Contents: INTRODUCTION.................................................................................................................5 I. WESTERN GENRE ANALYSIS.....................................................................................7 1. Possible Pathways..........................................................................................................7 2. Guns, Horses and Cactuses Definin the Genre.......................................................1! ".

. #hite Cowboys and $ther %ey &eatures.....................................................................15 '. (he )ilestones in Hollywood #estern*s History + ,hort Genealo y of the #estern..................................................................................17 5. (he ,tructure of #estern fil-s Plot .ariations........................................................2! /. ,tereoty0es...................................................................................................................2" /.1. (he Hero..............................................................................................................2' /.2. (he +nti1hero.......................................................................................................25 /.". (he .illain...........................................................................................................2/ /.'. (he #o-an..........................................................................................................27 II. COWBOYS ENTER THE EUROPEAN CONTINENT...........................................22 1. 3uro0ean #estern &il-...............................................................................................22 2. C4echoslo5a6ia............................................................................................................"5 2.1. #esterns and the (radition of +-erican #est in C4echoslo5a6ia....................."5 2.2. 7i89 :rde;6a and the C4ech #estern )o5ies......................................................."7 2.2.1. rie prrie...................................................................................................."< 2.2.2. =e-onade 7oe a Hero or a ,ales-an>......................................................'1 2.2.2.1. (he $ri ins..........................................................................................'1 2.2.2.2. Parody as a Genre................................................................................'1 2.2.2.". ?arrati5e ,tructure...............................................................................'' 2.2.2.'. 7oe, Hor@c, #innifred, (ornado =ou and $ther ,tereoty0es..............'5 2.2.2.5. (he ,tyle..............................................................................................51 2.2.2./. CritiAue of Ca0italis-..........................................................................55 2.2.2.7. Critics and +wards...............................................................................52 ". $ther 3uro0ean Parody #esterns Manitous Shoe.................................................../1 CONCLUSION.................................................................................................................../7 APPENDIX........................................................................................................................../2 PRIMARY SOURCES.......................................................................................................7! SECONDARY SOURCES............................................................................................71

'

INTRODUCTION
(he i-0ulse to do a research on the C4ech 0arody of western Limondov Joe B12/'C ca-e fro- the eD0erience which E had durin -y 3ras-us stay in Greece. Limondov Joe was shown in the +ristotle Fni5ersity cine-a and E was sur0rised by the hi h attendance and reactions to the fil-. (he Gree6 students li6ed the -o5ie and understood its satirical Go6es. $b5iously, the -o5ie has so-e uni5ersal -essa e which could be a00reciated not only in the country of its ori in but also by the international audience. (his function is 0ossible because Limondov Joe is a 0arody of +-erican westerns of which the clichHs are 6nown worldwide. En -y thesis E a- oin to analy4e Limondov Joe and su est the 0ossible

inter0retations of the -o5ie. (o understand the features that are s0oofed in the -o5ie, the basic 6nowled e of the western enre is necessary. (hat is why E a- first oin to outline the theoretical a00roaches to western fil-s and define the western enre and its stereoty0es. + brief enealo y of western fil-s will hel0 to reali4e how the enre has chan ed since its be innin s in the early 2!th century. (his de5elo0-ent 0re0ared the round for the arri5al of 0arody of western. (he second 0art of the thesis will introduce the 0ossible inter0retations of Limondov Joe. En the I0arody inter0retationJ, the -ain oal will be the identification of 0articular stereoty0es and western clichHs Limondov Joe 0arodies. En order to do this E a- oin to carry out the structural analysis of Limondov Joe and co-0are this 0attern with the structure of classical +-erican westerns. (hen it will be shown how the established clichHs and stereoty0es in Limondov Joe function in connection with the 0arody. &or this de-onstration it will be a00ro0riate to discuss 0arody as a enre and introduce its basic tools. 3Dce0t bein a 0arody, Limondov Joe can be IreadJ as an anti1+-erican critiAue of ca0italis-. (o su00ort this idea, E a- oin to analy4e the -o5ie with 0articular attention to the ca0italist ideas it ad5ocates and show how the authors of Limondov Joe critici4e the-.

(his will be illustrated on concrete eDa-0les. E a- also oin to su for the anti1ca0italist -otif in the fil-.

est the 0ossible reasons

(o enable a co-0arison with other 0arodies of western, one cha0ter will be dedicated to Ger-an 0arody western Manitous Shoe B2!!1C. (his Ger-an 0arody chose the ro-antici4ed childli6e westerns based on the boo6s by Ger-an writer %arl )ay as its tar et of hu-orous critiAue. E a- also oin to show how the clichHs la-0ooned in Manitous Shoe are different fro- those in Limondov Joe.

