The Relationship between Law and Outlawry in the Hollywood Western - Term Paper Example

Running head: Pale Rider and Unforgiven The Relationship between Law and Outlawry in the Hollywood Western as seen in the Movies: Pale Rider and Unforgiven (student) (school) Introduction Movies have a magical way of transporting us into other places and creating for us other experiences which we would not normally experience. It also creates for us an alternate realm where various brands of justice and law enforcement are carried out – and carried out differently from the real world. The different movie genres also deliver diverse brands of justice. Where the modern movies would often highlight violence and the implementation of the laws, other genres may feature the concept of eye-for-an-eye and of righteousness. Regardless of these genres and their varying applications, Hollywood movies show alternate takes of situations which may not always be commonly seen in the real world. The genre of the Hollywood westerns features a unique trend in law and outlawry which have spawned many movies and television series. No more has this genre featured as much than by the actor and director Clint Eastwood. Eastwood has several movies under his belt where the battle of good and of Western-style justice has been carried out. And how that justice has been carried out has not always been applicable to the real world. Nevertheless, it is a brand of outlawry and justice which contains much room for discussion. This paper shall discuss the relationship between law and outlawry in the Hollywood Western, with particular focus on Clint Eastwood’s Pale Rider and Unforgiven movies. This discussion will demonstrate how law and outlawry was featured in these movies and how they fit the actual genre in which they were spawned from. This study is being conducted in order to present a comprehensive understanding of the genre theory, including the Western movie genre and the classical western hero in the context of the Hollywood movie scene. Discussion The movie Pale Rider features a conflict between poor miners and the rich and powerful Coy LaHood who owns the hydraulic mining outfit in the town. LaHood expressed his intent of wanting to take over the poor miners’ land. When one of these poor miners is roughed up by the goons which LaHood hired, he is assisted by a drifter, played by Clint Eastwood. This drifter later reveals his minister’s collar and earns the name “Preacher.” The story further develops and leads into the final showdown between corrupt US Marshall Stockburn with his deputies and the “Preacher.” Stockburn believes that after seeing old bullet wounds on the “Preacher’s” back that the latter fits the description of a man who died years back. During the showdown, the “Preacher” successfully kills the marshal and with the help of one of the miners, LaHood is also killed. With their deaths, peace is successfully restored to the miners, and inadvertently, to the pale rider as well. The above movie portrays how law and outlawry in Hollywood movies are dependent on the situation and the genre existent at said particular time. This movie epitomizes the life in the American frontier where the formation of societies teetered between the civilization and the wilderness – between the untamed lands, and the creeping power of civilization. The Western genre often presents rugged and beautifully untamed landscapes which sweep through miles of land and, occasionally dotting these landscapes, are frontier houses and families. These movies portray the daily battles of these people in wanting to survive as farmers and as labourers. Hollywood western movies often portray the “conquest of the wilderness and the subordination of nature, in the name of civilization, or the confiscation of the territorial rights of the original inhabitants of the frontier” (Dirks, 2010). In the movie Pale Rider, we see the battle for territorial rights – between the poor miners and the rich and greedy landowners, along with their motley crew of hooligans. This battle is often a running theme in Western movies owing to the fact that maintaining law in the frontier can present a huge challenge for law enforcement officers because of the significant tract of land they have to cover. Consequently, in many instances, the ordinary frontier people are often made to defend themselves or are often defeated by lawlessness and other pervasive criminal elements. More often than not, the usual western movies present the lone figure of a righteous man facing a grave and savage world (Godawa, 2002). This man is made to face the rugged landscapes, outlaws, and wild Indians in order to survive. This man usually has a gun strapped to his hip and he deals out justice against those who disturb the peace and those who commit lawless activities. This genre is often rooted in the classic good versus evil conflict – good versus bad, black hat versus white hat, cowboys versus Indians, and villains versus heroes. In most instances, when good meets evil, evil is defeated (Dirks, 2010). The lines between the moral and the immoral are clear in some of these movies. But the moral conflict is seen in the movie Pale Rider and Unforgiven. In the movie Pale Rider, there is a huge moral dilemma about the identity of the “Preacher” and whether or not, as a preacher, it is right for him to kill – even if the killing would be done in the name of peace and the good of the aggravated and suffering miners. In so many ways, the drifter in Pale Rider and Will Munny in Unforgiven present the figures of the western anti-hero. This western anti-hero may also be a hero of divine retribution or the hero with no name, in this case, the Preacher; or the reluctant hero, in the person of Will Munny. The movie presents unconventional features of justice and retribution in the battle of good versus evil. And the retribution is not often placed in the hands of the law enforcement officers. In these movies, it is placed in the hands