When discussing the topic of western girls, one of the first images that may come to mind is that of a pants-wearing and gun-firing Joan Crawford in her red shirt as seen in the 1954 film Johnny Guitar directed by Nicholas Ray. Far from a total classic, this pure western melodrama hides a strangely endearing and passionate drive throughout it, one that comes mostly out of the rivarly between its two central female characters: Vienna and Emma.
The tomboyish Vienna. |
The ruthless Emma. |
Vienna (Crawford) is a tough-as-nails saloonkeeper who is antagonized by Emma (Mercedes McCambridge), a local lady who managed to turn the townspeople against Vienna. Emma does this because she holds resentment towards the lad-ette for stealing her man (typical romantic motivation).
Crawford's portrayal of her butch-like character pretty much cemented her status as a queer icon, everything in her career; from Baby Jane to Mommie Dearest, just screams "camp and melodrama" which is an inescapable sensibility in LGBT culture. Here, she's described as "more of a man than a woman (even manlier than most men)" and frequently emasculates her workers when giving them orders (perhaps unintentionally).
Emma doesn't mess around either, she takes action when needed and conveys a certain savage aggressiveness when attempting to bring down her nemesis. A worthy antagonist of more "feminine" and discreet lady-like charms than Vienna but equally as tough and bordering on the deranged.
The final battle is a legendary western climax. The two ladies face off at a cabin as the males watch in awe. Emma lifts her weapon and Vienna does so as well but Emma shoots first, hurting her shoulder. Dancing' Kid cries for Emma and runs up to her but the lady puts a bullet in his head. She continues shooting and goes up to Vienna, who is already waiting for her and in one swift and precise shot she manages to kill the villainess, making her fall to the side of the stairs and roll downhill.
Classic stuff. Worth watching if anything for those small moments.
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