this film looks up to Rooster and wants to be just like him. He one day would like to be a Native American Marshal. He assists Rooster throughout the film and is even given his first gun. This is traditionally different because in the past the Indians have guns from stealing them or taking them from a killed enemy, but in this case it is a gift. Wolf also does a good when he scares the horses to distract the gang. In this film Wolf, the “other,” does much good and is looked as a very positive character compared to the typical Native American in films.

DS Rooster Cogburn

The 1975 film Rooster Cogburn offers a revisionist view of "the other." The term "the other" refers to anyone in the Western film complementary to the alpha male cowboy. In the film, Eula Goodnight and Wolf--two characters that would otherwise be typically lumped into "the other" category of characters--emerge as important and competent role-players. From a cultural studies perspective, we can attribute this transformation to the higher regard for women and Native Americans in American society that resulted from the Indian and Women civil rights movements of the era. The greater respect for these groups in society is reflected through their growing prominence in Western cinema.

Eula Goodnight is a strong, competent female figure. While it may be said that she talks allot (which is typical of women), most of what she has to say is carefully calculated to argue and voice her opinion. She is a skilled marksman, which is indicated when she kills one of Hawk's goons and Rooster's would-be killer. She can hunt and cook as good as any man, Rooster included, which is shown when upon the return of Rooster and Wolf from hunting she is seen cooking a turkey she had hunted and which had eluded both Rooster and Wolf. She has a self-expressed fastidious devotion to duty, as in the duty to bring her father's killers to justice. She is even seen by movie's end to partake in a sip of alcohol. Clearly this is a step in a different direction from the normal role and status of women in Western film.

Additionally, the Native American boy Wolf defies the convention of "the other" throughout film. Wolf is able to converse in perfect, fluid English, which no doubt influences the bonding between Rooster and Wolf and blurs the lines between supporting Indian character and leading role-player. He is a competent enough marksman such that Rooster can rely on him for assistance in hunting (though a somewhat failed venture), in a gun-fight, as well as serving as look-out. Wolf also plays an integral role in escaping the outlaws by "spooking" their horses, which buys them time to flee. Wolf's role as a Native American is drastically different and far more prominent than the Native American roles of earlier Western films.

Ryan L Rooster Cogburn

Revisionism is the idea of challenging previously accepted norms. In 1975, Stuart Millar's film Rooster Cogburn does just that. In this case, the film challenges the role of "the other", in particular the role of women. Traditionally, the female is the weak role playing character, who is only inserted into Westerns in order to present information to the audience, or to be someone for the alpha male cowboy to converse with. In Rooster Cogburn however, Eula Goodnight challenges the role of women. She is a religious, strong willed woman who refuses to stoop down to the traditional women's role. Although Goodnight represents the typical western woman in that she talks a substantial amount, she doesn't come off as one who says meaningless things. Rather, she is always arguing her point, whether it is to the alpha male cowboy, or the villains. In addition she uses a gun effectively, and by the end even drinks whiskey. Other Westerns that attempt to empower women, such as The Ballad of Little Jo, do so by making them more masculine. On the contrary, Goodnight is empowered, while still maintaining her feminine features. She holds to her religious beliefs, she speaks constantly of her feelings, and yet she is as hardened as any man in the film. In the film, Goodnight faces down the villains while being shot at, and speaks her mind unflinchingly.

Rooster Cogburn came out in 1975, when the women's movement was reaching new heights. The idea of feminism and women's rights were still developing, such as equal pay for men and women. Although women's suffrage was already achieved, this idea was mentioned in the film. Cogburn exclaims, "God help us if they get the vote". By the time this film was made, women already achieved the right to vote; however, this was still a hot button issue in 1975, and thus this film addresses it.

In addition to women, Rooster Cogburn addresses the main "other" groups, Native Americans and foreigners, in particular the Chinese. In both cases the alpha male cowboy develops a relationship and even a friendship with them. At first, Cogburn doesn't treat these characters as being on an equal plane as himself; however, as the film progresses and the others prove their worth, in particular Wolf, Cogburn begins to trust Wolf, and refer to the Chinamen as his friend. This is similar to America's view overtime. Slowly, the other's are becoming more and more accepted.

