By David Meuel
Starting within the mid-1940s, the awful, brooding temper of movie noir started seeping into that almost all confident of movie genres, the western. tale traces took on a darker tone and western movies followed vintage noir parts of ethical ambiguity, advanced anti-heroes and particular violence. The noir western helped set the normal for the darker technological know-how fiction, motion and superhero motion pictures of at the present time, in addition to for acclaimed television sequence equivalent to HBO's Deadwood and AMC's Breaking undesirable. This publication covers the stylistic shift in westerns in mid-20th century Hollywood, supplying shut readings of the 1st noir westerns, in addition to revealing images of the eccentric and proficient administrators who introduced the movies to existence.
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Extra resources for The Noir Western: Darkness on the Range 1943-1962
Entered World War I, Wellman, who never lacked a sense of adventure, went overseas as an ambulance driver and soon joined the aviation unit of the French Foreign Legion. , who—impressed with both Wild Bill’s war exploits and youthful good looks—offered to help get him started in the ﬁlm business as an actor. But, after acting in one role in a 1919 Fairbanks western called The Knickerbocker Buckaroo, Wellman was—as he recounted later in life—so distressed watching himself on screen that he immediately left the theater and vomited.
Bruno in Safe in Hell, to Frank Conroy’s Major Tetley in Ox-Bow—abound in Wellman’s work. Finally, a subject Wellman explored repeatedly during his career is justice and judgment. What responsibility, if any, do we as individuals or as a society have in addressing economic and social injustices? We see this idea explored in ﬁlms such as Beggars of Life (1928), Heroes for Sale (1932), and Wild Boys of the Road (1933). And who decides what’s just and what’s unjust, and ultimately who is entitled to pass judgment on people accused of crimes or socially unacceptable behavior?
And an interesting footnote is that all the key people involved with it—Wellman, 20th Century–Fox production head Darryl Zanuck (who green-lighted the ﬁlm), writer/producer Lamar Trotti, star Henry Fonda, and others—also knew this going in. But they all believed in the story, they all went ahead with the project anyway, and they all accepted consequences. As part of the bargain to even do the ﬁlm, Wellman—to help the studio recoup anticipated losses—agreed to do two additional and far more marketable (and forgettable) ﬁlms for Zanuck.