Unforgiven AM

The new age western actor Clint Eastwood is the focal point of the new western in Unforgiven. Since the rise of Eastwood, he has been known as a revisionist- constantly questioning and attempting to change the current policies. In the original aspect of the alpha-male cowboy, we see a strong man that runs his life and rules the west by his gun. The alpha male constantly looked to his gun to solve problems, or to get individuals to perform as he wanted them to-- in an ethical manner. In Unforgiven the opposite is seen; the chara cters come to a realization that violence may be a short term answer, but does not solve the problem in the long run: the gun becomes a tool of personal agenda. When Deliah was cut in the brothel, all the women wanted to avenge this incident for this horrific act. We see that after their vengeful acts are completed, they still feel empty and unfulfilled.

In this film we also see Morgan Freeman playing the African American other. This revisionist film constantly questions what the other should be. Freeman is a skilled marksman, but cannot bring himself to shoot the outlaw in this film. This is the first negro that is seen with a gun and is a progression from the older westerns. In previous films such as The Searchers or even Two Mules For Sister Sara we see the other not having any trouble shooting the enemy or wielding a gun. The female character in Two Mules For Sister Sara is even able to kill when it is necessary. This is the first film where we see an African American with a gun, and also the first of the revisionist films that we see the other having an issue wielding a gun.

The film also resembles the Spaghetti Westerns, where the biggest theme is violence. The idea of the Spaghetti Westerns was Europe’s opinion of the United States put on the big screen. All they thought of the west was that it was a very angry place plagued by violence. This film, at the end, introduces a new idea. The idea is that maybe we don’t need to shoot everyone that we disagree with. It begins to question the whole plot of the movie and whether or not the characters accomplished everything they thought they would via the gun and violence.

Unforgiven - SJC

Produced in 1992 Unforgiven is a revisionist film that re-examines the western sidekick and the role of the alpha-male cowboy. This western film breaks the trend of the standard alpha-male cowboy when Clint Eastwood is shown as a more flawed and vulnerable man than cowboys, like John Wayne. Clint Eastwood plays Bill Money, who upon returning to his life of murdering and drinking becomes affected by the environment and catches the flu, which then allows him to be beaten by the hard sheriff Bill Daggett. To have an alpha-male cowboy affected by the environment is to have a cowboy who is not master of the land, this is not the standard alpha-male cowboy seen in the 1950’s and 60’s. Bill is also less honorable than normal alpha-male cowboys as he shoots the shore owner who owns no gun. Alpha-male cowboys always do what is right, they tend to follow a moral code; however, this film’s alpha-male cowboy followed no such code and even pointed out to the sheriff when he was killing him that “it’s not about what you deserve”. This means that while a character may be the better man or even the righteous one that does not determine whether they live or die. The Unforgiven was also full of moral grey’s, the actions of the antagonist Bill Daggett and the murder Bill Money commits put both men in question of their morality. To the audience Both Bills are morally questionable and flawed but in different ways, there is not clear righteous person in this film. To see an alpha-male cowboy whose morality is questionable is a part of the revisionist westerns. Changing what it means to be a cowboy and also who is respected.

Another feature of this revisionist film is the addition of an African American sidekick who fits the role of alpha-male cowboy better than the white man. Ned, played by Morgan Freeman, refuses to kill those kids for money, and is unaffected by the harsh environment. Ned, being an African American shows the ideals of the new American culture in that people of all races are respected and considered equals, while Ned does not survive or even win the day, his is shown as the true alpha-male cowboy of the film with this morally right actions, his loyalty to his friends and the refusal to give into the enemy.

Unforgiven- KPower

Unforgiven is an excellent example of a revisionist film. Revisionist films breaks away from the usual mold of pre-existing ideas. William Munny (Clint Eastwood) is extremely different from that of the typical alpha males in classic westerns. He was previously a killer (he states that he has killed everything that walked on the earth at one time or another), a thief, an alcoholic and a cold- blooded man. His wife changed him, he believed for the better. She got him to stop killing, stealing and drinking. He became a pig farmer, until The Schofield Kid got him to take up the gun again to earn some money. His partner, Ned Logan (Morgan Freeman) plays a large role in the film. He and Munny used to kill together, but he has troubling killing men again. When he is killed by Little Bill Daggett, Munny loses his control. This shows the close relationship that the two men had. Munny begins drinking again, goes into the town and kills Little Bill and 5 other men because they had put Ned’s body in front of the saloon as a warning to assassins. As he leaves the town, his last demand is that they bury Ned properly.

Gunfight at the OK Corral- KPower

In the film Gunfight at the OK Corral, Wyatt Earp and Doc Holiday repeatedly pair up to save towns from ruffians and outlaws. Both men, one a marshal (Earp) and the other a gambler and criminal (Holiday) both fit into the category of alpha male, especially since neither one plays the role of sidekick to the other. Wyatt Earp has a reputation of being a very good marshal, who liked things to be peaceful and uneventful. Doc Holiday was previously a dentist, but became a gambler and is known as a killer. However, it is stated early on that he does not search for trouble; it just seems to find him. Both men act according to their own moral compass, Wyatt when he runs the town as marshal, and Holiday when he kills people. Both men have love interests that they leave behind. Wyatt has the intention of marrying Laura Denbow , although it is never shown in the film. Days before the wedding, Wyatt leaves to help is brother fight a family of criminals. Holiday and Jo Van Fleet have an on- again- off- again relationship. She repeatedly leaves him for the criminal Johnny Ringo. Holiday and Jo do end the film together, though this is also not shown. Both men have the qualities to be the alpha male; they act more like equal partners than alpha male and sidekick. Holiday and Wyatt both state during the film that they are the only friend that they have.

