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Westerns movies
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Western movies have always been attempted and have strived for perfection. There has been a few that really captured the motion picture, history, and of course the actual story itself; but of course only one can take the cake. The movie, Tombstone is an action-filled film that is sure to entertain no matter what audience. Based on true events, the movie does an excellent job of portraying the correct history about the events that went on in Tombstone, Arizona. Everything from wardrobe, slang, props, and much more that was displayed in this outstanding movie couldn’t have hit the nail on the head any better. Just in case you may not have seen Tombstone, I believe it’s beneficial to know the plot, important details, history and information about …show more content…
It makes the movie because that is how they really talked back in the day, but it as well can be confusing for viewers which can be a downfall. Doc Holliday definitely uses a lot of slang. He uses the words and phrases, “You’re a daisy if you do,” and “I’ll be your huckleberry.” Those are just a few of the famous lines of Doc Holliday in the movie. Daisies represent death, so when Doc Holliday said, “You’re a daisy if you do,” he was really threatening and warning that person he was in a bind with. When he said, “I’ll be your huckleberry,” it’s kind of like how we say now, “I’ll be your valentine.” He meant he’ll be sweet and he’d be whatever you’d possibly need. Doc Holliday was also referred to as a “lunger;” when someone had tuberculosis back in the 1880’s, they were always called a “lunger,” because they’re suffering a chronic disease of the lungs, (‘Lunger | One That Lunges’.) Even though some of these phrases may be confusing, it really adds great detail to the movie. Tombstone had a lot of great details to it such as the wardrobe, props, and even the …show more content…
That was the era of time where women wore bustles and corsets under their big lengthy dresses, as well as fancy hats on their high volume hair. The men were always looking sharp as well. They wore silk vests under their long black coats with a hat to top off. There was a scene in the movie where Doc Holliday was getting a straight razor shave from the barber. The 1800’s was the era of the straight razor shave, and I thought that was very cool how they added that into the movie, (Giusti.) I believe that was an important detail because that was one of the things the 1800’s was known for. I loved all the props they used; from the saddlery and tack, to the guns and carriages. It really gave me that old western feeling and that is something that all old western movies try to get across. The setting was very accurate and interesting. The town of Tombstone was filled with saloons, saloons, and more saloons. Gambling was a big deal back in the day and in Tombstone. The movie did a really good job of recognizing that and incorporating it into the setting. Tombstone overall displayed an amazing film filled with outstanding
My analysis begins, as it will end, where most cowboy movies begin and end, with the landscape.Western heroes are essentially synedoches for that landscape, and are identifiable by three primary traits: first, they represent one side of an opposition between the supposed purity of the frontier and the degeneracy of the city, and so are separated even alienated from civilization; second, they insist on conducting themselves according to a personal code, to which they stubbornly cling despite all opposition or hardship to themselves or others; and third, they seek to shape their psyches and even their bodies in imitation of the leanness, sparseness, hardness, infinite calm and merciless majesty of the western landscape in which their narratives unfold.All of these three traits are present in the figures of Rob Roy and William Wallace--especially their insistence on conducting themselves according to a purely personal definition of honor--which would seem to suggest that the films built around them and their exploits could be read as transplanted westerns.However, the transplantation is the problem for, while the protagonists of these films want to be figures from a classic western, the landscape with which they are surrounded is so demonstrably not western that it forces their narratives into shapes which in fact resist and finally contradict key heroic tropes of the classic western.
I believe that the film does indeed conform to a certain type of narrative structure expected by other films of this style. This film, through and through, is a Western, even starring one of biggest names in Hollywood Westerns, John Wayne. We’re thrown into a world of sturdy, rugged men riding around on horses, decked out in cowboy hats and belt buckles. Wayne portrays the archetypal man, honorable, reliable and
In the article "Movies that Rose from the Grave" by Max Brooks, he delves deeper into the reasoning of where, why, and when zombie horror flicks
Westerns have been around for many years. Some would consider westerns to be American classics because they describe early life in a mostly undiscovered America. In class two western films were watched and discussed. These two westerns were High Noon and Shane. On the surface, these movies are categorized as the same genre and look very similar but after further inspection it can be determined that the movies have a lot of differences. Of course, both movies share the same central theme of law versus social order, but the way each movie portrays this central theme is very different. This universal theme between the two movies can be investigated through, setting, violence, view of family, how women perceive guns/violence, and the choice of
The Stagecoach, a critically acclaimed film, which follows the adventures of a group of unlikely and unfortunate passengers escaping from the brutality of Geronimo’s Apache warriors, established the precedent of the classic Western movie, containing crucial Western archetypical elements such as Ringo the Kid that has hardly changed today. Furthermore, Stagecoach espoused social issues of the time by including passengers of varied social status and standing and emphasizing on such interactions that cross the rigidly defined and impermeable social divides at the time. The iconic movie was produced during the transition between silent films and films with spoken dialogue, and the remnants of the former film style are conspicuous throughout the film. Although explicit and spoken plot was crucial for the storyline, non-verbal communication offered implicit cues to attentive audience members. Dallas was coerced onto the stagecoach, shamed and disgraced as a prostitute, which immediately put her underneath the likes of Ms. Mallory.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
Somewhere out in the Old West wind kicks up dust off a lone road through a lawless town, a road once dominated by men with gun belts attached at the hip, boots upon their feet and spurs that clanged as they traversed the dusty road. The gunslinger hero, a man with a violent past and present, a man who eventually would succumb to the progress of the frontier, he is the embodiment of the values of freedom and the land the he defends with his gun. Inseparable is the iconography of the West in the imagination of Americans, the figure of the gunslinger is part of this iconography, his law was through the gun and his boots with spurs signaled his arrival, commanding order by way of violent intentions. The Western also had other iconic figures that populated the Old West, the lawman, in contrast to the gunslinger, had a different weapon to yield, the law. In the frontier, his belief in law and order as well as knowledge and education, brought civility to the untamed frontier. The Western was and still is the “essential American film genre, the cornerstone of American identity.” (Holtz p. 111) There is a strong link between America’s past and the Western film genre, documenting and reflecting the nations changes through conflict in the construction of an expanding nation. Taking the genres classical conventions, such as the gunslinger, and interpret them into the ideology of America. Thus The Western’s classical gunslinger, the personification of America’s violent past to protect the freedoms of a nation, the Modernist takes the familiar convention and buries him to signify that societies attitude has change towards the use of diplomacy, by way of outmoding the gunslinger in favor of the lawman, taming the frontier with civility.