I. WESTERN GENRE ANALYSIS

1. Possible Pat !a"s (hrou hout the eDistence of fil-, se5eral a00roaches to the study of this -ediu- ha5e e-er ed. E a- oin to -ention here those which are -ost freAuently used in the conteDt of western fil-s. En this sense, the Koldest* critical theory in understandin the western is the western as a myth a00roach. (his a00roach was -ost 0o0ular in the 125!*s but nowadays other theories 0re5ail.1 (here are a few 0itfalls in the -ytholo ical theory which a serious critic should be aware of. (he first one is the definition of a -yth in eneral. (he tendency a-on scholars is to define a -yth in the ancient conteDtL in this li ht a -yth is 0arallel to classical Gree6 -ytholo y. ,o a 0roble- -ay arise when the critic defines the +-erican -yth fro- the 3uro0ean 0oint of 5iew. +ndrH :a4in, one of the best 3uro0ean critics, found co--on features between narrati5e in western and both the ancient -yth and -edie5al le end. )ichael Coyne warned that the latter two are 3uro0ean 0aradi -s and thus it is not adeAuate to co-0are the- in the +-erican conteDt.2 Certainly both, the ancient -yth and -edie5al le end are rooted in different historical 0eriods and cultural traditions than the western -yth but ne5ertheless, there are certain ob5ious 0arallels between the western 0lot and the narrati5e in classical -yth, e. . in the odyssey -yth. E a ree with :a4in that these analo ies should not be o5erloo6ed. En the odyssey -yth the hero sets out on a Gourney, on the way he fulfills s0ecial tas6s which hel0 or e5en sa5e the co--unity and in the end de0arts Bho-eC. ,uch characteristics could be a00lied to -any western -o5ies. 3Dce0t of the si-ilarities in the narrati5e structure, another 0arallel of western -o5ies with a -yth is in the 0ortrayal of the life on the &rontier which these fil-s ha5e 0resented to the audience. (he 0icture of the #est offered by the directors of western was, to a lar e de ree, a
1

Coyne, )ichael. The Crowded Prairie. American ationa! "dentity in the #o!!ywood $estern . E. :. (auris Publishers, ?ew Mor6 1227, 0. <. 2 Ebid.

-ythL at least in the early sta e of the enre. :efore enterin the world of Hollywood cine-a the -yth of the #est was widely 0o0ular in the di-e no5els. ?e5ertheless, only on the screen has this -yth found its ideal 0ortrayal because its 5isual as0ect could be fully eD0ressed. (he western as a -yth a00roach is best characteri4ed in the 0o0ular Auote fro- a fa-ous western -o5ie The Man $ho Shot Li%erty &a!ance B12/2C: I#hen the le end beco-es fact, 0rint the le end.J" (his is eDactly what ha00ened in the case of Hollywood western. (he idea of the #est 0resented in the classical western fil-s was hi hly ro-antici4ed and often had 5ery little in co--on with the historical reality. (he other thin is that the audience li6ed this I6ind of #estJ and they wanted to belie5e in itL they belie5ed in the -yth.' (he neDt theoretical a00roach, which follows the -ythic a00roach diachronically, is called the auteurism. Et was s0read in the 12/!*s and it can be characteri4ed by its focus on the auteur.5 Auteurism clai-s that the director 0lays the crucial role in for-in the structure of the -o5ie and that director*s own uniAue style is i-0rinted within each of his fil-s. )oreo5er, it is 0ro0osed that within director*s fil-o ra0hy the critic can trace a certain de5elo0-ent. En the case of western, this a00roach is usually narrowed down to one fi ure, director 7ohn &ord. En the 127!*s there was a -aGor chan e in all cultural theories fields which was caused by the arri5al of a new theory structura!ism. ,tructuralis- see6s 0ossible uni5ersal structures within the westerns. Et does so with the hel0 of binary o00ositions. (he -ost Ifa-ousJ ones are followin dichoto-ies: #estN3ast, wildernessNci5ili4ation, outsideNinside, oodNbad, -aleNfe-ale etc. (here is an i-0ortant structuralist teDt in connection with western studies which should be 0ointed out here: #ill #ri ht*s Si' (uns and Society B1275C. #ri ht*s 0lot theory brou ht a

" '

Coyne 1227, 0. <. (o learn -ore about the #estern -yth see ,-ith, H. ?. &ir)in Land* The American $est as Sym%o! and Myth+ Har5ard Fni5ersity Press, Ca-brid e 127<. 5 Coyne 1227, 0. 2.

<

si nificant asset to western studies. #ri ht identified four 6inds of narrati5es within the wide scale of western -o5ies: the classical 0lot, the transition the-e, the 5en eance 5ariation and the 0rofessional 0lot. (his theory will be analy4ed in detail in the cha0ter dealin with the structure of western fil-s. (he structuralist a00roach is so-eti-es critici4ed for its tendency to create artificial cate ories, in other words to 0refer structure to idea. En his effort to find a uni5ersal structure, the scholar can co-e u0 with ideas which fit in the 0attern well, but do not reflect the reality of the fil- at all. #ri ht hi-self faced a serious critiAue for tryin to 0lace so-e westerns in the classical 0lot cate ory by force./ En -y analysis of the structure of Limondov Joe E will a00ly so-e ele-ents fro- the structuralist theory, -ainly the o00ositions which hel0 to define the stereoty0es of the enre. +nother 0athway to analysis of western fil-s was introduced by Phili0 &rench and is called po!itica!,a!!e)ory a00roach. &rench 0resu-es that 0articular western fil-s reflect the 0olicy of indi5idual +-erican 0residents or senators and the 0olitical era durin which they were in char e. En this conteDt &rench defined e. . IGoldwater westernJ. 7 (his ty0e of western starred 7ohn #ayne, a dedicated su00orter of Oe0ublican ,enator :erry Goldwater. Coyne declares that there are si-ilarities between Goldwater*s rhetoric and the -orality of the westerns with 7ohn #ayne.< E definitely a ree with the idea that westerns can ser5e as a 6ind of -irrors of the 0olitical -ilieu in which they were 0roduced. $ut of the Cold #ar era ca-e the so called Oed #esterns or $sterns B3ast westernsC which were shot in the countries of 3ast 3uro0ean bloc. E will 0artly use &rench*s a00roach in connection with the shootin of the C4ech 0arody