Unforgiven - KF

Unforgiven is without question a revisionist western. Many roles have been altered or redefined in this film. Most notably, the alpha male cowboy is cold and merciless. Both Ned and the Shofield kid show that they have a stronger sense of morality and justice. Ned in a traditional western would be considered the "other", and not really contribute to the story. In Unforgiven, Ned decides not to kill for money and to die for his friends; these are two scenarios that would never occur in a traditional western. On top of that, the sidekick, the Shofield kid, despite his tough talk, shows remorse and regret for his actions and acknowledges that they were wrong. The only one lacking a sense of morality, is the person who really should be the alpha male cowboy. At the end of the film not only does Will kill bad guys, he kills defenseless bystanders as they ran in terror. Granted, they might not have been the best people at heart, but they certainly didn't deserve to be slaughtered in that fashion. These events all unfold, at the hands of women. They were the ones who put the entire plan into motion, which is certainly not common in a traditional western. In Unforgiven, the entire hierarchy of westerns were turned upside down and became nearly unrecognizeble.

Unforgiven Ashley

Revisionist films are unique in the fact that they question previously, commonly held beliefs in society. In 1992, when the film was made, the second wave feminist movement was over. Women were considered equal to men; and in fact, other races were gaining respect. Unforgiven has revisionist undertones in respect to women, in the reluctant hero, in emotions, and in the sidekick. William Munny was a cold blooded killer and outlaw. He gave all that up and became a sober, family man when he married his wife. He often talked about how she changed him for the better. Only a strong women who reflected ideas of American Society could have made a cow boy change his ways. Other strong women in the film include the prostitutes. They have the daringness to throw poop at the cowboys riding into town. The importance of family, power of women and power of Munny’s wife to so drastically change him show the revisionist ideas in this western. Years after his wife’s death, the Shofield Kid asks for Munny’s help to kill a couple of cowboys who cut up a prostitute. He is reluctant to kill again but desperately needs the money for his family. When he does kill one of the wanted men, he feels bad about it. A cowboy in previous westerns is not as reluctant to kill. His initial reluctance to kill is a revisionist idea. Munny is also more open to his feelings. He talks to his partner Ned Logan about how he feels and what he would have done had his wife had been alive. Their openness is hardly seen in other westerns. Also, his emotions of love and consideration are shown in his treatment of his family and the treatment of the prostitutes. The sense of emotion is a revisionist idea that many westerns lacked at a previous time. Lastly, Ned Logan is a black man who is treated as a complete equal and Munny cares for him so much so that he avenges his death in the later part of the movie. Unforgiven truly breaks old ideas of masculinity and introversion and evolves the western film making it a accurate representation of society.

Unforgiven CJ N

Unforgiven is everything the revisionist film defines. It breaks the traditional mold of the Western in every sense, from the role of the African American to the harsh realism portrayed through its violence. There is no longer a clearly defined and singular alpha male, nor a romantic twist to the commonplace shootouts and deaths. Instead, the violence is brutally real and Munny is morally ambiguous; he does not live by his moral compass. While his aim is initially to avenge a disfigured prostitute, he is doing so for the money and eventually reverts back to his former, despicable self. He continuously commits cold blooded murder and blurs the line between the alpha male, villain, and anti-hero. Add this to the fact that an African American cowboy is in the lead role as a partner, not a lower, subservient position, and we no longer have a traditional Western. This movie, released in 1992, is a reflection of the change society has experienced since the time of the traditional Western.

Unforgiven-C. Phelps

Unforgiven opens the door to "the other" and changes the view of an alpha male. It is a true revisionist western. In past western films, an African-American would be cast as a sidekick (servant). In Unforgiven, Ned, played by Morgan Freeman, is a main character. He owns his own house, has a family and is seen as an equal among all other characters. The alpha male, William Munny, considers him a partner. Unforgiven also casts an English immigrant in a somewhat bright light. English Bob is viewed as a gun slinging hero at the beginning of the movie. People show him respect. In the past, an immigrant is usually viewed as a fool or an outsider. This film incorporates "the other" in a more substantial role.
William Munny is very different from the traditional alpha male. He has a family. He is uncomfortable in the wilderness, as can be seen in the camping scene with Ned and The Schofield Kid. He says, "I miss my bed". William is also scared to die. After coming down with a fever, and being beaten by Little Bill, he makes it very clear he is scared and does not want to die. He is also a poor shooter and horrible rider. These are unusual traits for the alpha male cowboy. Unforgiven revises the way people have embraced the traditional alpha male. In the end, he is a murderous psychopath and it is evident he is not a model for the male population in 1992.

Unforgiven - Matt C

The movie Unforgiven, directed by Clint Eastwood himself, is a throwback into the western film genre being a revionist film. Eastwood, who also stars in the movie, plays a retired cowboy, William Munny, along with his partner Ned Logan, played by Morgan Freeman. Both man are strong, retired alpha male cowboys which bring an element into the genre not seen from before. Yet what really makes this movie a revionist picture is Morgan Freeman's character because he is one of the few African American cowboys. In The Man Who Shot Liberty Valance, Pompey was an African American but he was only a sidekick to Tom, although he showed just how far black people in American had risen from at the time. Eqully, Ned Logan represents the same thing as Pompey did back in the 1960's because in 1992, when this film was made, African Americans had come along even farther than they were in the 1960's and 70's. To show that, Logan was made an alpha male cowboy unlike the sidekick Pompey was. But Logan is not without fault as many African American's during the 1990's. There is a scene in the film where Logan is shot and refuses to shoot back giving the gun to his partner Munny instead who makes the kill. Now this could be symbolic of all the terrible things that fell on black people since the civil rights movement passed. Logan being shot is a metaphor for blacks in America being discriminated against and hate crimes. By not shooting back Logan lets other people handle the situation which is what the law against discrimination is for.

