The classic image of a cowboy is a wandering man. Symbolically, the American Cowboy has come to represent large, abstract values: freedom, honesty, bravery. In these stories, cowboys meander and conquer the open range alone with their trusty steeds.
But how do women fit into these pervasive stories of troubled, wandering heroes? Let's take a look at three western films: Shane (1953), Unforgiven (1992) and True Grit (2010).
The women in many classic Western films are rooted to one place: their home. Often in cowboy films, we see women either victimized or punished for venturing out as the cowboys do, serving as a warning to women.
We see the role of women at home very clearly in Jack Shaefer's 1953 classicShane. The title cowboy stays at the house of a homesteading family whose matriarch Marian Starett is firmly grounded in the domestic sphere. While the men, particularly Shane, are out protecting the ranch from cattle rustlin' men, Starett is the one being fought for, not the one doing the fighting. She is not the one wandering—she is the one left behind at home when Shane inevitably sets out for the road again.
Mattie Ross, the young protagonist of the Coen brothers' acclaimed 2010 film True Grit, is so compelling and memorable because she is so odd. Her eccentricities are characterized by what I would call "autistic difference" but, given the nature of the film, my aim is not read autism onto Mattie. I want to map Mattie onto autism.
Movie audiences dissatisfied with summer cinema offerings are eagerly looking towards fall releases in hopes finding a reprieve from the foul, unwatchable dreck currently polluting multiplexes. Here are two that have piqued my interest.