Since America’s founding, there has been an immense fascination with the untamed West. The Pioneers believed in Manifest Destiny, or “the belief that it was our duty to settle the continent, conquer and prosper” (America’s Manifest Destiny). The American dream was to find country untouched and unscarred by human industrialism. To obtain cheap or free land to raise crops and livestock. To experience the rugged, raw nature of an unfamiliar region. Even after Westward Expansion, when settlers experienced the reality of a brutal journey across the country, and the great unknown lost its novelty, the romanticized dream of the West did not die in popular culture and artistic representation. Paintings such as Emigrants Crossing the Plains by Albert Bierstadt depict stereotypical pictures of pioneers traveling through undeveloped territory with their cattle under a colorful sky and a setting sun (Bierstadt; Anton). Additionally, Cinematic depictions of cowboys and open plains proves America’s long-term attraction to this mythological perception of the promises of Western culture. These idealized representations have helped the Western genre to appeal to mass audiences spanning not only geographical regions, but decades, as well. Fundamental elements of the genre can be seen in movies such as Pat Garret and Billy the Kid (Sam Peckinpah, 1973), McCabe and Mrs. Miller (Altman, 1971), and Dances With Wolves (Kevin Costner, 1990), as well as in television series such as today’s popular drama Yellowstone (Taylor Sheridan, 2018-present). These examples of the Western genre display stunning landscapes and tenacious protagonists that provoke sympathy from audiences despite moral ambiguities, while exploring common themes of the struggle to survive in an unknown territory. Although the Western genre has evolved with cinematic style and mainstream trends, this filmic style has provided America with its cultural identity through these characteristics.
The success of the Western genre and the formation of the American fantasy of the uncivilized West can be largely attributed to the breathtaking scenery featured in its films. For example, in the final scene of Pat Garret and Billy the Kid, Garret is shown riding away on his horse into the undeveloped land of New Mexico. The scene depicts mountains in the distance, lit by the rays of the rising sun, a blue sky streaked with wispy clouds, sparse clusters of shrubs scattered about the ground, and a cowboy and his horse riding away to face the lonesome lifestyle of the American cowboy. The desire to recreate this experience has been common among Western audiences. The film also portrays landscapes that are not classically beautiful. The dry, dusty environment that the characters find in Mexico is not exactly the same as depicting lush prairies or mountainous views. However, these scenes play into the romanticized image of the west. After all, most modern-day movie-goers can recall the stereotypical cinematic image of the two cowboys walking slowly towards each other, their spurs jangling as the wind picks up dust behind them and a tumbleweed rolls by. This image is one that is commonly associated with cowboys in the Wild West. We have all been unconsciously impressed by this fantastical representation of a classic American hero, even if it is difficult to admit. Similarly, in McCabe and Mrs. Miller, the main character is seen riding a horse up a winding mountain through the freezing rain. Although this realistic portrayal of the northwest is meant to deconstruct society’s expectations of the West, it somehow does the opposite. The environments portrayed in the Western genre appeal to man’s desire to prove his ability to overcome the inhospitable natural world. Through the use of highly saturated colors in the trees and in the sky, Altman actually makes this dreary landscape attractive to audiences.
In contrast to this bleak landscape, many movies of the Western genre portray beautiful scenery that will captivate viewers. Dances With Wolves is a wonderful representation of the alluring Western terrains. The film uses Cinemascope, a process that enlarges an image to make it panoramic, in order to make these rural landscapes more visually stunning. This wide view of the screen offers audiences the opportunity to fully feel the vastness of the open skies and prairies. The effect of this feeling is longing. Audiences long to travel somewhere that knows no civilization. They crave adventure and experiences like the ones conveyed on the screen. This desire to discover a land whose beauty and purity have not yet been defiled by humanity is an effect that impacts audiences of Dances With Wolves and Yellowstone, alike. In Season 1, Episode 1 of the television series, Yellowstone, the audience is introduced to a cattle rancher whose property borders Yellowstone National Park. In order to portray the expanse of the rancher’s property, the camera provides an aerial view of lush, grassy hills, wide, flat prairies, and steep mountains. The diversity of terrain shown in this clip conveys the immense beauty of the land, and reminds audiences that, despite our best efforts to raze it, land like this still exists.
