The Western E-Book

David Carter

• Herausgeber: Kamera Books
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2010

Beschreibung

From the very beginnings of cinema in America The Western has been a central genre. The hazardous lives of the settlers, their conflict with Native Americans ('the Indians'), the lawless frontier towns, outlaws and cattle rustlers, all found their way into the new medium of film. Folk heroes and heroines, such as Jesse and Frank James, Wild Bill Hickok, Wyatt Earp, Calamity Jane and Annie Oakley, were all eagerly seized on by filmmakers. Writers, from the very popular to the very literary, from Zane Grey to Owen Wister and James Fennimore Cooper, were plundered for storylines. The Western became popular worldwide too because it offered escape, adventure, stunning landscapes and romance; also themes that concerned people everywhere including survival, law and order, defence of family, and dreams of a new and better world. David Carter's book, The Western, starts with an introduction to the real American West and its famous historical figures, and traces the development of the genre from popular literature, through the early silent films, the sound era, the Golden Age of classic Westerns, TV and 'spaghetti westerns', to the self-reflexive and revisionist Westerns of recent decades. This book provides a basic work of reference for all the major directors and noteworthy films of the genre. The great Hollywood directors are all here, such as John Ford, Howard Hawks, Raoul Walsh, Michael Curtiz, Sam Peckinpah and Henry Hathaway, and great stars including John Wayne, James Stewart, Gary Cooper, Barbara Stanwyck, Jane Russell and Clint Eastwood.

Leseprobe

David Carter

THE WESTERN

In memory of my father and mother, Joseph and Elizabeth Carter, who took me to see my first ‘cowboy films’.

ACKNOWLEDGEMENTS

My greatest debt in writing this book is to all the fans I have discussed westerns with over the years, to the major scholars in the field, and to my ever-diligent editor Hannah Patterson.

CONTENTS

Title Page

Dedication

Acknowledgements

1. Introduction

2. The Historical Setting

3. The Western in Literature

4. The Silent Westerns

5. The Golden Age of Westerns: From Heyday to Maturity

6. Revaluations: Some Classic Westerns Reconsidered

7. Other Gems

8. Comic Westerns

9. The Italian Connection

10. The Death and Rebirth of the Western

11. Some Modern Classics

Resources

Copyright

INTRODUCTION

In one sense, ‘The Western’ hardly needs an introduction. In the two decades prior to World War Two, and in the first three after it in particular, most cinemagoers could describe the main characteristics of a western: stories of rugged people in harsh terrains, attempting to settle and civilise the western territories of America; their conflicts with the Native Americans known as Indians; their struggles to establish law and order; wagon trains, stagecoaches and newly built railroads; sheriffs and marshals battling against outlaws; gold rushes and bank robberies; shoot-outs and hangings; buffalo stampedes, cattle drives and rustlers. Nowadays, there are a vast number of academic books and encyclopaedic volumes devoted to the genre, and a book of the present scope cannot and does not attempt to compete with them. Some of the most useful of the more extensive studies are listed in the resources section together with some relevant general works of reference. What this book does aim to provide is a general introduction for the enthusiast or student who wishes to discover more about the range and variety of western films, and also a source of reference for both the recognised classics of the genre and some that have been unjustly neglected or overlooked.

Aside from a chapter devoted to Italian westerns (the so-called ‘spaghetti westerns’), the book’s main focus is the American cinema western. Although a considerable number of westerns have been made outside America, not only in Italy and Spain but also in countries such as Germany and Russia – to date 500 at least – space here does not permit a survey of these. Neither is there scope to explore the close links that have existed between cinema westerns and TV series, but several of the books mentioned in the resources section do provide further information.

The Western does, however, cover the historical background of the American West, and also westerns in literature, which predated and greatly influenced many of the great cinema westerns. Information is also provided on the notable historical events which westerns either alluded to or recreated, usually distorting and romanticising the facts.

Emphasis is placed on the so-called ‘Golden Age’ (from the late 30s to the 70s approximately), when many recognised classic westerns were produced, a choice that reflects the declining popularity of the genre as a whole. Other chapters consider more recent contributions to the genre and modern classic westerns.

