In the two films assigned for this week, Johnny Guitar and Two Mules for Sister Sara, the women once again challenge the classic western by dominating the men and differing from their respective roles as “the shadow of a more important male” (40). Tompkins states that in the classic western “there is no need to say that men are superior to women,” this fact is commonly understood (73). However, in these two females the characters Sarah and Vienna challenge the men around, them whether by deceit or power, for the respect that they deserve.
In the film Johnny Guitar, the town’s saloon owner is a strong-willed, determined woman named Vienna. Throughout the film she comes into great conflict with the townsmen and a particular woman named Emma, who is a local rancher. The two women have conflicting views about visitors to their town, which has begun to increase with the railroad.
Vienna, delighted to have more business is threatened that the town will shut down her saloon. They desire her to keep the land rather than let it be developed into the railroad. This feud continues to grow throughout the film with Vienna and Emma. As their relationship reaches a climax, we see Vienna take the life of Emma, while hers is saved by Johnny whom she is in a rocky relationship with.
The relationship between Vienna and Johnny is quite different than anything we have every seen in the classic western. Vienna is the more dominant one in the relationship, forcing Johnny to question his manhood. In describing Vienna, he notes that he has “never seen a woman act like such a man; she thinks like one, acts like one, and sometimes makes me think I’m not one.” Her ability to demoralize Johnny in their relationships verifies her role as the “alpha male.” Another instance where we see Johnny as the inferior actor in the relationship is when he pleads for Vienna to confirm her love for him. In this conversation she indulges him by declaring that she loves him, however, soon after, she becomes aggravated with his lack of confidence in himself. She tells him to “stop feeling sorry for yourself, I didn’t find this place, I had to build it!” Thus confirming that she needs someone strong in her life that she can depend on to help her business grow and prosper not someone who is going to be a free-rider. In order to appease Vienna, Johnny transforms himself from Johnny Logan; the dependent man in her life to Johnny Guitar the reinvented, independent self-sufficient savior.
In the second film, Two Mules for Sister Sarah, Sarah is first seen being saved by Hogan the alpha male cowboy. However, as the plot develops we learn that Sarah is not as innocent as she portrays. Even though she is dressed as a nun, insists on giving the dead a Christian burial-even the ones that tried to rape and murder her she actually runs a prostitute circle near the French army. Nonetheless, this façade saves Hogan’s life several times during their journey from shielding from the Yaquis Indians and raising money for artillery to gathering information about the garrison.
This relationship between Sarah and Hogan develops from infatuation to lust and extreme desire. In this non-classic western, the two protagonists in the end save each other and both give up their previous lives to be together in the end.
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The women in each of the films offer challenges to the respective alpha males as well as to women in classic westerns. Johnny Guitar is considered a classic; Two Mules is not. In both cases, explain these challenges as you understand their status as "other." Use Tompkins.
ReplyDeleteIn the two films, Johnny Guitar and Two Mules for Sister Sara, the women once again challenge the classic Western by dominating the men and differing from their respective roles as “the shadow of a more important male” (40). Jane Tompkins states that in the classic western “there is no need to say that men are superior to women,” this fact is commonly understood (73). However, in these two films, the characters Sarah and Vienna challenge the men by using deceit and/or power, to receive the respect that they deserve.
In the film Johnny Guitar, the town’s saloon owner is a strong-willed, determined woman named Vienna. Throughout the film she comes into great conflict with the townsmen and a particular woman named Emma, who is a local rancher. The two women have conflicting views about visitors to their town, which has begun to increase with the railroad.
Vienna, delighted to have more business is threatened that the town will shut down her saloon. They desire her to keep the land rather than let it be developed into the railroad. This feud continues to grow throughout the film with Vienna and Emma. As their relationship reaches a climax, we see Vienna take Emma’s life, while hers is saved by Johnny whom she is in a rocky relationship with.
The relationship between Vienna and Johnny is quite different than anything we have every seen in the classic western. Vienna is the more dominant one in the relationship, forcing Johnny to question his manhood. In describing Vienna, he notes that he has “never seen a woman act like such a man; she thinks like one, acts like one, and sometimes makes me think I’m not one.” Her ability to demoralize Johnny in their relationship, verifies her role as the “alpha male.” Another instance where we see Johnny as the inferior actor in the relationship is when he pleads for Vienna to confirm her love for him. In this conversation she indulges him by declaring that she loves him, however, soon after, she becomes aggravated with his lack of confidence in himself. She tells him to “stop feeling sorry for yourself, I didn’t find this place, I had to build it!” Thus confirming that she needs someone strong in her life that she can depend on to help her business grow and prosper not someone who is going to be a free-rider. In order to appease Vienna, Johnny transforms himself from Johnny Logan; the dependent man in her life to Johnny Guitar the reinvented, independent self-sufficient savior.
In the second film, Two Mules for Sister Sarah, Sarah is first seen being saved by Hogan the alpha male cowboy. However, as the plot develops we learn that Sarah is not as innocent as she portrays. Even though she is dressed as a nun, she actually runs a prostitute circle near the French army. To cover up this fact she insists on giving the dead a Christian burial, even the ones that tried to rape and murder her. Nonetheless, this façade saves Hogan’s life several times during their journey from the Yaquis Indians to raising money for artillery and gathering information about the garrison.
This relationship between Sarah and Hogan develops from infatuation to lust and extreme desire. In this non-classic western, the two protagonists in the end save each other and both give up their previous lives to be together in the end.