of people with courage and integrity (Dirks, 2010). The movies Pale Rider and Unforgiven deconstruct the figure already made popular by Clint Eastwood himself in his spaghetti western movies. In effect, Pale Rider and Unforgiven portray the fact that the hero “must become villainous himself in order to defeat the villains, blurring the lines between the white hats and the black hats, between good guys and bad guys” (Godawa, 2002, p. 29). The relationship between law and outlawry is much thinner in the Hollywood Western movies, especially in the two movies of Clint Eastwood. The hero in these movies is not the traditional hero who is cloaked in nobility, fairness, unselfishness, and justice. Instead, this hero can be vindictive too. The Pale Rider “preacher” is depicted as a hero of divine retribution. This hero is often described as a heaven-sent angel of death and revenge. In the beginning of the movie, one of the characters is seen praying for help and in the scenes that follow, the figure of the lone rider is depicted. This type of hero is described as more skilled than others and showing no signs of weakness (Everything2, 2005). He is one who will mete out punishments for guilty parties without them expecting it; and he will also use manipulation and underhanded techniques in order to punish those who are guilty (Everything2, 2005). In so many ways, this Hollywood western also portrays how their hero is somewhat reluctant to take on the burden of carrying out justice. He did not out rightly seek out the villains in the story and to bring them to justice. Instead, he was there to defend the innocent and he was there to defend those who were abused because no other aid was forthcoming to them (Everything2, 2005). In the movie Unforgiven, Munny is very much a reluctant hero. He was prompted by the murder of his friend Logan to go after the corrupt sheriff and his deputies and like the vengeful hero, he also delivers his own brand of justice against the corrupt sheriff. He is not the traditional and morally upright hero. He is flawed and rife with moral contradictions and this contradiction is often heightened by the fact that law enforcers are portrayed as corrupt and diametrically opposed to what their badge and position represent (Plantinga, 1998). Various film critics and analysts point out that Clint Eastwood’s characters often portray the hero with no name – one who sweeps into town without anyone knowing anything about him and wreaks havoc on the evil elements in the area. In most cases, he favours the side of the innocent and the defenceless. Although the beginning of the movie Unforgiven depicts Eastwood’s character to be motivated by monetary concerns, the death of his friend turned him into a vengeful hero. In this regard, Hollywood western movies seem to portray the hero as a violent, ruthless, selfish, and oftentimes amoral man (Groves, 2001). He has an aloof demeanour and he is skilled in carrying out violent acts in order to carry out what is just and right. Once again, this behaviour and characteristics are seen in Eastwood’s Pale Rider character. In some instances, these qualities may even be labelled as divine providence (Groves, 2001). The picture of the anti-hero is emphasized in the character of William Munny because he does not portray the usual physical qualities of other Eastwood heroes. He does not smoke and he is clean shaven; he is a poor shot and cannot ride a horse well (Beard, 1994). He is also more vulnerable physically and mentally; in stark contrast to the usual commanding and invincible Eastwood heroes. The gunfight at the very last part of the movie is also shown quickly and with less stylized imagery (Groves, 2001). Munny is also shown as remorseful for his past actions and crimes. But the audience is drawn into the story; they are drawn into feeling outrage for the sheriff’s actions. And regardless of who serves justice for the crime, the audience is also cheering for that anti-hero. In this regard, Hollywood western movies point out that law and outlawry are closely linked to each other. For the people on one side of the fence – the law – they may not always wear the white or black hat. For the outlaws, who may not always wear the black hat, the sanction is delivered regardless of which side of the law they occupy. Hollywood western movies sometimes depict frontier dwellers as weak and ineffective. These movies sometimes show the townspeople in the frontier era to be careless and irresponsible – and their law enforcers, like the Marshall and the sheriffs, are depicted as strong and determined individuals (McGrath, 2006). This portrayal has been opposed by many analysts and historians; instead, they describe the frontier population to be “strong, courageous, adventurous, and enterprising. Those without such characteristics generally did not migrate to the frontier” (McGrath, 2006). But most depictions in Hollywood westerns show the hapless and helpless people whose lands are pillaged, whose women are raped, and whose men are gunned down. While Clint’s Pale Rider and Unforgiven do portray these frontier people exhibiting some of the above persecuted qualities, they also show a stronger side to these people. It shows how they try their best to arm themselves against dangerous elements in the frontier. Most of them are well armed; and they knew how to wield their weapons for hunting in order to put food on the table and to keep Indians at bay (McGrath, 2006). Some of them are veterans of war and through these experiences they were able to hone their defensive and survival skills. Stereotypical western movies did not present the frontier population in an accurate light. Nevertheless, many of these movies did present an important consideration in the frontier life – that their heroes often emerge for reasons of revenge, justice, and peace. The swift delivery of justice was also featured well in these movies, albeit the delivery of such just measures did not always come from the law