Westerns – Auxiliary Memory

What A Difference 23 Years Make

by James Wallace Harris, Thursday, October 31, 2019

Society is constantly changing and evolving, and so does the popular culture it produces. Starting in 1959, and into the early 1960s, there were a number of court cases that profoundly changed pop-culture by removing various censorship laws. It allowed movies to portray graphic sex and violence, and include nudity and profanity. This was especially noticeable in movie westerns. Westerns in the 1950s seem very different from those in the 1970s, and we can see the transitioning in the 1960s. Millennials and later generations probably have no idea what pop-culture was like before their time, and just accept today’s movies as a norm. If you live long enough, you can see that movies change.

My favorite westerns generally come from the 1940s and 1950s. The other night I watched The Missouri Breaks (1976) with Jack Nicholson and Marlon Brando which had a much different view of the old west. In many ways it was more realistic – we see people going to outhouses, using profanity, having sex, showing a bit of nudity, wearing dirty raggedy clothes, and so on. The characters seem more like real people and have complex problems and psychologies. Too often in older westerns, characters wore not only clean clothes which they changed often, but ones that look like they came from fashion designers. Most folks in the historical west wore the same clothes for many days, seldom bathed, and usually owned a tiny wardrobe. Just compare the two versions of True Grit.

Living conditions in The Missouri Breaks seemed repulsive to me, and it lacked heroes and heroines. It’s not a feel-good western, like Shane (1953). Who wouldn’t want to be Shane (Alan Ladd), who would want to be Robert E. Lee Clayton (Marlon Brando)? Of course, Brando’s over-the-top performance does weird-out the overall vibe of The Missouri Breaks, but then such characterizations have become more common as we approach the present day. The recent Joker movie is one example.

If we compare the west of Shane with The Missouri Breaks does it even feel like the same historical era? Is it really the same genre? There are violent people in both films because the essence of westerns is violence. You’d think I should be comparing the two characters the audience wants to see die in the end, Jack Wilson (Jack Palance) and Robert E. Lee Clayton. Both films feature ranchers who hire gunmen (Palance and Brando) but the issue of who the good guys are is confused. In Shane, the good guys are hardworking homesteaders, and in The Missouri Breaks, they are horse thieves, train robbers, and maybe murderers. If we are for law and order, then David Braxton (John McLiam) the rancher and Robert E. Lee Clayton should be our heroes. They’re not.

Remember in Shane, Shane is a gunman just like Jack Wilson, but he’s trying to change, and live under law and order. Shane is the homesteaders’ gunman, but he’s the hero of the picture because he fights the rancher who bullies the homesteaders. Shane sides with law and order. Robert E. Lee Clayton is hired by the rancher to kill rustlers and murderers and appears to be for law and order. The trouble is Clayton takes psychotic pleasure in his job.

What happened in those 23 years from 1953 to 1976 that remade westerns? Shane is a killer, but one we side with. In The Missouri Breaks, we side with Tom Logan (Jack Nicholson) who is a horse thief, train robber, and probably killer too. (We never know who kills the rancher’s foreman.) Of course, in westerns, the audience always sides with a killer, because westerns nearly always resolve conflicts with a killing. Before the 1960s we sided with the white hats against the black hats, but it seems sometimes in the 1960s, everyone started wearing gray hats.

Shane, the Alan Ladd character, knows killing is bad. He wants to avoid killing, but in the end, he is pushed into it to save the people he loves. The audience admires him. But Robert E. Lee Clayton, the Marlon Brando character, delights in killing and justifies his behavior by killing horse thieves, train robbers, and murderers, people we should be against, but we despise Robert E. Lee Clayton and rejoice when he is killed. And in the last fifty years, we’ve seen both the hero/anti-hero and bad guys kill more and more people in westerns. Brando’s bizarre performance was only a bellwether.

Tom Logan, the Jack Nicholson character, is an anti-hero. Yet, even when anti-heroes are as charming as Robert Redford and Paul Newman in Butch Cassidy and the Sundance Kid (1969), should we really like and admire them? It is true that the old west criminals were more colorful than dull hardworking people who actually built the west.

