BE Johnny Guitar/Two Mules for Sister Sara

The alpha-male character in most Western films takes the lead role. His character is defined by his actions while the “other” characters are defined by their limited roles. Contrary to traditional Westerns, Two Mules for Sister Sara (1970) and Johnny Guitar (1954) are two examples where the role of the “others” is as prominent as or more prominent than the alpha-male cowboy.
In Two Mules for Sister Sara, the alpha-male cowboy is overshadowed by the rise of Sara’s character throughout the film. She begins the film as a helpless victim. Her vulnerable stage allows the alpha-male cowboy to play his role and rescue her. From that moment on, Sara gradually embodies more of the alpha character and breaks the mold of the “other” character. Compared to the alpha-male cowboy, Hogan, Sara is almost viewed as an equal. She shows her assertiveness and confidence by scouting the French for the Mexicans, a role “others” and women are rarely given. Sara acting as a male’s equal is directly related to the time period this film was produced. During the 1970s, women’s rights were a major issue. Women were yet another group of individuals trying to reach equality with all other groups of people. Sara’s effort to not only demonstrate male qualities but out strategize men during the Mexican and French fight reflect the equality females sought after in the 1970s. Sara is an example of the female counterpart to the alpha-male.
In the film, Johnny Guitar, two women dominate over the alpha-male role. Western films can be identified by the alpha-male and sometimes the villain he faces. But Johnny Guitar centers around two characters who are neither the alpha-male nor the villain. Vienna is a local saloon owner who openly accepts robbers into her place. She becomes wealthy and in many ways is an accessory to the crimes The Dancin’ Kid commits. She holds an ability to side with the “enemy” which is something uncharacteristic of a women or an “other” in a Western film. Vienna’s willingness to house known robbers in her saloon verifies that men and women can both be good as well as play villainous roles. Emma is a cattle rancher and well respected figure in her community. When the bank robbery affects the town, Emma gathers together other ranchers to hunt down the criminals. This is very similar to the alpha-male cowboy role because her actions not only protect herself but she looks out for her community. Emma is persistent on catching the bank robbers mimicking the McCarthy era in which the film was produced in. Vienna, The Dancin’ Kid and his crew signify Communism, the basis of the McCarthy scrutiny. The battle between Emma and the cattle rancher who opposed the railroad and Vienna and the towns people who supported the railroad reflects the battle between Americans and suspected communists. Both female “other” characters portray powerful leaders comparable to the alpha-male cowboy.