enforcement authorities. In the two Eastwood movies, justice was dealt quickly and effectively. These measures effectively made the towns more peaceful. Munny and the “preacher” took it upon themselves to pursue, apprehend, and deliver punishment to the guilty parties. These heroes knew that having to wait on higher authorities and on other people to bring the perpetrators to justice might take too much time, be too expensive, and in the end, may be an exercise in futility (McGrath, 2006). Consequently, they could easily justify their actions as vigilantes – as individuals delivering justice in the extra-legal sense. In many of these frontier towns, these vigilantes and vigilante committees do exist. But in many Hollywood movies, this picture is not often presented. These committees give many frontier towns a “just method of dealing with criminals in a time and place where little other organized justice existed” (McGrath, 2006). And through these methods of survival, these frontier towns and their people were able to survive and flourish despite the harsh conditions they faced on daily basis. Hollywood western movies sometimes depict the ordinary frontier man as a hero. Even outlaws make good heroes in these movies because “he is among the first at the frontier, but he cannot accept the standards of subsequent settlers and subordinate himself to the community. So he must start over and over, to the next frontier” (Plehwe, Walpen, & Neunhoffer, 2006, p. 161). In these movies, the outlaw is sometimes romanticized into a heroic figure who reluctantly seeks vengeance in order to eventually gain a semblance of peace and order in his life. In the Unforgiven, Munny did not seek to be the hero fighting against the unjust sheriff. Even after he rid the town of the corrupt sheriff, there is strong doubt on whether or not he would see himself as a hero. Nevertheless, to the audience and to the people he “saved,” he would forever be seen as one. The black and white look often attributed to the bad guy and the good guy respectively, has been challenged by other Western Hollywood movies, but these movies are few and far between. And these varying portrayals of the western heroes have prompted analysts to comment that Hollywood tends to contradict itself in its depictions of heroes, of laws, and outlaws. Some depictions of laws and outlawry in Western movies may be anchored in the fact that they also show the vulnerabilities of heroes in the struggle to uphold the laws and in fighting outlaws. These movies have taken a more anti-hero outlook on the western “good” guy. And this good guy can also strike a weary and middle-aged pose (Cinerama, 2009). He can also be fearful, old, and tearful. The vistas surrounding these towns and frontiers may also not be as picturesque as portrayed in classic westerns. It may not provide the complete escape for the viewer; and it may not present an idealized concept of the American west (Cinerama, 2009). Nevertheless, these movies also present a glimpse of law and outlawry in Hollywood western movies – and in some instances, they may or may not portray accurate pictures of the real American frontier. It is important to note however that law and outlawry in Hollywood western movies always presented a conflict between good and evil and they often present moral conflicts which may not always be resolved by law enforcement authorities. The idealized image of the American west in these movies depict an honour and code which is unparalleled by present-day modern heroes (Browne, 2000, p. 903). Conclusion Law and outlawry in Hollywood western movies as seen in the movies Pale Rider and Unforgiven present a different take on the classic or traditional western hero. Where the traditional western hero would be bold, brash, and often be on the right side of the law or may be wielding a shiny badge of authority, the heroes portrayed in Pale Rider and Unforgiven are vengeful and flawed. They also skate thinly over moral lines in order to serve bigger and loftier goals in the name of justice and peace. The movies contain elements which are very much in keeping with the traditional western movies – with sweeping and harsh landscapes and oppressive frontier lives. They picture the ordinary men and women trying to live a peaceful and fruitful life; and they show the challenges that the people have to face – the evils they have to battle on a daily basis and the lengths to which they are pushed in order to gain peace and justice. Works Cited Beard, W. (1994) Unforgiven and the uncertainties of the heroic. Canadian Journal of Film Studies, vol. 3, no. 2: 50 Browne, P. (2000) The guide to United States popular culture. London: Popular Press Dirks, T. (2010) Western Films. AMC Filmsite. Retrieved 20 October 2010 from http://www.filmsite.org/westernfilms.html Godawa, B. (2002) Hollywood worldviews: watching films with wisdom & discernment. Illinois: Intervarsity Press. Groves, T. (2001) The Un/forgiven Director. Screening the Past. Retrieved 20 October 2010 from http://www.latrobe.edu.au/screeningthepast/firstrelease/fr0301/tgrfr12a.htm McGrath, R. (2006) Law enforcement in the Old West: unlike Hollywoods frequent portrayal of Old Western townsfolk as cowards, these hardy individuals took care of themselves and did not rely solely on government for protection. The Free Library. Retrieved 20 October 2010 from http://www.thefreelibrary.com/Law+enforcement+in+the+Old+West%3A+unlike+Hollywood%27s+frequent...-a0144563306 Plantinga, C. (1998) Spectacles of death: Clint Eastwood and violence in Unforgiven. Cinema Journal, vol. 37, no. 2: 71. Plehwe, D., Walpen, B., & Neunhoffer, G. (2006) Neoliberal hegemony: a global critique. London: Routledge Reworking the Western: High Noon (2009) Cinerama. Retrieved 20 October 2010 from http://thisiscinerama.blogspot.com/2009/11/reworking-western-high-noon.html The Hollywood Cowboy (2005) Everything2. Retrieved 20 October 2010 from http://everything2.com/title/The+Hollywood+Cowboy Read More