The American West is as problematic a concept as the American Dream; while there was, and is, an American West, it is presented to us in cinema as an intangible and elusive ideal. All Westerns, even revisionist Westerns seeking to portray the ‘true’ West such as Little Big Man and McCabe and Mrs. Miller, are to some degree effected by the fact that “[t]he history of the West has been consistently revised in accord with the dream” (Hine 1). As a result, I intend to approach these films by firstly analysing the concepts of ‘history’ and ‘mythology’, and to proceed from these concepts to their impact on the individual in the films in question.
It may seem ludicrous to suggest that history is a concept in need of explanation- the linear progress that is the western conception of history means that history is the clearly defined, rational understanding we have of past events, and the present we have today is built upon history’s foundations. However, even if we are able – as we never are in the instance of the American West- to strip history bare of the mythology that embellishes it, history is never ideologically pure, as best described by an ancient Tibetan saying “until the lions have their historians, tales of hunting will always glorify the hunter”. The most obvious example of this is the Manifest Destiny outlook to exterminating the Native American population until well into the twentieth century. Until very recently, history told us little of the diverse cultural groups that peopled America before the white Anglo-Saxon Protestant dominance of the nations history began to annihilate their culture. Perhaps it is true that, as Kevin Brownlow would have it “[n]o-one goes to the Western for a history lesson”, yet as the Western is often the dominant means for the public to appropriate the history of the West, surely it has a responsibility towards accuracy (Brownlow quoted in Maltby 34).
As Wright points out, the Western obsession with the settlement of the American West locates Westerns in a historically specific, chronologically limited time frame of the thirty years between 1860 and 1890. In 1861 the Indian wars began as the Cheyenne found the Colorado goldminers invading their lands; 1862 saw the passing of the Homestead Act. By 1890 all Native Americans had either been exterminated or placed on reservations, as the previous year saw the last ‘unoccupied’ area in America (the Oklahoma territory) opened to homesteaders in a massive land rush (5). A thirty year period would not be difficult to portray in a historically correct manner if the filmmaker so wished, yet the mythmakers of the West appear to be relatively unconcerned about accuracy of any kind- John Ford, for instance, notoriously demanding his crews research the people/place they were to film and then telling them to “Ignore all that and make a movie!”. The myths and legends created about the West are more popular, and hence more powerful, than the history of the West – “The legend is inescapable. The history exists because the legend exists. The history of the West is in a sense a subgenre of the Western, and revisionist history a subgenre of that” (Maltby 39). Continue reading “‘Little Big Man’ & ‘McCabe and Mrs Miller’- the impact of history and mythology on the individual subject”