Ironically, while the early silent period was the most prolific in terms of the number of films made, with many hundreds being made in many years, most were very short, cheaply made and of little artistic merit. Only the outstanding achievements of this period are examined here. Many low-budget films, known as ‘B’ westerns, were also made during the 1940s and 50s. A brief mention of them is made in chapter 5.

Most westerns do not fit into easy compartments and for any complex and thorough consideration would have to be considered under several headings at least: westerns about revenge, westerns about law and order, feminist westerns, revisionist westerns and so on. One of the most impressive scholarly studies of the western – David Lusted’s ‘The Western’ – manages this feat and it is an excellent and extensive study. However, it requires prior knowledge of a large number of westerns to be appreciated fully. Since many readers will come to the present book knowing maybe a reasonable number of westerns, some of the major directors in the genre, and the most well-known actors, the films in chapter 5, about the ‘Golden Age’, are organised by the director’s name. After a brief biography, the major westerns of each director are listed chronologically, with only the screenplay writers acknowledged each time. Actors, cinematographers, etc are mentioned where relevant in the plot summaries or comments. Other headings such as ‘Music’ are introduced occasionally if they are of particular importance in the film. Some other works which do not fit easily into the lists of major directors but are worthy of attention are included in chapter 7, and organised chronologically with the same range of credits. There are special sections on ‘Comic Westerns’ (chapter 8) and the most well-known ‘spaghetti westerns’ (chapter 9). Chapter 10, entitled ‘The Death and Rebirth of the Western’, provides similar information and comments on some recent westerns. In addition, some recognised classics mentioned in chapters 5 and 10 are accorded more extensive analysis in chapters 6 and 11 respectively.

It must be stressed that many films could fit well into several different chapters. This is especially true of some of the comedy westerns in chapter 8. The easiest way to find entries on particular films is therefore to refer to its title or director’s name in the Index.

Finally, one matter should be clarified concerning the issue of political correctness. Throughout the book I have quite deliberately used the term ‘Indians’ for the peoples who are nowadays referred to as ‘Native Americans’. This is because it was the term commonly used in the nineteenth century and in virtually all the westerns in which they appear. It would be pedantic and historically unjustified to use the more recent terminology. The reader should therefore assume that whenever the term ‘Indian/s’ occurs, the concept of ‘Native American’ is implied.

THE HISTORICAL SETTING

THE WEST

The concept of ‘The West’ is a very loosely defined term, both geographically and historically, when applied to those parts of America associated with the literary and film genre of ‘The Western’. Apart from the eastern seaboard, almost every part of the United States had been referred to as ‘The West’ at some stage in the country’s history. Nowadays most people take it to refer to the area of the Great Plains and the Southwest in general, but officially the federal government defines ‘The West’ as including the following states: Alaska, Arizona, California, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington and Wyoming. ‘The West’ referred to in popular imagination, in literature and film consists usually of those areas associated with the final frontiers of American settlement, incorporating specifically the plains, mountains and deserts to the west of the Mississippi River. This is the area associated commonly with cowboys, Indians, covered wagons and outlaws. But cowboys and cattle driving were also common in several non-western states, such as Nebraska and Kansas.

Most of this western area became part of the United States through the Louisiana Purchase in 1803, though the Southwest remained a Mexican possession until 1848. The Pacific Northwest was opened up for settlement via the Oregon Trail, which was established by the Lewis and Clark Expedition of 1804–06. Crucial in increasing migration to the West Coast was the discovery of gold in California in 1848. This led to the admission of California into the Union in 1850, only two years after it had been ceded from Mexico.