Co-0. (us6a, 7on. The American $est in -i!m+ Critica! Approaches to the $estern . Fni5ersity of ?ebras6a Press, =incoln 12<5, 0. 1". 7 Ebid. < Coyne 1227, 0. 121.

western Lemonade Joe B12/'C which was released in a 0olitically difficult ti-e and eD0resses certain ideolo ical thou hts connected with that re i-e. (he last a00roach E will a00ly in -y thesis is the )enre theory. (us6a uses followin citation to eD0lain this a00roach*s ai-: Iit encoura es the critic to eD0lore an indi5idual -otion 0icture in the broadest 0ossible eneric conteDt and to show how the fil- enlar es and alters the for- or ty0e to which it 0ro0erly belon s.J2 (he alternation of the western enre in 3uro0ean westerns will be the 0ri-ary focus of -y research. (he enre theory will be of reat i-0ortance also in case of the analysis of Lemonade Joe. Parody can e-er e only in 0articular 0hase of the enre when the enre eDhausted itself. +nd this was the case of Lemonade Joe. (he -ain 0roble- of this a00roach is of course the definition of the enre itself. (his issue will be discussed -ore thorou hly in the neDt cha0ter.

#. G$%s& Ho'ses a%( Ca)t$ses * De+i%i%, t e Ge%'e (o co-e u0 with a decent definition of such a co-0leD and 5aried 0heno-enon as western a00ears to be a 0roble- for -ore than one scholar. (hrou hout its de5elo0-ent the enre has one throu h so -any transfor-ations horse o0eras, e0ics, ro-ances, classics, I:J westerns, 0arodies or anti1westerns that findin a uni5ersal structure a-on this -anifold -iDture is difficult. Perha0s we should as6: Es it necessary to define western> Definin any cultural 0heno-enon entails a certain de ree of enerali4ation and li-itation, but it also 0ro5ides us with a uni5ersal cultural rid which, when a00lied on the ins0ected fil-, should show whether this -o5ie corres0onds to the characteristics of the enre or not. (he current tendency a-on the scholars of western enre does not differ -uch fro- the situation in other cultural fields: they can not a ree u0on one acce0table definition of the

(us6a 12<5, 0. 12.

1!

#estern fil-. E would li6e to -ention here at least the -ost so0histicated atte-0ts which were done in the effort to define the western enre. &irst of all, it -ust be said that the western is an +-erican enre par e'ce!!ence. En his essay The .vo!ution o/ the $estern +ndrH :a4in eD0lains: Iwestern is rooted in the history of the +-erican nation,J1! E thin6 this is a clai- each student of western would a ree with. (he western fil-s reflect the historical 0eriod fro- the end of the Ci5il #ar until the 1<2! when the settle-ent of the #est finished and the &rotier was closed. (he de ree of realis- in the de0iction of the #ild #est on the Hollywood screen will not be a subGect of -y attention ri ht now. ,o-e scholars ta6e :a4in*s clai- e5en further and su est that besides of rowin out of

+-erican history the western enre also is a history.11 (his is for eDa-0le what 7i- %itses does. En Authorship and (enre* otes on the $estern, he starts the teDt with followin words: I(he #estern is +-erican history.J12 En other words, this -eans that besides reflectin the history of the #ild #est, the western enre also is +-erican history. +n ac6nowled ed western scholar Oobert #arshow is the author of a crucial teDt The $esterner B125'C. En this re-ar6able essay he characteri4es the ele-ents of western fil-: I+s uns constitute the 5isible -oral center of the #estern -o5ie, su estin continually the

0ossibility of 5iolence, so land and horses re0resent the -o5ie*s -aterial basis, its s0here of action.J1" (his -eans that there are three 6ey features which a western -o5ie should not lac6 uns, land and horses. (he absence of a hero in this definition is Gust for-al. +s the title of #arshow*s essay 0ro-0ts, he analyses the western hero throu hout the 0a0er in reat detail. #here the uns are, there is also 5iolence and as so-e scholars clai- that the western fil1!

:a4in, +ndrP. The .vo!ution o/ the $estern B1255C. En %itses, 7i-, Oic6-an, Gre Beds.C. The $estern 0eader. =i-eli ht 3ditions, ?ew Mor6 122<, 0. '2. 11 #al6er, 7anet. "ntroduction* $esterns Throu)h #istory, En #al6er, 7anet. Bed.C $esterns* -i!ms Throu)h #istory. Ooutled e, ?ew Mor6, =ondon 2!!1, 0. 1. 12 %itses, 7i-. Authorship and (enre* otes on the $estern B12/2C. En %itses, 7i-, Oic6-an, Gre Beds.C. The $estern 0eader. =i-eli ht 3ditions, ?ew Mor6 122<, 0. 57. 1" #arshow, Oobert. Movie Chronic!e* The $esterner B125'C. En: %itses, 7i-, Oic6-an, Gre Beds.C The $estern 0eader. =i-eli ht 3ditions, ?ew Mor6 122<, 0. "7.

