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 Boyd D. Cathey Archive
When Hollywood Rode Right
American Western Cinema as an Expression of Older Virtues
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Although Hollywood is now considered a monolithic bastion of leftist and “woke” political and cultural sentiment with almost no dissent tolerated, it was not always that way, at least not to the degree that exists today. Go back sixty years ago, and that progressivist uniformity was not as apparent.

Certainly, “Tinseltown” was never a haven for conservative and traditionalist cinema, actors, and screen writers, but back then to be on the Right and practicing a career in movies was not a rare oddity like it is in 2021. In particular, the sub-genre of Westerns, during its heyday on the big screen from the 1920s until the mid-1960s, was dominated by actors identifiably conservative.

Indeed, most of Hollywood’s leading Western and cowboy actors have been politically conservative, and quite a few have been Southerners. It is well known that John Wayne was a conservative, strongly supporting United States forces in Vietnam (recall his film, “The Green Berets”), and often supporting Republican candidates. But many other prominent Western actors were also on the right.

A short list would include: Joel McCrea (a Goldwater and Reagan supporter), Randolph Scott (a staunch conservative and Reagan supporter originally from Charlotte, N.C., who attended the 1964 Republican Convention as a Goldwater delegate), Audie Murphy (a Texan, life member of the NRA), Roy Rogers and Gene Autry (both conservative Christians), John Payne (a native Virginian and staunch Goldwater conservative), Alan Ladd (a Republican and native of Arkansas), Charlton Heston (a former president of the NRA), Ronald Reagan, Glenn Ford, Ward Bond, Jimmy Stewart (a regular contributor to the political campaigns of Senator Jesse Helms), Ben Johnson (who refused to act in Peter Bogdanovich’s “The Last Picture Show,” until nudity and bad language were removed), Gary Cooper (a convert to the Catholic Church, who supported Nixon in 1960), George “Gabby” Hayes (a John Bircher, the quintessential cowboy sidekick, whose famous full beard and tattered hat identified him for several generations of Western-watchers), Walter Brennan (thrice-winning Academy Award winner whose staunch conservatism led him to co-chair the California state campaign for George Wallace in 1968), and Chill Wills (the noted Western character actor who was the other California Wallace co-chair in 1968).

And there were others that we might recall from those days of yesteryear.

In more recent times, such noted actors as Clint Eastwood, Robert Duvall, Tom Selleck (another past president of the NRA), and Kevin Sorbo, have continued the rightward tendency among actors who act in oaters.

Various reasons have been adduced for the prevalence of conservatives in Westerns, in an industry that otherwise leans strongly to the left. The fact that many of them came from the traditional South or from rural areas may have had some influence. Few came from urban areas like New York, and if they came from California, it was an older California, one that was still capable of electing Ronald Reagan governor and right wingers like “Bomber Bob” Dornan or John Schmitz to Congress.

Most major studios from the 1930s to the 1950s maintained separate facilities—“ranches”—set away from major production centers, where Westerns were shot and produced. Western actors and, to some degree, their directors and producers, tended to be separated from other film-making. It was no accident that the great director John Ford (an early supporter of Roosevelt’s “New Deal,” who became a fervent Nixon and Goldwater supporter), when asked once what he did, responded, “I make Westerns.” Of course, Ford made movies in other genres, but he is most widely known for his superb Westerns. He had his own “stock company” of veterans and regulars who showed up in picture after picture that he directed. His genius was in securing the very best in ensemble acting carried to perfection over and over again. Those actors who appeared in Westerns generally made it a habit.

Some of the smaller studios, especially Republic and Monogram (later Allied Artists) concentrated on the genre, and turned out what are commonly termed “B Westerns”; they featured a recurring star (perhaps with a sidekick), were about an hour long, and normally appeared as the second half of a double bill. Too often film critics dismiss these B Westerns as “kiddie flicks,” but the truth is that many of these films were truly stylish, high level products. Thus, Allan “Rocky” Lane, Gene Autry, Wild Bill Elliott, and Roy Rogers made Republic a real player at the box-office.

Johnny Mack Brown, Whip Wilson, Hoot Gibson, Bob Steele, and Guy Madison did the same for Monogram/Allied Artists. Other studios, like Columbia and RKO, produced numerous B Western series until the early 1950s, showcasing actors like Charles Starrett (“The Durango Kid”) and Tim Holt. The end of the series Bs did not end the popularity of the genre. Both Columbia and Universal-International continued releasing higher quality, longer films, usually in color, in the 1950s, often spotlighting bigger-name stars such as Audie Murphy, Randolph Scott, or Joel McCrea. These studios used the Western as their bread-and-butter producer when major features failed to make money. In most cases, there was a virtual segregation between Westerns and other fare, a separation which may have affected the ambience in which they were made.

The very nature of the Western sub-genre has had a significant influence in attracting certain types of actors to it. Westerns traditionally expressed the purest form of “good vs. evil.” Even in the more conflicted, morally blurred years of the later 1960s and 1970s, the few Westerns that were made seemed to never lose sight of that essential conflict. Indeed, the paucity of films in the genre during the last thirty years is the clearest indication that the Western as a clear-sighted vehicle for representing society’s conception of itself and its frontier past has fallen on hard times. Too many heroes in white hats and too strong an identification with a triumphant—and white—country, subduing all before it, doesn’t offer the best medium for representing the morally conflicted and self-loathing America of the 21st century.

The late Southern historian, biographer, and political thinker, Mel Bradford, once explained, during a conference of former Richard Weaver fellows, that the 1948 Howard Hawks classic, “Red River,” starring John Wayne and Montgomery Clift, encapsulated the history of the West and of America as it expanded to the Pacific, its struggle to overcome both natural and human obstacles, its resilience, its quest to establish law and order in the wilderness, and its abiding faith in Providence.

And that men, in whatever station in life they find themselves, are obliged to assume and fulfill the duty which falls to them.

That put me in mind of a film I had seen many years ago with my father: Sam Peckinpah’s classic, “Ride the High Country.” It co-starred two legendary veteran cowpokes, Randolph Scott and Joel McCrea. It was the last film that Randy Scott would make. At the time, he refused additional roles, declaring that “the movies have become too filthy”—and that was in 1962! McCrea still had one major outing (“Mustang Country,” 1976) and a couple of cameos before laying down his spurs, but essentially, like Scott, this was his last major role.

In a real sense “Ride the High Country” symbolized what was happening to America, foreshadowing in a way, and warning of the cultural revolution of the late 1960s and the ravages on the horizon which would follow.

Two old-timers, retired lawmen played by Scott and McCrea, undertake one last, one final task: to travel up in the Sierras and bring down a shipment of freshly-mined gold. Various, sometimes amusing sub-plots ensue involving a young Mariette Hartley, James Drury (later of “The Virginian”), Edgar Buchanan, R. G. Armstrong, and Warren Oates. All along Scott’s character, Gil Westrum, is planning to take the gold for himself, and on the return journey down the mountains he tries to convince his partner, Steve Judd (McCrea), to join him. For Judd, this assignment, this duty, has helped restore his self-respect. When Westrum asks him if he doesn’t desire more, he responds: “All I want to do is enter my house justified.” Let me do my duty before God and man, let me be faithful to my charge this one last time.

And in the end when Steve Judd is jumped by robbers, Westrum, who had gone on the lam, returns to assist his mortally wounded partner. When Gil pledges to take care of everything just like he would have, Judd says, “Hell, I know that. I always did. You just forgot it for a while, that’s all.” Judd casts a final look back towards the magnificent high country of the Sierras, as if to look back at a better America, and then dies.

It was 1962, and one month before “Ride he High Country’s” release in theaters General Douglas McArthur had delivered his famous “Duty, Honor, Country” speech to the cadets at West Point: “…those three hallowed words reverently dictate what you ought to be, what you can be, what you will be. They are your rallying point to build courage when courage seems to fail, to regain faith when there seems to be little cause for faith, to create hope when hope becomes forlorn….”

Now, fifty-nine years later, duty has been replaced by the never-ending clamor and incessant demand for “rights”; honor has become an outmoded concept; and the country we once loved has been riven and violently split apart by fanatics who dominate our politics, our schools and colleges, and our entertainment.

The Western as a vehicle of our explaining to ourselves who we were—and “remembering who we are,” to use Bradford’s expression—no longer occupies the didactic role it once did. Boys no longer wish to grow up modeled on a straight-arrow Gene Autry or Hopalong Cassidy; they don’t even know who Autry and Hopalong were. A hero-inspired “code of behavior”? Not in the age of “The Bachelorette” or the barely R-rated movies and TV programs that too many parents allow their children to view these days.

In 1974 the country/Western vocal group, the Statler Brothers, released their single, “Whatever happened to Randolph Scott?” Through its lyrics and music, they expressed the feelings of many Americans:

“Everybody knows when you go to the show
You can’t take the kids along
You’ve gotta read the paper and know the code
Of G, PG and R and X
You gotta know what the movie’s about
Before you even go
Tex Ritter’s gone and Disney’s dead
The screen is filled with sex.

“Whatever happened to Randolph Scott
Ridin’ the range alone
Whatever happened to Gene and Tex
And Roy and Rex, the Durango Kid
Whatever happened to Randolph Scott
His horse, plain as can be
Whatever happened to Randolph Scott
Has happened to the best of me.

“Whatever happened to all of these

Has happened to the best of me.”

More recently director Quentin Tarantino, not known for engaging in cinematic nostalgia, examines the virtual disappearance of the classic Western as a theme for his 2019 film, “Once Upon a Time in Hollywood,” which becomes a vehicle to illustrate what was going on in American filmmaking (and in America at large) in the chaotic 1960s. Set in 1969 Hollywood it follows the fading career of once-popular Western star Rick Dalton and his best friend, Cliff Booth, his stunt-double, both of whom are forced to look for lesser roles in an industry that seemed now to shun the kind of good vs. evil oaters that a Randolph Scott or Joel McCrea made between 1930 and 1962. In a real sense the Dalton and Booth characters must navigate a transition period which saw the country itself change radically. Throughout Tarantino employs bits of period nostalgia, from music to iconography, memories of what was being lost.

Yet, the Western has never completely disappeared from the big screen. “Silverado,” “Wyatt Earp,” “Tombstone,” and “Open Range” have illustrated that point. The success of TV’s “Lonesome Dove” proved that there is still life yet in the genre, and the Encore Westerns channel continues to be one of the more popular cable and satellite channels.

Perhaps it is the desire for clear-cut moral choices, the desire to recover some of the certainty that has departed from our culture, which attracts new generations of viewers. Perhaps it is the need to rediscover an American past that, after all, may be partly mythic, but mythic in the very best and most honorable sense of that word. Indeed, did not John Ford in “The Man Who Shot Liberty Valance” have his newspaper editor tell Jimmy Stewart: “This is the West, Sir; when legend becomes fact, print the legend”?

