B Western Movies

By Dr. Richard W. Slatta, the Cowboy Professor at North Carolina State University

  • Cowboy Gear At the risk of overgeneralizing, I'll summarize what I see as the common points in traditional western films. As the companion essay on film history shows, westerns changed over time and continue to change. Film critic Brian Garfield points out that the B westerns "were filmed with great vigor, good production values and magnificent action sequences." The action appealed to audiences, especially youngsters.
  • Many oater plots came straight from pulp novels, whose predictable plots and heroes translated well to the screen. The predictability of the formula westerns also provided part of their fascination. Classic B westerns have a timelessness built around the following characteristics.
  • Despite their lack of imaginative plot, dialogue, character development, and depth, B westerns captivated audiences. They featured lots of action, usually in the form of ritualized violence. The Bs ended predictably: right prevailed over wrong. B western cowboys proved to be a laconic, almost tongue-tied lot. Simple plots and uncomplicated characters (straight shooters) gave audiences a clear picture of the good and bad guys. Sidekicks added humorous touches. Once in a great while, a more daring director might add a hint of chaste love.
  • Westerns are star-centered and action-packed. Stars developed strong, loyal followings among their fans. Indeed, the B westerns celebrated the rugged individualism of the frontier. The hero is always the focus of action, and action is what the western genre is all about. Most B western fans (of yesterday and today) pick out and cheer for one special hero: Fred Thomson, Randolph Scott, Tom Tyler, Audie Murphey, Hoot Gibson, Allan "Rocky" Lane, Buck Jones, Charles Starrett ("The Durango Kid"), Johnny Mack Brown, Wild Bill Elliott, or a host of others. The star's presence (along with his horse) is far more important than plot, dialogue, or any other film element.
  • Right always wins over wrong, often against great odds. The hero often undertakes and succeeds at super heroic tasks. One variant, "the Bob Steele plot," pits a young man against outlaws who have murdered some family member, usually his father. He faces many setbacks along the way, but his righteous vengeance will be fulfilled in the end. Small but scrappy Bob Steele (born Robert North Bradbury, Jr., 1906- ) often undertook such missions of vengeance in his oaters. In many ways, "Superman" became the modern successor to the cowboy hero.
  • Heroes need villains to fight. A number of character actors became stock villains in the Bs. Fans knew to boo the bad guys, Forrest Tucker, Jack Elam, Jack Palance, Ted De Corsia, and others, the minute they appeared on screen.
  • Cowgirl Except for the exceptional star who gained co-billing, like Dale Evans, women figured only as objects of rescue in the Bs. Most of the the time the heroes, villains, and sidekicks function in a virtually all-male environment.
  • Comic relief often comes in the form of a faithful, zany sidekick. Smiley Burnette, Al "Fuzzy" St. John, John Forest "Fuzzy" Knight, George "Gabby" Hayes, Pat Buttram, and other funny sidekicks became stars in their own right. Buttram appeared in some forty films and as a regular on Gene Autry's television program from 1950-56. Buttram died in January 1994 at age 78. Autry lauded his old sidekick. "He was great, off the film and on the film. If I was. . . doing a stage show he would be sitting back there. If I needed a good one-liner right quick, he would give me a good routine."
  • Horse and Rider Like the sidekick, the hero's horse might inject a note of humor now and then. The horse might give the hero, ever bashful with women, a nudge in the back which pushes him into the heroine's arms. Some B western cowboy stars even gave equal billing to their horses. A brave, intelligent horse often saved his rider-- and the day. The Bs appealed to youngsters, especially to little boys. Children love animal stories, so the heroic horses of the movies had great audience appeal.
  • We cannot imagine the Lone Ranger without Silver or Tonto without Scout. William S. Hart rode Fritz, and Fred Thomson ran down the bad guys astride Silver King. Tom Mix's Tony and Ken Maynard's Tarzan had nearly as many fans as their masters.
  • Serials or cliffhangers often played with feature westerns. The serials distill and exaggerate B western formula. Action scenes are even more action-packed, heroes more heroic, villains more villainous. The serials provide an excellent means of seeing the essence of the Bs.
  • The ravages of time and nitric based films have destroyed many of the old Bs. A wide selection is still available, however, immortalized on videotape. Fans of all ages continue to seek out the old stars just for "the thrill of it all."
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