BE Rooster Cogburn

In Western films, the white alpha male cowboy is traditionally the most significant role in the film. Although “others” are clearly present throughout Western films, they never really demand the spotlight or play significant roles. The 1975 film, Rooster Cogburn, examines the revision of “the other” in Western films through the characters Eula Goodnight and Wolf. This rise in “the others” significance is affected by the current event of the 1970s.
Eula Goodnight, a strong, religious and courageous woman, transforms the role from “the other” to a female equivalent to an alpha-male cowboy. She embodies some typical Western women characteristics such as her freedom with language but her bravery sets her apart from the average Western woman. When Rooster is in danger of being shot, Eula is the one to shoot Hawk’s man to save Rooster’s life. This film is the first film to show women in their normal roll as well as having male characteristics. Not only does Eula win the acceptance of Rooster through her words but it is her actions that finalize her acceptance.
In the film, another character that normally is portrayed as an “other” plays a major role. Wolf, a young American Indian, displays his knowledge and abilities throughout the film. In a typical Western, the Indian is portrayed as minor help to the alpha-male cowboy or a villain roaming the desert. Wolf evolves as an apprentice of Rooster, trying to mimic his every move as Rooster is his role model. Rooster acknowledges Wolf’s desire to succeed and vows to help him achieve his dream of becoming a marshal. Rooster accepts Wolf and continues to grow close to normally “other” characters.
This 1975 film personifies cultural events that defined the 1970s. This decade revolved around acceptance and unity among all races, classes and genders. The progression each “other” character made symbolizes the struggle and success many minority groups went through during the 1970s. Main groups, during the 70s, were becoming more accepting and continued to strive for equality with events such as the second feminist movement and the constant fight for civil rights. As “other” people in society gained equality, “the others” in Western films gained more significance.

NL "Rooster Cogburn"

The film Rooster Cogburn is clearly a Western out of the 1970's. This is because it very much embodies inclusion of of former outsiders in important roles in the film. In the film, there are two important roles given to a woman and an Indian: Eula and Wolf. Both characters are portrayed as strong individuals who are worthy of their significance in the plot. The film is not unique in the fact that it had women or Indians with some sort of a role; the film is unique in how the role evolved through the course of the film.

In the film, an evolution takes place in the attitude between the alpha male cowboy and his "outsider" counterparts. What happens is that he is the one to warm up to them. Marshal Cogburn begins he film as the typical alpha male cowboy: one who seemingly resents the company and words of two inferiors to the Western's alpha male. He spends time complaining about the "Yankee" speak of Eula's Bible quotes and is dismissive towards the fact that the only two companions he has are a woman and Indian. Yet as the film progresses, and Eula and Wolf really prove to him their abilities through their actions and knowledge, including when Eula saves him, he begins to really accept them. This acceptance is what the revisionist Western is all about: the former outsider being welcomed to society.

This movement towards acceptance really was what the 1970's focused on in American culture. There were civil rights advances in America in this time period when the film was created (1975) that show society's acceptance of the outsiders like Rooster accepted, over time, the outsiders in the film. Through the time period, there were movements in affirmative action, the first Gay Rights march, and the monumental decision of Roe v. Wade, not to mention that the United Nations also announced 1975 to be the International Year of the Woman. This is all a striking contrast to a film like High Noon (1952), where there are dominant women, yet it is Amy Kane who over the time of the film accepts the alpha male's actions, not Marshal Kane accepting his wife's values over the film like Rooster does in Rooster Cogburn.

RT Rooster Cogburn

In the typical Western film the alpha male character takes much of the spotlight, while the surrounding roles fill in as "the others". These "others" are usually cast to play small roles that add to the dominance of the alpha male. However, in films such as, Rooster Cogburn, this ideology is revisited and the audience begins to see "the others" take on larger roles within the film. In Rooster Cogburn, the alpha male cowboy, Rooster Cogburn, continues to have a dominating role however, this dominance is challenged by a female, Eula Goodnight, and a Native American boy, Wolf.

Eula Goodnight asserts herself as a very religious woman who is never afraid to speak her mind. She stands up to a group of thieves asking them to follow her rules or leave. When the men begin firing around her, she never budges, choosing to pray instead of flee. Later, a gun fight breaks out and Eula doesn't hesitate to fire at one of the men near her. She shows no need for a male to protect her and takes matters into her own hand, a concept very unlike those of a typical Western film. Rooster describes her as a lady who has "more backbone then feminism", showing her personality was unlike those of a typical Western female. Towards the end of the film Rooster expresses his feelings towards Eula stating, "being around you pleases me", despite the typical mentality of the alpha male as one who is trying to escape the entrapment of a female companion. Also, it is interesting that Eula succesfully uses language as her main weapon. The use of language typically presents women in a weak spotlight, however Eula is able to use it to assert herself as a dominant character.