Something happened to the westerns in the 1960s. Before that the good people were nicer, but so were the bad people. Sure, the bad guys of the old west were mean, and psycho killers too, but they weren’t as disturbing as modern bad guys. Between the westerns of the 1950s and the 1970s, we see the bodies counts rise in each film, and we see more depraved violence. The profanity, nudity, and sex are the upfront obvious differences, but I also think there is a shift in how westerns present killing. Intentionally modern westerns of the 1970s like McCabe and Mrs. Miller, Pat Garrett and Billy the Kid, Little Big Man, A Man Called Horse, Judge Roy Bean, etc. worked hard to redefine the western in terms of artistic storytelling but also in presenting old west history with a different psychological perspective. In some ways, this shift became most visible with Once Upon a Time in the West (1968).

When did good guys v. bad guys become neurotics v. psychos? When did westerns go from gunfights to serials killers and mass shooters? In the Old West, the most famous gunfight (O.K. Corral) three men died. In modern westerns, the body counts are so high that most viewers stop counting.

Sure, TV cowboys of the 1950s did a lot more killing than their movie counterparts. By one estimate, Marshall Dillon in Gunsmoke killed between 138 men and 7 women to 303 people over a 20-year period. However, if we consider each episode a separate story, the violence is far less.

Maybe I like the westerns of the 1940s and 1950s because I find the death of the bad guy at the end of the film a satisfying resolution to the story. Watching modern westerns feel more like we’re Romans at the Colosseum, desiring non-stop killing. We’re not there for the story, but for the slaughter. Films like the Hateful 8 are designed to feed our need for gunplay porn. If people watch sex porn because they’re not getting laid and want to vicarious pretend having sex, then why do we enjoy so many killings in movies today? Is it because we’re not getting to kill all the people we want and vicariously find release in the pretend killings?

I believe body counts began to escalate in the westerns of the 1960s, starting with The Magnificent Seven (1960) and ending with The Wild Bunch (1969). I still loved these westerns, especially as a kid, and even when I felt they were becoming silly in their efforts to top themselves with gimmicky plots, explosions, and ways of killing people. However, as I’m getting older, I question my fondness for such killathon westerns. I admit I love TV shows like Breaking Bad, Game of Thrones, and Westworld, but I’m also wondering about myself too.

These days I’d much rather rewatch Winchester ’73, Yellow Sky, Colorado Territory, Rawhide, Angel and the Badman, Shane, Three Godfathers, Tall in the Saddle, and movies like them. I don’t know if it’s nostalgia, or turning back the clock to enjoy movies when there were fewer killings per film. I was taught in school that the ancient Greeks didn’t allow violence on stage in their plays. All violence had to happen off-stage. I’m not ready to go that far. I do like the realism of modern westerns. The sex, nudity, and profanity are fine. I’ve just got to wonder about the kill-porn addiction we’ve acquired.

We have become a nation that worships guns. Notice how often we see people posing with guns, and how often we see them in pop culture. The interesting thing about westerns is we see a historical era where people lived by the gun but were moving toward a gun-free civilization. Westerns represent a time just before all the cowboys would hang up their guns. (Watch the wonderful Angel and the Badman.) We’re now living in a time where everyone wants to strap on a gun. Is this the undoing of civilization?

Isn’t it rather ironic that in the old west, Republicans were the advocates for gun control? They were for laws, regulations, order, progress, cities, and civilization back in the 19th century. Doesn’t it seem they want to bring back the wild west now? Aren’t old westerns really propaganda for gun control? In some ways, new westerns seem to counter the philosophy of old westerns.

But then we have one last problem. Were any westerns ever like the historical west? Or, are westerns really the pop culture snapshots of the people and times in which they were made? If that’s so, we live in some pretty strange times if we judge ourselves by the movies we see in the theaters today.

JWH

What’s a Western?

by James Wallace Harris, Thursday, October 4, 2018

The Big Trail - 1930

Newsweek recently posted “The Best Western Movies of All Time, According to Critics and Audiences.” None of my all-time favorite westerns made the list. Some of my most favorites did, but they were few and far between. The editors created the list from Metacritic and Rotten Tomatoes scores, which shifted the results toward recent films. It also includes many films I don’t consider westerns. But most of all, it lists films that use the western setting to create a pornography of violence rather than explore the original theme of violence in westerns.