Clint Eastwood is in a similar boat to Logan in that he is not the typical cowboy that one would expect from a Western film. Instead, when we first see him, Munny is a farmer who doesn't drink and indulge in women anymore; a rather common man one might expect from a western town. He has lost most of his qualities that made him the infamous alpha male cowboy that he once was; but eventually it all comes back to him and in some cases is even scarier. Munny is more fierce this time and goes farther on after he shoots Little Bill to threaten to kill the family of anyone who says a word of it. This is a much darker and crueller cowboy than we are accustomed too in the western and that is a reflection on the current conditions of the country. Society was much more accepting of violence and supported more and more of it as time went on and this film does a good job of embodying the harsh world people now lived in.

Unforgiven-Chris Jones

The film Unforgiven is clearly a revisionist Western almost from the first time we see Clint Eastwood on his farm. In classic Westerns our alpha male cowboy never had a family and certainly would not have been a single father. It is shown almost instantly that Eastwoods skills are rusty as well, and that he can barely even get on his horse. These types of faults are not the type we see in a classic alpha male cowboy, but instead those we had usually seen shown by the "others". The next shocking point of the film we see is that Morgan Freeman's character is on equal footing with Eastwood's. This introduction of an African American as a main character in a western should instantly point out that Unforgiven is a revisionist Western because African Americans were never main characters in classic Westerns. The third point that was different from a classic Western was that the Scofield Kid was severely near sighted and couldn't see a target more than 50 feet away. This further cements that idea that there is no real alpha male cowboy in Unforgiven because each possible candidate has something that would not have fit at all within the mold of the original alpha male cowboy archetype.

Unforgiven - Miller

A revisionist western film is a film that goes against the common beliefs of western films, in this way, Unforgiven is truly a revisionist western film. Unforgiven (1992), directed by Clint Eastwood, is a movie about two very unusual alpha male cowboys William Munny, played by Clint Eastwood, and Ned Logan, played by Morgan Freeman. The main reason why Unforgiven is a revisionist film is because it has an African American as the alpha male cowboy, Ned Logan. There are many westerns with characters that play significant roles who can be categorized as “the other,” like Pompey in The Man who Shot Liberty Valance, but none as the alpha male cowboy. Another contributing factor to this film being a revisionist western is the role that the other alpha male cowboy plays, William Munny. William Munny is very different from the traditional alpha male cowboy. He is not as tough as he should be, specifically in term of where he lives. He lives at home, and when he is camping with Ned, he says “I miss my bed,” something that no alpha male cowboy would ever say.

The reason why this film is a revisionist western is due to the director, Clint Eastwood. Clint Eastwood is known for being the star in the spaghetti western The Man with No Name trilogy. Spaghetti westerns in themselves are revisionist westerns, as they are so brutally violent. With a director that is the star of countless spaghetti western movies, the only thing that you can expect is something very different than the traditional western film.

Gun fight at OK Corral - SJC

The film The Gunfight at OK Corral is a unique film for the fact that it features a side kick who is almost the alpha-male cowboy of the film. Doc Holiday is Wyatt Earp’s sidekick and longtime friend and helps Wyatt kill a band of bandits who threaten the town and Kill Wyatt’s younger brother. Doc Holiday features almost all the traits of an alpha-male cowboy spare a few vital characteristics that keep him at a mere sidekick level. According to Jane Tompkins an alpha-male cowboy needs to be strong, silent, and great with his weapon and act in a morally just manor. When looking at Doc Holiday it is evident that he fits most of these traits. Doc is quiet; he speaks only when he needs to or when actually addressed. Doc would much rather use his weapon to decide who is right or who cheated as opposed to using his words to discuss the disagreement. Doc Holiday is also an amazing shot and Wyatt even admits that Doc can use his weapon better than him. It is because of Doc and his great shooting skills that Wyatt and his friends win the day and survive as Doc manages to kill two bandits one who was about to kill Wyatt because Wyatt couldn’t kill the kid. Doc kills a kid to save Wyatt’s life, this is an example of why Doc is not the alpha-male cowboy as well as why he could be. He kills the kid to save his friend proving he is stronger than Wyatt but killing a kid is morally questionable. Killing children is never really appropriate and is why Wyatt almost allowed himself to be killed but since Doc has no moral compass killing is killing no matter who is the victim. Aside from killing the kid, Doc is also known to be a thief and a con-artist and routinely swindles people out of their money. Aside from being morally questionable Doc is also weaker than Wyatt. Doc Holiday is sick and dying and so physically he is weaker than the true alpha-male cowboy Wyatt Earp, being sick and being morally questionable is enough to rule him out as the possible alpha-male cowboy of the film.

Gun Fight at OK Corral KB

While watching the film I found myself questioning who the alpha male was. Was it the traditional cowboy or the man skilled in his trade. Throughout the film it becomes clear that there is not clear cut answer. Both men exemplify characteristics of what it means to be a true alpha male. In the film it is clear that neither man is considered an "other" like women. Women are still considered lesser, this is shown when Dr. Holiday throws this knife at Laura. This power shows that he is above her. This behavior shows that he is not considered the same level as her. The one deciding factor that may distinguish the two men is that the doctor is not the stereotypical cowboy alpha male. He is more clean cut and trained in one skill set where as the cowboy is there to save the day no matter what happens. In the end we see that the two men unexpectedly need one another and that neither one is a true alpha male.

