This article examines the evolving role of women in Westerns, from passive side characters in early classics to empowered protagonists in modern films and literature. Discover how women have moved from the margins to the centre of the Western myth, redefining traditional roles and adding complexity to the genre.
Introduction: Women in Westerns
The myth of the West, as traditionally conceived, has largely been a masculine story—filled with rugged cowboys, fearless sheriffs, and vicious outlaws. For much of the genre’s history, women have played a marginalised role, often relegated to supporting characters like the damsel in distress, the virtuous wife, or the saloon girl. However, as the Western has evolved, so too have the portrayals of women within the genre. From their early depictions as passive figures, to more modern roles where they are agents of their own destiny, the representation of women in Westerns reflects broader societal changes in attitudes towards gender and power.
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 eighth of my “Myth of the West” cycle.
Early Depictions: The Marginalised Woman
In the early Western novels and films, women were often secondary to the action, serving primarily as foils or motivations for the male protagonist. Zane Grey’s novels, for instance, featured women characters like Jane Withersteen in Riders of the Purple Sage (1912), who were largely defined by their relationship to the male heroes. While Jane is a strong-willed woman, her primary role is to be protected by the male protagonist, Lassiter, whose journey to defend her is central to the plot. This pattern of male heroism overshadowing female autonomy was typical of early Western narratives.
Similarly, early Western films followed this formula, with women rarely given the agency to affect the plot on their own terms. In John Ford’s Stagecoach (1939), the female characters play crucial emotional roles but remain firmly in the background of the larger conflict. Dallas, played by Claire Trevor, is a prostitute trying to escape her past, but her redemption comes largely through the actions and affections of the male hero, the Ringo Kid (John Wayne). Even in significant films, women were primarily portrayed as either victims to be saved or symbols of domesticity for which the men fought.
The Virgin-Whore Dichotomy
In early Westerns, women were often placed in one of two simplistic categories: the virtuous, wholesome wife (or potential wife) who represented the moral centre of civilisation, or the fallen woman, most often portrayed as a saloon girl or prostitute. The “virgin-whore” dichotomy became a standard trope of the genre, reinforcing traditional gender norms where men were the agents of change, and women existed to support or test their moral fortitude.
The virtuous woman, usually a pioneer wife or schoolteacher, was an emblem of civilisation. She was there to tame the wilderness by encouraging men to settle down, farm the land, and give up their violent ways. In contrast, the “whore” figure, represented by characters like Kitty from Gunsmoke, was often independent, sexually liberated, and connected to the rough, untamed aspects of the frontier. However, despite their independence, such characters often ended up needing male protection or redemption, reinforcing the male-centred view of the West.
Shifting Roles: Women as Agents of Change
As Westerns moved into the mid-20th century, the role of women began to evolve, though slowly. Films like High Noon (1952) introduced more complex female characters who played active roles in the narrative. In High Noon, Grace Kelly’s character, Amy Fowler Kane, is a Quaker pacifist who ultimately helps her husband in the climactic gunfight, showing a level of agency that early Westerns lacked. However, her character’s importance still largely revolves around her relationship to the male hero, and the film stops short of making her a fully independent protagonist.
A particularly bold example from this period is Joan Crawford’s role in Johnny Guitar (1954), where she plays Vienna, a saloon owner who defies the conventional roles assigned to women in Westerns. Vienna is no mere side character; she owns her own business, defends her land, and navigates a treacherous world of outlaw conflicts and town politics on her own terms. This performance highlighted a new direction for women in Westerns, showing them as strong, independent figures capable of standing up to the violence and struggles of the frontier.
By the 1960s and 70s, as the Western genre became more introspective and revisionist, more nuanced depictions of women began to emerge. One standout example is the character of Catherine Allen in Ride the High Country (1962), directed by Sam Peckinpah. Catherine is a woman fleeing an arranged marriage to a cruel and abusive man, and while her initial role may seem like that of a typical damsel in distress, the film allows her to assert her own independence and make critical decisions about her future.
Sergio Leone’s Once Upon a Time in the West (1968) also offered a more complex portrayal of a female character. Jill McBain (Claudia Cardinale) is a widow who inherits a valuable piece of land and becomes a key player in the male-dominated world of gunslingers and outlaws. Jill is no mere side character—she holds her own amidst the violence and power struggles that unfold around her, taking on a pivotal role that was uncommon for female characters in earlier Westerns. However, despite her strength, the film still centres male characters in much of the action.
The Rise of Female-Centric Westerns
In more recent decades, the Western genre has made significant strides in terms of gender representation, giving women more central, active roles. Films like True Grit (2010), directed by the Coen Brothers, offer a stark contrast to earlier portrayals of women. The film’s protagonist, Mattie Ross (played by Hailee Steinfeld), is a young girl determined to bring her father’s murderer to justice. Mattie is portrayed as tough, intelligent, and relentless, qualities that make her the driving force of the narrative. Rather than being a victim or passive figure, she is an agent of her own destiny, pushing the male characters into action rather than waiting for them to solve her problems.
Similarly, Tommy Lee Jones’ The Homesman (2014) is a Western that places a woman at the centre of the narrative. The film tells the story of Mary Bee Cuddy (played by Hilary Swank), a pioneer woman tasked with escorting three mentally ill women across the plains. Mary Bee is depicted as competent and independent, though she faces tremendous challenges in a male-dominated world. The film offers a grim portrayal of frontier life, particularly for women, but it also highlights the resilience and strength of its female characters.
Even television has embraced more complex female characters within the Western genre. Godless (2017), a Netflix series, centres around a town run entirely by women after the men are killed in a mining accident. The women must defend their town from a notorious outlaw, reversing the traditional Western dynamic where men are the protectors. The series explores the challenges these women face while giving them agency and depth not often afforded to female characters in earlier Westerns.
Reimagining Gender Roles in Revisionist Westerns
The revisionist Westerns of the late 20th and early 21st centuries have played a significant role in reimagining gender roles within the genre. Clint Eastwood’s Unforgiven (1992), while primarily focused on the male characters, uses women as key plot drivers. The inciting incident of the film—the mutilation of a prostitute—highlights the vulnerability of women in the traditional Western setting, but the women in the film are far from passive. They pool their resources to hire a killer to seek justice for the wrong done to one of their own, challenging the narrative of helpless women in need of male protection.
More recently, films like The Ballad of Buster Scruggs (2018) by the Coen Brothers feature segments where women play central roles. In the story “The Gal Who Got Rattled,” Alice Longabaugh is a woman on a wagon train to Oregon who must adapt to life on the frontier after her brother’s death. Though the story ends tragically, Alice is portrayed as more than just a victim—her courage and adaptability in the face of extreme hardship mark a shift from the passive female characters of early Westerns.
Conclusion
The portrayal of women in Westerns has undergone significant evolution, moving from the passive, marginalised roles of early novels and films to more complex, fully realised characters. Where women were once only wives, damsels, or temptresses, they are now increasingly seen as central agents of their own stories, with films like True Grit, The Homesman, and Godless highlighting their strength, resilience, and independence.
The Western genre, like many others, has reflected broader societal changes in its depictions of gender. As attitudes towards women’s roles in society have shifted, so too have the stories told in Westerns. Today, the myth of the West is no longer a purely masculine one—women have claimed their place in this narrative, adding layers of complexity and richness to a genre that continues to evolve.