The author, John Marek, is a writer and CEO of the Anson Economic Development Partnership.
Superheroes have been popular for decades, and movies based on the exploits of Batman, Superman and Captain America go back nearly to the dawn of talking cinema. Still, to the casual observer, it seems like every big movie and television show features a superhero or two these days. I have nothing in particular against the superhero genre and have seen and enjoyed a handful over the years. Indeed, when the Superman movies of the ’70s and Batman movies of the ’90s came out, they seemed like a refreshing novelty. More recently, I would contend that the opening credits – yes, the OPENING CREDITS – of “Black Widow” are a fine piece of filmmaking. But something clicked about 15 years ago, and the next thing anyone knew, every movie had to feature the likes of the Hulk, Iron Man or Captain America.
When the first “Avengers” film began production, I mistakenly thought it was a remake of the ’60s British spy series. If only. Today every social and political issue gets the superhero treatment. Race relations: “Black Panther” and “Wakanda Forever.” Human trafficking and dysfunctional families: “Black Widow.” Government corruption and overreach: “Captain America Civil War.” Unwanted shrinkage: “Ant Man.” There’s even a touching moment in “Thor: Love and Thunder” when a space alien made up of rock fragments comes out as “gay,” which, however you might feel about LGBTQ issues, makes absolutely no sense.
It’s all a bit much, but it’s not the first time Hollywood has gone all in on a genre. Western themes were similarly ubiquitous in movies and television during the ’50s and ’60s. One of the main reasons was that they, like superheroes, offered a simple, straightforward storyline that was easy for viewers to follow and understand. Additionally, Westerns often portrayed good versus evil, with clear-cut heroes and villains, which appealed to viewers looking for an escape from the complexities of daily life during a very confusing time in the nation’s history.
Another factor that contributed to the popularity of movie and TV Westerns was the idealized image of the American West that they portrayed. The Western genre often represented the frontier as a place of freedom, adventure and opportunity, which resonated with audiences and provided a counterpoint to the increasingly urban and suburban communities where people lived.
Visually, Westerns were often stunning, with sweeping vistas and majestic landscapes, which made them appealing to viewers. This was especially true in the early days of television, when the limited technology meant that most shows were shot on simple indoor sets, making Westerns a welcome change of pace.
And while early Westerns were not as blatantly politicized as superhero movies are today, many dealt with sensitive topics, albeit somewhat obliquely. The post-WWII films of John Ford, in particular, began to reflect the social changes that were taking place. In “My Darling Clementine,” for example, he portrayed the lawman Wyatt Earp as a flawed and troubled character rather than an unambiguous hero. This reflected a growing awareness of the complexities of human behavior and the questioning of traditional ideas about heroism and morality. The film also explores themes of loss and redemption as Earp grapples with the murder of his brother and his desire for revenge.
In the 1950s and 1960s, Ford’s Westerns continued to reflect the changing social landscape of the United States. In 1956’s “The Searchers,” he addressed the issue of racism and perceived stereotypes. The film portrays the main character, played by John Wayne, as a conflicted and troubled man who struggles with his own prejudices but is ultimately able to put those feelings aside for the sake of family. The climactic scene where he raises his young niece, who was kidnapped and assimilated by a band of Comanche, over his head with the apparent intention of bashing her head against the rocks becomes one of the most emotionally charged moments in cinema when he cradles her in his arms and exclaims, “Let’s go home, Debbie.” (Seriously, I teared up rewatching it for this column.) While hardly a sympathetic portrayal of Native American culture, the film reflected the growing awareness of issues of racism and prejudice emerging in both the audience and the director.
In the ’60s, “Cheyenne Autumn” marked a stark departure from the typical narrative of Ford’s previous works. The film focuses on the forced removal of the Cheyenne tribe from their ancestral lands and their subsequent journey back to their homeland. In many ways, “Cheyenne Autumn” fully reflected the shifting social attitudes and values of the period hinted at in “The Searchers,” particularly regarding the treatment of minorities. At the time of its release, the civil rights movement was in full swing, and many Americans were beginning to question the treatment of people of color. “Cheyenne Autumn” reflected this growing awareness, presenting a sympathetic portrayal of the Cheyenne tribe and their struggle for dignity and justice.
And these themes were not limited to the big screen. “Gunsmoke,” which ran on TV from 1955 to 1975, dealt with many of the same ideas, especially in the later seasons of the show.
“Gunsmoke” followed the adventures of Marshal Matt Dillon and the residents of Dodge City as they navigated life on the frontier. The show was known for its gritty, realistic portrayal of life in the American West and tackled many social issues of the time.
In the early seasons, “Gunsmoke” was a more traditional Western series featuring episodic storylines and simple morality tales. However, in the later seasons, the show began to tackle more complex and controversial themes, such as racism, civil rights and economic inequality.
For example, in one episode titled “Quint Asper Comes Home,” the character of Quint, who is half-Indian, returns to his hometown to find that the townspeople are hostile toward him because of his heritage. The episode explores issues of racial prejudice and discrimination, and the character of Quint is presented as a complex and nuanced figure who struggles to find his place in a society that rejects him.
Another episode titled “The Pack Rat” deals with the issue of poverty and economic inequality. In the episode, a poor family is forced to live in squalor and is driven to theft to survive. The episode highlights the social and economic struggles faced by many people on the frontier and critiques the capitalist system that created such conditions.
Of course, not all Western movies and TV shows were quite so culturally aware. The majority of Westerns of the era treated Native American “Indians” as blood-thirsty savages, villains or obstacles to be overcome. Italian-American and Jewish actors, complete with tomahawks, headdresses and “war paint,” often portrayed them, as Native Americans were virtually nonexistent in the Hollywood of the day.
While it may seem a travesty to mention “The Searchers” and “Thor” in the same column, the larger point is we’ve seen this whole superhero thing before, just with gold nuggets and six shooters instead of Infinity Stones and Mjølnir.