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.
In the traditional Western film, anyone who is 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.
ReplyDeleteEula 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 typical “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 1960s and 1970s 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.