Perhaps it is the Western’s celebration of American tradition, with its mixture of both truth and myth, which may beckon to a future generation of converts. Despite “cancel culture” and its terrifying destructiveness, those who dare to take a look back at some of the great cinematic works of our past will see a rich artistic patrimony worthy of emulation, with actors who largely believed in the principles their films convey.

And then, like Steve Judd, may it be said of us by those in a saner age: “Hell…You just forgot it for a while, that’s all.”

(Republished from My Corner by permission of author or representative)
• Category: Arts/Letters, Ideology • Tags: Hollywood, Movies 
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  1. Great article! I love westerns for the reasons the author conveys, the freedom, the beautiful scenery, the ‘mystic chords of memory’ they evoke, to borrow a phrase from Lincoln. But most importantly the sense of honor of the leading men (and they were leading men, as it should be). The moral narrative of westerns was frequently that the hero could do wrong, nothing was physically stopping him, but his integrity and honor meant he refused to do so, even if the results would be lucrative or hedonistically gratifying.

    This in turn was a celebration of our Anglo-Saxon, Christian culture; we could shoulder the duties of liberty, we knew right from wrong, and we were tough enough to back up our principles and see a task through. These men were how we saw ourselves at our best. They weren’t perfect, but they were recognizably us, and they were fundamentally decent people.

  2. PapayaSF says:

    This is a pretty good article, except for one clinker:

    Quentin Tarantino, not known for engaging in cinematic nostalgia

    Maybe the author didn’t recognize Tarantino’s nostalgia, because it’s focused on the 1960s-1970s: kung fu films, blaxploitation, spaghetti Westerns, and grindhouse.

    • Replies: @R.G. Camara
  3. @PapayaSF

    Tarantino has shown nostalgia for pretty much every kind of film now except horror and scifi.

    I expect him to make his last few films with those genres in mind. Perhaps thats why he’s famously mentioned wanting to direct a Star Trek reboot — to get the latter genre under his belt.

    • LOL: El Dato
    • Replies: @El Dato
    , @InnerCynic
  4. Perhaps thats why he’s famously mentioned wanting to direct a Star Trek reboot — to get the latter genre under his belt.

    STAR DREK, the absolute worst.

    • Agree: Bardon Kaldian
  5. New author for me, so a quick examination of the Archive.

    Their examples stood before us as models to emulate, a challenge for us to uphold their honor and their noble efforts to defend home, family, and the rights vouchsafed to them by their fathers and ancestors…who had cobbled together the older American confederation.

    Nostalgia for a culture which bought and sold humans as cattle.

    “President Trump specifically cautioned his supporters at the rally to be peaceful and let their voices be heard, but to do it in an orderly and lawful fashion….” But before I could continue, Susan interrupted me:

    On January 6 of this year, Trump was managing a peaceful rally, not an Executive Coup.

    Recall that the 14th Amendment was enacted after the War Between the States (!) to guarantee the rights of citizenship to manumitted slaves and their offspring. And, indeed, there is a serious legal question about whether the amendment itself was ever legally and legitimately ratified.

    Therefore the issue of Birthright Citizenship ought to go to the RightWingNut Supreme Court so this provision – one the author doesn’t like – can be “properly interpreted”.

    No, thanks to Boyd D. Cathey.

  6. Anonymous[101] • Disclaimer says:

    Not to belittle it, but to me this is a feel-good article. I just forgot it for a while.

    It’s not film, but I would add the Gunsmoke radio series with Wm. Conrad to the list.

    • Replies: @JM
  7. Thanks for the great article. It reminded me of going to the movies with my dad. This was in the days of a cartoon, a short feature, and a double feature. I remember seeing They Came to Cordura with Gary Cooper and Van Heflin.

    • Replies: @Dr. Charles Fhandrich
  8. I can’t watch these 50’s-60’s Westerns anymore. Media in that era ushered in a vast amount of propaganda and it continues to this day. The great cowboy “era” of the John Wayne types never existed and the garbage coming this century takes it to another level.

    • Agree: El Dato, JimDandy
    • Disagree: JM
    • Replies: @JM
  9. Paladin says:

    Spot on article, Mr Cathey. As a reader nearing his 80s who can still recall the excitement and admiration I and my fellows held for Hopalong Cassidy and all he represented, I salute you.

  10. I’ll just leave these here.

  11. AReply says:

    What exactly are the conservative virtues that were to be expressed?

    This article is another GPT-3 emission: somebody loaded the AI up with IMBD query result for “Gandalf Scott” and let the automaton burp up a word-count sufficient to be labeled an essay.

    Nonetheless, I agree in principle: Why can’t Hollywood get back to conservative classics like A Clockwork Orange?

    Oh, how we have fallen…

    • Disagree: Chris Mallory
    • Replies: @cosMICjester
  12. Franz says:

    “Whatever happened to Randolph Scott?”

    To some large degree, George Lucas re-named him Han Solo and shot him into space.

    For anyone who notices, at least some of the appeal to the values and even specific situations that Westerns provided have moved off-planet. Courage and duty appear in at least some. Even the latest Dune remake has some sense of family honor and courage under pressure.

    I’ll admit with no qualifications the bad baggage that SF has brought with it: All space movies MUST be feminist. A diktat was evidently handed to the genre at birth. There are few exceptions. And as for multicult-gone-amok, there’s no equal to the worst of them. Even then, a good action film like Rogue One shows it can be done in a non-obtrusive way and turn the defects into virtues.

    The Western as a genre ended about when you would expect it to: Ride the High Country was filmed about the time Alaska became a state. The old frontier had been long gone but with our “farthest west” frontier now a state, the idea of the open west ended even as a myth. Since it also coincided with the earliest Mercury astronauts going outward, it was not at all surprising a new form added drama to fit the era.

    Before Star Trek and Star Wars, movies in space were only gimmicks. Now they pick up where the older form left off. There will still be westerns made, and some filmmakers are working to make SF a genuine art form. I see the glass as half full.

    • Replies: @frontier
  13. Why did the western die out? I mean it went out of style long before woke/sjw bullshit. If I’m not wrong it was over before the 80s.

    Anyway I have only seen a few westerns and enjoyed them all. The Dollar trilogy and High Plains Drifter. About to watch The outlaw Josey Whale. Clint Eastwood is one of my favorite actors, and the greatest western actor. Hit and miss as a director but nobody claimed he was Kubrick.

  14. sally says:

    Great article.. Great timing..
    i wonder how defenders of individualism, liberties, peaceful but drunken church going coexisting persons monitored by gun toting sheriff led group (community posses’ and local vigilantes) assisted sometimes by an honest judge and rule by law, would feel about health care by government imposed mandates.

    Allowing the government to force into ones’ body, a man made virus designed to starve off the pathology of a similar but natural other virus..does not seem to fit into the content of the propaganda that produced from our past who we are today?

    Back then Article I persons would have made mandate decisions, but as of now, Article II person are claiming authority to do so. The supreme court is suppose to hear this issue soon.. do you think the cowboys of the past would peacefully submit to forced injections?

    • Replies: @Francis Miville
  15. From what we know today, from the costumes to the narratives, everything was nothing more than a farce to hide a terrible criminal history at the origin of the nation.

    • Replies: @El Dato
  16. El Dato says:
    @R.G. Camara

    But what does “the movies have become too filthy” mean? They should be!

  17. @R.G. Camara

    Horror? Tarantino wrote and stared in ‘From Dusk Till Dawn’. I didn’t enjoy it and I’m sure I’d hate watching any sci-fi flic he’d spew out. Can you imagine? Would Samuel Jackson be in there? Nigga dis and nigga dat! No thanks.

    • Agree: SBaker
  18. I recently purchased the entire collection of “Gunsmoke” episodes on DVD. I am finished with the first season and am now on the second season. Every single episode is EXCELLENT! I have also watched all of the episodes of Perry Mason, The Fugitive, Jake & The Fat Man, Cannon and The Untouchables. All excellent programming.

    I am a 70 year-old retired industrial electrician. I “used to” like watching TV but now there is NOTHING on TV that I care to watch. Likewise with the movies they are putting out. In my opinion, everything on TV now isa bunch of computer-generated garbage. Likewise with the movies.

    • Agree: Adam Smith, SBaker
  19. Anonymous[661] • Disclaimer says:

    Regarding our country “violently split apart by fanatics who dominate our politics, our schools and colleges, and our entertainment.”

    Can’t help but reflect on something “Ride The High Country” actress Mariette Hartley once told me during my working days in Hollywood. She’d said her favorite proverb, of Hindu origin, was:

    If you sit by the river long enough, eventually you will see all your enemies go floating by.

  20. Ray12 says:

    Old virtues…like genocide of native Americans

  21. a modern-day Western… Revisionist Western.”The Harder They Fall” 2021.
    This is a freshly baked western by Jaymes Samuel.
    I haven’t been able to watch the end.

    Terminator 1984(USA) vs “Guest from the future” 1984(USSR)
    science fiction…

  22. El Dato says:
    @Liborio Guaso

    It could have gone differently if Ghenghis had not stopped somewhere east of the slavic lands.

    • LOL: Jim Bob Lassiter
  23. Mr. Ed says:

    ‘Outlaw Josey Wales’ is not that great; pandering to ‘Native Americans’; watch the scenes with ‘Chief’ Dan George.

    Eastwood is basically a money worshiping libertarian fraud; always has been.

    • Disagree: Prester John, El Dato
  24. @Enemy of Earth

    Great movie. Cooper was a great and interesting actor right up to and including until his last film.

  25. Anonymous[236] • Disclaimer says:

    I believe the phrase you are looking for is “Thank you” to the brave strong men that gave your ancestors the opportunity to keep the hair still attached to their skulls.

    Being Gracious to others that use their greater strength to protect you is the hardest task of all.

  26. Nothing’s mentioned in the article about television, but Republicans like Lucille Ball had a lot of influence in 1950’s and 60’s television through her and Desi’s Desilu studios. She was friends of Hedda Hopper, Eve Arden and Gale Gordon plus others. In addition to this, Buddy Ebsen was a staunch Republican and dashed the hopes of lesbian Nancy Kulp (Miss Hathaway) of the Beverly Hillbillies to get into political office. One can only imagine what would’ve happened to the career of the gay Raymond Burr if Hedda Hopper had decided to out him. One wonders if the knowledge that she had on Raymond Burr and her power in Hollywood had some influence on her son getting the lucrative role of Raymond Burr’s detective sidekick in the original Perry Mason TV series?

  27. Hopalong Cassidy

    William Boyd. You left out his name. Don’t know his politics.

  28. Treg says:

    I would pay double to see a western where the hero and townsfolk stampout and shoot down every leftist notion and evil.

    • Replies: @Achmed E. Newman
  29. profnasty says:

    Ah ah aaand the

  30. George Lucas said that John Ford’s “The Searchers”, one of the five greatest American movies ever made and the best Western, served as a guide in creating the “Star Wars” series which itself may be described as a space-fantasy Western.

