It is believed that the Western film made its debut on the American silver screen with 'The Great Train Robbery' (Edwin S. Porter, 1903). After this pioneering film, subsequent silent films followed, often being low-budget productions with slight variations on standard plots. However, the Western genre eventually became dominant in the U.S., especially after the Second World War. History repeated itself in the subsequent years, notably during the wars that the United States participated in, such as those between 1980 and 2003, post 9/11 and the invasion of Iraq. Westerns served as a form of escapism during the Great Depression and WWII, while also instilling a sense of pride in the American people through the genre's themes of self-reliance.
The silent era (1894-1929) was fundamental in establishing the recognizable characteristics of the Western genre. William S. Hart, considered a pioneer cowboy, appeared in 'The Squaw Man' (Oscar Apfel and Cecil DeMille, 1914). He portrayed the traditional hero of the genre—forthright, well-mannered, honest, and humble. Gilbert M. Anderson portrayed Broncho Billy in 'Broncho Billy and the Greaser' (Broncho Billy Andersen, 1914), as well as in a series of films in the subsequent years. A popular anecdote in Hollywood is that this actor had never ridden a horse before 'The Great Train Robbery.' Unlike the Western movies of that time, this film was shot in a real Western landscape rather than using studio backdrops, and it featured real cowboys. Tom Mix was a prominent figure in many westerns from 1909 to 1935, showcasing polished horsemanship and cleverness in outwitting outlaws.
While other early cowboy stars, such as Buck Jones, Hoot Gibson, Ken Maynard, William Boyd, and Harry Carey, contributed to a romanticized concept of the hero in Westerns, the genre's characteristics are quickly recognized visually: cowboys, guns, horses, and deserts. However, the genre encompasses more than just these elements. The stories are usually set between 1850 and 1900, inspired by the Westward Expansion Trails. This movement involved settlers moving into the American West between 1829 and 1870, driven by the belief in Manifest Destiny—the idea that settlers had a God-given duty and right to claim lands in the western part of North America, whether inhabited or uninhabited. This perspective led to numerous conflicts with Native Americans, who owned the land, often resulting in the genocide of certain tribes.
Westerns unfold in the untamed frontier—an open landscape of mountains, rugged terrain, vast plains, and small towns. They typically feature specific character types, including cowboys, Native American Indians, and damsels in distress. The plot often varies between depicting the challenges of the untamed frontier and themes of law and order. Additionally, the genre employs specific techniques, such as exaggerated sounds, the use of close-ups and widescreen, to enhance its impact.
The films 'The Covered Wagon' (James Cruze, 1923) and 'The Iron Horse' (John Ford, 1924) introduced the epic Western, which featured important stars, larger budgets, and modern production methods. The first epic Western to incorporate spoken dialogue into its soundtrack was 'The Big Trail' (Raoul Walsh, 1930). The peak of the genre's popularity was during the 1940s and 1950s, marked by significant artistic self-expression and a somewhat more rigorous focus on historical realism. Notable examples from this period include 'My Darling Clementine' (John Ford, 1946), 'Red River' (Howard Hawks, 1948), 'Santa Fe Trail' (Michael Curtiz, 1940), 'Virginia City' (Michael Curtiz, 1940), 'Western Union' (Fritz Lang, 1941), 'The Ox-Bow Incident' (William Wellman, 1943), 'Duel in the Sun' (King Vidor, 1946), among others.
In the 1950s, traditional models of the 'good' lawman and 'bad' outlaw were discarded. Instead, protagonists became complex and fallible human beings. The era explored moral ambiguities and dramatic allegories, all while remaining set in the Old West. Examples of this shift include 'The Gunfighter' (Henry King, 1950), 'Winchester '73' (Anthony Mann, 1950), 'The Man from Laramie' (Anthony Mann, 1955), 'High Noon' (Fred Zinnemann, 1952), 'Rancho Notorious' (Fritz Lang, 1952), 'Shane' (George Stevens, 1953), 'Johnny Guitar' (Nicholas Ray, 1954), 'Run of the Arrow' (Samuel Fuller, 1957), 'The Big Country' (William Wyler, 1958), 'Rio Bravo' (Howard Hawks, 1959), among others.
In the 1960s, the Western genre continued to emphasize human psychology and motivation. Additionally, there was a newfound focus on graphically portrayed violence and a shift in sympathy toward the Native Americans, who had previously lacked understanding and appreciation. A younger generation of filmmakers emerged, opposing the Vietnam War and supporting civil rights and women's movements. These changes are evident in films like 'One-Eyed Jacks' (Marlon Brando, 1961), 'The Man Who Shot Liberty Valance' (John Ford, 1962), 'Ride the High Country' (Sam Peckinpah, 1962), 'The Wild Bunch' (Sam Peckinpah, 1969), 'Cheyenne Autumn' (John Ford, 1964), 'Little Big Man' (Arthur Penn, 1970), 'The Magnificient Seven' (John Sturges, 1960), among others.