Ever since The Magnificent Seven and The Wild Bunch movie makers have been escalating the body counts in westerns until some modern films are sick distortions of the genre. The core theme of a western has always been killing is a solution to a moral problem. So, violence per se isn’t the issue. What I object to is using the western setting to create a Circus Maximus of deaths for those viewers who crave feasts of bloodshed.

What’s a western? No two people will agree, but I’m going to give you my definition. Westerns are my favorite movie genre. I greatly admire films that epitomizes the genre. Maybe I’m too hung up on form, but if you set out to write a sonnet, following the rules inspires the creativity.

For me, a western must be set in the America West during the 19^th century, usually after the Mountain Man/Trapper era, which I consider its own genre, and before civilization, Christianity, industry, urbanization, and commercialization altered the natural west. The films The Big Trail and Butch Cassidy and the Sundance Kid work as bookends to the era I’m talking about.

Westerns are about the settling of the land west of the Mississippi in the 1800’s. Generally, westerns are morality plays before Christianity and courts tamed the country. Conflicts in westerns are settled with guns rather than laws. Westerns usually deal with life before women, churches, and governments destroyed the freedom of the wilderness.

I prefer westerns that have some historical accuracy, but generally westerns are mythic, legendary, and fabled. Each decade retells the myths with the insights of their times, often rewriting the facts. One of my favorite books about westerns is West of Everything: The Inner Life of Westerns (1993) by Jane Tompkins. Tompkins is a feminist who looks at book and movie westerns with great insights. Not everyone will agree with her but she analyzes westerns at a deeper level than most fans.

Winchester 73

Here is Newsweek’s list, but in reverse of their order. Bold means I’ve seen it. [Why it’s not a western in my opinion.] *=westerns I might put in my Top 50.

The Treasure of Sierra Madre (1948) [set in the 1920s]
The Good, the Bad and the Ugly (1966)
The Man Who Shot Liberty Valance (1962) *
No Country for Old Men (2007) [modern setting]
High Noon (1952) *
The Rider (2017) [modern setting]
Unforgiven (1992) *
Once Upon a Time in the West (1968) *
Hell or High Water (2016) [modern setting]
Johnny Guitar (1954)
Django Unchained (2012)
True Grit (2010) *
Sweet Country (2017)
Brokeback Mountain (2005) [modern setting]
For A Few Dollars More (1965)
Hombre (1967)
Lone Star (1996) [modern setting]
The Outlaw Josey Wales (1976) *
A Fistful of Dollars (1964)
3:10 to Yuma (2007)
Blazing Saddles (1974) [comedy – a parody of westerns]
The Three Burials of Melquiades Estrada (2005) [modern setting]
Butch Cassidy and the Sundance Kid (1969)
The Revenant (2015) [mountain main era]
Rango (2011) [cartoon, parody, modern setting]
Dance with Wolves (1990) *
Westworld (1973) [science fiction, modern setting]
The Proposition (2005) [set in Australia]
Slow West (2015)
Bone Tomahawk (2015)
The Beguiled (1971)
Major Dundee (1965)
The Good, the Bad, the Weird (2010) [parody]
Hud (1963) [modern setting]
Shanghai Noon (2000) [comedy, parody]
Open Range (2003) *
The Hateful Eight (2015)
The Assassination of Jesse James by the Coward Robert Ford (2007)
The Beguiled (2017)
The Homesman (2014)
Dead Man (1996)
The Mask of Zorro (1998) [swashbuckler]
Hostiles (2017)
Appaloosa (2008) *
The Horse Whisperer (1998) [modern setting]
The Salvation (2014)
Blackthorn (2011) [1908 Bolivia]
Back to the Future Part III (1990) [science fiction, comedy, parody]
In the Valley of Violence (2016)
Tombstone (1993) *

There are some true comedy westerns, like Along Came Jones and Destry Rides Again but I feel comedies that parody westerns shouldn’t be considered part of the genre. One thing that bothers me about this list is the feeling that current moviegoers don’t actually love true westerns, especially the traditional classics. And it worries me that younger audiences have redefined the genre.

