The History of Westerns:
Myths and Reality on Screen Automatic translate

The Western has become one of the most influential and recognizable genres in cinematic history. Films about the Wild West shaped millions of viewers’ perceptions of the period of American history from the 1850s to the 1900s, creating a mythology that often diverged from reality. The genre transformed dusty prairies and lone gunslingers into symbols of national identity, but behind these romanticized images lurked a far more complex reality.

The birth of a genre from shows and fairs

The Western didn’t emerge out of nowhere — its roots lie in the popular entertainments of the 1870s. Traveling Wild West shows, culminating in the legendary "Buffalo Bill’s Wild West Show," which ran from 1883 to 1913, established many of the elements of the future cinematic genre. These shows, aimed at urban audiences, even then blended fact with fiction and romanticized the frontier.

The first Western films appeared in 1894 — a series of short silent films from Edison Studios, filmed in New Jersey. Interestingly, they starred veterans of the Buffalo Bill Show, demonstrating the skills they had acquired in real life in the Old West, including the famous gunslinger Annie Oakley and members of the Sioux tribe. Initially, these films were called "Wild West dramas," and the term "Western" only became established in 1912.

The Great Train Robbery and Silent Film

A true breakthrough was the 1903 film "The Great Train Robbery," directed by Edwin Porter. Considered one of the masterpieces of early silent film, it features practical special effects, ambitious stunts, a cohesive plot, and innovative filming techniques, including the use of matte effects, wide shots, and panning cameras. This film laid the foundation for the Western, with its distinctive plots and themes.

Silent films quickly embraced Western themes. In the mid-1910s, cinema began to move away from vaudeville aesthetics, and thanks to the work of directors like David Griffith, filming ceased to resemble theatrical productions. The development of the close-up allowed for more restrained and realistic acting, which was crucial for conveying the psychological depth of characters.

The Golden Age and the Formation of Mythology

From the 1930s to the 1950s, the Western experienced its heyday, becoming one of the most popular and iconic American genres. Hollywood transformed Westerns into blockbusters with universal appeal, capturing the post-war fascination with the American cowboy. Films of this era established the genre’s canon: heroic gunslingers, picturesque landscapes, and themes of law versus chaos.

John Ford and John Wayne - the creators of the canon

The duo of director John Ford and actor John Wayne defined the classic Western. Beginning with 1939’s Stagecoach, they collaborated on 14 films, nine of which were Westerns. Stagecoach not only made Wayne a star but also launched an artistic partnership that would last for decades. Unlike the formulaic Westerns of old Hollywood, Ford’s work explored deeper themes, exploring not only the outer world of the West but also the inner world of seasoned cowboys and cavalrymen.

Stagecoach followed a group of travelers escorted through the desert from Arizona to New Mexico. Wayne’s character, the Ringo Kid, almost parodied the clichés of Westerns of the previous decade, yet simultaneously became an archetype. The film was one of the first Westerns to transcend the boundaries of genre — each member of the stagecoach group represented a social outcast, and in their mutual struggle for acceptance, they found community in the symbolic wasteland.

Ford created his West in the mythic grandeur of Monument Valley — a moral landscape where good and evil were clearly distinguished, and the march of progress, though costly, was ultimately just. His vision, particularly in his cavalry trilogy (Fort Apache, 1948; She Wore a Yellow Ribbon, 1949; Rio Grande, 1950) and his 1956 masterpiece, The Searchers, celebrated the institutions — the military, the family, the law — that carved civilization out of chaos.

High Noon and Shane are lonely heroes

The early 1950s brought two films that became benchmarks for the genre and simultaneously began its redefinition. 1952’s "High Noon," starring Gary Cooper, established the model of a lone hero confronting a gang of criminals. Set in real time, the film was one of the first to utilize the "race against time" format. Marshal Will Kane must decide whether to stay in town and face his pursuers or escape with his new wife.

High Noon is considered an early example of the revisionist Western. The traditional Western format featured a strong male character leading the civilized against the uncivilized, but in this film, the civilized people don’t support their marshal. John Wayne himself called this stance "un-American."

