The Western genre has a typical cast of characters. Generally, it is the alpha male cowboy, the villain and everyone else or ‘the others.’ Quite often, the characters termed as ‘the others’ are generally cast aside and viewed as unimportant. However, in Two Mules for Sister Sara (1970) and Johnny Guitar (1954) the alpha male cowboy is the other while the typical other, in this case the woman, gains some rise to power.
The time leading up to 1970 brought a large amount of empowerment to the people the Western generally terms as the other. Martin Luther King and many other black activists brought about both the civil rights and black power movements. During this same era, many feminists began to speak up, giving life to the second feminist movement. This movement is illustrated clearly in Two Mules for Sister Sara. Sara is nearly fearless and is always in control throughout the movie. She gets Hogan to do almost anything for her. She drinks whiskey like the cowboy, smokes like the cowboy, and even talks like the cowboy. It is no surprise that Hogan must take a back seat to her in this film.
Sara is not the only other showcased in this film. The Mexicans, seemingly prisoners to the French on their own land, also play a key role in the film. The war in Vietnam was ongoing at this time, and the Vietnamese presumably viewed themselves as prisoners to the Americans during this time. General Beltran overrules much of what Hogan says, essentially forcing him into the role of the other. Throughout the film, Hogan is treated more like the other than the alpha male cowboy. He exhibits all of the alpha male characteristics, however the time period when the movie was filmed did not embrace those characteristics like the period before it. The era leading up to the 1970’s was all about empowerment of the other, not oppression.
Similarly, Johnny Guitar takes a stand for the other while the alpha male cowboy is forced into the background. It is Vienna and Emma, two women, who make all the decisions for their respective groups. Emma is clearly representative of Joseph McCarthy and his witch hunt against accused communists that began to be televised in the early 1950’s. In 1953, the United States ended the war in Korea. In 1954 Johnny Guitar was released and Vienna is clearly opposed to violence. She will not even allow Johnny to ride against the posse. This opposition to violence reflects the view of American citizens on edge. No one wants to go into another bloody war, especially since on just ended.
While Vienna and Emma rise to prominence, Johnny, the stereotypical alpha male cowboy, experiences a massive fall from grace. He initially does not carry his guns because he is described by Vienna as “gun crazy.” His inclination to take the law into his own hands is frowned upon by Vienna, who ultimately controls him, and he is not allowed to act according to a moral compass. However, the thing that characterizes Johnny as the other most is his use of language. Throughout the entirety of the film he is professing his love for Vienna and his regret for leaving her in Albuquerque. It is not like a cowboy to utilize language so much. It shows that he is weak. According to Jane Tompkins’ analysis, he is characterized as feminine for his usage of language.
Due to changing views of their respective time periods, Two Mules for Sister Sara and Johnny Guitar feature the alpha male cowboy as the other. The country did not have a need for the strength of the alpha male at the time. Instead, it saw the rise and empowerment of the other. While it still took many years for typical other to gain any significant power, the eras reflected by these two films were an important first step.
The Western genre has a typical cast of characters. Generally, it is the alpha male cowboy, the villain and everyone else or ‘the others.’ Quite often, the characters termed as ‘the others’ are generally cast to the margins and viewed as unimportant. However, in Two Mules for Sister Sara (1970) and Johnny Guitar (1954) the alpha male cowboy is the other while the typical other, in this case the woman, gains some power over them.
ReplyDeleteThe time leading up to 1970 brought a large amount of change to the people the Western generally terms as the other. Martin Luther King and many other black activists brought about both the civil rights and black power movements. During this same era, many feminists began to speak up, giving life to the second feminist movement. This movement is illustrated clearly in Two Mules for Sister Sara. Sara is nearly fearless and is always in control throughout the movie. She gets Hogan to do almost anything for her. Without her brilliant ideas and inside information, the Mexican army cannot overthrow the French garrison. She drinks whiskey like the cowboy, smokes like the cowboy, and even talks like the cowboy. It is no surprise that Hogan must take a back seat to her in this film.
Sara is not the only other showcased in this film. The Mexicans, seemingly prisoners to the French on their own land, also play a key role in the film. The war in Vietnam was ongoing at this time, and the Vietnamese presumably viewed themselves as prisoners to the Americans during this time. General Beltran overrules much of what Hogan says, essentially forcing him into the role of the other. Throughout the film, Hogan is treated more like the other than the alpha male cowboy. He exhibits all of the alpha male characteristics, however the time period when the movie was filmed did not embrace those characteristics like the period before it. The era leading up to the 1970’s was all about empowerment of the other, not oppression.
Similarly, Johnny Guitar takes a stand for the other while the alpha male cowboy is forced into the background. It is Vienna and Emma, two women, who make all the decisions for their respective groups. Emma is clearly representative of Joseph McCarthy and his witch hunt against accused communists that began to be televised in the early 1950’s. In 1953, the United States ended the war in Korea. In 1954 Johnny Guitar was released and Vienna is clearly opposed to violence. She will not even allow Johnny to ride against the posse. This opposition to violence reflects the view of American citizens on edge. No one wants to go into another bloody war, especially since on just ended.
While Vienna and Emma rise to prominence, Johnny, the stereotypical alpha male cowboy, experiences a massive fall from grace. He initially does not carry his guns because he is described by Vienna as “gun crazy.” His inclination to take the law into his own hands is frowned upon by Vienna, who ultimately controls him, and he is not allowed to act according to a moral compass. However, the thing that characterizes Johnny as the other most is his use of language. Throughout the entirety of the film he is professing his love for Vienna and his regret for leaving her in Albuquerque. It is not like a cowboy to utilize language so much. It shows that he is weak. According to Jane Tompkins’ analysis, he is characterized as feminine for his usage of language.
Due to changing views of their respective time periods, Two Mules for Sister Sara and Johnny Guitar feature the alpha male cowboy as the other. The country did not have a need for the strength of the alpha male at the time. Instead, it saw the rise and empowerment of the other. While it still took many years for typical other to gain any significant power, the eras reflected by these two films were an important first step.