Johnny Guitar & Two Mules BCG

Johnny Guitar was filmed during the 1950’s, a time when the red scare, the fear of communism, ran rampant in the United States. Throughout the film, Vienna is seen as an isolated figure, with the townsfolk very wary around her in their presence. Even her saloon is outside of the town’s limits, further separating her from society. Her vision, of her saloon, the town and the railroad, were different than the rest of the town. Her ideals became a threat to the way of life of the people in town who had been there more than five years. This ideal, different from the majority, could be compared to communism during the 1950’s. The way Emma was accusing Vienna of being guilty of one thing or another throughout the movie, without any real evidence, is all too similar to how people were accused of being communists. It is further symbolized that Vienna is this ‘other’ by attire she wears, from the red shirt, red scarf, and even the bold red lipstick.

Both Vienna and Emma play prominent roles throughout the entire movie, something we haven’t seen in the previous westerns. They were the main characters. By being the only women in this film, and pitting one against the other, it further emphasizes this idea of otherness in the female characters.

Two Mules for Sister Sara is a product of 1970, part of a decade that will be remembered for the Vietnam War, Women’s Rights Movement and lava lamps. Sara plays a dynamic character, which the viewer discovers in the film, isn’t actually a Catholic nun, but runs the self-proclaimed “best whorehouse.”

Regardless, in representing either a nun, or a whore, she is still considered an ‘other.’ By acting as a nun, Shirley MacLaine’s character separates herself by religion. She states, that through Mexican territory, she does not need protection against Mexican bandits, as they will not harm her. In representing a whore, or even running a whorehouse, Sara is an ‘other’ compared to other women, who aren’t living in a cathouse. Shirley’s character is also the only white female, which only continues to isolate herself as the ‘other.’

She is a well-known figure in the small Mexican town, taking pride in her debauchery of drinking, swearing, and smoking. Even the French general, as he is pouring her a drink admits, “None of us can keep up with her.” In showing relevance with the time period, Sara is a progressive, dominant and independent thinking woman compared to early 1930 western films. When Hogan and Sara initially meet, it is clear he is the dominant figure by his direct commands, and her obedience without question. As the film progresses, she takes on more of a leadership role, such as planning the final attack on the French quarters at the end of the film.