George Stevens’s 1953 film "Shane" established the ideal of the classic traveling gunslinger, a popular archetype in Westerns for decades to come. The enigmatic hero, Shane, played by Alan Ladd, becomes embroiled in a small-town conflict and quickly wins the favor of the locals while incurring the wrath of threatening ranchers seeking to seize their land. Shane adopts the violence necessary to ensure the settlers can lead a peaceful life, but he himself cannot return to his past. A young boy, Joey, calls after him, "Come back!" but Shane leaves — a lone Western hero who saves society by remaining outside it.

Western myths versus historical reality

Hollywood Westerns have created enduring myths about the Wild West that are at odds with historical reality. The genre has always focused more on entertainment than on accurately depicting frontier life.

The myth of widespread shootings

One of the most persistent stereotypes is that cowboys were constantly involved in duels and gunfights. In reality, actual gunfights in the Old West were extremely rare, and when they did occur, their causes varied. Researchers estimate that between 1866 and 1900, approximately 20,000 people died from gunfire in the American West, but the frequency and drama of gunfights were greatly exaggerated by the writers of dime novels in the late 19th century.

The classic "face-to-face high-noon" duel almost never occurred. There are only two documented instances of such confrontations in the entire history of the Wild West. One was the shootout between Bill Hickok and Davis Tutt, which began over a pocket watch and a card game. Even the famous shootout at the O’Key Corral on October 26, 1881, did not take place inside the corral itself and lasted only a short time — it erupted in a narrow alley near the C.S. Fly photo studio.

Most cowboys were ranch hands, not gunslingers, and guns weren’t essential to their daily work. Revolvers were heavy, often unreliable, and inconvenient to carry for those working with cattle. A rope and hammer on a belt were a much more likely find than a pistol. When cowboys did carry firearms, it was usually for specific purposes — hunting or protecting the herd from predators. Many ranches even banned guns from work, fearing accidents more than attacks.

Cowboy life is hard work instead of romance

The idea that cowboy work was glamorous and full of adventure is far from the truth. A cowboy’s daily life was physically grueling, dirty, often monotonous, and thankless, with low pay, sometimes less than a dollar a day. The main work involved managing cattle and driving herds over vast distances.

Cowboys worked long, grueling hours, often from dawn to dusk. When they finally reached town after weeks or months on the road, a visit to a saloon was a rare treat. Cowboys spent most of their time on practical matters: buying supplies, getting a hot meal, perhaps bathing or shaving. The myth of saloons as places of endless fights, gambling, and gunfire is another exaggeration.

The Diversity Hollywood Has Been Hiding

Hollywood’s version of the Wild West was almost entirely white. In reality, the frontier was populated by a wide variety of ethnic groups. Approximately one in four cowboys was African American.

The earliest evidence of African Americans as cattle herders in North America dates back to colonial South Carolina, where cattle herders from the region of modern-day Senegal in West Africa were brought in for their unique skills. By the 1850s, when cattle herding reached Texas, even though a third of the state’s population was enslaved, African Americans constituted the majority of cowboys in early Texas.

After the Civil War, Black cowboys skilled in cattle handling found themselves in even greater demand as ranchers began selling cattle in the northern states, where beef fetched nearly ten times the price of cattle in cattle-rich Texas. Famous African-American cowboys included Pete Staples, a former Texas slave who joined the first cattle drives to Kansas, and Bowes Icard, who worked the Goodnight Loving Trail from Texas to Denver. Daniel Wallace, who invented the cattle brand that became his nickname, became the most successful Black rancher in Texas.

As the cattle industry expanded from Texas after the Civil War, Black cowboys moved throughout the West, working in every state and territory in the region, with the largest numbers in Arizona Territory, California, Nevada, and New Mexico Territory.

Frontier women are more than victims

Westerns traditionally portrayed women as either helpless victims in need of rescue or saloon dwellers. The reality was much richer. Women played a far more significant role in the Wild West than the films portrayed.