Great westerns are still made, such as Open Range and Appaloosa, so the genre isn’t dead. Unfortunately, even good stories like Godless overdo the violence. The west was violent, but it wasn’t over-the-top ridiculous like so many newer films.

For my list of favorite westerns, see “Collecting Great Westerns.”

Shane

JWH

What Happened to the Western Novel?

by James Wallace Harris, Thursday, May 24, 2018

thrilling_western_1951-11

Jess Nevins has some interesting data in his essay, “The Golden Age of Science Fiction” about the number of titles published yearly for each pulp genre. I’m not sure of his source, or how the numbers were compiled, but I’m going to copy his tables here for convenience. I’m assuming these numbers are the total titles publishing in a given year.

Pulp stats1

Pulp stats2

Pulp stats3

Notice, that of the six genres, western pulp titles were the most numerous every year between 1936-1949. The pulp magazine essentially died out by 1950, although a handful of science fictional and mystery titles continued as digest-size magazines. Some people claim television killed the pulps, others suggest various financial concerns and magazine distribution policies.

When I was growing up in the 1950s and 1960s westerns were extremely common on television, maybe even the most popular kind of show. The list on Wikipedia is quite long. Back then my mother read mysteries and my dad read westerns. I’ve read a few westerns over the years, but I’ve always been a science fiction reader. However, my favorite movie genre has always been westerns.

Now when I’m at bookstores, new or used, their section for westerns novels are usually one shelf. What happened? Did the allure of the frontier die, or just move into outer space? Everything comes to an end, but why such a dramatic fall-off? It makes me wonder about the current glut of science fiction stories and shows. Will the SF genre eventually shrink, loved only by a few old fans like the western today?

What will replace science fiction? Could anyone in the 1940s imagine the western becoming an unpopular story type? Science fiction has shattered into various subgenres, with the dystopian tale becoming most fashionable with the young. Can you blame them? Their future isn’t our future.

If you study the chart above, science fiction titles were in 5th place most years, just above spicy titles (code word for sex). There were even spicy western pulps. Pulps mainly appealed to boys, with covers to prove it for many titles.

In the 1950s there was a boom in science fiction magazines, brought about I assume by the atomic bombs, jets, rockets, satellites, computers, etc. In the 1950s we looked both backward to the 19th-century and forward to the 21st. Maybe few people read westerns today because the future won and the 19th-century is now too far away.

So much has changed in my lifetime. Not just technology. The changes are also psychological in a way that’s hard to describe. I remember being part of the youth culture in the 1960s, but now feel completely alienated from the young in my sixties.

It’s hard to imagine a time when westerns were the most popular kind of pulp story to read. Maybe space exploration killed the western. As a boy in the 1950s, I wanted to wear a six-gun, but after Alan Sheppard’s 15-minute suborbital flight in 1961, I wanted to wear a spacesuit.

JWH

‘Godless’ and the Western Movie Genre

by James Wallace Harris, Tuesday, December 5, 2017

I grew up back in the 1950s watching old westerns on TV. Even though I took up reading science fiction in the 1960s and have always identified myself as science fiction fan, my favorite movie genre is westerns. I’m rather finicky about my westerns too. Although the 1950s and 1960s were the heydays of television cowboy shows, I prefer the cinema westerns from Stagecoach (1939) to Ride the High Country (1962) era. Starting with films like A Fistful of Dollars (1964) and The Wild Bunch (1969) movie makers began to alter the genre. I liked these films, but they weren’t the same as the westerns I loved most and how I define the genre.

Too often today when they do make westerns, the level of violence is off the scale. We still get a quality western every few years. Open Range (2003), Appaloosa (2008), and True Grit (2010) are wonderful examples, even though their style has migrated away from how I define the classic western. But I find westerns like Quentin Tarantino’s two recent films grotesque insults to the genre. All too often, I just can’t watch the films called westerns today.

Godless - Alice Fletcher

Thus, I was both excited and a little worried when I first heard about Godless. I must say I enjoyed the series and raced through all seven episodes in days. However, I’m not sure what to make of it artistically, morally, and philosophically.