The Great Plains remained only sparsely populated for many decades, thought of as inhospitable desert land, with little water, and hostile Indian tribes. By and large, they were not opened up to white settlement until after the Civil War of 1861–65, when the Plains Indians were gradually conquered and eventually deprived of most of their lands by the settlers and through the agency of the US Cavalry. The conflicts between the white pioneers and the Indian tribes in these areas formed one of the basic themes in the western genre. Another central theme became the conflicts between the Indians and the cowboys, hired by ranchers to drive cattle across many hundreds of miles to railheads where the animals could be transported east to the markets. With the development of cattle-farming and mining communities also came the growth of towns, many of them with rather unruly lifestyles. Imposing some system of law and order became a major concern in many such places, and another major theme in many westerns, with the figures of the town sheriff, his posse of honest men, and US marshals featuring prominently.

By circa 1870 only a few parts of the Great Plains could be truly described as unsettled. And by the late 1880s, as the great cattle ranges declined in importance, large areas were fenced off into family farms. And with this, together with the settlement of the Oklahoma Indian Territory, the last period of large-scale westward migration came to an end. By the early 1890s no real western frontier existed anymore.

THE REPUBLIC OF TEXAS AND THE ALAMO

Texas played a special role in the history of the American West and made its own unique contributions to the mythology of the western. Following the coup in Mexico in 1833, when Antonio Lopez de Santa Anna took over the presidency, many Texans supported him in the hope that this would strengthen their own chances of gaining freedom from restrictive government control. Santa Anna, however, considered the Texans to be fermenting insurrection. It came to outright conflict when the Texans first set up their own provisional government in 1835, and then in 1836 declared independence. David G Burnett became the new interim president of the Republic of Texas and Sam Houston its military commander. It was not simply a conflict between Anglo-American settlers and Mexican soldiers. Many of the revolutionaries were themselves Mexicans, who supported the same goal as the white Texans: freedom from tyranny.

One famous event during the ten-year life of the republic was to find many literary and cinematic treatments: the siege of the Alamo. The siege of the Alamo, a group of former Franciscan chapel buildings in San Antonio, lasted from February 23 to March 6, 1836. The aim of the confrontation between the Texan settlers in the fort and the attacking Mexican forces was to keep off the Mexican troops long enough to enable the Texans to organise themselves militarily. The climax of the siege involved a massive attack by the Mexicans, resulting in all the defenders, apart from a few women and children, being killed, including two men who were to become legendary: Jim Bowie and Davy Crockett. The Texans secured victory over the Mexicans on April 21, however, when Sam Houston led a surprise attack on the Mexicans at the San Jacinto River, where he also managed to capture their leader Santa Anna. The Alamo, which has been restored as a historic site, has become an important symbol of Texan identity.

During the ten-year life of the republic there were frequent raids by Mexicans and also Indians. To combat these incursions a mobile, armed force was founded which also became a stock western theme: the Texas Rangers.

THE CIVIL WAR

The American Civil War (1861–65) was between the federal government of the United States and eleven southern states who wanted to secede from the Union. The states in question were South Carolina, North Carolina, Florida, Alabama, Louisiana, Virginia, Arkansas, Mississippi, Tennessee, Texas and Georgia. Apart from issues of trade and tariffs, the primary concerns were the states’ own rights and the question of slavery. The northern states mainly depended on the manufacturing industries and small farms, while the southern economy was mainly dependent on slave labour on the large cotton plantations. By the 1850s many northerners were demanding the abolition of slavery, and the southern states threatened to secede to protect their social and economic structure. With the election of Abraham Lincoln to the presidency as the candidate of the Republican Party, which was strongly against slavery, the southern states carried out their threat to secede.

After several years of conflict Lincoln gave supreme command of the army to General Ulysses S Grant, in March 1864. By March 1885, the southern army under General Robert E Lee was in a desperate situation: low on supplies, with countless casualties, having lost many troops through desertion. Lee surrendered on April 3 and by the end of the month the war was over. The victory by the North ensured the preservation of the Union and brought about the abolition of slavery, granting citizenship to the freed slaves.