Wolf is a Native American boy who joins Eula and Rooster on their quest to recover stolen goods from the thieves. Wolf looks up to Rooster and tells Rooster that he wants to be like him when he grows up. Rooster says he would be happy to show him a few things and help him get where he wants to go. It is very surprising to see this strong companionship between an alpha male and a young Native American boy, especially one where the alpha male is willing to help the Native American become a Marshall. Wolf plays a key role in several events throughout the film; managing to spook the horses, giving Rooster and company extra time to flee, and serving as look-out several times. Rooster trusts Wolf with important roles which always manage to provide great benefits to the survival of Rooster, Wolf, and Eula.

Rooster Cogburn was released in 1975, a time directly following the peak of the woman's rights movement. The change in roles of "the others" can be linked to the changing roles of women in society during this same time period. With women obtaining more rights and privledges, "the others" began to take more importance in their roles in films.

ID Rooster Cogburn

In the traditional Western film, anyone not the white alpha male cowboy or his enemy is termed as “the other.” The other exists on the margins of society in the film and is often cast aside by the white alpha male. The 1975 film Rooster Cogburn, directed by Stuart Millar, provides a revisionist view of “the other.” Characters like Eula Goodnight and Wolf play roles that are almost exclusive to the white alpha male cowboy in previous Westerns. Their rise from “otherness” is undoubtedly a product of the events happening in America at the time the film was produced.

Eula Goodnight exhibits two characteristics that normally define “the other” in a traditional Western. She is a woman and she utilizes language masterfully. Typically, a woman that is strong with her words is cast aside in the West. As Jane Tompkins states in West of Everything: “When the crunch comes, women shatter into words” (62). While this line is true about women in previous Westerns, it is far from true about Eula. Yes, she does display a mastery of language, particularly the language of the bible. However, Eula never resorts only to words. Instead, her words are accompanied by actions. When one of Hawk’s men is about to shoot Rooster, Eula does not turn to words to warn him. Instead, she takes action and kills the man, ultimately saving Rooster’s life. While her actions help to differentiate her from “the others,” it is Eula’s words that completely revise the notion. Eula always gets the last word while speaking to anyone, and ultimately breaks the stubborn Rooster Cogburn. In fact, her words ultimately save Rooster’s job after he is forced to kill Hawk and his men. While these actions are great strides for women, there are still aspects that reflect women’s otherness in the West. Rooster tells Eula, “You got more backbone than femaleness” and even says he values her almost as much as a spirited horse. These examples show how women have come a long way, but are still not viewed as equals to men, especially in the West. The monumental Roe v Wade decision of 1973 is undoubtedly the event that gave women the greater national prominence that is reflected in the Western. After years of battling with their male counterparts, and a second feminist movement, women achieved a lasting victory by gaining freedom of choice in regard to abortions.

Wolf is the other character that typically represents an “other”. The American Indian is often seen in the West as an enemy, a guide, or a form of comic relief. However, in Rooster Cogburn, Wolf is critical to the survival of the party. Wolf displays knowledge and courage in countless situations. His courage is culminated when he asks Rooster if the has ever been an American Indian marshal. While there has never been one to Cogburn’s recollection, he tells Wolf that he will do whatever he can to help Wolf achieve his dream. This acceptance of the American Indian is a product of the cultural revolutions that swept the country in the 1960’s and 1970’s. During these two decades, Americans began to see the importance of equality in the country. Movements like the Black Power movement and the second feminist movement brought the people normally tabbed as others out of the margins and into prominence.

The 1960’s and 1970’s saw many political and cultural movements that challenged conventional thinking in the United States. People generally termed as the “other” emerged from the margins of society to revolutionize thinking in society. The 1975 film Rooster Cogburn features characters that are perfect examples of the change in thinking that helped bring the others out of the margins.