  31. @Brad Anbro

    I am of a younger generation (put it that way!), Brad, but I agree completely. I have not had the TV hooked up* to cable or anything for 23 years, and that helps a lot.

    My experience with movies is similar to yours. What I do is get a bunch from the library and hopefully get one good one out of 3 or so I try – the Peak Stupidity post “Tried to watch a movie – here’s 3 reviews in one!” gives an example. (It turned out that the one that was worth watching was made in the 1960’s, hah!)

    Recently, I have another example from an airplane flight – see “Nine Days to Patton – movie non-review”.

    As for your series, I would enjoy them too, but I would go for the collection of The Rockford Files too.

    Thank you for the good read, Mr. Cathey, and Merry Christmas.


    * About 10 years, back I hooked up a on-the-air digital antenna and spent a few hours mounting it to the chimney, but all I did was occasionally watch The Office reruns and the weather radar. The cable broke some years back (who knows?). We only occasionally watch DVD movies of our choice on it, which relates back to my point…

    • Replies: @Brad Anbro
  32. @Zachary Smith

    The 14th Amendment should be null and void since it was ratified at the point of a bayonet.

    The only people who should have birthright citizenship are those of us with direct male ancestors listed in the 1790 Census.

    Can you name a civilization in history that did not hold slaves?

    • Replies: @Nancy
    , @Corvinus
  33. @Ray12

    They were not “native Americans”. They were Apache, Sioux, Comanche, Cheyenne, Cherokee, or what ever the group of stone age savages called themselves. The only people with any claim to being native American are those of us descended from the men who founded the United States of America.

    Removing hostile stone age savages from the North American land mass was the right thing to do.
    That any of them still exist today is a tribute to the mercy of the White man.

    • Troll: Corvinus
  34. Katrinka says:
    @Brad Anbro

    I have a huge collection of 1950’s-60’s TV westerns. Cheyenne, Wanted Dead or Alive, The Restless Gun, Maverick, Tombstone Territory, Bronco, Tate, Sugarfoot, Riverboat, Rawhide, The Rifleman, Have Gun Will Travel, etc.

    There is NOTHING on Tee Vee today and I simply will not sit through the race mixing advertisements.

    • Replies: @SBaker
  35. @Joe Paluka

    William Hopper was very good as Paul Drake in the Perry Mason TV series.

    • Agree: Orville H. Larson
    • Replies: @Joe Paluka
  36. HT says:

    Even then the Jew writers were slipping their sick social justice messaging into scripts. Once the 70’s got here, it became a landslide of propaganda against white Western Christian culture taking us to the depraved entertainment industry and country we have today.

    • Agree: Katrinka
  37. Maddaugh says:

    When Hollywood Rode Right

    Well, dem days is gone Hoss ! And dey is going to git worse !

    These days movies must have one or all of the following themes:
    >There is a woman who is all wise and is a take charge feminist and an assertive bitch
    >The lead man is weak dumb and a gopher to the white chick
    >The Minority is represented in roles that are traditionally white (expect a Black Superman, a Punjabi Spiderrman or a Chinese Batman (LOL) soon)
    >Lesbianism, faggotry, incest, transgenderism, kids confused about whether they are boys or girls
    >A preponderance of Jewish actors with Jewish names and Jewish actors with Anglo names
    >A preponderance of Jewish producers, directors etc pushing their agenda through film.

    I remember back in the day when Frank Sinatra would refer to a woman of ill repute as a “tramp”. These days she is a “fucking cunt “. The script has evolved so to speak. Its such that in some movies, if you close your eyes, the dialogue is sheer nonsense mixed with profanity in every sentence.

    That;s why Maddaugh avoids the movies and TV. Spending my money wisely means not throwing it away on Hollywood trash. The dollars reside better in my Shabby Chinos rather than in a Shabbos Coat.

    • Replies: @bj0311
    , @Priss Factor
  38. bj0311 says:

    I see from reading the comments that apparently very few are actually familiar with this genre of film. The issue I have always had with westerns–even when I was young–is that the plot of far too many movies was exactly the same. You have one powerful guy who owns everything and the hero is there to defend those who challenge the big guy. The problem with this is that the big guy went there first. He was the guy who endured all the dangers of hostile indians, weather etc. and the big guy had to build everything from scratch–there was no infrastructure, no law, no social support systems, he was on his own—the epitome of a real American. So then when everything is safe and all the luxuries of life are available then comes the “sod-buster” (i.e. immigrant) who only wants a few acres–except it is always a herd of sod-busters. They hate the guy that pioneered the place because he has everything, yet they ignore the fact that he came when it was dangerous and built everything with his own hands and it truly is his to do with as he pleases. And so, westerns really are about class envy and those who produced these films put out this message knowingly and with intent. You see this nonsense even in newer films like Open Range.

    Maybe the actors are good guys but they helped to produce a socialist message that is antithetical to the American way of life. How is it any different today? We who have spent our lives building are threatened by our own government for doing so. We are supposed to let the parasitical non-producers enjoys the fruits of out labor without cost. If I have anything, it is because I earned it through hard work and diligence and that is what America is supposed to be. A real western would be these heroic cowboys defending us from the invasion occurring at our southern border.

  39. Silverado (1985) has one of the greatest cold openings ever put on film:

    It also has excellent ensemble cast that was somehow put together in an era when the Western really was out of fashion.

    Pale Rider is another very good Western from 1985, though the supernatural elements place it in the, “weird West,” genre.

    • Replies: @Mike Tre
    , @currahee
  40. @Achmed E. Newman

    “Achmed” – I have the complete collection of “The Rockford Files” on DVD. I watched them once and did not care for them that much. I would be willing to let you have them for a fair price. Just to get them to a good home and to someone who appreciates them. Let me know. Brad n9en(at)

    • Replies: @Achmed E. Newman
  41. I’ll bet more eyeballs have landed on Gunsmoke, Rifleman And Bonanza than any three great westerns that ever hit theaters. I expected mention of James Arness in this. I don’t know how much studio actors like Arness made, but TV series running 35-39 episodes per season was grueling. And Gunsmoke was an hour long weekly. The small screen stuff was better, IMHO.

  42. bj0311 says:

    All it takes to write a Hollywood script these days is being able to make coherent sentences out of profanity–an ability formerly the province of drill instructors and certain sergeants.

    • Replies: @Maddaugh
  43. bj0311 says:

    To use the nonsense wording in fashion today these individuals would be more properly called “Siberian Americans”. Maybe they were not treated the best, but the alternative would be Africa where this “genocide” did not occur in large enough numbers.

  44. a Red Western comedy film…
    “A Man from the Boulevard des Capucines 1987 (USSR)
    The film had the highest ratings in the Soviet Union in 1987, with 60 million viewers.

  45. Who can forget this one:

  46. Mark Hunter says: • Website

    Interesting article.

    One correction: Ronald Reagan began as a leftist then became on the surface a conservative while remaining a leftist. Recall that in his 1984 successful run for president he choose the CIA-connected George H. W. Bush as his running mate and thus spearheaded the neocon takeover of Washington. Despite all the conservative talk, over his two terms the federal budget ballooned.

    Myron Fagin, a successful playwright, denounced Reagan in his famous speech of 1945 “Red Stars Over Hollywood.” He may go overboard at times in that speech but I think he was right about Reagan.

  47. @Bing Bong Trump

    It just was a former phase of Jewish cultural preeminence. At that time they needed a prosperous White Calvinistic America as a surefire and impregnable refuge against the countries they attacked, pillaged and fled, and they needed good non-thinking ready-to-serve and ready-t0-die goy slaves capable of putting down Palestinians, which at that time were rather Spanish-speaking and red-skinned, like they still need American mercenaries to do the same job with Old World Palestinians in Syria and Iraq. The Wild Western myth was of paramount importance in the building up of today’s Christian Zionist culture : the movies that best continue the Western genre of yore are the so-called Christian movies of today.

    Americans consented to buy a big, big lie while viewing Wild Western movies : in reality, the real cow-boys in the Wild West were treated like dirt by the Mammoth Farm owners and consequently hesitated between class war marxism and European-style anarchism : the aim of the genre was to subsume all those people under the Calvinistic and right-wing libertarian labels. The real wild west was also the refuge of so many commune members stemming either from the East Coast, the money-worshipping culture of which they could no longer stand, either directly from oppressed European countries such as vast swaths of Ukraine.

    Hollywood, like most of America, hasn’t been highjacked by Jews, it was opened up by Jewish traffickers to European colonization. At one point selling Western films was of paramount importance to destroy and dumb-down various cultures in Europe and Latin America : it was a very explicit part of the post-WWII Marshall plan and that was done through Jewish-owned film distribution networks. The aim was to make the Western populace more individualistic and hostile to public spending, and also more anti-intellectual as the wild west was presented as the place in the world where bookish knowledge was most superfluous and even repressed militarily. It was an invitation to dumbing-down and to identification with barbarians. The biggest mistake when facing a cultural onslaught is to grow nostalgic of a former phase of that very same onslaught.

    My prediction is that the anti-white cultural marxism now promoted won’t last long : it is an echo of former worker-oriented marxism without workers, to be used as a kind of vaccine against all progressive thought. It is bound to be jettisoned like worker-oriented marxism was once it has done its job, that is to say once the whites potentially disobedient to the New World Order being installed have all been intimidated into line, like worker-oriented marxism was all of a sudden jettisoned when it had done its job, which was intimidating all capitalist entrepreneurs into obedience to World Zionism and destroying only those who wouldn’t. Gilder’s Wealth and Poverty (Reagan’s bed book of economics) marked that point, with the return of Victorian-style, Evangelism-laced capitalistic ideology presented as a return to true Jewish values as opposed to Marxist ones : there elapsed only two years between the last gasps of most rabid maoism and the triumph of Thatcherism. Once all Whites have been intimidated into accepting the fact that Jews are endowed with supernatural powers enabling them to write the narrative of all cultures and that even Atlantis crumbled for disobeying them, once they have accepted the fact that the thinking part of any job must be left to Jews, they will be flattered again as perfect anti-cultural barbarians and Western Talibans in a new spawn of Western movies, this time in a post apocalyptical Wild West, and a game-changing best seller could be signed by Sowell sounding the end of wokeness.

    • Thanks: RedpilledAF, Thor Walhovd
    • Replies: @anon
  48. Chris Moore says: • Website

    Indeed, most of Hollywood’s leading Western and cowboy actors have been politically conservative, and quite a few have been Southerners. It is well known that John Wayne was a conservative, strongly supporting United States forces in Vietnam (recall his film, “The Green Berets”), and often supporting Republican candidates. But many other prominent Western actors were also on the right.

    How does John Wayne’s support for a war instigated by mentally ill Zionist psychopath ((LBJ)) make him conservative? Did “conservatives” also support ((LBJ’s)) USS Liberty treason for Israel? Did conservatives also support ((LBJ’s)) Warfare/Welfare state?

