The Western is the most familiar and forgotten of film genres. It's disdained at the box office and yet more central than ever to America's political culture. (Recent theatrical releases The Missing and The Alamo bombed, but HBO's brilliant series Deadwood shows there's life in the old genre yet.) If Westerns are inevitably false nineteenth-century history, they are true to America's self-image at the times the films were made. This genre always carries the burden of justifying American expansionism, but it does so with an unrivaled physicality, taut verbal wit, and uncompromising love of the land.
With its wide spaces and grand heroes, the Western cries out for the big screen. For this brief retrospective, we've gathered archival restorations and several newly struck studio prints to prowl especially through the genre's formative decades. Mixed with John Ford classics are neglected early gems (The Invaders, The Last Outlaw, Trail of the Vigilantes, the two-strip Technicolor Redskin), and masterworks rarely seen outside of archival screenings (Forty Guns, Ride Lonesome, the widescreen Big Trail).
Selected/Notes by Scott Simmon
Scott Simmon is professor of English and codirector of the Film Studies Program at the University of California, Davis. For the National Film Preservation Foundation he curated the DVD sets Treasures from American Film Archives and, forthcoming in September, More Treasures from American Film Archives. For the Library of Congress he supervised reconstruction of several landmark early films, including The Pioneers (1903, see July 18). His writings include books on film preservation and on directors King Vidor and D. W. Griffith. Simmon's The Invention of the Western Film (Cambridge University Press, 2003) won the 2004 Theatre Library Association Award. He will be signing copies on July 2.