11

lorifies 5iolence.1' .iolence for-s the action of western fil-s. Endeed, uns are a for- of co--unication in westerns. (here is not -uch tal6in in the -o5ies, but instead you can often here the unshots. (he #esterner is not a -an of words but of action. +s #arshow -entions in The $esterner Iit co-es as a shoc6 when the hero is -ade to o0erate without a un.J15 &or eDa-0le in the -o5ie $inchester 12 the 0lot is entirely based u0on one un the #inchester 7". (he whole action circles around this 0articular rifle. En connection with the role of 5iolence in westerns, #arshow -a6es an i-0ortant clarification: it is not 5iolence itself which is in the centre of the -o5ie, but rather the western -an who eD0resses hi-self throu h 5iolence.1/ He is the fi ure with who- the -ale audience can easily identify. +lthou h the notion of 5iolence has been hy0ocritically reGected by our society, -any -en ad-ire Balthou h -aybe unconsciouslyC the li htness with which the #esterner Isol5esJ the dis0utes by si-0ly 0ushin the tri er. (he s0here of action is characteri4ed by horses and land. 3s0ecially the second definin 0oint the landsca0e is one of the 6ey ele-ents in western fil-s. (his is what 3dward :usco-be, a well16nown western scholar, defines as Ia sense of 0lace,J17 the -ost salient characteristics of the enre. (he audience ta6es this feature for ranted, but if it wasn*t there its absence would be noticed i--ediately. ,o in the first decade of 2!th century Iwestern locations had one fro- bein a no5elty to a necessity.J1< :usco-be also ar ues that the boD office success of the 3uro0ean western de0ended reatly on the authentic western loo6.12 En their search of I3uro0ean )onu-ent .alleyJ the 3uro0ean western directors found the -ost suitable locations in ,0ain or Croatia. =on shots of the wide o0en countryside associate a
1' 15

Coyne 1227, 0. ". #arshow 122<, 0. '2. 1/ Ebid., 0. '7. 17 ,chneider, (assilo. -indin) a ew #eimat in the $i!d $est* 3ar! May and the (erman $estern o/ the 4567s . En: :usco-be, 3dward, Pearson 3. Ooberta. Beds.C 8ac9 in the Sadd!e A)ain* ew .ssays on the $estern. :&E Publishin , =ondon 122<, 0. 1'<. 1< :usco-be. 3dward. "nventin) Monument &a!!ey* ineteenth Century Landscape Photo)raphy and the $estern -i!m B1225C. En: %itses, 7i-, Oic6-an, Gre Beds.C. The $estern 0eader. =i-eli ht 3ditions, ?ew Mor6 122<, 0. 11/. 12 :usco-be 122<, 0. 11/.

12

feelin of freedo- and are often used by the directors of westerns. Peo0le are not usually 0resent in these shots, and if, they are 0ortrayed as -iniature fi ures, in contrast to the 5ast areas of land. ,uch shots -ay ha5e an a-bi uous effect on the audience. (hey can be either associated with freedo- as E -entioned before or, on the other hand, they can stress -an*s insi nificance in his relation to nature. +s :usco-be noticed, howe5er, the landsca0e can beco-e an obstacle for the narrati5e*s de5elo0-ent as well. (his ha00ens in the case when the western has a for- of a Gourney and the o-ni0resent surroundin countryside -ust be o5erco-e.2! (he last thin E want to 0oint out in connection with the western landsca0e is the icono ra0hical i-0ortance of a cactus. Cactuses are the ItreesJ of the #est which are de0icted in al-ost all classical westerns. + desolate cactus with s0i6y thorns rese-bles a loneso-e cowboy wonderin throu h the desert. En :usco-be*s words Iit Bthe cactusC 5irtually ca-e to si nify the #est.J21 :efore analy4in other definin atte-0ts, E will 0ro5ide characteristics of a 0heno-enon without which the western enre could hardly eDist the cowboy. &irst of all, what does he loo6 li6e> (here is a certain dress code accordin to which we can identify hi-. He wears a ,tetson hat, leatherstoc6in s, s0urs, has a un and rides a horse. #i6i0edia defines the #estern heroes in followin ter-s: Ise-i1no-adic wanderers, often cowboys, with life reduced to its ele-ents.J22 (his definition tells us that a #esterner does not ha5e a 0er-anent ho-e and li5es a si-0le way of life. +nother characteristic thin about his life is that there are no other no-ads aroundL he wanders throu h the desert alone, his only co-0anion bein his horse. He is a stran er and there is usually nobody who understands hi- but the saloon irl. +s #arshow -entions in his essay Ithe #esterner is par e'ce!!ence a -an of leisure.J2" (his
2! 21

Ebid., 0. 127. Ebid., 0. 122. 22 #i6i0edia. #estern B enreC. :e/inition. htt0:NNen.wi6i0edia.or Nwi6iN#esternQR2< enreR22SDefinition. / )ay 2!!/. 2" #arshow 122<, 0. "7.