    Yes, they did. So, dumb hick rube brainwashed neocon would best describe Zionists like John Wayne and Ronald Reagan. It would also best describe most ((Jews)).

    There’s a reason America has been falling to pieces ever since Marxist-Zionist ((Jews)) got their fangs into her with fifth column legions sent in the immigration waves of the early 1900’s. It’s only now that its beginning to completely disintegrate.

    With Marxist-Zionist neocons and their dupes “conserving” America, is it any wonder?

    • Replies: @Orville H. Larson
  49. neutral says:

    Hollywood was a jewish creation, nothing has changed since then. I am not against Westerns, but the fact that Hollwood made them means that the jews saw some benefit to them, probably providing a distraction to the typical cuckservatives who thought it was still their country (even in the 1950s it no longer was).

    • Replies: @Francis Miville
    , @Katrinka
  50. Maddaugh says:

    All it takes to write a Hollywood script these days is being able to make coherent sentences out of profanity–an ability formerly the province of drill instructors and certain sergeants.

    Yes, and blacks in general especially the rappers and Ghetto ladies. We have to embrace diversity, equality, equity, inclusion and constipation. It makes us all better people !

    The US would be a sad place without all this multiculturalism !

  51. I can’t wait to see a new generation of western films where every good cowboy is a black and Hispanic 2SLGBBTQQIAPWXYZ+ – Two Spirit, Lesbian, Gay, Bisexual, Beastiality, Transgender, Queer, Questioning, Intersex, Asexual people, and Pedophiles. + added to cover the overlooked, and Red skins are all Magic mushroom eating, peace pipe smoking, rain dancing guardians of the earth, and pale face (white man) are all outlaw bandits and tobacco spitting low life gun slingers.

    What??? They’re releasing westerns just like that???

    Lets give a big hand for (((Hollywood and the Film Actors Guild FAG))).

    That’s Entertainment???

    • LOL: Maddaugh
    • Replies: @AceDeuce
  52. @Jim Christian

    “Brokeback Mountain,”finally broke the Hollywood image of the “cowboy”, as it was probably intended to do.

  53. Liza says:
    @Priss Factor

    Johnny M’s version is nice, but have you ever heard Jack Jones sing Sleigh Ride? Magnificent.

    • Replies: @Presocratic
  54. hhsiii says:

    Coincidence, I just mentioned Ride the High Country in a Trevor Lynch thread as a potential conservative value movie review.

  55. AceDeuce says:
    @Zachary Smith

    Nostalgia for a culture which bought and sold humans as cattle.

    Who specifically are you slamming here, Cucky-Wucky? White people? or Africans, Asians, “Latinos”, Aztecs, Mayans, Middle Easterners-Jews and Muslims alike? ‘Cause they all did it. What makes Wypipo unique is that we renounced it.

    Go tell some Arab or Mehican to hang their head in shame.

    • Agree: Liza
  56. @Treg

    youtube is free still, ain’t it? Hopefully you can see it there before they wipe it, when the time comes.

    The Kenosha Kid is a short feature that you can watch before the main attraction.

  57. AceDeuce says:

    Welp, they somehow manage serious pretzel logic to shoehorn in the “Buffalo Soldiers”-nigro Army troops-many former slaves-who were sent out West to slaughter Injuns.

    Somehow, the knigs shooting the Injuns was a good thing-unlike Whites shooting the Injuns-and the Buffalo Soldiers are “heroes”.

  58. @Brad Anbro

    Thanks for the offer, Brad. That sounds like a win/win deal, but just for anonymity for both of us, I’ll pass on it. I hope you can find someone who will appreciate the set.

    My thinking about it just now got me onto the computer to find the series at the library. (Only 6 seasons? I didn’t know that.) Oh, and thanks for the author and then The Wild Geese Howard for the Silverado clip – that’s coming too.

    • Replies: @Brad Anbro
  59. Maureen O’Hara was good people, too.

  60. @Mark Hunter

    You are wrong, Mark. I’ve read books of Ronald Reagan’s writings and his radio broadcasts from back to his time in Illinois. He was a Conservative from well before he came to California.

    George H.W. Bush was a rival for the GOP Presidential nomination in 1980. After he was nominated, in 1980, Reagan decided on him as VP candidate to consolidate the party. Yes, it was in hindsight a bad move – I wouldn’t have known then, but I see Bush as having been part of the Deep State that fought against Reagan’s principles.

    The President does not work out the national budget, hence its deficits, ballooning as they were. You knew that, right? (Spoiler alert: US Constitution, Article 1.)

  61. AceDeuce says:
    @Jim Christian

    Gunsmoke was, for years, the longest running scripted (not news or talk) show on TV (and it was on radio before that). I know it was in the top 2 until recently, at least. As of a couple years ago the 3 longest running shows were–not necessarily in order:

    Law & Order (the Original). This was the one that was in 3rd place, because it got beat by its sister show L & O SVU.
    The Simpsons

    Which made for a great trivia question. Two performers appeared on all three of those longest running shows–Original L&O, The Simpsons, and Gunsmoke.

    Who were they?

    Hint: They were all guest appearances on each-in other words, they weren’t regulars on any of those shows.

    • Thanks: Jim Christian
  62. As a typical west coast Gen X city kid, I always hated westerns growing up, until a decade of TV abstinence ended in 2020 when, trapped at home for months on end, I bought a $20 digital over-the-air antenna and discovered Grit (the awesome all-western cable channel). Having forsworn corporate TV news on 11.8.20, never to return, to me Grit opened a whole new world of cultural awareness and appreciation.

    This was a great article, but one of the greatest things about westerns, just like classic conservatism, is a freedom from fear about hearing multiple viewpoints. Westerns are riddled with doubt about manifest destiny and the whole machismo thing, and unafraid to poke fun or ask difficult questions. Nevermind all the groovy social justice westerns from the 60’s. My personal favorite, and one which totally rocked my world like only real art can do, was Glenn Ford in Heaven With a Gun (1969), which you guys should totally check out sometime! Land of the free and home of the brave can mean anything you want, and ain’t nobody should tell you how to live but God and your own eternal soul!

    Peace! Merry Christmas!

  63. @Mark Hunter

    Sorry, that came off kind of harsh, Mark. I don’t know if you paid attention to politics during the Reagan era, but those who didn’t, lots of them conservatives, say a lot of crap about him. Most don’t know what they’re talking about. I was there.

    I agree with your comments on the whole.

  64. @sally

    Yes they would : they would often fell for Snake Oil, wouldn’t they? First of all the arrival of “law and order” in the Old Wild West meant the arrival of carpetbagging lawyers and Washington orders never to be even discussed under pain of being accused of high treason : while being pacified the Wild West was still legally at war and that meant that the only law that applied was the US army’s arbitrary regulations. The First amendment didn’t apply on the Frontier any more than the use of “shall” : that was an East Coast thing for effeminate bohemian writers, it applied only in scanty swaths of public space but the space being conquered was strictly private : Hyde Parks with tribunes open to all would be built three generations later maybe when such a luxury could be afforded together with Stilton cheese. Free Speech was allowed only when you had earned it in the form of hard money undersigned by oligarchs (they were then big landowners). The second amendment applied for sure, it was taken far more seriously than the first one that was in the Constitution mostly to seduce rich Europeans into investing, but to enjoy the Second Amendment you had to be part of the local well regulated militia which trained on the biggest landowner’s premises, and free thinkers and free livers were fair game.
    The Pfizer vaccine would have been easily sold and imposed as a vaccine against heresy and anti-judaism, a formal proof you were not a Mexican-like or Irish-born Catholic as well as a guarantee you would never become one. Everybody agreed that poor people and mariners on board should eat bread containing drugs to calm them down. To sell the vaccine they would have bribed the religious preachers of all good confessions and conflated all anti-vaxxers with Injuns, Cajuns and other riff-raff.

  65. @neutral

    It never was their country : international Jewish business, which was then concentrated in the South (hadn’t there been a Civil War New Orleans would have surpassed NYC several times in volume and become the one big American metropolis) opened the country to White European colonization quite in the same way the Gulf Emirates are opened to European and American expats with money and IQ. It is written in golden letters on the Statue of Liberty : you are all guest workers and the invitation card was written by a Jewish poet.

    • Replies: @Jim Bob Lassiter
  66. Katrinka says:

    Jews made westerns because there was huge demand for them. Follow the money.

  67. Mike Tre says:
    @Mr. Ed

    Eastwood has for most of his career been a promoter of the magic negro theory, and aside from OJW, has always promoted the exaggerated stereotypes of rural whites and or southerners as slack jawed backward rednecks of low moral standing in his films.

    • Replies: @GeneralRipper
  68. Mike Tre says:
    @The Wild Geese Howard

    I loved Silverado as a kid, and was saddened to realize as an adult it was just another yarn about racist whites keeping the hard working Blackman down.

    I also went to the same high school as Sidney Penny.

    A great western with one of the all time great performances is Lonesome Dove with Robert Duvall as Augustus McCrae.

    • Replies: @Achmed E. Newman
  69. @Mike Tre

    Dang, Mike! I just put in on hold at the library. Someone tell me it it’s worth watching or if it’s gonna piss me off, please. There’s no money involved.

    • Replies: @Mike Tre
  70. SBaker says:
    @Brad Anbro

    As far as the Gunsmoke series, it was the best ever. The acting really was never the issue for me, but the story content was excellent in portraying just how hard life was in those days. Contemporary westerns are filled with computer generated stuff in standout fake-fashion, the stories are often promotions of some PC statement from the 21st century, and the acting is barely tolerable.

    My wife and I find more and better films–not westerns–to originate from European and even Russian productions. The Medici series is a netflix series with mostly Italian actors, and much of the writing by Italians. The Road To Calvary is a fantastic, Russian production, all Russian actors, and fantastic and historically accurate account of their 1917 revolution. We are not bothered by reading the subtitles. We first watched “The Road To Calvary” less than a year ago, and now it is not streamed anywhere on the internet. You can buy the DVD set of this amazing mini-series. I am a semi-retired jack of several trades–mostly veterinary medicine, toxicology, and infectious diseases.

  71. anon[196] • Disclaimer says:
    @Francis Miville

    My thought was same and little more . America won military engagements decade after decade for over 200 years . The depiction of the victories were couched into the languages that military and the encroaching white settlements wanted .It cohered . It solidified into a militarism that was the only solution offered by a settler ’s mindset . Military glorified WW1 and WW2 and the movies fell in line .But the objections to those wars were painted by one simple brush of attacks on American values, roles,and responsibilities .Only imagination of Hollywood could conceal the inconsistencies .
    The portrayals reinforces the facts that arts science education and church toe the lines set by the aims of military that holds primary position in guiding a nation being built on colonized land.
    Only defeat raise doubt and series of defats or setbacks change the dialogues. Hollywood can’t maintain a straight face of claiming exceptionalism, success, and mystical divine roles despite failures in Korea Vietnam and now in Afghanistan . It cant remain stuck into dewey eyed teary sentimental film made on Christmas ,Santa ,Columbus success or on suburban living in perfect harmony when drugs ,domestic violence PTSD, unemployment lines, sinking poverty and sex inform the cities rural and urban areas. Hollywood is a refection of the realties .It doesn’t shape reality . It simply follows it .