No work or critic can define a genre, but there are movies called westerns that completely distort what I consider to be the heart of the genre. Even during the 1950s, there were so-called westerns where characters rode horses and carried guns but their story’s soul belong to some other historical psyche.

Goddless Frank Griffin

As a kid, I grew up believing watching westerns taught me about American history. That made my black and white television screen a window to the past. It wasn’t until I got older that I realized that every decade has a different view of the American West. How do you reconcile They Died With Their Boots On (1941) with Little Big Man (1970)? Godless (2017) gives us another view of 1888, but should we consider it insight into 1888 history, or just a thrill ride fantasy like West World (2016)?

Godless is full of horrendous violence with a hard-to-believe ending. I feel any good western should be true to the 19th-century even if it doesn’t chronicle historical events. I judge westerns by these criteria:

Do characters talk and act like their 1800s period counterpoints?
Do the costumes and sets look like the era they depict?
Could the plot have happened in the true west era?
Are the guns right for the period?
Is the level of violence appropriate for the times?
Is the story connected with history?
If the characters are based on real people how well are they portrayed?
Are there anachronisms in the sets, costumes, dialog, mannerisms, or plots?

Frank Griffin (Jeff Daniels) is an extreme character in Godless, especially since he thunders around the country with over thirty killers on horseback. But was Griffin more violent or crazy than William Quantrill or John Brown? Was the bizarre massacre of Creede, Colorado unrealistic when you think about Lawrence, Kansas of 1863? Also, Frank’s strange adoption by Mormons is based on the real Mountain Meadows massacre. (Although Frank looks too old to have fit the real timeline of history.)

My measuring rod for western violence is the gunfight at the O.K. Corral which took place in 1881. It was probably the most famous gunfight in the old west with nine combatants and three deaths. The most famous killing of the gangster era of the 1920s and 1930s involved seven deaths, and it was an execution and not a shootout. So when movies have their characters racking up huge body counts it moves away from being historical towards gun porn to thrill our prurient bloodlust.

Godless feels both realistic and unrealistic. I found it hard to believe Frank and his band of murderers traveled without pack horses and supplies. They looked kind of silly galloping across the land like a large anti-posse with one-armed Frank in the lead. It reminded me of Forty Guns when Barbara Stanwyck would lead 40 gunfighters on 40 horses faithfully riding behind her wherever she went. In both movies, the mass of riders looked silly, even overly melodramatic. Modern movies are always trying to out-do past movies. I’m surprised Frank did have 80 outriders. Maybe the makers of Godless hadn’t seen Forty Guns. The show would have been more realistic with just a dozen in Frank’s army. It certainly could have made the ending more realistic.

Overall I admired and enjoyed Godless. But the show kept bugging me with small distracting issues. Michelle Dockery had too many outfits for a poor woman living on an 1888 ranch, some of them much too fashionable. And she changed them too often. And even though I liked the idea of a town full of women fighting an army of outlaws, it seemed cartoonish. Their last stand reminded me of The Magnificent Seven, which is a western I love, but one that’s somewhat over-the-top. Godless goes way overboard. There were other small details that bothered me too, but mentioning them might give spoilers.

I wasn’t sure about the costumes. They seemed realistic at times, especially for the men. Westerns are always changing how the old west looked. Just compare True Grit (1969) to True Grit (2010). One reason I didn’t like 1960s TV westerns was everyone’s costumes seem too clean and store bought. I’ve always wondered if the wild west fashions of cowboy films of the 1920s and 1930s were more realistic because they were closer in time to the actual historical west. I keep looking for period photos for clues, but they are hard to come by.

1888 woman of the west

[Here is Mattie Lucas 1888 from Custer County, Nebraska.]

Finally, there’s the philosophical interpretation. Westerns are inherently about violence. Guns and gunfights are the solutions to western plot conflicts. I assume Frank and his gang represent evil and the citizens of La Belle represent goodness. But I’m curious how our politically divided country will see things. To liberals, Frank and his gang may remind them of gun nuts and mass shooters. Frank could be a stand-in for Wayne LaPierre and the NRA. To conservatives, Frank is a crazy Islamic fundamentalist with a gang of terrorists. They see La Belle as proof that people need to arm themselves. The film shows women with no gun training effectively using firearms to save themselves.