1"

-eans that he does not ha5e to wor6 and indeed, we see hi- -ost of the ti-e chattin in the saloon, drin6in at the bar or a-blin . Et is true that fro- ti-e to ti-e he acce0ts an offer to carry out so-e IdirtyJ wor6, but this is -ostly done for social 0ur0oses, not for his indi5idual 0rofit. En fact, he ne5er does anythin for his own ood. Et see-s he has ot so-e hi her -ission and that Ihe does what he has to do,J2' in the ser5ice of the co--on ood. :ecause he is une-0loyed, he is not a rich 0erson but, at the sa-e ti-e, we are not i5en an i-0ression that he is 0oor either. His 0ro0erty usually consists of clothes, a un and a horse. #arshow 0oints out another i-0ortant ele-ent relatin to the hero stereoty0e: to 0re5ent the #esterner fro- beco-in a ridiculous fi ure, he -ust be also i-0erfect in certain ways.25 (he i-0erfectness -ay be seen in the fact that des0ite he fi hts for Gustice, he is still a 6iller of -en. (he western hero is, in the end, an a-bi uous fi ure. He has ot two sides the li ht one and the dar6 one. (he last definition E would li6e to introduce here is by 7i- %itses. %itses reGects a sin le definition because accordin to hi- Ithe western is -any /orms,J and he does not want Ito free4e the enre once and for all in a definiti5e -odel.J2/ &or hi- Iwestern is a western is a western.J27 +lthou h his attitude -ay see- too eneral, he co-es u0 with a concrete solution. He su--ari4es the con5entions which, in his o0inion, constitute the western fil-s. (he first as0ect has been already -entioned abo5e history. (he other con5entions are: the-es, archety0e and icons.2< :ecause E find his theory sensible, E would li6e to eD0lain its indi5idual as0ects. :y the-es %itses -eans the fa-iliar 0lots which are eD0ressed by stereoty0ical characters and situations. (hese are used o5er and o5er a ain only with sli ht 5ariations caused by a 0articular director. ,uch the-es are, e. . law 5ersus un, settlin old scores, 6inshi0 ri5alry, 3ast 5ersus #est etc. (he archety0es were incor0orated in westerns throu h
2' 25

Ebid., 0. "<. Co-0. Ebid., 0. "2. 2/ %itses 122<, 0. /". 27 Ebid., 0. /7. 2< Ebid.

1'

the 0ul0 literature in which western has its ori in. (hrou h the influence of the =eatherstoc6in (ales western ado0ted the ele-ents of ro-ance, tra edy, co-edy and -orality 0lay.22 (he last as0ect is the icons. (hese are e-ble-s associated with the western -o5ies, e. . hat code, o0en landsca0e shot, tee10ee, saloon, cowboy sittin on a 0orch a4in at the hori4on etc. +ll western -o5ies are flooded with the-. %itses con5ention su--ary is in -y 5iew a useful de5ice how to identify western fil-s and how to distin uish the- froother enres. Et is fleDible enou h and at the sa-e ti-e it ca0tures the core ele-ents of the western enre.

-. W ite Co!bo"s a%( Ot e' .e" /eat$'es i% Weste'% ,o-e crucial as0ects of westerns ha5e not been -entioned yet and those will be 0ointed out in this cha0ter. E ha5e already dealt with the -ain 0rota onist of western the cowboy or the un-an. (his ti-e E would li6e to concentrate -ore on his ethnic and ender identity. He has two crucial Aualities he is -ale and he is white. )ost +-ericans associate a ty0ical western hero with the +-erican actor 7ohn #ayne. #estern*s cine-atic world is full of -acho ty0es, 5iolence and alcohol. #his6ey and other alcoholic drin6s are characteristic si ns of tou h uys. )oreo5er they often hel0ed to ain coura e or will to o on. Conditions for li5in in the #est were harsh and often only the stron est, in Darwinian ter-s, could sur5i5e. #esterns are, abo5e all, -o5ies about Ireal -enJ addressed to -ale audience. (here is not -uch s0ace left within the enre for fe-ale fi ures or 0ossible lo5e affairs. 3Dce0t of lorifyin 5iolence, western also ty0ically celebrated the white race and its 5ictory o5er the wild deserted country. $ther races Endians, :lac6s or +sians occur only -ar inally, at least durin the classical 0eriod of the enre. ?e5ertheless, it is a well 6nown fact that the nu-ber of blac6 cowboys in #estern +-erica was not insi nificant. :rin6ley
22

Co-0. %itses 122<, 0. /7.

