The Civilization of the West

This is non a Hesperian that prettifies the West and its denizens. Instead, Ford approaches the West present as a hard mall to live and as a place peopled by hard people. Those who seem to "belong" to this landscape painting will be contrasted with Clementine, who clearly does not belong, especially in the eyes of Wyatt Earp.

The lengthy sequence in the town of keystone that first night shows the power of source lighting as the exterior darkness contrasts sharply with the flood of light that comes finished windows and open doorways. On the walkway outside, Earp moves through a serial of light spills from windows and doors, with extremely dark areas betwixt. The sense of black-and-white here is strong, with the light beingness very white and the dark being very dark, making the town as harsh a landscape as the prairie. The tonsorial parlor is well-lit, even harshly so, which also contrasts with the murkier faces out on the street. Low-key lighting is utilise here to evoke rather than illuminate faces. As the Earps nark into town, Ford continues the day-for-night pip he use as they approached from their camp, spotlight the night sky with fiery halos more or less the clouds. The expressions in-town are plausibly on an interior set, and the sky is no longer shown. In town, the night is truly dark, while out on the prairie, the day-for-night shooting means there is much more light around than would be likely even on a moon-lit night. in a way, this ac

tually makes the prairie seem more inviting and safer than the town.

Robert Warshow in his article "Movie Chronicle: The horse operaer" offers an arouse example of genre criticism as he finds relationships between what he calls the "two most successful creations of American movies," the gangster and the Westerner, "men with guns" (Warshow 469). Warshow prefers the parameters of the Western legend, and he sees a preoccupation with style, much(prenominal) as he finds in several films by gutter Ford, as destructive to the outlines of the Western legend.

Ford assimilates the legend into "the more sentimental legend of rural America and making the hired gun a more dangerous Mr. Deeds" (Warshow 482). Ford's heroes are not active enough for Warshow, who specifically cites the character of Wyatt Earp in My devout Clementine as a man who does not do enough in the way a true Western hero would.

This is apparent in the lengthy bar scene after Wyatt becomes Marshal and is playing poker. The bar is well-lit because it has a itemise of hanging light sources throughout. Often, these scenes use a high-key light, but pack light is minimal, which leaves the faces with deep shadows from hats, obstructions, and the angle of the light. The natural look of the scene is maintained with shadows cast on the walls--no fill lights are used to eliminate these shadows, either. When a longer view is taken, scenes are differentiate by emphasizing depth. When Wyatt and several poker players are position at the table in the foreground, they are lit to be in sharp black and white. In the distance, Doc Holliday stands alone(predicate) at the bar, and the high lighting level in the bar, on with the smoke used to diffuse that light, causes thi
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