The love triangle between Roy Goode (Jack O’Connell), Alice Fletcher (Michelle Dockery), and Bill McNue (Scoot McNairy) was unsatisfying to me. But the one between Mary Agnes McNue (Merritt Wever) and Callie Dunne (Tess Frazer) felt logical. So did the one between Whitey Winn (Thomas Brodie-Sangster) and Louise Hobbs (Jessica Sula).

Godless - ranch

Law and the government are shown to be ineffective at protecting citizens in this story, as is in most westerns. Plus, the press is corrupt. A. T. Grigg (Jeremy Bobb) is the editor and reporter for the Santa Fe Daily Review and a publisher of fake news. Grigg reminds me of W. W. Beauchamp, the writer in Unforgiven (1992). I believe this is realistic though because newspapers back then printed pretty much what they felt like, and dime novelists invented the Wild West with tall tales.

Sean T. Collins over at AV Club has an episode-by-episode review of Godless, where he did a fair amount of nitpicking. I could see the faults he saw, but for the most part, they didn’t bother me. Collins gave most of the episodes a B or B-. I think I’d give the show a B+ overall. Godless isn’t Lonesome Dove, but it’s not far behind it as a western mini-series. I’d guess most fans would consider Lonesome Dove (1989) the gold standard of television westerns. I’d agree and also give Deadwood (2004-2006) an A+ too.

Here’s a list of some of my favorite westerns.

Recommended Reading

‘Godless’ Creator Says He Wanted To Embrace Every Single Western Cliché – NPR Fresh Air
Godless: Miniseries (2017) – Rotten Tomatoes
What Godless Says About America – The Atlantic
Godless Is So Good, You’ll Like It Even If You Don’t Like Westerns – Vulture
Netflix’s Godless: a dusty Western that could’ve been so much more – Vox

JWH

Collecting Great Westerns

by James Wallace Harris, Tuesday, July 26, 2016

My primary goal here is to identify and remember all my favorite westerns. Because I focus on collecting, this page will be updated periodically. I also want it to be of use to others, so I’m adding links. Clicking on the year will take you to a description of the film (to Wikipedia until I can write my own reviews). Titles will link to Amazon. The letter grades represents my reaction to the film, and not a critical judgment. Many films won’t have a grade until I see them again. I’m going to also list the format of the discs I own, but that’s only useful to me. Most of these films I’ve seen once, for many, twice, and some, many times. I will eventually add television westerns.

Finally, I want to analyze why I love westerns and what makes a good western. That will happen in the future. Today, I’m just starting with a list. I’ll eventually add content after the listing. I’ll also write reviews to films and link to them when I get time.

Westerns represent a philosophy, reflected in the genre. I’m a liberal, so explaining why I love a genre that’s so conservative will take some effort. Westerns portray details about history, while revealing changing attitudes towards history. Eventually I want to rate both historical value and how well each film fits the genre. For now, I’m going to use a very simply list format to make it easy to expand and edit. In the future, I’ll convert the list to a table, add film cover images, and other annotations.

I should point out I only collect films I enjoy rewatching. There will be many omissions. That means I either don’t like the film, don’t think its fits the genre, or is set outside of the 19th century.

My Favorite Westerns:

The Big Trail (1930), John Wayne, A+, [Blu-ray]
Cimarron (1931), Richard Dix, Irene Dunne, B+, [DVD]
The Plainsman (1936), Gary Cooper, Jean Arthur, A
The Texas Rangers (1936), Fred MacMurray, Jack Oakie, B+, [DVD]
Destry Rides Again (1939), James Stewart, A+, [DVD]
Dodge City (1939), Errol Flynn, A+
Jesse James (1939), Tyrone Power
Stagecoach (1939), John Wayne, A+
Union Pacific (1939), Joel McCrea, Barbara Stanwyck, A+, [DVD]
Santa Fe Trail (1940), Ronald Reagan, Errol Flynn
The Westerner (1940), Gary Cooper, Walter Brennan, A+, [DVD]
They Died with Their Boots On (1941), Errol Flynn, B+, [DVD]
Western Union (1941), Robert Young, Randolph Scott, Dean Jagger, A-, [DVD]
The Outlaw (1943), Thomas Mitchell, Jane Russell, B-
The Ox-Bow Incident (1943), Henry Fonda, Dana Andrews, Harry Morgan, A+
Tall in the Saddle (1944), John Wayne
Along Came Jones (1945), B, Gary Cooper, Loretta Young [DVD]
Duel in the Sun (1946), Gregory Peck, Joseph Cotton, Jennifer Jones
My Darling Clementine (1946), Henry Fonda, Victor Mature, Walter Brennan, A+, [DVD]
Angel and the Badman (1947), John Wayne, Gail Russell, A+
Ramrod (1947), Joel McCrea, Veronica Lake
3 Godfathers (1948), John Wayne, B+, [DVD]
Blood on the Moon (1948), Robert Mitchum
Fort Apache (1948), John Wayne, Henry Fonda, B+, [DVD]
Four Faces West (1948), Joel McCrea
Red River (1948), John Wayne, Montgomery Cliff, Walter Brennan, A+
The Treasure of the Sierra Madre (1948), Humphrey Bogart, A
Whispering Smith (1948), Alan Ladd, Robert Preston, A-, [DVD]
Yellow Sky (1948), Gregory Peck, Anne Baxter, Richard Widmark, A+, [DVD]
She Wore a Yellow Ribbon (1949), John Wayne, B+, [DVD]
Broken Arrow (1950), James Stewart, B+, [DVD]
The Gunfighter (1950), Gregory Peck, A, [DVD]
Rio Grande (1950), John Wayne
Winchester ‘73 (1950), James Stewart, Shelley Winters, A+, [DVD]
Rawhide (1951), B+, Tyrone Power, Susan Hayward [DVD]
Westward the Women (1951), B+, Robert Taylor
Bend of the River (1952), James Stewart, B, [DVD]
The Big Sky (1952), Kirk Douglas, B+
High Noon (1952), Gary Cooper, Grace Kelly, Thomas Mitchell, A-
Rancho Notorious (1952), Marlene Dietrich, B
Man in the Saddle (1952), Randolph Scott, B
Hondo (1953), John Wayne, [Blu-ray]
The Naked Spur (1953), James Stewart, A-, [DVD]
Shane (1953), Alan Ladd, Jean Arthur, A+, [DVD]
The Far Country (1954), James Stewart, Walter Brennan, B+, [DVD]
Garden of Evil (1954), A-, Gary Cooper, Susan Hayward, Richard Widmark, [DVD]
Johnny Guitar (1954), Joan Crawford, B
River of No Return (1954), Robert Mitchum, Marilyn Monroe, B+, [Bluray]
Vera Cruz (1954), Gary Cooper, Burt Lancaster, B+
A Lawless Street (1955), Randolph Scott
The Far Horizons (1955), Fred MacMurray, Carlton Heston, Donna Reed, B
The Man from Laramie (1955), James Stewart, B
Ten Wanted Men (1955), Randolph Scott, Richard Boone
The Searchers (1956), John Wayne, Jeffrey Hunter, A+, [DVD]
Seven Men from Now (1956), Randolph Scott, Gail Russell, Lee Marvin, A-, [DVD]
3:10 to Yuma (1957), Glenn Ford, Van Heflin, A
Decision at Sundown (1957), Randolph Scott, [DVD]
Forty Guns (1957), Barbara Stanwyck, C+
Gunfight at the O.K. Corral (1957), Burt Lancaster, Kirk Douglas, B+
Night Passage (1957), James Stewart, Audie Murphy, A, [DVD]
The Tall T (1957), Randolph Scott, Richard Boone, Maureen O’Sullivan, B+, [DVD]
