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.