15

offers followin infor-ation: I+-on cowboys, the -aGority Bin the early yearsC were 5eterans of the Confederate ar-y. (he neDt lar est rou0 consisted of blac6s.J"! Fntil the Ci5il Oi ht era in the 12/!*s the :lac6s were -ostly eDcluded fro- westerns and in case they were fil-ed, they were 0ortrayed as co-ic characters."1 (he Endians, for who- the #est was their ho-e, recei5ed on the screen si-ilar treat-ent. (hey were usually de0icted as sa5a e and rather childishL they re0resented ad5ersaries of the ci5ili4ed white +-erican. +s the western enre de5elo0ed, the white orientation ceased to be so do-inant and the directors too6 into consideration other ethnical rou0s* 0oint of 5iew as well. +s it has been already -entioned here, the #esterner is a loneso-e -elancholic -an. He is usually 0ortrayed as an inde0endent -obile unit in contrast to the coherent stable co--unity. (he western hero is eDcluded fro- the societyL nobody understands hi- and he does not care -uch. En this li ht he can be seen as an asocial or indi5idualistic fi ure. +lthou h there are eDa-0les of un-en for-in a 0osse in the later de5elo0-ent of the enre BThe Ma)ni/icent SevenL 12/!, The $i!d 8unchL 12/2C, its -e-bers are stron indi5idual characters. (hus the tensions and dis0utes a-on the- are always 0resent and there is a constant threat of s0lit. +n i-0ortant as0ect of western enre is its tendency to esca0is-. (his notion has 5ery -uch in co--on with the -yth of the #est. (he enor-ous success of westerns with the audience can be eD0lained by the s0ectators* nostal ia about the ha00y 0ast, when the land was hu e and a5ailable for -ini-al 0rices. (he +-ericans still want to belie5e in the -yth of their 0eaceful settle-ent and ci5ili4in of the desertL in the -yth of new be innin s. (he fact that this Iculti5ationJ was -ore than anythin else a brutal in5asion and ethnical cleansin had not been ac6nowled ed in western fil-s and until the 12/!*s there were not any atte-0ts to 0o0ulari4e the historical truth and thus de-ytholo i4e the enre.
"!

:rin6ley, +lan. American history * a survey+ &o!+ ;< Since 4=6> ?8rin9!ey< 4554@ . <th ed. )cGraw1Hill, ?ew Mor6 1221, 0. '27. "1 Co-0. Coyne 1227, 0. 5.

1/

&inally, the last ele-ent inherent to the western enre is the tension between two -ilieus wilderness and ci5ili4ation. :y wilderness E -ean the i--aculate landsca0e of #estern +-erica. Ci5ili4ation is e-bodied in the westerns in the notion of the 3ast and 0enetrates to the #est in the -o5ies in the for- of construction of the railroad, tele ra0h usa e or arri5al of the 0ress. (he clash between #est and 3ast 0ro5ides a rich -aterial for western -o5ies* 0lots. )oreo5er, those eDa-0les of Ihi h technolo yJ usually carry on with the- the notion of the a00roachin end, of the early closin of the &rontier, of the loss of the #est.

0. T e Milesto%es i% Holl"!oo( Weste'%1s Histo'" * A S o't Ge%ealo," o+ t e Weste'% (he western enre has under one dra-atic chan es since its first a00earance on the screen at the be innin of 2!th century. ,tartin as a silent e0ic fil-, it was radually co-0leted with sound, color and finally showed on wide screens. (he 0ri-acy in the enre, i.e. shootin of the first western fil-, is traditionally ascribed to 3dwin ,. Porter*s The (reat Train 0o%%ery B12!"C. (his western is at the sa-e ti-e seen as the first successful +-erican -o5ie which started the lon history of +-erican cine-a. (he hero of the fil-, :roncho :illy +nderson, beca-e the first fa-ous cowboy. +lthou h the -o5ie is only twel5e -inutes lon , it brou ht reat success and other westerns soon followed. En the first decades of the enre the na-es of the western heroes were -uch -ore widely 6nown than the na-es of the actual directors. (his was because hundreds of westerns were bein shot and Auantity often 0re5ailed o5er Auality. ?a-es such as #illia- ,. Hart, fa-ous Hollywood actor and director of westerns, or (o- )iD, another fa5orite western hero, should not be o-itted here. :ecause of the lac6 of sound, the core of the silent westerns lay in the 5isual de0iction of action scenes. (he narrati5e was unco-0licated and the characters una-bi uous, in order not

17

to disturb s0ectator*s -ain focus on the action. &enin and 35erson -a6e a ood obser5ation when they clai- that the early westerns were Ia00roached in a Auasi1docu-entary fashion.J"2 (he first sound western that can be labeled a classic is the lorified Sta)ecoach of 12"2, directed by 7ohn &ord. Et -ade &ord an icon, 0roduced the -ost fa-ous western hero of all ti-es and set the basic stereoty0es of western characters. (he 0lot is 5ery si-0le it follows the story of a rou0 of stran ers who are brou ht to ether in a sta ecoach to =ordsbur . (he crew is a cut throu h the western society of that ti-e a ban6er, a drun6en doctor, a a-bler, an outlaw, a 0rostitute and an educated lady fro- the 3ast. En this cle5er -iD &ord 0resented different social classes and the clashes a-on the-. (he -o5ie created a new star 7ohn #ayne B(he Oin o %idC which e5entually beca-e an icon of the #ild #est itself. Sta)ecoach started a new era of Auality westerns which continued until the 12/!*s, with a short brea6 durin the #orld #ar EE. En the years followin Sta)ecoach 7ohn &ord 0roduced a reat nu-ber of other 5ery 0o0ular westerns which beca-e classic 0ieces of the enre. (hese are e. . -ort Apache B12'<C, She $ore a Ae!!ow 0i%%on B12'2C, 0io (rande B125!C, The Searchers B125/C, The Man $ho Shot Li%erty &a!ance etc. +-on other directors, %in .idor*s :ue! in the Sun B12'/C or &red Tinne-ann*s #i)h oon B1252C can be re arded as western classics. +nother iconic western -o5ie is Shane B125"C directed by Geor e ,te5ens. ,hane*s ori inality deri5es fro- its 5isual 0rocession. Et Iwas the first bi screen B.ista15isionC color western fil- e5er 0roduced.J"" (he color, in co-bination with the s0ectacular landsca0e and stereo0honic sound, has -ade Shane a re-ar6able western. (he for- of westerns in the later decades, i.e. fro- late 12"!*s to 12/!*s, chan ed reatly. En co-0arison to the shallow characters of the be innin of the century, we now encounter