Gunfight at OK Corral Ashley

In the Gunfight at the O.K. Corral, Wyatt Earp, a marshal, and Doc Holiday, a gambler and former dentist, work together to keep the town safe against the ranchers: the Clanton family. They exemplify a typical sidekick and alpha-male cowboy relationship. However, it is difficult to determine who plays which role. In movies like The Searchers the sidekick is clearly identifiable. Ethan Edwards is the strong, independent and forceful alpha male who is aided by Martin. Martin is clearly younger, less experienced, and rarely helpful. In Gunfight at the O.K Corral, both men have a reputation of skill and strength, live somewhat introverted lives, and act in accordance to their own moral compass. Wyatt seeks justice for the town and strives to make it a safe place to live. He leaves the women he wants to marry to fight alongside his brothers. In addition, he is an excellent shot. What may prevent him from being the alpha male cowboy is that he gives up being a marshal to head to California. He chooses to get married instead of live his life of justice. Doc Holiday also is an excellent shot. He has a reputation around town for shooting drunks. He has a lover but they have a dysfunctional relationship and they never marry. He seeks to protect Wyatt and wants to make sure that he does not die. What could potentially prevent Doc from being the alpha male cowboy is that he is sickly and has a terrible cough. Unlike earlier movies, this film is ambiguous as to who the sidekick is and who the alpha male is.

Gunfight CJ N

While the traditional Western makes no attempt to hide its alpha male cowboy, Gunfight at the OK Corral pulls the viewer towards two powerful male characters begging the question, who is the alpha male and who is the sidekick? The answer is that there is not a sidekick or alpha male. By 1957, the template for the Western film had started to stray away from the traditional ingredients. No longer was a clear alpha male or sidekick necessary, and so Earp and Holiday have conflicting traits. They both are led by a clear moral compass which results in them staying together for the length of the film. Likewise, each character has a "loner" sense about them, such as Doc's history as a gambling killer. Both of these traits are agreeable with the alpha male archetype, but neither of them are able to take definitive charge and ultimately lead the other, forming a clear hierarchy and establishment of the alpha male. While it may seem in the beginning that Earp is the alpha male when he saves Holiday, Holiday reciprocates twice before the movie ends. In fact, Holiday is able to balance his position as Earp's deputy, a seemingly secondary position, with being a confident and self sustained individual. Earp and Holiday do not fit into any traditional mold of the alpha male or sidekick, and instead share qualities of both which ultimately results in a more questioning but enthralling relationship between the two.

OK Corral-C. Phelps

Gunfight at the O.K. Corral is the first Western film to introduce two alpha males. Both Wyatt Earp and Doc Holliday are strong, independent cowboys. It might seem that Wyatt is the alpha male and Doc a sidekick but it is evident from the first meeting that Doc is his own man when he says, "The name of this game is solitaire". He does not follow Wyatt like the traditional sidekick. He has personal interest in paying his debt to Wyatt and finding Ringo to kill him. There is no question that Wyatt is an alpha male, even with the role as anti-gun lawman. His decision to be judge and jury as well as his power and courage solidify the alpha male role. But, Doc Holliday has all of the same characteristics. They must share the title.

Gunfight AM

Gunfight at the OK Corral is another film that continues to bring to mind and question the idea of who and what the alpha male cowboy actually represents and what he stands for. In the movies we have explored in the past, we have seen John Wayne as the strong hero, sometimes having a sidekick, in order to accomplish tasks. We have also seen women play strong leading rolls, especially in the most recent movies. Now in this movie, Gunfight at the OK Corral, the audience is presented with a predicament. There are two men in the movie, Wayne and Doc who embody all the things that the alpha male cowboy represents. Both are strong men with good morals, but as we explored in Red River, there can be only one alpha male cowboy, it is a singular definition, with room for only one man.

Some might question my singular definition of the alpha male cowboy, but this film further re-enforces it. Throughout the whole film it seemed that the two men were working together in a sort-of give and take manner. This constant desire to compromise with one another makes both men look weaker than they actually are. Neither of them can take the lead, make decisions and take what he wants. The alpha male cowboy does not let anyone else’s decisions, feelings, emotions, money, etc. influence his decision-making skills, and his desires.

The argument of the sidekick is not valid here either. In order for there to be a sidekick, there has to be a defined alpha male cowboy, one who takes control. Since neither Wayne or Doc took this role, there cannot be a sidekick. Both of these men are merely pawns in the game of life. They do not exhibit any qualities other than compromise, going with the flow, and caring what others think.

Gunfight at the O.K Corral - HMB

Gunfight at the O.K. Corral is different than other films, like The Searchers, because there isn't a clear definite "other" or sidekick. Instead you have two strong male leads in Marshal Wyatt Earp and Dr. John 'Doc' Holliday. In The Searchers there is the alpha-male, Ethan Edwards, and his apprentice, Martin Pawley. The same can be seen in the film Red River between Thomas Dunson and Matt Garth. The sidekick is a role reserved for someone who is sub par to the alpha-male cowboy, this is not seen in Gunfight at the O.K. Corral. Instead one finds two male characters that have their own stories which in the film happen to cross paths on more than one occasion. In the beginning of the film Earp saves Holliday from a lynching and helps him escape, on the basis that Holliday will never come back. The story then picks up some months later with Holliday returning to Dodge City because no other town will have him and he is out of money. He shows up just in time to help Earp who is short on men. The two later end up in Tombstone, Arizona where the famous gunfight at the O.K. corral actually occurs. Neither man is following the other they both end up in the same place for different reasons. Earp shows up at Tombstone in order to help out his brother Vergil who is killed, which is her reason for entering the famous gunfight. Holliday ends up in the gunfight for two reasons, one because he believes he still owes a debt to Earp for earlier saving his life, and two because Ringo is in the gunfight. Ringo being the man who stole away Holliday's romance Kate Fisher. Doc Holliday and Wyatt Earp are each alpha-males in their own right, who have their own separate story lines and don't look up to anyone. They each know what they have to do and follow their own inner morals. Even on the film cover the men are shown as equals standing back to back, each holding a gun. In this film the "other" of the sidekick is not apparent.