Starting in the 1970s, the Western genre began to suffer from exhaustion. There were attempts to debunk it, but these efforts ultimately resulted in the erosion of its credibility and relevance. However, notable Westerns still emerged, such as 'Cat Ballou' (Elliot Silverstein, 1965) and 'Butch Cassidy and the Sundance Kid' (George Roy Hill, 1969). By the 1980s, due to the success of 'Star Wars' (George Lucas, 1977) and the rise of space epics, Westerns saw a decline in mass production in the United States. American heroes were now found in action, adventure and superheroes films.
However, it is worth mentioning that due to its popularity in Hollywood, the epicentre of movie culture, the Western genre received worldwide adaptations during the 1960s and 1970s, which proved to be commercially successful. One of its most famous facets is the Spaghetti Western, a low-budget Western genre made in Europe by Italian directors. Two prominent names associated with this subgenre are Sergio Leone and the anti-hero characters portrayed by Clint Eastwood. Examples of these films include 'A Fistful of Dollars' (Sergio Leone, 1964), 'The Good, the Bad and the Ugly' (Sergio Leone, 1966), ‘Once Upon a Time in the West (Sergio Leone, 1968), 'The Outlaw Josey Wales' (Clint Eastwood, 1976), 'Pale Rider' (Clint Eastwood, 1985), and 'Unforgiven' (Clint Eastwood, 1992). Even Bollywood takes with Western Curry, such as 'Khote-Sikkay'(Narendra Bedi, 1974), 'Kaala Sona' (Ravikant Nagaich, 1975), 'Chunaoti' (Satpal,1980), 'Jagir' (Pramod Chakravorty, 1984), 'Wanted: Dead or Alive' (Ambarish Sangal, 1984), 'Sholay' (Ramesh Sippy, 1975), among others.
A lesser-known facet of the genre, but worth mentioning, is the Brazilian Western. It shares visual similarities in its iconography with a touch of Brazilianess, but its storylines differ. Typically, these films are set in the Brazilian northeastern hinterlands, specifically centred around the 'cangaço' phenomenon. This was a banditry movement at the end of the 19th century and the beginning of the 20th century in Brazil's Northeast, the most famous was Lampião. The movement comprised inhabitants from semiarid areas who engaged in various criminal activities, including robbing towns, kidnappings, murders, and rapes. The movement was violently suppressed by the Brazilian government of the time, and on screen, these figures are often portrayed as villains. A pioneer of the genre was 'O Cangaceiro' (Lima Barreto, 1953), which was a box office success. Due to its positive reception, many Brazilian Westerns were made until 1983, with a few exceptions that followed.
It's worth mentioning 'Deus e o Diabo na Terra do Sol' (Glauber Rocha, 1964), which is critically acclaimed as a masterpiece of Brazilian cinema. More recently, the Brazilian Western has taken a contemporary approach with films like 'Bacurau' (Kleber Mendonça Filho, 2019) and the recent Prime Video release 'Cangaço Novo' (2023-). Many directors have leveraged the commercial success of these films to critique issues in Brazil, such as racism in 'Faroeste Caboclo' (René Sampaio, 2013) and socio-economic inequality in 'Auto da Compadecida' (Guel Arraes, 2000). Both films adopt Romeo and Juliet storylines against the barbarities of Brazilian society. Even Glauber Rocha's masterpiece criticizes northeastern issues like hunger, drought, and religious indoctrination. In many of these films, there's a presence of regional xenophobia, with Northeastern people being victims of stereotypes, and women often portrayed as passive voiceless damsels in distress. These portrayals usually vary between the Virgin Mary trope and the femme fatale. However, a recent release indicates a shift in both these aspects. With respect for regionalism in their accents and expressions, bandits are portrayed as the protagonists, and active women are depicted in positions of power. All of them perpetuate the foreigner's preconceived idea that Brazil is a dangerous place.
Beyond that, there are genres that draw inspiration from the Western genre, such as the gangster and mafia genres, as well as films by contemporary directors like Quentin Tarantino, Tommy Lee Jones, Alejandro González Iñárritu, Kristian Levring, and John Maclean. Additionally, there's a modern approach that includes remakes of classics and blends with other genres. The TV series 'Deadwood' (2004-2006) paved the way for new Westerns. A few subsequent examples include 'Yellowstone' (2018-2023), 'Breaking Bad' (2008-2013), 'Hell or High Water' (David Mackenzie, 2016), 'Extreme Prejudice' (Walter Hill, 1987), and 'No Country for Old Men' (Joel & Ethan Coen, 2007), among others.