Andrew Goodman: Rooster Cogburn

Rooster Cogburn (1975) stars John Wayne as the titular character, a drunken U.S. Marshal serving in Arkansas circa 1880. After losing his badge as a result of shooting sixty-four men during an eight-year period of time, Reuben “Rooster” J. Cogburn is called upon by Judge Parker to resume his duties. Rooster is given the task of apprehending Hawk, Breed, and the gang who stole a wagon carrying nitroglycerine and dynamite, attacked an Indian village and killed many, including Reverend Goodnight and U.S. military personnel. Rooster, after quickly determining that no posse of deputies will be aiding him, is stunned when Eula Goodnight declares that she will accompany him so as to see to it that her father’s killer faces justice. Rooster, at first irritated that Eula and Wolf, an Indian boy, are determined to accompany him, gradually warms to the pair. Eula saves Rooster’s life by shooting one of Hawk’s men before he could shoot Rooster. Thus, despite the fact that Eula’s many religious sayings at first annoy Rooster, he comes to appreciate her perspective and view of life.
In the classic Western film, all characters except the white alpha male cowboy are “the other.” All other characters, including Indians, deeply religious individuals, and women serve as contrast characters who demonstrate that the white alpha male cowboy is the ideal man. In Rooster Cogburn, these definitions of “the other” do not hold true. Due to the fact that Hawk and his gang attack the Indian village, killing many, the Indians are portrayed as the innocent victims of a band of murderers. Additionally, Wolf is shown to be intelligent (as he has been educated by Eula), courageous (he risks his life on multiple occasions while attempting to recover the nitroglycerine), and a friend of Cogburn. Clearly, this film is revisionist in its portrayal of Indians as Wolf is a far cry from the Indians portrayed in The Big Trail (1930) and The Searchers (1956). The classic Western film “rejects organized religion and a belief in spiritual power….[as the viewer is] supposed to perceive the ridiculousness of believing in a divine Providence” (Tompkins 35-36). Rooster Cogburn, however, portrays the deeply religious Eula Goodnight in a very positive light. As Rooster, Eula, and Wolf begin to travel together, Rooster is openly hostile to Eula’s religious beliefs and criticizes her for frequently quoting the bible. However, as the film progresses, Rooster himself makes references to a deity when he, Eula, and Wolf encounter dangerous scenarios (being surrounded by Hawk’s men while hiding behind the nitroglycerine in the woods, traveling down the rough river on the boat with the nitroglycerine). By the conclusion of the film, Rooster has accepted the importance of religion in Eula’s life and no longer criticizes her beliefs. Clearly, this film is revisionist in its acceptance of religion.
The most important aspect of Rooster Cogburn is the fact that Eula Goodnight is portrayed as a strong, independent woman. In the classic Western, women are weak, irrelevant, and dependent upon men in order to survive. This film is clearly revisionist in its portrayal of Eula as she does not take “No” for an answer when she decides to accompany Rooster in apprehending Hawk and his gang. Eula knows how to shoot a rifle and utilizes this skill to save Rooster’s life. Additionally, she is able to deceive Hawk and his men, telling them that Rooster is injured. After the men let down their guard, Rooster promptly kills them. At the film’s conclusion, Eula requests that Rooster escort her back to the Indian village as she wants to rebuild it on her own. From a cultural studies point of view, it is quite logical that Eula is portrayed as a strong female character as the film was released in 1975. At the time, the women’s rights movement was once again in full force. In 1973, the landmark Supreme Court ruling in Roe v. Wade restricted state governments in preventing women from having abortions. This was a major victory for advocates of women’s rights. In 1972, the Equal Rights Amendment (ERA) was passed by the U.S. Congress. However, it was not ratified by a sufficient number of states, and never became an amendment to the Constitution. The ERA, if ratified, would have prevented state governments and the federal government from denying equal rights on account of sex. The ERA became a contentious issue during the 1970s as its conservative opponents feared that it would lead to a change in regard to the roles of men and women in the U.S. Some of the comments that Rooster makes to Wolf in regard to Eula are obviously a result of the women’s rights struggles of the 1970s. Rooster says to Wolf that “If we ever give them [women] the vote, god help us.” Additionally, Rooster tells Wolf that Eula is “frightening.”
The film only follows the classic view of women in two instances: (1) Eula cooks for Rooster and Wolf (after killing and skinning a turkey on her own) and (2) Eula remarks to Rooster that “living with him is an adventure that any women would relish.” These two instances, however, are not incredibly consequential when compared with the important events and themes of the film as a whole. Thus, in comparison with the classic Western, it is clear that Rooster Cogburn is revisionist in its portrayal of Indians, of deeply religious individuals, and of women.

KLR Johnny Guitar/Two Mules for Sister Sara

Laurel Thatcher once said, “Well-behaved women rarely make history,” and looking at America’s history in the 20th century, that seems true. In 1954, Rosa Parks wouldn’t give up her seat for a white person, rebelling against the norms of the time. This rebellious spirit is also evident in movies of the time. In Johnny Guitar, the main character is Vienna, a woman who owns her own land. If one looks at a list of cast members for the film, the star, or the most important character is listed first. And in this film, it’s not the character that appears in the title. It’s Vienna.

