Western films are known for their stereotypical representations of masculinity and femininity. Golden Age westerns, from the 1940s to the 1960s, showcased stereotypical ideas about what it meant to be a man or woman of the American west.
Just as much as these films feature characteristic narrative aspects such as shootouts, long journeys on horseback, and Native American attacks, the characters themselves are representations of specific archetypes: the strong, determined cowboy, and the woman on the side, typically a housewife, love interest, or prostitute.
This reflected traditional gender roles that were highly valued in America. The heroes of western films were men that embodied the traditional ideals of masculinity, and the women were the prize to be won for their good deeds (if they were relevant at all).
The era of modern western films, from the 2000s to 2020s, has, to an extent, evolved with the changing values of society. These films still feature classic western tropes and stereotypes, but have also expanded their capabilities for representation when it comes to characters. More western films in the modern era feature characters that don’t fit into the stereotypical archetypes that were held for men and women. From centering women’s perspectives in western stories to exploring the lives of queer men in the west, these films have gotten more progressive with the variety of stories they tell, while still keeping the heart of classic westerns alive.
Modern western films have seen an increase in female directors and good representations of women on screen, even though the genre is still very much male dominated. One example is Kelly Reichardt and her movie “Meek’s Cutoff” from 2010. This film is based on a historical event from 1845 in which a frontier guide, Stephen Meek, attempted to lead a wagon train through the Oregon desert, but is ultimately uncertain of the route and puts the travelers in danger. A trip that was supposed to last two weeks becomes five, and the travelers start to run low on water and supplies.
The film focuses on the three wives in the company of travelers and their experiences on the western frontier. Reichardt uses expert cinematography and perspective to put the audience in the specific position of the women, rather than Meek or their husbands.
The men in the film often distance themselves from their wives when they are having important conversations about their situation and deciding what they should do. Instead of making the audience wholly privy to these conversations, the filmmakers shoot these scenes from the perspective of the women who watch the decisions being made from the sideline.
There is particular focus on the character of Emily Tetherow, who functions as the film’s protagonist. She is portrayed as rather stoic and strong, becoming more and more outspoken about her opinions as the film goes on. After her husband passes out from exhaustion and lack of nutrition and can no longer provide input on the decisions, Emily takes over that role. In the final scene of the film, Emily stands with the men as they decide what route they are going to take. The men all look to Emily for her decision and leadership, and the film ends.
Reichardt’s “Meek’s Cutoff” is an inherently feminist western film in the ways that it deviates from shallow and stereotypical depictions of women. Still, “Meek’s Cutoff” features beautiful shots of the western landscape and many plot tropes typical of the genre. This film is a great example of how filmmakers can create women centered stories in westerns, while still staying true to the heart and soul of the genre.
Some modern westerns have also challenged the traditional stereotypes of male representation, instead presenting representations of men that are more complex than the stereotypical cowboy.
“Brokeback Mountain” made waves in 2005 for its portrayal of two western cowboys in a homosexual relationship. While the film’s main characters, Jack Twist (Jake Gyllenhaal) and Ennis Del Mar (Heath Ledger), dress, talk, and otherwise behave like stereotypical cowboys, they are merely putting on a show of conforming to heteronormative ideals.
The film has been widely praised for its bravery, telling the story of two men in love at a time and place that was much less than accepting of queer people. Homophobic sentiments were still very much prevalent in 2005 when the film was released, and are to this day. However, “Brokeback Mountain” has been embraced by large audiences who appreciate the representation of queer men in the west and value the film for its inventiveness.
“The Power of the Dog” (2021) is another western that portrays masculinity differently than classic westerns. There are three leading male characters in this film: Phil Burbank (Benedict Cumberbatch), George Burbank (Jesse Plemons), and Peter Gordon (Kodi Smit-McPhee). Phil is a closeted queer man who overcompensates by adhering very rigidly to stereotypical forms of masculinity and by bullying other men whom he doesn’t think are masculine enough. George is soft and even-tempered, falling into a gentle kind of love with Rose and graciously tolerating his brother’s outbursts. Peter is physically smaller than the other men and is more inclined to reading and studying than the rough life of a ranch.
Phil and Peter strike up a kind of mentor-mentee relationship, with Phil teaching Peter stereotypically masculine things like how to ride a horse and make a rope out of hides. Phil attempts to mold Peter into his idea of what a man should look and act like, but it does not end well. In this sense, “The Power of the Dog” functions as a cautionary tale against rigid conformity and toxic masculinity.
All aspects of popular culture have changed over time as the values, beliefs and ideals of society have shifted and progressed. Westerns, just like all films, reflect the attitudes and values of the time that they are made. Filmmakers broadening their scope to include the stories of more diverse characters is deeply beneficial to both the genre and the audiences who watch, finding more meaning and connection in them.