  72. SBaker says:

    An impressive collection. I’ve seen em all, but, Where did you find Have Gun Will Travel? I watched the series many years ago.

    • Replies: @Katrinka
    , @Katrinka
  73. mitchum22 says:

    Would you like me to list, Mr. Boyd, the dozens of anti-capitalist, anti-“American” westerns during the good old days of Hollywood??

    The Wild Bunch (really, anything by Bloody Sam, including the movie from which you used a still)
    The Naked Spur (Mann)
    The Searchers (yes, The Searchers) (lots by Ford)
    Rio Bravo (as socialist a movie as one could get, and the perfect antidote to the nauseating Randism of High Noon)
    Pursued (Walsh)
    Stars in My Crown (Tourneur)
    A Lawless Street (Joe Lewis)
    All of Boetticher/Scott
    Ulzana’s Raid and Apache (Aldrich)
    Forty Guns (Sam Fuller)
    Man of the West (Mann)
    Johnny Guitar (Nick Ray!)
    etc etc etc

    I suggest you stay in the movie-deprived world of UR. Otherwise. . .

  74. Bill Holden was left out. Probably because he was a much better and more versatile actor than most on the list and didn’t need to do Westerns exclusively. He was in “Streets of Laredo” which I saw recently (loved it). He was also Reagan’s best man.
    But the truth is that most Hollywood talent in the 30-70’s era are going to be Republicans. Whether they were “conservatives” or not who knows? They may have been just looking for pols who would stay away from the big checks they were cashing, working regularly in Westerns and other programming.

    I heard one story about the Duke firing Bob Mitchum’s kid for being anti-war in his thoughts on one of Wayne’s movie sets during the Vietnam era. Wayne liked to work with his own stable of actors like John Ford. Duke didn’t take dissent well, like most of his western characters.

  75. Mark Hunter says: • Website
    @Mark Hunter

    As someone points out, I got the year wrong. 1984 should be 1980.

    • Thanks: Achmed E. Newman
  76. currahee says:
    @The Wild Geese Howard

    Puhleeez! Silverado was derivative silly trash, Pale Rider, a lame remake of Shane.

  77. JM says:

    It’s a great subject, because within it we can see a reflection of the history of the broader society, even extensions of it among other European nations and indeed, beyond them. In an increasingly urbanizing society, the Western movie did indeed provide superb role models for boys, but also a unifying national culture.

    A part that is also interesting would begin with Randolph Scott’s remark reported as in 1962…the corruption of the genre from within, through the 60’s and beyond. That year, 1960, seems to me as being a real turning point when Hollywood ceased to reflect the inner yearnings of American society and started to consciously subvert it in a multitude of ways. Those who are conscious of this and who lived through it and are also able to cast a retrospective eye over the evidence, know what I am talking about. Any earlier subversions were in the total picture, aberrations.

  78. @Joe Paluka

    William Hopper was an interesting guy. He had small movie roles in the late ’30s- early ’40s. He served in the Navy during WW2 (UDTs). After the war, he sold cars for some years until he got back into acting. He appeared in five or six movies (including “Rebel Without a Cause” and “The Deadly Mantis”). In 1957, he landed the Paul Drake role on “Perry Mason.”

    By all accounts, he was a good, well-liked actor. He died in 1970.

    • Replies: @Joe Paluka
    , @Nicholas Stix
  79. GeneralRipper [AKA "Nemo me impune lacessit"] says:
    @Mike Tre

    I like OJW, but you can definitely see the Political Correctness creeping into films even then.

    I’d have to say Shane and True Grit are probably in the top five of my favorite Westerns.

    I liked Open Range as far as more recent Westerns go.

    Great article as always, Mr Cathey.

    Thank you.

    • Agree: SBaker
    • Replies: @Mulga Mumblebrain
  80. @Bing Bong Trump

    Ninety percent of ‘shoot-outs’ in the Wild West were sneak attacks from behind. THERE are your true ‘American Values’.

    • Replies: @JM
    , @GomezAdddams
  81. GeneralRipper [AKA "Nemo me impune lacessit"] says:

    Here’s another great clip from Shane.

  82. @Chris Mallory

    Spoken like a true Nazi. What a shame your forebears didn’t have Zyklon B.

    • Replies: @GomezAdddams
  83. @GeneralRipper

    Kurosawa made the best Westerns.

    • Replies: @GeneralRipper
  84. Voltarde says:

    “Tales of Wells Fargo” was a great TV Western series.

    Dale Robertson was very impressive, and the character that he played (of Special Investigator Jim Hardie) was an excellent role model for kids. He narrated the show as well. Robertson had this distinctive, understated, immensely likable diction. Robertson was also the real deal – twice wounded in WWII, awarded Bronze Star and Silver Star medals, considered “the best horseman on television” (he grew up around them and was a rancher who raised them). He also had the best posture of any actor I’ve ever seen.

    Yeah, the show was unrealistic, but it tried to offer a wholesome message with each episode: not just about crime and punishment, but also about remorse, grace, and redemption.

    • Agree: SBaker
  85. JM says:
    @Jimmy The Cop

    The great cowboy “era” of the John Wayne types never existed …

    But it did exist, like it existed in other countries with extensive pastoral regions, native peoples and burgeoning markets for beef and wool as in Argentina and Australia where similar cultures prevailed. Residues of this persist to this day but were even stronger as late as the 1950’s. In the latter ther were called gauchos and drovers respectively.

    Add to that the discoveries of huge amounts of gold prior to the coming of the railways and the basis of the hollywood and other dramas and literature that well preceded it was totally legitimized. Australia – far more than the USA because we had far more gold – was crawling with bushrangers.

    • Replies: @XBardon Kaldlan
  86. GeneralRipper [AKA "Nemo me impune lacessit"] says:
    @Mulga Mumblebrain

    Whatever you say, self hating sweetheart.

  87. Nancy says:
    @Chris Mallory

    And weren’t Termites the major slave traders in the US?

  88. frontier says:

    “Whatever happened to Randolph Scott?” To some large degree, George Lucas re-named him Han Solo and shot him into space.

    As usual, the Chewbacca-sized devil is in the details… and the remakes. As far as Westerns, bad examples do exist but they are practically unwatchable, that’s why financing was redirected to action movies which are purely fictional, lack historical context and open ample space for spaceship-loads of dirty propaganda. The situation is getting worse every day with no end in sight.

    The Western as a genre ended… about the time Alaska became a state. The old frontier had been long gone but with our “farthest west” frontier now a state, the idea of the open west ended even as a myth.

    The Western as a genre didn’t end, it was ended for the reason I described above. Myths do not end, they are merely suppressed. See, Hollywood movies, as well as corruption, require financing – actors, just like doctors and directors, work for money… nothing is going to change before economic issues are resolved.

    I’d like to congratulate Boyd D. Cathey for a very well written article, the best I’ve seen on Unz to date. The author touches upon important fundamental points which will have to be addressed sooner or later, if and when the US cultural body is taken off the ventilator for a detox job.

    • Replies: @Franz
  89. XBardon Kaldlan [AKA "Bardon Kaldlan"] says:

    Bushrangers? Heh.

    • Replies: @JM
  90. Cathey mentions that Walter Brennan and Chill Wills co-chaired George Wallace’s campaign in California in 1968. This reminds me of something I read about the ’68 presidential campaign:

    The Nixon campaign was looking for country-and-western singers to endorse Nixon. It was hard going–most C&W singers were George Wallace supporters. Eventually, the Nixon people found Tex Ritter.

    C&W singers of that era were right-wing, too. . . .

  91. Franz says:

    See, Hollywood movies, as well as corruption, require financing – actors, just like doctors and directors, work for money… nothing is going to change before economic issues are resolved.

    They are investments, and must make a return. A lot of them don’t. But Disney acquired the Star Wars franchise and loaded it with toxic diversity — did they complain about losing money? Very little, a few minor, cosmetic shuffles and they’re back on the PC wagon.

    Money is a small factor if mass entertainment is meant to mold minds. They’ve lost billions of dollars with fashion-chasing, gender-bending dreck, and there’s no reason not to continue if they are being subsidized by dark funding or being tax-credited to quasi-profitability. That’s what we’ve been seeing since the start of the century.

    Mosfilms in the 1950s probably had more creative leeway than the alleged private studios in California have now. Old Mos only had to keep the COMINTERN happy. Our studios have to kiss every minority groups’ butt — and it’s getting to be a lot of butts.

    • Replies: @frontier
  92. JM says:
    @Mulga Mumblebrain

    Ching Chong Chinaman, apple on a stick…you sad, sick, lying bastard.

    • Replies: @Mulga Mumblebrain
  93. Oh, good, so I’m censored on here. I always like when free-speakers cancel people. It reassures me in my belief in ubiquitous hypocrisy.

    • Replies: @SBaker
  94. JM says:
    @XBardon Kaldlan

    Yes, crawling with them. Australia made some pictures (movies) about them; some very early before WW I, where we pioneered the technique/art. Then in the 50’s and later, a few were made, one critical one being lost (so far). Australian kids loved them. One of our national heroes (Ned Kelly) – to some an anti-hero – was a bushranger, appropriating the fruits of gold mining, the pastoral industry and settlement in general. A national exprssion, largely lost in the richness of Multiculturalism was “as game (brave) as Ned Kelly”. There were very large numbers of others. Not a district was devoid of them. What finished them (and they were as talked about/romanticized in the C19th by boys and the community in general as much as the heroes of the movies) was the railroad which allowed – inter alia – the rapid concentration of police power, beyond the capacity of the horse. Of course our convict “past” – it only finished in the Eastern states c. 1850’s contributed to the extent of the “problem”. One great Australian novel of the C19th was Rolph Bolderwood’s Robbery Under Arms and a joint Australian/British film was made of it in the 50’s. Used to be on-line. The Overlanders (about WWii and the (historically accurate) passage of herds across the continent to evade the possibility of Japanese invasion. Also used to be on youtube.

    According to our main historian of The Bushranger, the shootings/violence/volume of Australian bushranging left that of the USA for dead. That is sort of logical (ignoring the impact of the wake of the Civil War) because the the extent of Aust gold vs that of the USA.

  95. @Orville H. Larson

    Too bad he smoked himself to death like so many great actors and actresses.

  96. @David In TN

    Yes, he played a very good part in that show. Too bad that they didn’t find a good detective series for him in the 1960’s to play in.

  97. @Mike Tre

    I meant Silverado, but what about the latter too?

