The Wild West, a sun-scorched frontier of isolation and passion, has long been a staple of Hollywood filmmaking, but the typical cowboy, often perceived as a rugged individualist, has been reevaluated through a queer lens. This reexamination has led to a fascinating exploration of homosociality and homoeroticism in Westerns, often yielding unexpected and intriguing narratives. From the early days of film, actors like Montgomery Clift and James Stewart brought a level of queer subtext to their performances. In “Red River,” Clift’s character, Matt Garth, forms a bond with Cherry Valance, played by John Ireland, that is as intense as it is fleeting. Meanwhile, “Bend of the River” stars Stewart as a reformed border raider who becomes entangled in a complex web of relationships with the volatile Emerson Cole and the woman he adores.
Other films, such as “The Birdcage” and “Calamity Jane,” feature drag performances and same-sex relationships, respectively. In “Lonesome Cowboys,” director Andy Warhol’s experimental film, shirtless wrestling and improvisation take center stage, blurring the lines between masculinity and sexuality. The film’s influence can be seen in the Atlanta gay liberation movement, which emerged in the early 1970s. More recent films, such as “Butch Cassidy and the Sundance Kid” and “Once Upon a Time in the West,” feature homoerotic undertones in their depictions of male relationships. In the latter, the vulnerability and tenderness between Cheyenne and Harmonica are showcased, free from the influence of women.
Sergio Leone’s Spaghetti Westerns, in particular, are notable for their exploration of homosociality and homoeroticism. In “Once Upon a Time in the West,” Cheyenne and Harmonica’s bond is genuine, unromantic, and all the more powerful for its lack of sentimentality. The notion that cowboys are inherently masculine and heterosexual is, in fact, a recent construct. The queer cowboys of Hollywood’s past have been recontextualized, revealing a rich world of homosociality and homoeroticism that has fueled creativity and sparked debate.
A Still From Once Upon a Time in the West (Photo: Once Upon a Time in the West)
Films like “Johnny Guitar” and “Sweetheart Lane” show how women, too, can play a significant role in shaping the narrative of the Wild West. “Johnny Guitar” features a powerful female lead, Vienna, who embodies the spirit of the American West, while “Sweetheart Lane” stars Doris Day as Calamity Jane, a sharpshooter and tomboy who defies conventions. In “Andy Warhol’s The Erotic and Activist Legacy,” queer intimacy and sexuality are explored in the context of the Stonewall Riots and the emergence of the gay liberation movement. “The Celluloid Closet” documents the struggles of LGBTQ representation in cinema, showcasing the evolution of queer representation on screen.
Ultimately, the cowboy of queer Hollywood is not a singular figure, but rather a complex and multifaceted one, capable of embodying a range of emotions, desires, and relationships. From the early days of film to present, the Wild West has been reimagined through a queer lens, yielding a rich and varied cultural legacy that continues to inspire and challenge audiences today. This reexamination of the Wild West has led to a new understanding of the complexity and diversity of human desire, and the ways in which it has been represented on screen.
