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But man-as-skinny-object-of-religious-violence? Bring it on!
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Fine art historians have known this for centuries: why else are there so many paintings and statues of St Sebastian, stripped naked and whacked full of arrows? At least until Derek Jarman's Sebastiane, man-as-sexual-object was something society had managed to ignore. Sadism of this sort may not be nice, but I suggest it is the inevitable outcome of a story structure (or a society) in which men's longing for other men is not allowed to take its natural course. As a result of this, Rio gets stripped to the waist and whipped in the most over-the-top cowboy torture scene of its day. This is the character Brando plays in One-Eyed Jacks: the Rio Kid, who thinks only of getting his own back on his betrayer, Dad Longworth (Karl Malden), and who sleeps with his daughter just to aggravate him. By the early 1960s, a new western protagonist appeared: narcissistic, masochistic, obsessed with desire not for love or money but for revenge. In the films of Peckinpah and Anthony Mann, they barely appear at all. All women do in Bud Boetticher's films is trip over their feet while running away. In the 1950s, that troubled period of war abroad and witch-hunts at home, the western hero became more troubled, more introspective, less interested in women than before. It is the most masculine landscape imaginable. It is no coincidence that Ford "discovered" the magnificently phallic buttes of Monument Valley and made this the archetypal western landscape.
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Though he had a long marriage and several guilty affairs, women didn't feature strongly on his radar. His principal interest appears to have been liquor, enjoyed in the company of men, or else alone. John Ford, the director of Wayne's greatest films, was either a complex or a very simple man. But think of the Duke and like as not you remember Wayne the implacable lone tracker in The Searchers, Wayne locked in an endless Oedipal fistfight with Montgomery Clift, Wayne surrendering the girl to Jimmy Stewart in The Man Who Shot Liberty Valance. Wayne, interestingly, does some of his best work playing opposite strong women such as Claire Trevor or Maureen O'Hara. I don't mean simply that westerns are misogynistic: some of them, particularly the early talkies like Stagecoach, feature lively female characters who stick up for themselves. This is what makes westerns such tremendous fun for boys, and so boring for women. Men, on the other hand, get to ride horses, harbour grudges, gamble, drink, kill other men, and - in the later excesses of the genre - inflict and suffer the most excruciating tortures. ") The book is a celebration of manly admiration for other men, and this tone - of worship for the self-reliant, efficient, outdoor male, up for a shootout, or a lynchin' - continues unbroken throughout all the western films that followed it.įrom the silents to Stagecoach to Once Upon a Time in the West, the most a woman in a western can aspire to is to be static, and to end up being saved. You travel together, you spree together confidentially, and you suit each other down to the ground. The sincerest scenes are those involving male companionship ("You have a friend, and his ways are your ways.
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Its hero courts two women, it is true, but at a "courtly" distance. Owen Wister's novel The Virginian is often credited as being the template for the western hero. Its tales take place in the mental space of adolescent boys, where men are men and women have barely been invented. There is something deeply sexually ambivalent about the western, its heroes, and its villains. I had also heard that Wayne lived on a battleship, but that story didn't have the same resonance. I just liked the story, and the demented idea of the Duke answering his own front door in a strapless cocktail outfit. I had no real reason to believe that Wayne was gay. But when the film came out, no one said anything about the John Wayne scene. Indeed, the studio was so ambivalent about the film that it hired the publicist for Pan Am, one Dick Barkle, to trash the movie: "I hope they never show this film in Russia!" Barkle declaimed. The scene caused anxiety to Universal's army of lawyers and executives. All of this stuff made its way into a film I made called Repo Man, where the actor Tracey Walter tells Swatty's story.