Martha "Calamity" Jane Cannary earned her nickname after rescuing a military captain ambushed by Native Americans. In Wyoming, she began to develop the persona that would make her famous as Calamity Jane. In 1870, she joined General George Armstrong Custer as a scout at Fort Russell, wearing a soldier’s uniform. She later described this time as the most reckless and courageous horsewoman and one of the best marksmen in the West.

Charlotte Parkhurst, California, quickly became renowned for its ability to safely transport passengers and gold along important routes between gold mining outposts and major cities like San Francisco and Sacramento. Historian Ed Sams wrote that only a rare breed of men and women could ignore the gold rush of the 1850s and sustainably perform the grueling work that required traveling along narrow dirt roads that skirted mountain curves, plunged into deep canyons, and often crossed turbulent icy streams.

Narcissa Whitman was one of the first white women to cross the North American continent overland, traveling to serve as a missionary among the Cayuse people in what is now Washington. Sacagawea, along with her newborn child, was the only woman to accompany the 31 permanent members of the Lewis and Clark Expedition to the western edge of the country and back. Her knowledge of the Shoshone and Hidatsa languages proved to be a tremendous asset during the journey.

Eleanor Pruitt Stewart moved to Wyoming in 1909 to claim her own homestead. In a series of letters to a friend, later published as "Letters of a Frontierswoman," Stewart vividly described the challenges and rewards of frontier life. Her writings showcased not only the physical hardships of homesteading — drought, isolation, and backbreaking labor — but also the satisfaction of carving out a place for oneself in the world.

Stereotypes and misconceptions of Native Americans

The portrayal of Native Americans in Westerns has been one of the genre’s most problematic aspects. For decades, Hollywood shaped the image of Indians through a prism that often perpetuated stereotypes, distorted cultures, and ignored the complexity of Native American identities.

Historically, Native American characters in films have been one-dimensional stereotypes that perpetuate harmful clichés. These stereotypes included images of the "noble savage," the "savage warrior," and the "drunken Indian." Such depictions reduced Native peoples to simplified caricatures, ignoring the rich diversity of cultures, languages, and traditions among Native American tribes.

In John Ford’s early works, Native Americans often appeared as a faceless, savage threat, a narrative obstacle to be overcome by the forces of civilization, thus providing moral justification for the doctrine of Manifest Destiny. Westerns portrayed the journey west as heroic and inevitable, often presenting expansion as both a physical conquest and a moral mission.

In a striking example, Navajo actors working on John Ford films in Monument Valley were often instructed — ironically — by white consultants on how to "play Indian," despite already being Native. This reflects a broader trend: even when Native people were present, their own voices were filtered or rewritten to serve Hollywood’s mythical narrative.

Spaghetti Westerns and the Deconstruction of Myth

In the 1960s, Italian director Sergio Leone revolutionized the genre with what would later be called spaghetti westerns. These films set in the American West, shot in Europe primarily by Italian directors, brought a new identity and aesthetic autonomy to the genre.

1964’s A Fistful of Dollars was a huge box office success. Leone’s distinctive visual style, with extreme close-ups and dramatic pauses, proved incredibly popular. These new films complicated the psychology of traditional Western characters, moving away from the simplistic rhetoric of their American counterparts. In Spaghetti Westerns, even the "good" protagonists are ruthless, morally dubious, pitting people against each other for personal gain.

Leone’s films were distinguished not only by their style. They were also characterized by realism: dirty Mexican towns, small shacks, bowls of beans, large wooden spoons. The films possessed a level of realism that seemed always lacking in the Westerns of the 1930s – 1950s, in their brutality and varying shades of gray and black. Leone found even darker blacks and dirty whites. His depiction of the Civil War possessed a realism that his predecessors lacked.

1968’s Once Upon a Time in the West, considered the grand finale of the spaghetti western, took the genre to an unprecedented epic scale, making it difficult to add anything original to its themes. Leone was likely fully aware of this.