Day of the Outlaw - CJ N

Day of the Outlaw was released in 1959, which coincided with the second wave feminist movement. Women were beginning to speak out against legal inequalities and sexuality; a sudden change compared to society's history of patriarchy. Day of the Outlaw represents the male's voice and opposition to this drastic change. In this film women are only a means of keeping the men in line or a tool of sorts. They are ripped from their husbands, danced with unwillingly, and their only option of safety is to leave the very town they live in. Women are truly portrayed as inferior and reduced to the very image they were attempting to change through the sixties. Any attempt to question the male's authority in the film is in vain as they are simply rejected as shown when Helen questions the social Bruhn's men want to have. Day of the Outlaw is representative of a male America resisting the social changes being fought for by women everywhere.

Gunfight at OK Corral -- MC

Gunfight at the OK Corral ,directed by John Sturges, is a film unlike any westerns before because of the skewed relationship between the two main characters, Wyatt Earp played by Burt Lancaster and "Doc" Holliday played by Kirk Douglas. In other films, such as The Searchers, the alpha male cowboy and sidekick relationship is very obvious, meaning that the sidekick is easily identifiable from the alpha male and he obeys the cowboy with little second thought because he knows the cowboy has more experience and won't accept any other reason. Even in the movie Red River the relationship between Matt and Tom is more recognizable as a transition from Matt as a sidekick in the beginning and Tom an alpha male into the opposite roles. But in Gunfight at the OK Corral neither Wyatt nor "Doc" is the sidekick which brings up the dilemma as to whether they are both alpha male cowboys.

For a simplistic answer: yes; both characters are alpha male cowboys. The relationship between the two men is often give and take where in one situation Wyatt will take charge but in another situation Doc takes the reins. Originally, "Doc" was just another character in the film, being a gambler and killer, but once Wyatt saves "Doc's" life he is transformed into that alpha male cowboy role. Another reason that "Doc" is not merely the sidekick, or the "other" as we are discussing about, is that he has his own storyline with Ringo and Kate. Normally, being in love with a women would be a cause to believe the character is not an alpha male; but because in the end Wyatt convinces "Doc" not to kill Ringo the role of alpha male is sealed on both characters. Additionally, "Doc" and Wyatt both are able to sustain themselves, requiring no additional help from the other proving themselves to show yet more alpha male traits. Neither character has allegience to the other but the stay together anyways because of a strong moral compass inside of them which guides them into doing what they think is right. For Wyatt that was saving "Doc" in the beginning; for "Doc" that is sticking with Wyatt waiting to save him, which he does on two occasions.

Gunfight at OK Corrral

I believe that Holliday in this film attempts to be an Alpha Male Cowboy but ironically it is that fact that he is trying to be like the AMC that he is not. The fact is that the Alpha Male Cowboy is alpha because that is his personality and he is doing what he thinks is normal, however Holliday has to act in a way that is different than his normal routine of gambling. I believe it is actually an underlying sense of honor that drives Holliday in this movie to help Earp even though he has his own more illicit reasons. So as a whole I would say that yes Holliday's actions present him as a second Alpha Male Cowboy in this film however his motives make it clear that he is not.

Gunfight at the O.K. Corral - Miller

The western film Gunfight at the O.K. Corral exemplifies that typical sidekick alpha-male cowboy relationship Wyatt Earp and Doc Holiday, as they constantly team up to save the town from outlaws. Wyatt Earp is the town marshal and Doc Holiday is an ex-dentist and gambler. Both of these men fit the mold of Alpha Male Cowboy. Throughout the movie, the viewer is constantly questioning, who is the alpha male cowboy? And who is the side kick? The answer is, there isn’t one. These men are both their own men. Although at first it may seem like Wyatt Earp is the alpha male cowboy, due to him fitting the mold of the traditional alpha male cowboy. In the end, both Earp and Holiday are their own man, and that is truly what defines the alpha male cowboy.

Day of the Outlaw - HMB

in 1959, when the film Day of the Outlaw was released, women were returning back to the home after World War II. The men returned and took their jobs back from the women. This idea that women are below men and subservient can be seen in the film. This film takes the strong female women and puts her back into her place as the weak one who needs protection. The outlaws in the movie treat the women as play things. This can be seen when the outlaws take all the women to "dance" with them. Although some of the women are married and they do not want to dance it is expected of them. The strongest female lead that can be seen in the film would be Helen Crane, but she doesn't have a very strong voice. Throughout the movie she has some occasions to speak her mind but when it comes down to it, she is just as ordered around as the other women, and she follows the orders. In the end to save the women, the alpha-male Blaise Starrett, whisks the women away from the town in order to keep them away from the men. Although this was the women's home first it seems socially acceptable that they are the ones who need to leave in order to feel protected, while the outlaws are around to continue to roam around a town that isn't even theirs. In this movie the men's dominance over women is reestablished, which is different than many other western films of the time such as Johnny Guitar (released in 1954) which gives the two dominant main roles to women.