NATIVE AMERICANS

THE PLAINS INDIANS

When people think of the Indians of North America it is usually those of the Great Plains. They occupied an extensive area between the Mississippi River and the Rocky Mountains, including parts of Canada as well as the United States. It consists predominantly of broad grasslands stretching from Saskatchewan, Alberta and Manitoba in the north to the border of Texas along the Rio Grande in the south. All the tribes in this area were mainly hunters of wild game, especially buffalo, which provided not only their main source of food but also materials for shelter, clothing and various tools. The most well-known of the tribes, or nations, mainly due to their prominence in the western genre, are the Sioux (also known as the Dakota), the Cheyenne, and the Pawnee. Other well-known names are the Cree, the Blackfoot, the Crow, and the Arapaho. As well as having their own distinctive languages, the Indians also used a standardised sign language for communication between tribes speaking different languages. It involved a system of fixed hand and finger positions symbolising ideas. These feature in some western films, though often in crude form.

THE SOUTHWEST INDIANS

The other major area of Native American habitation is that within, and bordering, Arizona and New Mexico. It is a very dry and climatically unstable region between the Rocky Mountains and the Sierra Madre in Mexico. The Indian tribes living in this area had to adopt lifestyles which enabled them to cope with often unfavourable geographical conditions. They became extremely diversified culturally and linguistically, but can be identified in roughly four groups: the Yuman tribes constituting the first, the Pima and the Papago the second, the more widely known Pueblo Indians (meaning ‘Village-dwelling’ Indians) making up the third group, and probably the most famous, the Navajo and Apache, the fourth.

NOTABLE HISTORICAL EVENTS

The Battle of the Little Bighorn

The Second Treaty of Fort Laramie, in 1868, guaranteed to the Eastern Sioux (Dakota) and Northern Cheyenne Indians exclusive possession of the Dakota territory west of the Missouri River, but white miners in search of gold started settling on land which the Indians regarded as sacred. The US government was unwilling to remove the settlers and could not persuade the Indians to sell the territory. When the Indians started attacking the settlers in the territory, the government felt that this released them from the obligations of the treaty and ordered them to return to their reservations, otherwise appropriate action would be taken. In June 1876, the government sent in troops under the command of Brigadeer General Alfred H Terry to drive the Indians from the territory. It was planned to trap the Indians between two groups of government troops, one led by Terry, the other by Lieutenant Colonel George A Custer with the 7th Cavalry. Custer abandoned the agreed plan and pursued a strategy of his own. A large force of Indians eventually managed to attack Custer and his men, leaving more than 200 dead including Custer. This event so stunned the white Americans that large numbers of forces were sent in to force the Indians into a final surrender. This battle, which took place near the Little Bighorn River, has also become known as ‘Custer’s Last Stand’. It has been much discussed and analysed, and featured in many a western film, for example The Great Sioux Massacre (1965), directed by Sydney Salkow, and Custer of the West (1967), directed by Robert Siodmak.

The Battle of Wounded Knee

In the late 1880s the Teton Sioux Indians decided to follow the advice of one of their prophets, who promised that white men would leave their country and they would regain their herds of buffalo if they performed certain traditional rites and dances, known as the Ghost Dance. The American federal army became anxious about this activity and suppressed it. The famous Indian leader Chief Sitting Bull was killed while being arrested. Several hundred Sioux then left the reservation and gathered around another leader, Chief Big Foot. As they had left their reservation the American military regarded them as hostile. The Indians were surrounded and they surrendered without conflict at their encampment near the hamlet and creek known as Wounded Knee on the Pine Ridge Indian Reservation in southwest South Dakota. Unfortunately an incident involving violence led to a massacre. One young Indian was reluctant to give up his new rifle and in the ensuing scuffle a soldier was shot. The soldiers panicked and fired at the Indians from close range with their machine guns. The Indians only had their clubs and knives to defend themselves. Though many of the Indians attempted to escape they were hunted down and killed. It is not known exactly how many Indians were killed as the Indians later removed some of their dead, but 144 Indians, including 44 women and 16 children, were eventually buried in a mass grave. 30 American soldiers died.