Dances With Wolves and Yellowstone share more than just Kevin Costner. They both tempt the viewer with scenery that is beyond their comprehension, resulting in an infatuation with the possibility of the existence of such a landscape. Audiences relate to John Dunbar in Dances With Wolves as he experiences for the first time “…the region’s natural beauty, its diversity, and its rugged terrain,” and is astounded by its beauty (Hopkins). Similarly, the television series Yellowstone has revived America’s interest in the Western genre, as well as their interest in imaginations of the “Wild West.” One article that explores the impact the television series has had on Montana states, “The Montana Office of Tourism spends millions in advertising campaigns…Yet the popularity of Yellowstone…has arguably eclipsed those efforts and raised the image of Montana to a wider audience of potential visitors” (Barkey, Weddell). This growing interest in the western lands and lifestyles because of cinematic portrayals proves that the American fantasy of the West is still present today.
Similar to audiences’ fascination with Western landscapes, the image of the American cowboy is something that has been mythologized since the earliest days of the frontier. Wild stories of heroes such as Buffalo Bill and outlaws such as Billy the Kid captured America’s attention and interest, contributing to the American fantasy of the untamed West. Cowboys became legendary figures that both women and men could admire. They were thought of to be courageous, rugged, and deadly with a gun. The American Cowboy the Myth and the Reality describes these images in people’s minds as “instantaneous” at the mere mention of the word “cowboy,” saying, “Those images arising whenever the word ‘cowboy’ is mentioned—the man on horseback, armed with a six-shooter, trailing a thousand longhorns across virgin prairie, keeping a squinted eye out for Comanche, Apache, or Sioux, wondering whether the buffalo will survive another season before the onslaught of hunters…” (Frantz, Ernest Jr.). These common perceptions of cowboys are associated with the West, and are related to the success of the genre.
Pat Garrett and Billy the Kid, McCabe and Mrs. Miller, Dances With Wolves, and Yellowstone each cast attractive actors that were able to convey certain attitudes that are integral to the image of the cowboy. In Pat Garrett and Billy the Kid, Kris Kristofferson plays an aloof criminal who is seemingly unaffected by the threats of his pursuer and assumes a nonchalant arrogance throughout the movie. When Pat Garrett and his men surround him and shoot into his cabin, rather than quivering in fear or complying with Garrett’s demands, he maintains a sarcastic demeanor and taunts Garrett by saying “Come on in, Pat. I’ll warm your breakfast.” His arrogance is something that he portrays throughout the movie, and it somehow makes him the character that audiences want to root for.
Similarly, Warren Beatty plays a naïve man who thinks much too highly of himself but is endearing in his mannerisms in McCabe and Mrs. Miller. In Dances With Wolves, Kevin Costner plays the role of John Dunbar, a stranded soldier whose sheer determination and good nature allows him to survive in the harsh environment of the frontier. Dunbar’s preparation as he arranges the camp to make it suitable for him and his horse conveys his grit and resolve, while other scenes that convey his humor make his character genial and pleasant to audiences. In Yellowstone, actors Kevin Costner and Cole Houser play powerful characters who are strong and rugged, and who are unafraid to do what is necessary to protect what is theirs. In Season 4, Episode 3, the characters seek vengeance following an attack on the family and ranch that resulted in severe injuries and destruction. The screen shifts back and forth from images of Kevin Costner’s character, John Dutton, sipping whiskey by the fireplace, and Cole Houser’s character, Rip Wheeler, along with the other cowboys, killing those who attacked the ranch. Although this violent act is condemnable in most cases, the audience is meant to be impressed by their commitment to defending their family and their home. Often, these characters are not entirely virtuous, and they act in ways that the audience would not typically approve of. However, their charisma and their rustic good looks make it easier to overlook these discretions and feel sympathy for their plight. Each of these movies creates strong, aggressive stereotypical male protagonists with charming personalities that make the cowboy a persisting fantasy throughout American culture, despite their questionable morals.
