This article investigates the shifting portrayals of Native Americans within the Western genre, from early stereotypes to complex characters. Understand how these representations reflect changing cultural attitudes and the growing recognition of Native perspectives in the Western narrative.

Introduction

One of the most significant and enduring aspects of the myth of the West is its portrayal of Native Americans. From the earliest Western stories, Native Americans have been depicted through a simplistic and often dehumanising lens, reflecting the cultural attitudes of the time. Initially, they were cast as either noble savages, in harmony with nature but inevitably doomed, or as hostile, violent figures standing in the way of civilisation. These depictions contributed to the broader narrative of Manifest Destiny, in which the American expansion westward was portrayed as both inevitable and morally justified.

This article was inspired by conversations with my son, Bill, during his time at the University of Birmingham, on his degree course in English Literature. This article is the ninth of my “Myth of the West” cycle.

Early Depictions: Noble Savages and Ruthless Enemies

The portrayal of Native Americans in early Westerns, both in literature and film, served to reinforce the dichotomy between civilisation and wilderness. Works such as James Fenimore Cooper’s The Last of the Mohicans (1826) featured Native American characters like Chingachgook and Uncas as noble, dignified, and heroic, yet tragically doomed. However, Cooper’s work also introduced the figure of the “savage” antagonist, Magua, whose treachery and violence stood in stark contrast to the heroism of white characters. This dual portrayal would become a hallmark of the genre, where Native Americans were either valorised for their vanishing ways or demonised as barbaric threats to white settlers.

Early 20th-century novels and films built on these stereotypes. Zane Grey’s Riders of the Purple Sage (1912), for example, primarily focused on conflicts between white settlers and villains of European descent, but the backdrop of Native American danger remained ever-present in his frontier landscapes. Grey’s work did not focus heavily on Native American characters, but the looming threat of “Indians” as antagonists was often implied in the Western myth’s broader context.

In classic Western films such as John Ford’s Stagecoach (1939), Native Americans were often faceless, nameless enemies, depicted as hostile forces attacking the white pioneers without provocation. Their presence served as a narrative tool to heighten the stakes for white protagonists, reinforcing the notion of the West as a dangerous, lawless frontier that needed taming. The complex, varied cultures of Native American tribes were reduced to a monolithic stereotype, a primitive obstacle to the expansion of civilisation.

Shifting Perspectives: Humanising the “Other”

By the mid-20th century, as societal attitudes began to shift, so too did the portrayal of Native Americans in Westerns. Films such as Broken Arrow (1950) began to depict Native Americans in a more sympathetic light. In this film, the Apache chief Cochise is portrayed not as a bloodthirsty enemy, but as a leader seeking peace and understanding. The film is considered one of the first Hollywood attempts to present Native Americans with dignity and complexity, acknowledging their humanity rather than casting them solely as adversaries.

However, even in these more humanised portrayals, Native American characters were often secondary to white protagonists. The white heroes, such as Broken Arrow’s Tom Jeffords, were still portrayed as intermediaries or saviours who facilitated peace, while Native Americans remained passive recipients of benevolence. The myth of the West, even in its more progressive forms, continued to centre the white experience and narrative.

Revisionist Westerns: Critique and Redress

The 1960s and 70s saw the rise of revisionist Westerns, which sought to deconstruct the traditional narratives of the genre, including the portrayal of Native Americans. Films like Arthur Penn’s Little Big Man (1970) directly challenged the myth of the West as a story of civilisation versus savagery. In this film, Native Americans are depicted as fully realised characters, with their own values, humour, and humanity, while the U.S. cavalry and white settlers are often shown as the true aggressors. This revisionist approach highlighted the atrocities committed against Native Americans during the westward expansion, forcing audiences to reckon with the darker side of the American frontier myth.

Literature also played a role in this revisionist movement. Authors like Louise Erdrich, who is of Native American descent, wrote novels that re-centred Native American voices within the Western landscape. Her work, such as Love Medicine (1984), provides a counter-narrative to the myth of the West, exploring the lives, struggles, and cultures of Native American characters in a world where their land and heritage have been stolen.

Cormac McCarthy’s Blood Meridian (1985) also offers a starkly different portrayal of Native American life, rejecting the traditional “good vs. evil” dichotomy. In McCarthy’s brutal world, Native Americans are neither noble nor savage—they are simply one of the many groups caught in the unrelenting violence of the West. His characters, including the Comanche warriors, exist in a world where survival is paramount, and morality is a luxury few can afford. This nihilistic vision of the West removes the mythologised moral clarity of earlier Westerns, acknowledging the full scope of the frontier’s brutality.

Contemporary Westerns: Diverse and Nuanced Portrayals

In more recent years, the portrayal of Native Americans in Westerns has become increasingly diverse and nuanced, reflecting modern sensitivities and a broader understanding of history. Films such as The Revenant (2015) depict Native American characters as fully formed individuals with their own motivations and agency, rather than as plot devices to further white narratives. The Arikara people in The Revenant are not simply antagonists; they are shown in the context of their own struggle for survival, revenge, and justice in a hostile environment.

Television has also played a role in offering more balanced portrayals of Native Americans. Shows like Yellowstone (2018–) incorporate Native American characters who grapple with contemporary issues such as land rights, cultural preservation, and political agency. These stories acknowledge the long history of dispossession and conflict faced by Native American tribes, while allowing these characters a voice in shaping their own futures.

Conclusion

The role of Native Americans in the myth of the West has evolved significantly, from early depictions of faceless, violent antagonists to more humanised and complex portrayals. While the Western genre historically reinforced harmful stereotypes that justified American expansion, more recent works have begun to redress these portrayals, acknowledging the atrocities committed against Native peoples and exploring their rich cultural histories. As the myth of the West continues to evolve, the voices and stories of Native Americans are increasingly taking centre stage, challenging the simplistic narratives of the past and offering a more inclusive and honest representation of the frontier experience.