The event and the site at Wounded Knee became a symbol for Native American identity and nationhood. On February 27, 1973, about 200 members of the American Indian Movement took the hamlet of Wounded Knee by force and declared it the ‘Independent Oglala Sioux Nation’. They vowed that they would stay there until the US government met their aim of agreeing to a general review of Indian grievances in general. The Indians were surrounded by federal marshals and a siege ensued involving the deaths of two Indians and the serious wounding of one marshal. Finally the Indians surrendered when the government agreed to set up negotiations to address their grievances.

The Johnson County War

In April 1892 a range war took place in Johnson County, Wyoming, around which many legends and myths have grown up. Numerous stories, novels and films have used events of this war or the general setting of this war as the background for fictional events. Johnson County was not the only scene of such conflicts, but it is the one most remembered. In fact conflicts about the ownership of land became especially prevalent in the late 1800s and early 1900s. It had been common practice to allow free grazing on most of the land or open range in Wyoming. Cattle rustling became widespread, often through surreptitious branding of cattle on the open range. The owners of large ranches often resorted to violence to defend their cattle, and organised themselves into associations to monopolise large areas of land and prevent any new settlers in the area. The conflicts became acute after the poor winter of 1887–88, when many cattle were lost, and the powerful landowners employed gunmen to kill alleged rustlers, though often innocent people died as a result and illegal lynchings were common. It came to an all-out local war when one of the major organisations of landowners, the WSGA (the Wyoming Stock Growers Association), hired a number of gunmen from Texas, who organised a group of 50 men to eliminate the rustlers once and for all and destroy an organised group of farmers with small holdings who had banded together under the name of the Northern Wyoming Farmers and Stock Growers Association (NWFSGA). It was these events that have provided the background to many films about range wars, cattle rustling and illegal lynchings, most notably Shane (1953) and Heaven’s Gate (1980).

THE WESTERN IN LITERATURE

Literary treatments of themes and events related to settlement of the western territories, albeit in crude and sensationalist forms, date back to the early exploits of the pioneers before the Civil War. The lives of trappers, buffalo hunters and scouts proved to be endlessly fascinating to those living in more secure circumstances in the East. The earliest works of this genre of undoubted artistic worth are those of James Fennimore Cooper, notably The Pioneers (1823), The Last of theMohicans (1826) and The Prairie (1827), but these works were not really typical of the many more popular narratives which were to follow. The most famous of them, The Last of the Mohicans, reflects the conflicts of the British colonial forces with Native Americans, whereas the vast majority of westerns are set clearly in independent America. An early populariser of western stories wrote under the pseudonym Ned Buntline (EZC Judson) and produced large numbers of cheap yarns, gaining himself the nickname ‘father of the dime novel’. He also became renowned for turning the real-life Buffalo Bill into a figure of mythic proportions.

The first novel with the classic Western characteristics and settings to gain true critical acclaim was The Virginian (1902) by Owen Wister. Wister actually visited the West, where he gained his inspiration for the work, while recuperating from an illness. Two men who worked as cowboys wrote popular books based on their experiences: Andy Adams used his own experience as the basis of Log of a Cowboy (1903) and Eugene Manlove Rhodes, who had been both cowboy and scout, wrote Bransford in Arcadia (1914), which was reprinted in 1917 as Bransfordof Rainbow Range.

Many writers of novels also produced short stories in the western genre. Stephen Crane wrote a memorable comic western story called The Bride Comes to Yellow Sky (1898) and AH Lewis (circa 1858–1914), who was a former cowboy, wrote a series of purportedly true stories told by a character called the ‘Old Cattleman’. Other notable western writers were WM Raine (1871–1954), who wrote more than 80 western novels, Conrad Richter (1890–1968) and Ernest Haycox (1899–1950). Hamlin Gareland’s Son of the Middle Border (1917) and OE Rölvaag’s Giants in the Earth (1927) were also popular. Emerson Hough’s Covered Wagon (1922) was the basis of a very influential silent film with the same title made in the following year. One woman writer, BM Bower (1871–1940), wrote so convincingly that she was believed by many to be a man. Two of the most prolific and most popular western writers, who have retained a following to the present day, are Louis L’Amour and Zane Grey, whose most famous work is Riders ofthe Purple Sage (1912).