Day of the Outlaw- KB

In the day of the Outlaw Starrett and Helen play a different role than the usual women in westerns. Usually the wife is just on the sidelines while the man is in control. In the Day of the Outlaw Sarrett and Helen are strong assertive women who know what they want and will do whatever it takes to get what they want. Starrett goes for what she wants and lives on the edge of what is acceptable for women and for her relationship. Women are usually expected to stay quiet and to be compliant with their husbands, fathers, or brothers. In the Day of the Outlaw the women play stronger roles than the usual wife. They do not just stand by and watch life happen they take control of their lives.

Day of the Outlaw- KPower

The film Day of the Outlaw was made in 1959, during a time in which woman were seen as homemakers. In the movie, the women are treated as nothing more than furniture in the house, used only as applies to their use in pleasing men. When the outlaws come to town, Jack Bruhn (Burl Ives), at first, attempts to keep his men away from the women, especially since there are only four of them because he knows that his men will only fight and eventually kill each other over them. This plan soon failed though, and Bruhn wanted to get back at Blaise Starrett (Robert Ryan) for trying to spirit the women away from town. His men beg him to allow them to have their way with the women; he soon caves and allows them to have a “social”. The men basically molest the women while dancing and Bruhn basically uses the females as a way to keep his men in line.

Day of the Outlaw- AM

In Day of the Outlaw, we begin to see the transition back into the old western, where women are still the other and men in the film treat women as insignifcant. When the outlaws arrive in the town, they portray women as objects and nothing more. They see them as a pleasure source, and their opinions mean nothing. Bruhn lets the men of the town know that his men will not molest the town’s women unless he gives them permission, and he promises Blaise Starrett that he will keep his men under control. Bruhn’s control is starting to weaken as his health is starting to weaken, which happens after the horse doctor in the town removes a bullet from his chest. This increasing loss of control is obvious when the men persuade Bruhn to let them have a night of dancing with the women because they have been travelling for weeks and want to get pleasure out of the town. Bruhn gives in to the men, and they “borrow” all the women of the town to dance with, even the married women. Helen Crane, who is a married woman and has had an affair with Blaise, tries to stand up for the women and questions Bruhn about his decision forcing them to dance with the men. Bruhn tells her there are worse things the women could be doing than dancing with a few lonely men. However, they aren’t just dancing. The men are very forceful with the women, pushing them up against the walls and forcing themselves upon the women, even though it is obvious that the women do not want anything to do with these men. It is odd how the men of the town don’t try harder to protect their women. They let the outlaws take their women away for the night without any resistance. This further demonstrates that the men in the film see women as useful only as an object for their pleasure.

I believe that this film showed some of the opposition to the feminist movement of the time. This film shows women’s inferiority, as explored in other films, during the first wave of the feminist movement. This was a time when women were focused on becoming equal to their male counterparts. In this movie, Helen stands up for the women when they are forced to dance with the men. Using her sexuality, she also tries to manipulate her lover and fails to save her husband. However, he dismisses her pleading, letting her know that her power over him isn’t strong enough to effect his decision. She represents the feminist movement, and the men’s attitude toward the feminist movement is clear when they dismiss the things that Helen stands for. Most men of the time thought it would be better to just dismiss the movement in and of itself, push it to the side, just as most of the women in the films were pushed aside.

Day of the Outlaw - Mark Miller

The movie Day of the Outlaw portrays the extremist view of objectification of women during the 1950’s, giving a different twist on the “other,” which mainly refers to women in westerns. Outlaws would often come into the town to rob and take advantage of women. During a Saturday Night Social, Jack Bruhn, the leader of a gang of outlaws, and his gang would come in and take advantage of every single girl there. They would simply hand the girls of to one another, as they pleased, as if they were nothing more than a source of entertainment. The women in this film are essentially powerless, just as the women of the late 1950’s were. Although women in the 1950’s were supposed to have equal rights and opportunities as males legally, they did not. In Day of the Outlaw, they did not have equal rights legally, but instead had they had a specific order from their leader, Jack Bruhn, to not harm women in any way, which his gang of outlaws did not obey either. It took a drastic plan of action to protect the women, one in which only an alpha male cowboy would do. Blaise, the protagonist of the movie, had to lead all of the women away from town to protect them.

Rooster Cogburn - Mark Miller

In the movie Rooster Cogburn, Eula Goodnight plays a unique role, for a women, in a western film; a strong main character. Eula Goodnight is different than the typical female, in a western film, in that she is aggressive, dominant, and a strong character. Typically women play a secondary role (if any at all), where they are perceived as weak and useless. It is clear that Eula is not the typical woman of a western film, as she stands up to men. A good example of her doing so, is when she stands up to Hawk. Hawk tries to intimidate her, and even shoots at her, but even that doesn’t affect Eula.

This strong role of a female in a western film was primarily due to the second wave Feminist Movement that had been going on the last fifteen years. For the first time in western films, an alpha male cowboy is not the dominant figure; instead it is battle the spot light is shared between the alpha male cowboy and his female partner, whom he unwillingly teams up with.

Day of the Outlaw Ashley

In Day of the Outlaw, made in 1959, women are objectified. When the outlaws come into town, they want to rob the town and have their way with the women. Their leader, Jack Bruhn, however, stops them. He orders that the women cannot be harmed. Although they are treated respectfully, the women are associated with the alcohol and the town goods: things that can be taken and used at will. The men in town decide the women’s fate when they try to create a plan of escape and the outlaws decide when and if the women are treated justly. Women act as “others” and do not represent strong individuals with a sense of control. From a cultural studies point of view, American women in the late 1950s were starting to return to the home after World War II. The idea of family and strict gender roles were a major focus. Rosie the Riveter became a homemaker. In society, women were losing their jobs and men were taking them. This idea of powerless women in society can be seen in Day of the Outlaw through the use of subservient women. Helen Crane is focused on keeping her marriage secure despite her love affair with Blaise Starrett, the cattle driver. She places more importance on being a wife than following her heart. In addition, the younger woman, the general store owner’s daughter, dreams about finding a nice man with whom to settle down. The women are no longer forceful and independent.