Looking back and reflecting, the traditional roots of the genre did not age like fine wine at all. Its portrayal of minorities, such as Native American Indians, women, and Blacks, perpetuated numerous stereotypes that continue to persist in the collective consciousness. It is important to highlight that the stories were set in the 19th century, a period during which these groups were often marginalized and invisible as citizens.
Native American Indians were often depicted as primitive figures, usually cast as villains or noble savages. They fell victim to harmful tropes such as the "redface" and "white saviour" portrayals. "Redface" refers to the act of wearing makeup to darken or redden one's skin tone, often accompanied by feathers and warpaint, in an attempt by non-Natives to impersonate Native American Indians. "White savior" is a critical term used to describe a white person portrayed as liberating, rescuing, or uplifting non-white individuals. However, over time, in response to shifts in society, Hollywood has gradually — albeit sometimes reluctantly — begun to represent Native American Indians as fully fleshed-out human beings with distinct personalities, backgrounds, cultures, and complexities. Despite this progress, many of these characters are still not portrayed by actual indigenous actors or directed by individuals from those communities. Examples of films that reflect these changing dynamics include 'Dances with Wolves' (Kevin Costner, 1990), 'Little Big Man' (Arthur Penn, 1970), 'The Last of the Mohicans' (Michael Mann, 1992), 'A Man Called Horse' (Elliot Silverstein, 1970), and 'Broken Arrow' (Delmer Daves, 1950), among others.
Female characters were often relegated and objectified to passive roles as voiceless damsels in distress, serving as rewards for the hero's quest. However, there were exceptions that subverted this pattern, portraying women with more agency and sometimes even in leadership roles as active cowgirls, often following the "badass" trope. This shift can be attributed to changing societal norms. Examples of films that showcase these empowered female characters include 'The Quick and the Dead' (Sam Raimi, 1995), 'Jane Got a Gun' (Gavin O'Connor, 2015), 'Calamity Jane' (David Butler, 1953), 'Bad Girls' (Jonathan Kaplan, 1994), 'Meek’s Cutoff' (Kelly Reichardt, 2010), 'The Ballad of Little Joe' (Maggie Greenwald Mansfield, 1993), 'Cattle Queen of Montana' (Allan Dwan, 1954), 'Forty Guns' (Samuel Fuller, 1957), and 'Annie Get Your Gun' (George Sidney and Busby Berkeley, 1950), among others.
Black characters were frequently overlooked and omitted from many Western films. However, societal changes in the 1960s led to a gradual increase in their presence, albeit often in secondary or peripheral roles. Sometimes, they were even cast for comedic relief. A few examples of this evolving inclusion include Dean Martin and Robert Mitchum in 'Five Card Stud' (Henry Hathaway, 1968) and Sidney Poitier in 'Duel at Diablo' (Ralph Nelson, 1966).
These misrepresentations and underrepresentations stand in stark contrast to the typical protagonist, who is often portrayed as a white, heterosexual, cisgender male. His heroism and journey are depicted through a lens of traditional and toxic masculinity. This portrayal is particularly evident in the main character with aggressive, emotionless and fearless personality traits. It is often emphasized in the classic "cowboy shot," which focuses on the gunslinger's gun or holster positioned at the hip. This camera angle symbolizes power and privileges, can be associated with both the gun and male genitalia. Over time, Western films became tightly intertwined with the concept of masculinity.
However, the concept of masculinity has undergone a redefinition within the genre, driven by ongoing debates in society. Films that serve as examples of this transformation include 'Brokeback Mountain' (Ang Lee, 2005) and 'Cry Macho' (Clint Eastwood, 2021). The former presents a gay love story that pushes the boundaries of the genre by using the symbol of masculinity (the cowboy) while confronting their fear (homosexuality). In this film, the characters grapple with repressed emotions and the association of their sexuality with violence.
The latter, 'Cry Macho,' may have struggled in terms of box office success and storyline, but its significance is underscored by its lead, Clint Eastwood, a Western film veteran. This movie revolutionizes the concept of masculinity by presenting a vulnerable protagonist, Mike Milo. His relationship with Rafo (Eduardo Minett) serves as a message to newer generations, challenging the retrograde masculine notion that one must always project toughness and remain unyielding. Instead, the film highlights the idea that individuals don't need to adhere to rigid ideals of hardness and toughness to navigate life effectively.
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