By S. Matheson
This number of ground-breaking articles examines difficulties romance offers within the American Western. having a look a number motion pictures, this booklet bargains readers vital and demanding insights into the complex nature of affection and the flexible frontier narrative that deal with key social, political, and moral parts of the Western style.
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Extra info for Love in Western Film and Television: Lonely Hearts and Happy Trails
Example text
P. N e l s o n might be back that way, some day—a doubtful proposition, if there ever was one. Never mind that Fonda’s lawman character in The Tin Star, directed by Anthony Mann and released in 1957, rides away with the woman in the end, as did John Wayne’s hero at the conclusion of Stagecoach (John Ford, 1939), or that the majority of Westerns, like most classical Hollywood film, actually do end with the formation of the romantic couple. Perhaps the most problematic tendency in scholarship on the Western is the continued use of reductive interpretive models based on a select canon of films.
11. Jennifer Peterson, “The Competing Tunes of Johnny Guitar: Liberalism, Sexuality, and Masquerade,” The Western Reader, 321–340. Gender Dynamics in the Westerns 33 12. Peterson, 332. 13. Richard Dyer, Stars (London: British Film Institute, 1979), 184–185. 14. Review of Cattle Queen of Montana, The New York Times (January 26, 1955), 22. 15. 2 (March/April 1981), 43. It could be that the duke held a grudge after Baby Face (Alfred E. Green, 1931), in which Stanwyck’s character unceremoniously shoots down his offer of a date.
They are ambushed and murdered as they leave town, although it is implied that Gannon gave the orders. While sneaking out of the area, Ben is murdered and Jeff is seriously wounded, which allows Renee to remove a bullet and nurse him until Ronda arrives, an excuse to intrude on Renee’s domesticity. Ronda gives him coffee, which lets him refuse Renee’s soup and care. After Jeff permits Ronda to stay, Renee abandons him. This is expected; “the dangerous allure of the femme fatale threatens to infect or destroy the middle class home and family” (Wager 10).