Day of the Outlaw - MC

Day of the Outlaw, which was made in 1959 starring, Burl Ives, and Tina Louise, brings the issues of the 1950's to the forefront with a different twist on "the other", mainly referring to women in westerns. Back in the 1950's women were expected to be the carer of the home and children; they were seen as housewives and their jobs were not to have actual money making jobs but to keep the house clean and make dinner for their husbands and basically serve his every needs. This film does a good job of showing this because it brings all of these elements to the obvious aspects by what the characters do. For example, when Burl Ives' character, Jack Brauh, comes into town he and his gang expected the women to wait on them hand and foot, virtually it was as if the women were dogs which on command responded to the men. On the Saturday Night Social the women were just handed off from man to man as if they were wrappers and could be thrown away with simple ease. This scene and many other scenes were shot indoors only furthering the insistence that women belonged in the house and meant to clean and do motherly duties.

These issues come to a head with Tina Louise's character Helen Crane. Helen is the wife to Hal Crane and she commits acts of infidelity against him. Her infidelity is an attempt within the film of trying to prove that women were capable to doing the same acts as men. When Helen goes up to Blaise's room and Hal accepts the fact that they have some sort of connection it also the acceptance of sexual freedom and empowerment of women which was what the women's movement was all about

Day of the Outlaw - Chris Jones

Day of the Outlaw provides us with an interesting view of women in film. When Jack Bruhn rides into town and overpowers the men he takes a rather interesting stance on the women of the town, he promises the townspeople that his men will not touch the women of the town and that they should hide the alcohol from is men. This immediatley strays from the norm of what would happen when a gang of outlaws took over a town because in most Westerns they would pillage the town as well as use the women for sex. This shows a certain respect for the women of the town because Bruhn realizes how important they are to the town even if they generally would not have recognized it. This respect he shows them is a representation of the progress the women's movement had made in showing society that women were just as important as men, if not more. In the time before this movie was made women had made great strides in bringing the positive things they bring to society to the forefront of people's minds. Bruhn's actions play upon this idea that the women are just as important and by showing that he will not hurt them he earns some respect from the town because rather than holding the women for ransom and forcing the town to confirm with what he wants he gives a concession that will prevent the town from doing anything rash without bloodshed.

Day of the Outlaw - SJC

Day of the Outlaw (1959) presents a conservative look at women and what they represented in society. Throughout the film the women are consistently assaulted by language and by actions of men, even those who are married are accosted by the outlaws in the town. Yet the men of the town do little to stop this degrading behavior. The men of the town see women as items not worth dying over; it was clear to the men that the outlaws under Bruhn would surly kill anyone who stood up for the women. Bruhn, the leader of the outlaws, then uses the women as a tool to regain control over his men by allowing a dance that soon turns erotic with every woman in the town. Yet again no real fight is seen as the men watch their wives and girlfriends practically raped by the bandits this drives home the idea that women are almost worthless in society. Seen as objects of the town to be used for a greater purpose was the overall message of this film in regards to women. Day of the Outlaw reflects a growing concern in men with the second feminist movement that was beginning to take form in 1959 and would pick up popularity in the early 1960’s. Keeping the women as the baby maker who belonged to men and did not work jobs or contribute to society was a whiplash against this growing movement.

Rooster Cogburn L J

Rooster Cogburn, the man who also appears in True Grit, is very indicative of the changing nature of Westerns by 1975. He is old, stubborn and unruly to a fault. He lives as he pleases and is deemed somewhat unfit for society. He lives alone. The traditional traits of the alpha male cowboy are all embodied by Rooster but he's hardly glorious or heroic looking. Instead what he represents is a man who is looking for redemption. I believe that the dynamic between Hepburn and Wayne in this movie is much like that of George and Lenny in Of Mice and Men. Hepburn supplies the brains and practically uses Rooster like a personal tool of vengeance. Her profession is also enigmatic. She is a spinster, which is a profession that had been mostly female, but she does nothing related to spinning cloth during the movie, she is instead the weaver of deception! I use the term weave because like the phrase "spinning lies", the term spinster could also allude to something about Eula Goodnight's personality....

Rooster Cogburn - HMB

The film Rooster Cogburn puts a great emphasis on "the others." The alpha-male Cogburn is an ex Marshall who completes his journey with the help of a women, Eula, and a Native American boy, Wolf. The second wave Feminist Movement started in the early 1960's and continued through the 1970's. Rooster Cogburn was released in the middle of this movement in 1975. The feminist movement toward equel rights can be clearly seen in Eula the strong female lead of the film. Eula is not the average women seen in the Western genre, she is strong willed and puts up just as much of a fight as the men. This is proven when she shoots one of the men who helped kill her father. She shows equality or even dominance over Cogburn by always having the last word, something he notes at the end of the film when she rides off into the distance. An ending scene normally reserved for the alpha male cowboy.