    • Replies: @Mike Tre
  98. Katrinka says:

    I have found many collections on eBay. Here is Richard Boone in Have Gun Will Travel

    • Thanks: SBaker
  99. Right_On says:

    “Hell, I know that. I always did. You just forgot it for a while, that’s all.”
    I watched Ride the High Country just a few weeks back, and that line stood out.

    In the early 20th century, did Americans all know how to ride a horse? I always wondered if actors in Westerns were given a few weeks’ riding lessons before their scenes, or if directors just told them to saddle up and get on with it.

    • Replies: @Ed Case
    , @SBaker
  100. Jiminy says:

    Maybe not far on the horizon is a computer program where you type in your preferred actors, the settings and theme and leave it up to the ai to create a movie to watch that appeals just to your liking. No need to worry about anybody’s political leanings then or hidden subplots. I think everything went downhill after they stopped filming skippy the bush kangaroo.

  101. @Zachary Smith

    Nostalgia for a culture which bought and sold humans as cattle.

    The Founding Chads who owned Negro slaves had no trouble attracting white women who wanted to marry them and bear their children; you wouldn’t find an incel among them. They put today’s soft, weak, low-testosterone, risk-averse and often women-repelling American men to shame. And I suspect the feeling of sexual inadequacy in comparison with these men plays a role in the current effort to discredit and cancel them.

  102. Mike Tre says:
    @Achmed E. Newman

    Silverado would be a very fun Western minus the “muh racism” aspect. All star cast, great music, great scenery, likable characters, including some of the villains. A well made movie.

    Lonesome Dove was based on the Larry McMutry epic and is a made for TV 4 part miniseries. So while it’s filmed within those constraints, it’s still great. Duvall’s performance is IMO top 5 all time, and together with Tommy Lee Jones as Woodrow Call they are a one of the great onscreen duos ever. Zero progressive pedagogy, and most of the Indians (who are mostly the bad guys) are played by white actors like the old days.

    Coincidentally, Danny Glover is the token negro in both films, but has a much much better role in the latter.

    • Thanks: Achmed E. Newman
  103. Corvinus says:
    @Chris Mallory

    “The 14th Amendment should be null and void since it was ratified at the point of a bayonet.”

    You mean Gatling gun. And deservedly so.

    “The only people who should have birthright citizenship are those of us with direct male ancestors listed in the 1790 Census.”

    How elitist of you to say.

  104. Ed Case says:

    In 1900, 80-90% lived in rural areas, so they were at least familiar with horses.
    Many people who depended on horses didn’t like horses though.
    I had a neighbor who grew small crops and raised Braford cattle, the Bank had loaned him the money to buy a Massey Ferguson tractor in 1954, so he got rid of the horses.
    He said he was glad to see the back of the horses and if the Bank had repossessed the tractor, they might as well have taken the farm as well.

    • Replies: @SBaker
    , @Katrinka
  105. @Chris Moore

    I was never a fan of John Wayne, that Hollywood phony baloney, that armchair commando.

    If WW2 could have been won on the movie screen, the “Duke” would have the kicked the Axis Powers’ asses all by himself! . . .

  106. Anonymous[124] • Disclaimer says:
    @Zachary Smith

    Nostalgia for a culture which bought and sold humans as cattle.

    Hmmm. You mean African culture?

    FACT: Blacks shipped to North America were already slaves. They’d have been slaves anywhere else in the world, too, including Africa.

    FACT: Blacks in the USA were freed. Some of their relatives back home in Africa still practice slavery today.

    FACT: Blacks in America should thank Jobu each day for having been brought here. Because Euro-Americans valued cattle. That’s why the mere 350,000 blacks brought here are 13,000,000 strong now.

    Brazilians, on the other hand, worked many of their 11,000,000 black slaves to death.

    Arabs slavers also castrated black males. Hence there being few joggers in Muslim countries today.

    Now…do blacks “oppressed” in China get first-world welfare benefits? Become millionaires? Get rich telling the Chinese that Asian culture is evil?

    FACT: Blacks…the first humans on Earth…invented slavery (along with torture, cannibalism, robbery, murder, rape, and other crimes).

    Finally: Whites will atone for their racial sins only AFTER the real KKK (Klan Kunta Kinte) pays reparations for all harms committed by all blacks over all eons.


    • Replies: @SBaker
  107. frontier says:

    I don’t comment frequently enough to have the “Agree” button available to me. What you wrote is approximately what I had in mind while writing my previous comment, we are in agreement here.

    • Thanks: Franz
  108. @Liza

    Those two versions are both excellent. There are some other very good ones with lyrics in the (somewhat eclectic) top-ten list linked below. That piece ranks the instrumental version performed by the song’s composer, Leroy Anderson, at number 1, and it is hard to argue with that.

    • Replies: @Liza
  109. @Mulga Mumblebrain

    George Washington attacked on Christmas Day—-it is the gun or Jesus–you can NOT have both–!!

  110. @Mulga Mumblebrain

    Tis the season to be jolly—–“Brokeback Mountain –the Original” —and have John Wayne sleeping next to Rock Hudson–now that would be a great one !!!

    • Replies: @SBaker
  111. @Bing Bong Trump

    Best Western –High Noon —Russian producer.

    • Replies: @Nicholas Stix
  112. SLOW WEST is special.

    But FIRST COW… wtf is that? Two fellas stealing milk in the West to bake muffins. That is so gay.

  113. SBaker says:

    Ah, No, you don’t just get on a horse without a few lessons, unless, the horse is docile to the point of being lazy. Any movie scenes of a rider moving over rough terrain at a rapid pace were mostly cut using stuntmen. There is a big difference between horses. Growing up on a cattle ranch, horses are just another tool. I thought I was a fair rider, till I bought a professionally-trained cutting horse–that horse taught me how to ride. Taking a few hard falls from a horse running hard on muddy, frozen, and paved ground is a good reminder; they too sometimes lose their footing.

    In the early 20th century I would venture a guess that most people knew how to ride a horse.

    • Thanks: Right_On
  114. SBaker says:

    Homowood is filled with diseased, same-sex child molestors, rimmers, and felchers. John Wayne was clearly not one of them.

  115. SBaker says:

    The addition of 21st century crime stats would solidify a very good assessment. In just the last couple of years, 10s of thousands of new african crimes, have gone unreported with the demorats get-out-of-jail-free defund-the-police movement.

  116. @Francis Miville

    Had there been no “Civil War”, niggra chattel slavery would have ended much as it did in Brazil and had New Orleans somehow surpassed NYC, (imagine the Empire State Building standing on river silt)
    there would have been a much bigger post-Katrina niggra mess.

    • Replies: @Francis Miville
  117. SBaker says:
    @Chris Mallory

    Amerindians, were not native. Being the first to immigrant does not bestow the title of native. It would be nice to see the immediate ancestry and country of origin of the commenters on this site–then we could understand some of the drivel that add nothing to the subject matter. Envy and Ingratitude are hallmarks of losers.

    • Agree: AceDeuce
  118. SBaker says:

    Well, you ain’t the brightest stick in the mud. People tire of your envious nature.

  119. SBaker says:
    @Ed Case

    Not to be contentious, but Massey Ferguson tractors (we had 3 or 4 over the course of decades with several other makes too), and other tractors, were clearly superior for many applications, but, there are many places that tractors, sometimes even ATVs, cannot go to roundup cattle. Brafords, being a cross between Bos Taurus and Bos Indicus, are bred for heat tolerance, but some have a real aggressive streak too. It would be interesting to see your neighbor roundup a large herd with a tractor in the Blue Mountains of eastern Oregon.

    • LOL: Liza
    • Replies: @Ed Case
  120. @Katrinka

    Jews don’t need money : they print it all. Hence the expression “making money” that exists only in languages submitted to heavy-duty Jewish influence such as English. Other languages say earning or
    winning money. They don’t invest into any cultural field to extract money plus-value. They invest into a cultural field to create servitude, to produce slaves out of their audience : each Jew will have two thousands slaves in the world to come according to quite a few of their texts and these slaves have to be mental slaves in order for them to be remote-controllable without chains. The cow-boy ideal was set up to identify the Whites with unthinking brutes living in the open air and incapable of making inventions such as the Brother Wright’s, despite the fact that at the moment those films started being produced the frontier had been closed since long.

    • LOL: Katrinka
    • Replies: @Ned kelly
  121. Liza says:

    The 10 Best Versions of the Song ‘Sleigh Ride’

    I never knew there was any such thing as the above. How could I not know – it is my favorite holiday-type song. Many thanks.

  122. @Jim Bob Lassiter

    New Orleans would have had a romantic part with canals (the former bayous) and steamboats as buses but the business centre would have been built with derrick platform technology, or more simply one mile further back where slit end and bedrock begins. The fact is that a metropolis most naturally grows where goods from the hinterland are conveyed before being exported and exchanged and the Mississippi remained for long the richest artery of the world. Especially when such a city has a mass of Jews, which was the case of New Orleans (Sephardic, triangular trade bound), and of cheap or even free labour. Slaves would have been freed even earlier but Negro labour would have been the model set for all labour in the US. Moreover it would have been an oil-exporting city enjoying a Dubai-like status as of now. Henry Miller painfully rued the defeat of the South for that reason.

  123. Ned kelly says:
    @Francis Miville

    ” Jew don’t need money” this has to be the craziest thing I have ever read!

  124. Ned kelly says:

    I’m still playing the anti-hero today… They call me an anti-Semite…

  125. Katrinka says:
    @Ed Case

    Tractors have a habit of rolling over. They are not meant for the rough terrain that the four wheel drive horse can easily handle.

  126. Ned kelly says:

    Westerns were a major pop-culture casualty of the Jewish 60’s cultural revolution. Became almost taboo during the great 70’s freakout.

  127. @Maddaugh

    Well, dem days is gone Hoss ! And dey is going to git worse !

    It’s ultra-right in support of Israel.

  128. Right_On says:

    If you like spaghetti, the gun/slap scene from Trinity Is Still My Name is a classic.

  129. GeneralRipper [AKA "Nemo me impune lacessit"] says:

    That one always gets me, especially when Lemuel has a laugh at Mr Carpetbagger’s expense.

  130. @Achmed E. Newman

    I guess I am not too worried about “anonymity” – there is nothing “private” on the internet or with cell phones. I use my real name, because I am not ashamed of the statements that I make in public, since they can be substantiated by facts. My offer still stands…

  131. @Mr. Ed

    Dumb, particularly for a horse.

  132. @JM

    Poor JM-a ‘know-nothing’. A common Merkan type. The great Indigenous warrior, Crazy Horse, got a variation of Merkan ‘martial valour’-a bayonet in the back rather than a bullet.

  133. Ned kelly says:

    “Jews made westerns because there was a huge demand for them.”
    Jews stopped making westerns when there was still a huge damand for them. Westerns are adored thoughout the world… A major film genre, from the very beginning of the industry. But Jews put cultural and political manipulation first–that’s called power.
    It would be like doing commerical with Whites in them today… Oy Gevalt!
    Blacks in commericals doesn’t make even the slightest commercial sense.