"2

&enin, Geor e ?.L 35erson, #illia- %. The $estern+ -rom Si!ents to the Seventies. Gross-an Publishers, ?ew Mor6 127", 0. 25. "" #i6i0edia+ Shane Bfil-C. htt0:NNen.wi6i0edia.or Nwi6iN,hane. 5 )ay 2!!/.

1<

well1drawn life1li6e characters, e. . in the Sta)ecoach. )oreo5er, a sociolo ical, cultural or 0olitical as0ect is added in the fil-s. &or eDa-0le, the 0lot in #i)h oon can be seen as a stru le of ood indi5idual a ainst the absence of law, after the co--unity has deserted hi-.

E ha5e not yet ta6en into account the de ree of historicity 0resented in the westerns. En connection with the -yth of the #est, the 0ortrayal of the life in the #ild #est in Hollywood -o5ies was hi hly ro-antici4ed until the 12/!*s. (he settle-ent of the #est was de0icted fro- the 5iew of the white -ale, as a search of a ci5ili4ed -an for a new ho-e full of 0ro-ises. (he Endians of Hollywood western were there only to 0re5ent hi- fro- this noble ai-. (his Iro-anticJ de0iction be an to chan e only in the 12/!*s. (he neDt sta e brou ht about a eneric, as well as an ideolo ical shift. Probably in connection with the rowin interest in ci5il ri hts issues in the Fnited ,tates in the -id 12/!*s, the western fil- had ceased to be eDclusi5ely white -ale oriented. Portrayal of the #ild #est ca-e closer to the historical truthL in other words the western was de-ytholo i4ed. (his 6ind of western is called a re5isionist western or anti1western, because it re5erses so-e of the established western clichHs. +-on the -ost fa-ous re5isionist westerns are e. . Cheyenne Autumn B12/'C, one of &ord*s latest fil-s, where the Endians are 0ortrayed as 5icti-s of white officer*s co--ands and a role of a stron wo-an is introducedL The $i!d 8unch directed by acco-0lished western director ,a- Pec6in0ah, where the audience is -ade to sy-0athi4e with a 5iolent anti1heroL Litt!e 8i) Man B127!C, a western -o5ie -ade by +rthur Penn, which fa5ors Endians and contains ele-ents of blac6 hu-or Be. . a ho-oseDual EndianCL or Oobert +lt-an*s Mc Ca%e and Mrs+ Mi!!er B1271C, a fe-inist western. (he 127!*s saw a shar0 decline in the 0roduction of Hollywood western fil-s. +fter oin throu h the re5isionist 0hase, the enre see-ed to be eDhausted. ?e5ertheless, the center of

12

western -o5ies 0roduction -o5ed elsewhere to 3uro0e. (here it was recei5ed 5ery enthusiastically and ained a new, uniAue face. (he last 0hase, with which E will end this brief enealo y, is the conte-0orary western. En the 122!*s the western was a -ar inal enre. ?e5ertheless, fro- ti-e to ti-e, a few successful western -o5ies e-er ed, which 0ro5ed, that the enre is still 0o0ular a-on the audiences. (o s0ea6 of concrete fil-s, such an enor-ous co--ercial success was caused by %e5in Costner*s :ances with $o!ves B122!C. Costner*s -o5ie can be also seen as a re5isionist western, because it de0icts the white -ale officers in an a00allin li ht, in contrast to the ?ati5e +-ericans, who are 0resented as 0eaceful naU5e 0eo0les. (he conte-0orary western often deals with 0sycholo ical, ender and social issues. (hus, we ha5e an o00ortunity to watch a fe-ale western whose heroine is a wo-an wearin a un The Buic9 and the :ead B1225C. En the sa-e year a noted director of inde0endent -o5ies, 7i7ar-usch, 0roduced an ori inal 0ost-odern western -o5ie :ead Man B1225C. (he blac6 and white :ead Man is considered an anti1western, because it brea6s se5eral traditional western cate ories. +t the center of the -o5ie there is a friendshi0 of a white -an, )r. :la6e B7ohny De00C, and a ?ati5e Endian na-ed ?obody BGary &ar-erC. (he na-es the-sel5es indicate the cynical -ood of the fil-. +lthou h the fi ure of ?obody is entirely fictional, 7ar-usch -ade an eDhausti5e in5esti ation into the life of the ?ati5e +-ericans. (he 0ur0ose of ?obody*s role in the -o5ie is to re5ise the white -an*s cri-es co--itted a ainst Endians. (he latest conte-0orary western fil- is not so -uch a western as it is a cowboy -o5ie. Ets na-e is 8ro9e%ac9 MountainL directed by +n =ee it was released in 2!!5. Et i5es a dee0 insi ht into the lo5e relationshi0 between two ho-oseDual cowboys.