Rooster Cogburn - SJC

Rooster Cogburn and the Lady was produced in 1975 and is considered a “revisionist” film. In this film John Wayne is once again playing the alpha-male cowboy role of Rooster Cogburn; however, this time he is partnered with a woman who is just as strong as he is. The lady in Rooster Cogburn is named Eula Goodnight and she does not represent the classical woman of westerns in any way. Eula Goodnight is at first treated like the standard female by Rooster Cogburn, Rooster tells her to turn away because the West wilderness is too dangerous for women. Ironically Eula manages to save Rooster’s life multiple times throughout their journey and he learns to respect and treat Eula as an equal not a woman. In one of the beginning battles Eula shoots and kills a bandit who is sneaking up on Rooster to kill him. The fact that Eula killed a man stunned Rooster, and the fact that the shot was incredibly difficult to pull off added to his amazement. Soon Rooster learns that Eula is just as good of a shot if not better than him and he utilizes her skill to help him win the day. Eula is also different than the normal western woman in the fact that while she does talk more than Rooster, what she says is always intelligent and important and she always has the last word. Besides being a great shot and smart, Eula is also strong. Eula proves to Rooster that she can handle the wilderness and harshness of the Western environment. Thriving in the wilderness was a role reserved only for the alpha-male cowboy, but now Eula matches Rooster’s strength and savageness. This proves that Eula is no ordinary woman and that women of the 1970’s are far more empowered than their 1950’s counterparts.

Rooster Cogburn- AM

From the beginning of the movie, it is very obvious that this is not the typical western. The main character, Rooster Cogburn is seen riding his horse with someone else at his side. This is the opposite of the beginning of The Searchers, where Ethan rides through the desert by himself, claiming his status as alpha male. Within the first ten minutes Rooster is stripped of his badge as U.S. Marshall after he avenges the death of his friend, the Deputy. This is the first film where the alpha male cowboy is punished by the law, demeaning him. Rooster’s appearance is also very different from that of other alpha male cowboys. He is a drunk who claims that "there ain’t justice in the West no more” after he is told by the Judge that he abused justice in killing those men. In this movie, the alpha male cowboy is no longer in charge, and is not above the law of the book.

One more thing that separates this from the other films is the role of Eula Goodnight. Eula is a daughter of a Yankee preacher and she acts as a sidekick to Rooster Cogburn, if not an equal. She displays her strong personality by sticking up to Hawk as he and his followers attempt to take over the settlement and says, “I do not fear what men do to me.” As Hawk shoots she does not budge, even as bullets hit the sand next to her feet. As Hawk rampages her settlement, she is most concerned with helping the Indians seek protection in the fields. After her father and friends are killed by Hawk and his followers, Rooster comes along and brings Eula and Wolf to Bagsby’s house in order to keep them safe. Against her will, Rooster tells her to stay there, but Eula refuses to do so. She believes it is her duty to avenge the death of her father, just like Rooster killed the men at the beginning of the film out of respect for the Deputy. While her frequent chatter and religious behavior are seen as weaknesses in the eye of the cowboy, this is the furthest thing from the truth. She is the reason why Hawk was deceived and caught at the end of the film and why Rooster was reinstated by the Judge. Although Eula is helpful with regards to her survival, and that of Wolf and Rooster, Rooster still makes it clear throughout the film that he views woman as weaker individuals. He tells Eula that it would be too much for her to go along with him and that she should stay at Bagsby’s and fix her fingernails and crochet. At one point he says to Wolf, “if they ever give them the vote, God help us.” Rooster is stunned by her ability to shoot a gun and balance his expenditures. This movie brings the female role to a new light. Although the alpha male cowboy says that women are weaker, he knows that there are some things that she can handle without his help even if he will never admit to Eula's self-sufficiency.

Rooster Cogburn- KPower

In the years prior to the making of Rooster Cogburn (1975) the second wave of the feminist movement began. This second wave focused on the equality of women. In the film, Eula Goodnight embodies the strong and opinionated women that lead the feminist movement. Preceding the movement, women were in charge of the home and did not work. The man was the bread earner in the family and was head of the household. Eula contradicts these notions of womanhood by going on the mission with Rooster Cogburn, often outwitting him and by saving his life on more than one occasion. Eula does not merely sit in the shadows during the film, as women do in a typical western. She participates in the action and even kills a man. Cogburn even says about her, “If we ever give them the vote, God help us all.” His comment proves just how strong of a woman that Eula is and, through her, the strength of the feminist movement.

Rooster Cogburn - KF

Rooster Cogburn is a film in which the idea of "others" is rather evident. Eula is without question not the average woman in a western and Cogburn is not the average alpha male. This reluctant duo is somewhat similar to Sara and Hogan from "Two Mules for Sister Sara". The big difference is that Eula is a far more savvy traveler then Sarah. Eula also garners respect when she displays her ability to think and make decisions when under duress. On top of that she is a rather talented marksman and not afraid to gun down anyone that she deems deserving. Cogburn is a alpha male who hasn't earned respect, if anything he has lost some of it by being demoted. Everyone is familiar with his skill set and bravery but his judgement is questionable. This is one of the few westerns in which the alpha male cowboy's decisions have been questioned and not praised.

Rooster Cogburn Ashley

Rooster Cogburn, made in 1975, shows a change in American culture concerning the perception of others. Rooster Cogburn, the masculine cowboy, is a drunkard and a retired Marshall. The court is more powerful than he is and he is being reprimanded for taking justice into his own hands too often. On his conquest, he encounters Eula, the religious woman, and Wolf, the Native American boy. These two ‘others’ carry more significance in this film then their equivalents would have in the past. Eula is not obedient to Cogburn’s commands and has an opinion for everything. In addition, she is fearless when it comes to shooting the renegade band that killed her father. She seems more skilled and more intelligent than Cogburn. In respects to the Native American, Wolf, Cogburn says that one day he could potentially be Marshall. Since society at the time has pushed for civil right, the approval from Cogburn that an Indian can be Marshall shows acceptance of different races. It follows the classic view of women in the respects of religion. Eula is devout to God and has almost the entire bible memorized. Yet, Eula is strong and opinionated. She does not let Cogburn boss her around. These actions are contrary to the perception of women in the past.