  134. @JM

    The Legend of Ben Hall (2017) is a recent Australian film based on a true story. A little too long but enjoyable and better than many a Hollywood western.

  135. @Francis Miville

    Without widespread use of air conditioning, the entire steaming Southern Black Belt’s economic advancement would be capped and be unrealizable even with your most optimistic geological, hydrological and economic projections. Even Jews don’t like to sweat when counting their shekles.

  136. Indeed, most of Hollywood’s leading Western and cowboy actors have been politically conservative, and quite a few have been Southerners.

    But actors serve the story, and a good number of writers for Westerns were Liberals and even Leftists. Gary Cooper may have been conservative, but his role in HIGH NOON was written by Liberals. Not uncommonly, the directors were conservative but the writers were leftist. Unless the director is ‘auteur’ enough to rework the material, he will be realizing the vision of his ideological opposite. Of course, the ideology was only implied in many such Westerns. A story of white injustice against the Indians could be a sly dig at the mistreatment of blacks.

    Also, we need to keep in mind that, as Paul Gottfried noted, leftism in them days was not what goes by its name these days. Leftists back then dealt with real issues. Maybe their solutions were misguided or misconceived, but they addressed real world problems faced by real people.

    Today, most of what goes by ‘leftism’ is mindless capitalist celebration of globo-homo vanity, which has NOTHING to do with classic leftism. Globo-Homo, like much of what falls into the category of ‘wokeness’, is about neo-aristo egomania of narcissistic homos and even trannies. It is also a proxy of ultra-rightist Jewish Supremacism. Jews seek to kill two birds with one stone: Kill both classic leftism and white pride. Jews now hate classic leftism that strove for equal justice for all. Jews don’t want equal treatment for Palestinians and white goyim. Jews want to lord over them as cattle. So, Jews have no use for classic leftism, which also happens to be anti-capitalist. Why would Jews want radical socialism when they got the most money?
    One may say there’s a strain of leftism in BLM & 1619 because blacks are socio-economically poorer, therefore ‘equity’ is about making things fairer or more equal between blacks and whites(and non-blacks). But this too is bogus. BLM is about ultra-right black supremacism. It’s about howling about injustice even when some lowlife black thug is justifiably killed by the police while all the hapless victims of black thugs are totally ignored by the media. There is no equal justice in BLM. It’s about blacks being given carte blanche to do as they please. Blacks can carry out massive pogroms and burn down cities and loot, but BLM tells us to pretend it’s not happening(or to be justified as ‘social revolution’). And even though there’s all this hair-pulling about black under-representation in various fields, it’s perfectly fine for blacks to be over-represented in pop music, sports, and government jobs.

    BLM got so much traction because ultra-right Jewish supremacists find blacks useful to guilt-bait whites. That’s it. If Jews really cared about equal justice for all, why do they shut down BDS? If anything, what Palestinians face in West Bank is 1000x worse than what blacks face in the US. If anything, blacks are the one who prey on non-blacks. And, virtually every black killed by the police deserved to die as they not only resisted arrest but did so violently. Like black-on-white violence is tolerated and even justified, US power looks the other way while Zionist settler-invaders continue to take land from Palestinians in West Bank. And IDF, the Israel Death Squad, is given leeway to mow Palestinians down like animals.

    So, how about dropping the BS of calling the other side the ‘left’? Firstly, today’s ‘left’ isn’t the real left. Furthermore, the left did its share of creating the Modern West. After all, the default position of civilizations throughout history was conservatism, i.e. to preserve the existing power system. Then, what set the West apart from the Rest. Unlike the Rest that was mired only in conservatism, the West broke free with a new spirit of progress, change, and even revolution(at times). These energies, growing in the West from the Renaissance onward, culminated in the French Revolution where leftism got overly radical and bloody. The lesson from the whole affair was one cannot change the world overnight, as Edmund Burke explained. Burke, by the way, was a gradualist liberal, not a conservative. He only seemed conservative relative to the hot-blooded French radicals. He was actually on the side of change and progress.
    This is what set the West from the Rest that only knew conservatism. Now, there is great value in conservatism because civilization, even in ‘liberal democracies’, must be 90% conservative in its daily operations. Even if a society is open to new things, most of what it does must be familiar and established. When you order a hamburger, you don’t want to be served an experiment every time. Also, there is a great heritage in the conservation of arts, culture, philosophy, history, and spirituality. Non-Western history is proof that the concept of progress and revolution aren’t integral to the rise of great civilizations. Persia, India, China, and etc. were great civilizations without the cult of progress or revolutionary fire. But it was Western Modernity that brought mankind to new heights and even sent men to the Moon, and that adventurous spirit of curiosity and daring couldn’t have come from conservatism alone.

    And the Western genre’s appeal is as much liberal as conservative. There is surely the timeless themes of heroism and good vs evil, but there is also the thrill of breaking free, being adventurous, taking risks, and trying new things in a new land. The conservative person is more likely to stick close to home, with familiar sights and sounds. The liberal person is more likely to venture to new places, even if it means never seeing home again, which is largely the story of American Immigration. How many Americans have gone back to visit their ancestral homelands?

    The very nature of the Western sub-genre has had a significant influence in attracting certain types of actors to it. Westerns traditionally expressed the purest form of “good vs. evil.” Even in the more conflicted, morally blurred years of the later 1960s and 1970s, the few Westerns that were made seemed to never lose sight of that essential conflict.

    Most Westerns are not about good vs evil. That would be THE EXORCIST where noble priests battle the Devil that makes a girl masturbate and puke too much. The Southern is also about good vs evil: Rednecks are totally evil, Negroes are totally good. Certain war movies, especially with Nazis, are about good vs evil. The Germans weren’t always featured as monsters in movies like THE YOUNG LIONS, ENEMY BELOW, PATTON, and CROSS OF IRON, but they increasingly became Evil Incarnate as Jewish Power grew more confident in Hollywood.

    The Western would lose part of its appeal if it were about Good vs Evil. For the Western to work, the good guys need rough edges, and the bad guys must have some appeal, if only to tempt us — after all, the outlaw embodies the freedom of the Wild West more than the lawman does; indeed, many Westerns are about the lawman figuratively killing himself by killing the outlaw, the death of whom no longer requires the lawman’s tough guy ways.
    For the Western to really work, good guys mustn’t be goody-two-shoes, and bad guys must have a certain ‘bad boy’ allure — it’s like how Leonard DiCaprio’s role as heavy in ONCE UPON A TIME… IN HOLLYWOOD spices up the TV Western episode. So, even though Jack Palance casts a dark shadow in SHANE, he sure is magnificent. And James Stewart in Anthony Mann Westerns is a troubled figure. And Budd Boetticher’s Westerns have the Randolph Scott character partnering for long stretches with questionable types who we aren’t sure will turn out ‘good’ or ‘bad’, a kind of existential element to take shape in the journey. Shane is as much fighting his inner demons as the ranchers; he too was a hired killer. And THE SEARCHERS is riveting not only for its action-adventure but the inner turmoil of Ethan(John Wayne).

    Still, many Westerns are indeed about Good Guys vs Bad Guys, and it’s almost always about the Good prevailing over the Bad. However, this poses a moral dilemma for the genre. The triumph of the Good over the Bad in the Western is decided by a Single Factor: Which side has more guns and/or which side has the quicker draw. It’s a matter of skill and luck, but where’s the guarantee that the Good will always be better with the gun than the Bad? After all, chance is 50/50, heads half the time, tails half the time. So, logic would dictate that the Bad would win at least half the time in the Western.
    But the Good or the Better almost always wins. It’s as if the Good plays with a loaded dice or has an Ace up its sleeve. It has to be ‘cheating’ in the game of chance. We must believe that chance favors the Good like some cosmic force looking out for Forrest Gump(or Simple Jack) because he is so very good.


    But, that’s a childish fantasy like Santa Claus or the Tooth Fairy. If anything, the Bad should have the edge because bad types are more likely to gained experience with guns. Also, the good has more on its mind. It’s like conscience sometimes gets in the way of Superman in Part II against the villains who have zero inhibitions in their fight. And, even if the Bad Guy loses, it’s not the end of the world for badness because anarchy and chaos are the natural state of the world. Badness will always threaten society. But if the Good Guy loses, it feels like the End of the World because most good folks are rather timid and cowardly; they are more like herbivores than carnivores. So, if the tough Good Guy falls to the tough Bad Guys, most good folks will be like sheep without the sheep dog to protect them from wolves and coyotes. Bad is bold and aggressive. But goodness is mostly peaceable and wimpy, and it is the rare person who is both Good and Tough. So, the loss of the Good Tough guy is incalculable.

    And yet, in all these Westerns, the Good almost always wins over the Bad. The Western is about tough guys, wilderness, and frontier, but it pushes a reassuring morality fairytale where
    the Good will somehow come out on top because, for reasons unknown, it reliably manages to outdraw the Bad in the final showdown.

    But then, how reassuring is a moral universe where good vs bad is decided by trigger fingers? Imagine if the fate of social morality, good or bad, hanged in the balance of who won the football match or boxing match? Sports determines which side is tougher or more skilled; it doesn’t say what is good, what is bad, let alone evil. The shoot-out is about the faster gun winning, not about the faster gun being the good guy. While the Good Guy has courage and conviction, the moral outcome is simply a matter of who can shoot faster, which is hardly reassuring. This is why duels were so stupid. While it was ostensibly about honor, it boiled down who was better with pistol or saber. So, plenty of duels were won by people who really deserved to lose. Now, we know this about dueling, and it’s one of the reasons for its eventual disrepute.

    But, the Western perpetuated the myth that the Good invariably wins over the Bad even though the only determinant is who can shoot faster. When two men face off against one another over honor in a classic due, there’s 50/50 chance of either winning, or losing. But when two men face off in the Western, the good almost always wins?
    Sure, we get it, people want happy endings where good guys win and ride into the sunset, but it’s really a child’s fantasy for adults, especially as the quickdraw was the invention of Western as fiction. The real gunslingers approached gunfights more like gangsters, with caution and dread, to come out alive by any means necessary. Gunfights were more like the confrontation in John Sayles’ MATEWAN, not a Western but where guns prove decisive between capital and labor. Though set up like a classic showdown, it quickly turns into a bloodbath for both sides.

    To the best of my knowledge, the only Western where the good guy loses to the bad guy is in THE BIG SILENCE(aka THE GREAT SILENCE), unsurprisingly a Spaghetti Western by Sergio Corbucci. Italians were far more nihilistic or radical in their treatment of the genre. The last man standing was simply the best shot, not necessarily a ‘good’ guy. Or the violence was a condemnation of the brutality of the Anglo order.
    The ending of THE BIG SILENCE is traumatic precisely because we’ve grown so accustomed to the Good guy ultimately coming out on top… even if by something akin to a miracle(just like the classic anti-hero of the gangster genre invariably is killed at the end). The upright lawman(Brian Keith) is also felled tragically in CENTENNIAL, but it’s a TV mini-series, a pretty good one, than a classic Western. The leftist Corbucci was out to dismantle the myth of the Western. CENTENNIAL strove to be a historically accurate saga of the West in a state of transformation from the world of the Indians & frontiersmen to the Modern World.