The Tin Star (1957), Henry Fonda, Anthony Perkins, B+
The Big Country (1958), Gregory Peck, Jean Simmons, Carroll Baker, Charlton Heston
Buchanan Rides Alone (1958), Randolph Scott, [DVD]
Cowboy (1958), Glenn Ford, Jack Lemmon, B+
The Law and Jake Wade (1958), Robert Taylor, Richard Widmark, A, [DVD]
Man of the West (1958), Gary Cooper, [DVD]
Saddle the Wind (1958), Robert Taylor, Julie London, B+
Day of the Outlaw (1959), Robert Ryan
The Horse Soldiers (1959), John Wayne
No Name on the Bullet (1959), Audie Murphy, [DVD]
Ride Lonesome (1959), Randolph Scott, [DVD]
Rio Bravo (1959), John Wayne, Dean Martin, Ricky Nelson, B+, [Blu-Ray]
Comanche Station (1960), Randolph Scott
The Magnificent Seven (1960), Yul Brynner, Steve McQueen, Eli Wallach, A
The Unforgiven (1960), Burt Lancaster, Audrey Hepburn, Audie Murphy, A
The Comancheros (1961), John Wayne
One-Eyed Jacks (1961), Marlon Brando, Karl Malden
Two Rode Together (1961), James Stewart, Richard Widmark, Shirley Jones, B+
The Man Who Shot Liberty Valance (1962), John Wayne, James Stewart, Lee Marvin, B+
Ride the High Country (1962), Randolph Scott, Joel McCrea, A-, [DVD]
A Fistful of Dollars (1964), Clint Eastwood
For a Few Dollars More (1965), Clint Eastwood
The Sons of Katie Elder (1965), John Wayne, Dean Martin
El Dorado (1966), John Wayne, Dean Martin
The Good, the Bad and the Ugly (1966), Clint Eastwood
Nevada Smith (1966), Steve McQueen, A
The Professionals (1966), Burt Lancaster, Lee Marvin
The Rare Breed (1966), James Stewart, Maureen O’Hara, Brian Keith, B
Hombre (1967), Paul Newman, Fredric March, Richard Boone
Once Upon a Time in the West (1968), Henry Ford, Charles Bronson, Jason Robards
Butch Cassidy and the Sundance Kid (1969), Paul Newman, Robert Redford
The Wild Bunch (1969), William Holden, Ernest Borgnine, Robert Ryan, [Blu-ray]
Chisum (1970), John Wayne
A Man Called Horse (1970), Richard Harris
Little Big Man (1970), Dustin Hoffman, A+, [Bluray]
McCabe & Mrs. Miller (1971), Warren Beatty, Julie Christie, A-
Jeremiah Johnson (1972), Robert Redford, Will Geer, A+, [DVD]
Ulzana’s Raid (1972), Burt Lancaster
High Plains Drifter (1973), Clint Eastwood
Pat Garret and Billy the Kid (1973), James Coburn, Kris Kristofferson, B+
The Missouri Breaks (1976), Marlon Brando, Jack Nicholson
The Outlaw Josey Wales (1976), Clint Eastwood
The Shootist (1976), John Wayne, Ron Howard, Lauren Bacall, A-
Heaven’s Gate (1980), Kris Kristofferson, Christopher Walken, Jeff Bridges
The Long Riders (1980), David Carradine, Stacy Keach, Dennis Quaid
Pale Rider (1985), Clint Eastwood
Silverado (1985), Kevin Kline, Kevin Costner
Lonesome Dove (1989), Robert Duval, Danny Glover, Tommy Lee Jones, A+, [Blu-ray]
Dances With Wolves (1990), Kevin Costner, A, [Bluray]
Unforgiven (1992), Clint Eastwood, Gene Hackman, Morgan Freeman, A+
Tombstone (1993), Kurt Russell, Val Kilmer, Dana Delany, A
Wyatt Earp (1994), Kevin Costner, Dennis Quaid, A, [Blu-ray]
Riders of the Purple Sage (1996), Ed Harris, Amy Madigan, A-
Open Range (2003), Robert Duval, Kevin Costner, A
3:10 to Yuma (2007), Russell Crowe, Christian Bale, A
The Assassination of Jesse James by the Coward Robert Ford (2007), Brad Pitt, [Blu-ray]
Appaloosa (2008), Ed Harris, Viggo Mortensen, A+
True Grit (2010), Jeff Bridges, Matt Damon, A
The Revenant (2015), Leonardo DiCaprio A+