In the past films we have analyzed, most women were seen to constantly babble, at times about nothing. Vienna even admits this in the film, saying that she knows she’s talking a lot, but Johnny would have to listen to her story and how she suffered when he left. But despite this characteristic often attributed to women, Vienna seems like the female version of a cowboy. Alpha male cowboys do not follow; they are the leader of the pack, if any. Vienna definitely doesn’t follow anyone and she even has men working for her. Movies like this one challenge the idea of Americans as to whom the hero was in a film. Because women in the 1950’s were supposed to be submissive to men, the fight between Vienna and Emma small probably seemed out of place for viewers since at home, they were expected to be the housewife who had dinner ready and the house clean by the time her husband came home.

During the maturity of the women’s movement, Two Mules for Sister Sara was released in 1970. In the 1970’s, women became more involved in politics and affirmative action was gaining popularity as they tried to voice their rights to equal opportunities for education and jobs. As a nun, viewers expect Sara to be conservative and very pure. However, throughout the film, she smokes cigars and drinks Hogan’s whiskey, putting her on the same level as Hogan. Because Hogan is injured at the end of the film, he needs Sara’s help in order to shoot the train, doing it together. And at the end, she finally reveals that’s she’s been lying the whole time, revealing that she’s not a nun.
Both of these films demonstrate how women had a recurring desire to prove to society and even men that they were capable of performing at their level. Consistent with the events at the time, their actions helped demonstrate how times were changing and their influence was just beginning to surface.

DB - Johnny Guitar and Two Mules for Sister Sara

The two western films Johnny Guitar and Two Mules for Sister Sara are very unique in the western genre in their portrayal of the “other”. Typically, the other in a western is defined as anybody who is not the white male cowboy. However, in these films, the roles are not so clearly defined. For example, Sara, the female protagonist in Two Mules for Sister Sara, in many ways behaves as an alpha male cowboy. She isn’t weak like women usually are depicted to be in westerns, coming across as being very independent and willing to get dirty to do what needs to be done. This movie, which was filmed in 1970, came at a time when the civil rights movement and feminism were quite strong, and expresses clearly the way that society’s perception of women and their status had changed and was continuing to evolve. The films also show that perceptions of masculinity and male dominance had shifted as well. For example, in Johnny Guitar, Johnny takes a backseat in the storyline to Vienna. Additionally, despite being what would be considered an alpha male cowboy, Johnny expresses his feelings when he professes his love for Vienna. This is an important point, because typically in western canon we see the alpha male cowboy be relatively emotionless, or at least refrain from expressing his feelings. Instead, he relies mostly on nonverbal communication, such as gestures, grunts, or simple short sentences like “Yeah, right”. During the time period of 1954, society was in the early stages of the civil rights movement, with perspectives on masculinity and femininity, among other things, changing dramatically. It was becoming more acceptable for men to talk about their feelings and be more sensitive, instead of being bred to be tough and to “be a man”. Emma and Vienna, meanwhile, are the real alpha males in this film. They compete throughout for dominance, finally ending in a climactic confrontation that is a fundamental characteristic of the western. The film Johnny Guitar can also be looked at as a commentary on McCarthyism and the red scare. Emma, without any real substantial evidence other than a pervading hatred for Vienna, accuses her and effectively ruins Vienna’s chances of living a happy life where she had lived for many years.

JP "Johnny Guitar" and "Two Mules for Sister Sara"

The alpha male is always highlighted throughout Western films as the leading role. However as portrayed in the two films, Johnny Guitar and Two Mules for Sister Sara, the audience observes “the others” stepping into the spotlight. This role reversal depicts the advances in women and equal rights during the time of production for both of these films individually.

Johnny Guitar was produced in 1954; this is during the era of the Civil Rights Movement. During this time, more people, including women and African-Americans, were standing up and making awareness of everyone deserving equalrights. There are many unusual scenes in this Western film, where the women are holding the leading role, and even portraying similar characteristics of the alpha male cowboy. The audience watches the feud between the characters of Vienna and Emma. The specific scene, where they are in the classic Western gunfight is a prime example of how the film portrays the reality of the world surrounding its production. The tension and energy given off in the country during the era of equal rights, is the exact attitude that was factored into the scene.

Two Mules for Sister Sara was produced in 1970, in a time where the feminist movement was making its way through our country. In this film, there is the alpha male cowboy, Hogan, who rescues a so-called “nun” named Sara, as she's about to be attacked by a trio of rapists. As the film progresses, we find out that Sara is actually a prostitute. She smokes and drinks, has confidence in herself, and shows many similar qualities of the alpha male cowboy. It is times like these and character like Sara, in which we see the true power within women. With the help of cultural studies, Western films effectively expose what is happening in the real world through simple characteristics and actions taken by specific characters.