As the emcee said at the beginning of the film, “I 'm told that it has everything, that is everything that a western should have” (Myton and Marks). The Terror of Tiny Town
The story is an Eastern take on the Hollywood western with a dash of satire,
A more modern outlook on the film recognizes the film's flaws but gives it, it’s credit as the last fully realized work of one of the most important directors in American cinema history. Ford understood that an audience's recollections of older, less complex Westerns would add a layer of expressiveness to the viewing experience. The black-and-white structure helps him achieve this. Ford’s decision to shoot the film in black and white in 1962 produced a dark, anachronistic look, while the unconcealed soundstage effects of the film’s opening scene reinforced Ford’s vision of a wilderness, interiored Western frontier. Just as Ford intended, many of the flashback scenes are masked in darkness, whereas the frame tale is immersed in light. This con...
Western films are the major defining genre of the American film industry, a eulogy to the early days of the expansive American frontier. They are one of the oldest, most enduring and flexible genres and one of the most characteristically American genres in their mythic origins - they focus on the West - in North America. Western films have also been called the horse opera, the oater (quickly-made, short western films which became as common place as oats for horses), or the cowboy picture. The western film genre has portrayed much about America's past, glorifying the past-fading values and aspirations of the mythical by-gone age of the West. Over time, westerns have been re-defined, re-invented and expanded, dismissed, re-discovered, and spoofed. But, most western movies ideas derived from characteristics known to the Native Americans and Mexicans way before the American culture knew about it. What you probably know as a good old western American movie originated from a culture knows as vaqueros (cowboys for Spanish). They are many misrepresentations of cultures and races shown throughout movies from as early as 1920's with silent films. Although one could argue that silent film era was more politically correct then now a day films, the movie industry should not have the right of misrepresenting cultures of Mexicans, Indians and there life styles in films known as western films.
American western films took over Hollywood filmmaking from 1920 to 1960. Most all classic western movies carry the same themes throughout the movies. Heroic, masculine figures who are law-abiding enforcers, but also quick with a gun control the atmosphere of their western town. The movie My Darling Clementine (John Ford, 1946) encapsulates the western genre, and goes down in history as one of the best westerns ever made. After Wyatt Earp and his brothers stumble upon the town of Tombstone while to moving cattle to California, they decide to stay after Wyatt sees the need to stick around a little longer. The heroic actions yet humility of My Darling Clementine’s main character Wyatt Earp make the movie a classic American western film.
Revenge, good versus evil, and the hard-fought victory of the underdog are the compelling themes in the western adventure novel, True Grit by Charles Portis. This work has been dubbed as “one of the great American novels” (Newsweek) and even inspired two award-winning films with its captivating characters and heart-wrenching conflicts. Only a year after the famous novel hit the American household by storm, True Grit (1969) was produced to recognize and appreciate the fans of the Portis original. Moreover, True Grit (2010) appeals to a different audience, because it pays less homage to the novel as a result of it being released nearly four decades after the book. These contrasting traits are exhibited in their trailers which are specialized to attract different moviegoers.
A typical Western would usually be set in the late 19th century in the mid-west of America in a remote town. The town is usually small, lonely and unwelcoming. Typically a western set looks like it is in the middle of a desert with sand, cacti and tumbleweed which gives a desert look, there are usually never any lakes or rivers around these features make the place look really hot and deserted. The buildings are generally timber board houses with swinging doors and outside the buildings are places to keep their horses, there is also always a General Store and a Saloon. Horses and carriages and cattle are used to give a western feel. The cowboys are typically dressed in western style clothing for example they wear simple shirts and jeans they may also wear ponchos, waist coats, hats, boots with spurs, guns and a belt to hold the gun and bullets, Hero's tend to wear lighter clothing and the villain’s tend to wear darker clothing.
Few Hollywood film makers have captured America’s Wild West history as depicted in the movies, Rio Bravo and El Dorado. Most Western movies had fairly simple but very similar plots, including personal conflicts, land rights, crimes and of course, failed romances that typically led to drinking more alcoholic beverages than could respectfully be consumed by any one person, as they attempted to drown their sorrows away. The 1958 Rio Bravo and 1967 El Dorado Western movies directed by Howard Hawks, and starring John Wayne have a similar theme and plot. They tell the story of a sheriff and three of his deputies, as they stand alone against adversity in the name of the law. Western movies like these two have forever left a memorable and lasting impressions in the memory of every viewer, with its gunfighters, action filled saloons and sardonic showdowns all in the name of masculinity, revenge and unlawful aggressive behavior. Featuring some of the most famous backdrops in the world ranging from the rustic Red Rock Mountains of Monument Valley in Utah, to the jagged snow capped Mountain tops of the Teton Range in Wyoming, gun-slinging cowboys out in search of mischief and most often at their own misfortune traveled far and wide, seeking one dangerous encounter after another, and unfortunately, ending in their own demise.