Some mention should be made of the German writer Karl May who popularised the genre in Europe with tales about North American Indians. His stories first appeared in the early 1890s, and altogether he produced more than 60 works. His most famous characters were ‘Old Shatterhand’ and ‘Winnetou’. As late as the 1960s and 1970s his novels and their film adaptations still had a strong following in Germany.

Western novels of undoubted literary merit are The Ox-Bow Incident (1940), about a lynching in Nevada, by Walter van Tilburg Clark, The BigSky (1947), about frontier life back in the 1840s, by AB Guthrie, and Shane (1949) by Jack Schaefer, all of which were turned into successful films. Another well-known work by Guthrie is The Way West (1949). The novel Lonesome Dove (1985), by Larry McMurtry, is also worthy of note.

The peak of interest in western novels was undoubtedly in the 1950s and the early 1960s, when there were also a large number of television western series. Ray Hogan, Luke Short, Lash La Rue and Louis L’Amour were in their heyday at that time. Since the 1970s and 1980s, apart from the works of a few cult authors, such as Louis L’Amour and George G Gilman, the western can no longer be said to be a popular genre, though Cormac McCarthy, author of All the Pretty Horses (made into a film directed by Billy Bob Thornton and released in 2000), is acquiring a dedicated following.

THE SILENT WESTERNS

Hundreds upon hundreds of silent films in the western genre were made, most of which have been lost to posterity. Certain directors and actors, however, stand out for their achievements and influence on the future course of the genre.

Most studies of the western film are agreed about the first major film of the genre, but to be historically accurate it must be noted that there is a record of at least one very short western before the end of the nineteenth century: Cripple Creek Barroom (1898). The first truly commercial success was The Great Train Robbery (1903), directed by Edwin S Porter, which was followed by a direct remake the following year by another company and a wave of close imitations. The production company for the original film, Edison, finally made a parody of its own film, The Little Train Robbery, in 1905. In 1906 another Edison western, A Race for Millions, included a street gunfight, which would become a cliché of the genre.

One of the most well-known and influential directors of the silent era, DW Griffith, also made a series of successful westerns in the period before the First World War. Among the many a few are worthy of note. In 1911 appeared his Fighting Blood, set in the period after the Civil War and starring Lionel Barrymore, and in the same year The Last Drop ofWater. 1912 saw the release of Goddess of Sagebrush Gulch, set in a California mining town. In the same year he made The Massacre (released in 1914), based on the Battle of the Little Bighorn, and in 1913 Scarlet Days. In 1914 there followed Battle at Elderbush Gulch, featuring Lionel Barrymore once again and Lillian Gish. After this Griffith made no more westerns.

Producers soon discovered that audiences were attracted by star heroes, and the first of the kind was GM Anderson, who established the character of Broncho Billy, a Robin Hood figure who was basically good at heart. Very few of his 500-odd short films have survived. Two other significant stars of silent westerns were William S Hart and Tom Mix.

The advent of sound in the late 1920s was a major challenge to the western genre, because at first sound films had to be made in special studios, and the western had come to rely on many outdoor sequences involving chases and gunfights. Directors initially reduced the number of such sequences until they discovered ways to record natural outdoor soundtracks.

SILENT WESTERN STARS

‘BRONCHO BILLY’ (GM ANDERSON)

Before he became famous as a director and actor, GM Anderson worked more on the business side of film production. His first highly successful film as an actor was The Bandit Makes Good (1907). He claimed that he only played the lead of ‘Broncho Billy’ because he could not find any other suitable actor to play the part. Anderson did not regard this as part of the subsequent ‘Broncho Billy’ series, however, the first of which he claimed was Broncho Billy and the Baby (1908), about an outlaw who relinquishes his freedom to help a lost child. As ‘Broncho Billy’, Anderson starred in 100s of short westerns, making more than 375 of them between 1908 and 1915, some with rather unlikely titles, such as Broncho Billy’s Christmas Dinner (1911), and Broncho Billy’s Bible (1914). In 1957 he was awarded an Oscar® for his contribution to the development of entertainment films.