    At any rate, the Western perpetuated the myth that chance, which is 50/50, will miraculously almost 100/0 favor the Good over the Bad when it comes to a contest of guns. It encouraged fallacious thinking bordering on fairytale. It also explains why John Ford made THE MAN WHO SHOT LIVERTY VALANCE as his last significant statement on the West(ern).
    The ‘legend’ in the movie is that the Good Guy Stoddard(James Stewart) killed the Bad Guy Valance(Lee Marvin), and it went a long way in taming the West. But unbeknownst to the Good Guy on the night of the showdown, the Bad Guy was really felled by John Wayne’s character lurking in the shadows. The Good Guy was slipped an Ace. The dice was loaded in his favor. The ‘legend’ in the movie is especially remarkable because the Good Guy didn’t even have a 50/50 chance against the Bad Guy, a natural born killer. All he had was a prayer, a Hail Mary that miraculously became a touchdown. But in fact, an ‘angel’ was watching over him, much like Tuco has Blondie(Clint Eastwood) to save his neck in THE GOOD, THE BAD, AND THE UGLY.

    In the Western Genre, where good vs bad is decided by gunplay, how could it be that the good almost always wins, especially if the good guy fights honorably without cheating? Under those conditions, the bad guy has the equal chance of winning. For the good to usually or almost always win, it cannot fight fair, but that would mean good cannot be honorable. The Western formula of “Honor + Good Triumphant” simply doesn’t compute. It can have one or the other but not both. This is the point of David Mamet’s screenplay of THE UNTOUCHABLES. Elliott Ness tries to fight fair, but he simply cannot win that way. Sean Connery’s character coaches him that you must not only fight dirty but dirtier. If they bring a knife, you bring a gun. If they beat up one of yours, you kill one of theirs. No wonder Jews won over the Anglos. Ugly Winning beats Beautiful Losing.

    Especially if the Western good guy is upright and honorable(which implies he disdains cheating to win and offers an even chance to the bad guy), the main reason he always wins is because the contest is rigged in his favor by none other than the author. Of course, he is unaware of this, like the James Stewart character in THE MAN WHO SHOT LIBERTY VALANCE is unaware, at least initially, that Valance was actually killed by someone else. If a Western author is really fair, he would flip a coin to see who wins at the end, good guy or bad guy? But people like happy endings.

    In reality, black boxers beat the white ones, but in ROCKY II and III, the Italian Stallion manages to whup the Negroes in the era of Muhammad Ali and Larry Holmes. But the implication extends beyond storytelling. It’s about history. For all the talk of principles and meritocracy, white Americans rigged things in their favor. At one time, blacks were kept out of sports, which ensured that all the champions were white. Anglo-Americans favored one another over the ethnics. And this has been the case with every society. Jews rigged it for Jews, Italians rigged it for Italians, Japanese rigged it for Japanese.
    After all, in a pure meritocracy, your kind has as much chance of losing as winning. So, for your group to win as a whole, the system must be rigged, at least in part. This is why intra-meritocracy makes more sense than inter-meritocracy. Anglo-Americans adopted inter-meritocracy and lost so much. Jews, in contrast, still play the game of intra-meritocracy, i.e. Jews fiercely compete with other Jews, but they also work together to rig the system against non-Jews. Just ask the Palestinians and the BDS movement. Incidentally, Jews use BLM as moral cover against what they do to BDS.

    Indeed, the paucity of films in the genre during the last thirty years is the clearest indication that the Western as a clear-sighted vehicle for representing society’s conception of itself and its frontier past has fallen on hard times. Too many heroes in white hats and too strong an identification with a triumphant—and white—country, subduing all before it, doesn’t offer the best medium for representing the morally conflicted and self-loathing America of the 21st century.

    I don’t think it has much to do with Indians. After all, most Westerns were about lawmen vs outlaws than Cowboys vs Indians. Many more Westerns were like SHANE, HIGH NOON, and BIG COUNTRY than THE SEARCHERS. Even in STAGECOACH, which has a thrilling chase and shootout with the Indians, Ringo’s(John Wayne) ultimate enemy is a band of white guys. And MY DARLING CLEMENTINE is about Wyatt Earp and Doc Holliday vs the Clanton Gang. So, the Western can easily skirt around the Indian issue. I recall there was a popular long-running foul-mouthed TV Western series called DEADWOOD. Its popularity was proof that the Western could be revived with generous servings of violence and vulgarity.

    Besides, the ‘woke’ community could have a field day with the ‘genocide’ of the Native Americans, and indeed, some anti-Westerns of the late 60s and early 70s ran on that very topic, like SOLDIER BLUE with its over-the-top scene of whites butchering helpless Indians. And there was LITTLE BIG MAN, a much better movie. Oddly enough, it was in this period that JEREMIAH JOHNSON was a pretty big hit. It was made by ‘liberal’ Jewish Sydney Pollack and starred ‘ultra-liberal’ Robert Redford, but it’s really a celebration of tough white guy battling and whupping Indians. It shows the importance of the writer.

    Anyway, ‘woke’ Hollywood has no problem making these Southerns about white ‘racism’, evil rednecks, angelic blacks, monstrous KKK, and etc. In a way, DJANGO UNCHAINED was as much a Southern as a Western, somewhat similar to the movies about Jesse James and Younger Gang(and RIDE WITH THE DEVIL). If Jewish Hollywood loves to rub the white nose in Slavery and Jim Crow, why not rub the white nose in the ‘genocide’ of the so-called ‘Native Americans’, though ‘Pre-Americans’ would be more accurate?

    The reasons are threefold. Even though Jews in the past did occasionally compare the demise of the Indians with the Jewish Holocaust, it also has similarities with what Jews have done to Palestinians. Some Palestinian-American activist have made that very point. Also, Jews push the pro-immigration line of Great Replacement or White Nakba, and guess which people were ‘replaced’ first in America? The American Indians, of course, and the whole process was accelerated by mass immigration.
    Yes, Indians are bad for the pro-immigration narrative. Plenty of immigrants arrived in the New Land to displace the Indians. Chinese laborers laid down railroad tracks that hastened the total erasure of Plain-Indians-America. Also, Jewish merchants sold guns and ammo to the cowboys to kill the Indians, i.e. Jews took part in the ‘American Holocaust’, and it is a sign of Jewish obnoxiousness the Holocaust Museum occupies the prominent moral space in Washington D.C. Yes, the Shoah was a horror, but it didn’t happen in the US, and Americans didn’t do it. In contrast, the destruction of Indians happened HERE IN AMERICA. And yet, Jews hold the vaunted position as the top victimological icons in American Politics. So vile.

    Video Link

    At any rate, the Jewish logic of Zionism is now also applied to the US, i.e. while Jewish mass immigration to Palestine to replace the Arabs was a great thing, Israel must now remain a Jewish State and non-Jewish immigration must be prohibited or kept to a bare minimum.
    Guess how Jews see white goyim, as akin to Jews in Israel with the right to homeland or akin to Palestinians who deserve to be replaced?
    The way Jews see the US, it’s one big Palestine, and Jews welcome masses of non-white immigrants whose children are indoctrinated with ‘wokeness’ to blame everything on whitey and to worship Jews, blacks, and homos(as the Tri-Idolatry) over all else, even their own identities and cultures, and this madness is even exported abroad.

    Furthermore, Indians simply don’t have much market value. While the tragedy of Cowboys-killing-Indians may be morally charged for some, it just doesn’t have the kind of power of Southerners-lynching-Negroes. At the very least, the American Indians fought back and did kill and/or torture a fair amount of whites. In contrast, especially because people don’t know about black thuggery in the Old South, people have this image of neanderthal rednecks randomly killing helpless angelic Negroes. But there’s an even bigger factor, and it’s about black stardom in sports and pop music, which makes whites feel more sensitive and sorry for what was done to ‘cool’ blacks than to ‘cold’ Indians.
    Notice the Noble Indian in ONE FLEW OVER THE CUCKOO’S NEST hardly says anything, whereas mammy in GONE WITH THE WIND is always hollering up a storm. Silence may be golden, but noise takes the cake. It’s like Tommy gets more ‘respect’ than Henry in GOODFELLAS. Tommy never shuts up whereas Henry doesn’t say much. Don Rickles certainly didn’t get where he did by being a stone-faced Indian.

  137. Ed Case says:

    Fenced, in a fertile valley.
    The horses were used in a team instead of a tractor, not for mustering cattle.
    Australia is/was pretty backward, horse teams were still used in the Fifties.

  138. @GomezAdddams

    Stanley Kramer, a Russian?! No. The composer of the song and score, which won him two Oscars, Dmitri Tiomkin, was Russian.

    Did you have a point to make?

  139. “All I want to do is enter my house justified.”

    That was a line favored by Sam Peckinpah’s father, Christian career prosecutor David Edward Peckinpah (1895-1960). The line referred to a Christian’s death.

    Ride the High Country is the most powerful Christian Western you’ll ever see, greater even than William Wyler’s The Big Country (1958).

    But why would that most profane of men, Sam Peckinpah, make a Christian masterpiece? The father had died about a year before the son began making the picture, and for all their differences, Sam clearly loved his dad.

    None of this contradicts Mr. Cathey’s positions. Traditional morality in America is inseparable from Christianity, and you don’t have to be a Christian to recognize that.

    Ride the High Country: A Christian Western from… Sam Peckinpah?!”

    • Replies: @Priss Factor
  140. @Orville H. Larson

    Many Web writers and some authors maintain that William Hopper was a homosexual. Then again, according to homosexuals, everyone in the history of Hollywood has been gay.

  141. @AReply

    Congrats you’re probably the most virtuous pseudo intellectual d-bag on Unz.

  142. @Nicholas Stix

    But why would that most profane of men, Sam Peckinpah, make a Christian masterpiece?

    Peckinpah wasn’t the most profane of men. The power of his cinema derives from the inner and outer struggle between profanity and virtue. Even the fallen outlaws in THE WILD BUNCH try to maintain a code and not become just like ‘animals’.

    The woman in BRING ME THE HEAD OF ALFREDO GARCIA is whorish but also longs for marriage and conjugal bliss.

    In contrast, someone like Takeshi Miike and Tarantino love to wallow in filth. There’s no sense of inner struggle(though RESERVOIR DOGS and ONCE UPON HOLLYWOOD are exceptions).

    Also most of RIDE was written by someone else in a more traditional narrative style. And Peckinpah couldn’t have made something like WILD BUNCH or PAT GARRETT in the early 60s.

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