Just a few rough ideas off the top of my head that could be honed if anyone's interested:
Treatment of Christianity--positive or negative? how so? explain.
Racism in Ethan Edwards--how do we resolve it, or do we?
Fair fights--Martin v. Charlie--and "manly" behavior
Evolution of female characters in Westerns--can we get to the "truth" about frontier women or are we always invested in the cultural expectations of those writing the history?
Cultural identity: inborn or acquired? (What do you make of Ethan scalping Scar???)
Ties to Western tradition (dime novels, radio, TV, etc)--trace the evolution of an idea you see carried from one text to another.
Intelligence/Education/Literacy--how important is it in a man in the West? The suitors both seem less intelligent than Laurie Jorgensen--just as her mother seems more intelligent than her husband. Why? (What is the purpose of marriage in this setting?)
What cultures mix and which are excluded? (Mexican, Norwegian, Confederate, Commanche... and what happens to those of mixed race?)
Scar, the blue-eyed Commanche (HUH???)--connection with Alexie's essay "I Always Hated Tonto"?
The impact of The Searchers on future films and why this relationship is important to recognize
Hero: which character is the hero? why? what are the pros and cons of each option we're offered? why this cast of such problematic heroes?
Thursday, February 4, 2010
I watched John Wayne's 1939 film Stagecoach this evening, and it's fascinating to see him playing such a different role. He's pure good guy* in this one--not to mention young, fresh-faced, and good-looking. He's hero through-and-through here. But is he a less rounded character for lacking a fatal flaw? He fights for women, for the under-class, for the down-trodden, and all in the context of a society that's falsely branded him a villain.
On a totally different note, I was noticing tonight how many Westerns center on a quest story. The quest for Deborah is the driving narrative of The Searchers, but other westerns too seem to share this theme--as does Smoke Signals.
(* pure good guy: He does shoot and kill Native Americans in this one, but he shoots only when attacked, which seems to be a legitimate distinction in the violent world of the west. He also seems willing to overlook race, class, and any perceived moral superiority to judge people instead on their actions, which contrasts strongly with the other characters in the film who use moral superiority as a premise to be hateful. John Wayne's character in Stagecoach treats the Native American woman in Apache Wells with civility--something I can't see from old Uncle Ethan. The movie itself is not quite so kind to her. She betrays the trust of the characters and tells her people of their presence.)