Leone’s films and other Spaghetti Westerns are often described as breaking with convention, critiquing or even "demythologizing" many of the conventions of traditional American Westerns. This was partly intentional and partly a consequence of the different cultural context. In 1968, the Spaghetti Western wave peaked, accounting for a third of Italian film production, only to decline to one-tenth by 1969.

Revisionist Westerns and the Decline of the Genre

Beginning in the late 1960s, independent filmmakers created revisionist films that radically inverted the usual trappings of the Western, critiquing both capitalism and the counterculture.

By the late 1960s, the West no longer seemed so wild. America, which had once craved the strict justice of the cowboy era, was now knee-deep in civil unrest, political scandals, and the trauma of the Vietnam War. Suddenly, stories of righteous men with guns no longer resonated. The black-and-white moral codes of Westerns seemed incompatible with a world painted in shades of gray.

Revisionist Westerns like 1969’s The Wild Bunch and 1971’s McCabe & Mrs. Miller responded to these changing tastes by deconstructing the genre’s myths. These films were darker, more violent, and often critical of the very values traditional Westerns celebrated. In The Wild Bunch, for example, director Sam Peckinpah depicted the West as a place of senseless violence and moral decay, where honor and heroism were illusions.

Films made in the early 1970s are particularly noted for their hyperrealistic photography and production design. Other films, such as those directed by Clint Eastwood, were made by professionals familiar with the Western, both as critiques and extensions of the genre. Eastwood’s 1976 "The Outlaw Josey Wales" and 1992’s "Unforgiven" featured strong supporting roles for women and Native Americans.

As the revisionist Western gained momentum, the genre as a whole began to lose its dominant position in Hollywood. It was no longer the primary genre for blockbusters, and the number of Westerns produced declined significantly. The rise of science fiction and action films in the late 1970s and 1980s supplanted Westerns.

Renaissance and modern transformations

Despite its decline in the 1970s and 1980s, the Western made a significant comeback in the early 1990s, largely due to renewed interest in the genre’s ability to convey moral complexity and introspection. This revival was led by films that embraced the revisionist tendencies of previous decades while re-embracing the emotional and thematic power of the Western myth.

Clint Eastwood’s 1992 film Unforgiven was a watershed moment, offering a mature reflection on the violence and consequences of a gunfighter’s life. The film deconstructed the romanticized image of the Western hero, showing an aging killer attempting to atone for his past.

Neo-Westerns and Genre Mixing

The Western has continued to evolve in the 21st century, often through genre blending and the embrace of diverse perspectives historically absent from the genre. Directors increasingly use the Western as a framework for exploring contemporary social issues, reflecting the changing cultural landscape.

The Coen brothers, Joel and Ethan, have become masters of renewing the Western canon. Beginning with their breakthrough 1984 neo-noir Blood Simple, the Coen brothers have written and directed over a dozen films navigating the Western canon, continually drawing on and expanding upon the stories and themes that shaped collective attitudes.

2007’s No Country for Old Men doesn’t simply critique the moral framework of old Westerns — it rejects it entirely, replacing righteous heroes and villains with a postmodern inability to believe anything. Apathy and nihilism reign supreme, as the film’s senseless violence kills everyone, regardless of their moral stance.

1996’s Fargo immediately imposes grandeur on the mundane world of the Midwestern lower middle class, elevating a simple crime thriller into a grand narrative. Nothing in Fargo is conventionally grand: the characters have thick regional accents, the violence is brutal, and everyone is simply exhausted by the corporate rat race. Yet the Coens find grandeur in these simple lives.

Modern Westerns have proven the genre’s capacity for constant renewal. The myths of the Wild West, created on screen over a century ago, continue to transform, reflecting society’s changing values. Romanticized images of lone gunslingers and heroic settlers have given way to more complex narratives that acknowledge the diversity of the frontier, the moral ambiguity of violence, and the price of so-called progress. The Western remains a vibrant genre precisely because it is able to reimagine its own mythology, balancing legend and truth.