Many of the movies of the Western genre also explore similar themes of persevering and surviving in unfamiliar land, despite the harsh environments. Western movies are often action-packed depictions of a cowboy facing some kind of external conflict, such as the aforementioned attack on the Dutton homestead in Yellowstone. Violent interactions with Native Americans and unpredictable weather conditions captivate audiences as they wonder how the protagonist can possibly survive. Throughout the movie Dances With Wolves, there is a constant tension between the Native Americans and the U.S. military. Although John Dunbar eventually develops a relationship with the Sioux, the Native American tribe is initially unsure of how to react to his arrival on the Great Plains. As they discuss how best to respond, a Native American named Wind In His Hair suggests that they kill him, saying “I will take some men. We will shoot some arrows into this white man.” His reluctance to inquire about Dunbar’s presence before killing him shows the intense agitation between the races, and builds anticipation among the audience. In McCabe and Mrs. Miller, the town is enduring an extreme snow storm, which ultimately plays a large role in McCabe’s death. After stumbling, severely injured, through the deep snow banks, he succumbs to his wounds and dies alone in the blizzard. The movie builds suspense and intrigue prior to his death with scenes of classic Western shootouts that hold audiences on the edge of their seats. The suspense created by building tensions between the protagonists and outside forces is an element of the Western genre that has helped it to capture audience’s interests.
The popularity of the Western genre has persisted throughout decades. Its stunning landscapes, exaggerated depictions of the hypermasculine cowboy, and its portrayal of the difficulties of life on the frontier has enamored a wide variety of audiences. In 1893, three years after the frontier officially closed, Frederick Jackson Turner wrote “The Significance of the Frontier in American History” saying “Up to our own day American history has been in a large degree the history of the colonization of the Great West. The existence of an area of free land, its continuous recession, and the advance of American settlement westward, explain American development” (Turner). Although this monumental period in America’s history has ended, it has left a lasting legacy. The closing of the frontier defines American identity because it allows us to romanticize the promise of the West. Although, according to The American Cowboy the Myth and the Reality, “The Great West…is as surely civilized as New England, and Denver is as up-to-date a city as Hartford…,” Americans still associate Western culture with wild chases on horseback and heroic cowboys. They long to experience a primitive society. Audiences want to battle the bad guys, save the girl, and gallop off into the sunset on their trusted steed. Audiences crave adventure, and the Western genre provides them with that exhilarating feeling. The movies Pat Garrett and Billy the Kid, McCabe and Mrs. Miller, and Dances With Wolves, and the television series Yellowstone provide audiences with scenery, characters, and plots that they can fall in love with and relate to. By including these filmic elements, the genre encourages the American fantasy of the uncivilized West.
Works Cited
“America’s Manifest Destiny.” The American Experience in the Classroom, americanexperience.si.edu/historical-eras/expansion/pair-westward-apotheosis/. Accessed 20 Feb. 2024.
Barkey, Patrick, and Weddell, Melissa. Assessing the Impact of the Yellowstone TV Series on Montana’s Tourism …, scholarworks.umt.edu/cgi/viewcontent.cgi?article=1450&context=itrr_pubs. Accessed 6 Dec. 2023.
Bierstadt, Albert. Emigrants Crossing the Plains. 1867. National Cowboy & Western Heritage Museum, https://nationalcowboymuseum.org/collections/objects/emigrants-crossing-the-plains/
Frantz, Joe B., and Choate Julian Ernest Jr. The American Cowboy the Myth and the Reality. University of Oklahoma Press, 2016.
Hopkins, George W. “Constructing the Mythic West: Dances with Wolves.” Studies in Popular Culture, vol. 21, no. 2, 1998, pp. 71–83. JSTOR, http://www.jstor.org/stable/41970308. Accessed 30 July 2024.
Turner, Frederick Jackson, and John Mack Faragher. “The Significance of the Frontier in American History: (1893).” Rereading Frederick Jackson Turner: “The Significance of the Frontier in American History” and Other Essays, Yale University Press, 1994, pp. 31–60. JSTOR, http://www.jstor.org/stable/j.ctt32bv5g.5. Accessed 22 Feb. 2024.