WILLIAM S HART

The notion of the bad man with a heart of gold may have been introduced into the western film by GM Anderson, but William S Hart developed it more fully in his screen persona over more than 50 westerns. After working for some time as a stage actor he first appeared in a feature film in 1914 as the outlaw in The Bargain, directed by Reginald Barker. The outlaw is injured while robbing a stagecoach and looked after by a rancher’s daughter, with whom he falls in love. Both this and On the Night Stage (1915) became very popular. Other notable films by Hart are The Disciple (1915) and The Narrow Trail (1917). Many of the films he co-directed. His own favourite was The Aryan (1915) in which a gold prospector (Hart) is relieved of his riches by members of a small township. He is consumed by thoughts of revenge and kidnaps one of the women in the town. It seems he has lost all ability to sympathise with the plights of others until he develops some affection for a young girl. Hell’s Hinges (1916), in which a gunman (Hart) is hired by a gambler to stop the local priest’s efforts at reform, but the gunman is captivated by the priest’s sister and turns to reading the Bible, is another of his films which is greatly admired.

In 1923 he appeared in a worthy version of the exploits of a famous historical figure: Wild Bill Hickok, directed by Clifford S Smith. Hickok (Hart) arrives in Dodge City where he divides his time between gambling and helping maintain some semblance of law and order. The main focus of the action is his pursuit of an escaped outlaw, whom he eventually guns down. He decides to leave town, however, when he discovers he is falling in love with a married woman. The film is fairly faithful to historical reality, and includes a reference to the fact that Hickok was slowly going blind. Hart’s last film, Tumbleweeds (1925), has been greatly admired for its cinematography (Joseph H August) and Hart’s own performance. Here he plays a ranch owner who, together with the woman he loves, plan to stake a claim to land when it is made available to settlers in the Oklahoma Territory.

TOM MIX

Tom Mix was certainly the most popular star in silent westerns, though his style was very different to that of William S Hart. Mix went in for rather flashy costumes and preferred a romantic, escapist view of the West. Whereas Hart had his roots in the theatre, Mix was basically a showman, proud of his skills as a horseman and frequently appearing in rodeos. His first role was in Ranch Life in the Great Southwest (1910), and he appeared in several films until he joined the Fox company in 1917, when his career as a charismatic cowboy took off. The first film to make him truly famous was The Untamed (1920). In Just Tony (1922) he plays a cowboy seeking revenge against a man who shot him. Without realising it he falls in love with the man’s daughter. In the course of the action he finds a horse, called Tony, who stays with him as his faithful companion through subsequent films. Other Mix films that were particularly popular were The Lone Star Ranger (1923), Riders of the PurpleSage (1925), based on the 1912 story by Zane Grey, and The Great K &A Train Robbery (1926). In the latter film Mix saves a girl from an accident, and she turns out to be the daughter of the president of the K & A Railroad. He discovers that the male secretary of the company, who is also interested in the president’s daughter, is selling company secrets to bandits planning to rob the company. Needless to say the film culminates with Mix routing the bandits.

Mix continued to have some success in the sound era, and in 1932 he appeared in one of three famous versions of a novel by Max Brand, Destry Rides Again. It does not follow the book closely, but was very popular with audiences. He died in a car accident in 1940.

SILENT WESTERN CLASSICS

The Great Train Robbery (1903)

B&W. 12 mins.

Directed by: Edwin S Porter

Written by: Edwin S Porter

Plot: Four masked men force a telegraph operator at a station to send a message which will cause a train to make an unscheduled stop. They attack the train and rob the mail van. One of the passengers is killed while trying to escape. A message gets through to the sheriff who rounds up a posse and pursues the bandits, resulting in a shootout.

Comments: Maintaining a strong narrative line throughout, one famous shot, included variously at the start or the end of the film, shows a bandit firing directly at the camera, thus engaging the audience emotionally in the action.

Fighting Blood (1911)

B&W. 18 mins.

Directed by: DW Griffith