2. T e St'$)t$'e o+ Weste'% Mo3ies * Plot 4a'iatio%s

2!

Ef we loo6 closer at the structure of western fil-s, we find a si-0le 0attern which is re0eated throu hout the decades only with subtle 5ariations: the hero arri5es in town, learns that the co--unity is tyranni4ed by a 5illain and his -ob, hel0s the town to et rid of hi-Nthe- and lea5es the town after acco-0lishin his -ission. (he hero is usually rewarded for his heroic deeds by the lo5e of the town*s -ost beautiful and 5irtuous wo-an, whose feelin s he can not reci0rocate. (his structure was elaborated further by the already -entioned western scholar and structuralist #ill #ri ht. #ri ht noticed that Ithe ty0es of 0eo0le in western fil-s ha5e not chan ed o5er the years, only the ways in which they interact.J"' En order to 0ro5e this clai-, #ri ht chose westerns fro- 12"!*s to 127!*s whose rentals eDceeded four -illion dollars and analy4ed their narrati5e structures. En those westerns #ri ht disco5ered four basic ty0es of 0atterns the classical 0lot, the 5en eance 5ariation, the transition the-e and the 0rofessional 0lot."5 3ach 0lot corres0onds to certain historical 0eriod and thus the chan es between indi5idual 0lots reflect the eneric shifts within western fil-s. :efore E introduce the four ty0es E would li6e to note that #ri ht*s 0lots are defined on the basis of the binary o00ositions. (hree 6ey features the hero, 5illains and society are co-0ared within these dichoto-ies. (he ele-entary o00osition is outsideNinside, the -ain contrast bein the loneso-e hero outside the society, as o00osed to the locals inside the coherent co--unity. (he 5illains ha5e an a-bi uous 0osition in this cate oryL they are so-eti-es inside and so-eti-es outside the society. $ther 0airs include oodNbad in #ri ht*s theory this is the tension between the ood hero and the society and the bad 5illains on the other sideL -aleNfe-ale usually a wea6 wo-an who falls in lo5e with the stron hero or stron Nwea6 the stron hero and 5illains in o00osition to wea6 society.

"' "5

(us6a 12<5, 0. 1". Co-0. Ebid.

21

(he classical 0lot accordin to #ri ht Iis the story of the lone stran er who rides into a troubled town and cleans it u0, winnin the res0ect of the townsfol6 and the lo5e of the school-ar-.J"/ (his definition is further differentiated into siDteen e5olution sta es: B1C (he hero enters a social rou0. B2C (he hero is un6nown to society. B"C (he hero is re5ealed to ha5e an eDce0tional ability. B'C (he society reco ni4es a difference between the-sel5es and the heroL the hero is i5en a s0ecial status B5C (he society does not co-0letely acce0t the hero. B/C (here is a conflict of interests between the 5illains and the society. B7C (he 5illains are stron er than the societyL the society is wea6. B<C (here is a stron friendshi0 or res0ect between the hero and a 5illain. B2C (he 5illains threaten the society. B1!C (he hero a5oids in5ol5e-ent in the conflict. B11C (he 5illains endan er a friend of the hero. B12C (he hero fi hts the 5illains. B1"C (he hero defeats the 5illains. B1'C (he society is safe. B15C (he society acce0ts the hero. B1/C (he hero loses or i5es u0 his s0ecial status."7 (he classical 0lot era dates fro- 12"!*s to 1255 and #ri ht includes here e. . Shane or :ue! in the Sun."< +s E -entioned earlier, #ri ht*s theory is called into Auestion a-on so-e scholars, e. . 7ohn (us6a clai-s that :ue! in the Sun does not fit in the classical 0lot cate ory at all. ?ot only because the -ain 0rota onist is an Endian wo-an, but also because her s0ecial ability is defined as seD."2 (he 5en eance 0lot and the transition the-e are 5ariations of the classical one. En the for-er, the hero is -ore lin6ed with the 5illains than with the society, as in the classical 0lot. IFnli6e the classical hero who Goins the society because of his stren th and their wea6ness, the 5en eance hero lea5es the society because of his stren th and their wea6ness.J'! (he

"/

(us6a 12<5, 0. 1'. 3l6ins, 7a-es O. otes /rom $i!! $ri)htCs Si' (un and Society. =awyers and &il-. htt0:NN-yweb.w5net.eduNVGel6insNfil-!'Nwri ht.ht-l. 1! 7an 2!!/. "< Co-0. Place, 7aney. Structured Cow%oys. Jump Cut* 0eview o/ Contemporary Media. no. 1<. +u ust 127<, 2!!5. 00. 2/12<. htt0:NNwww.eGu-0cut.or Narchi5eNonlinessaysN7C1<folderN/ uns,ociety.ht-l. < )ay 2!!/. "2 (us6a 12<5, 0. 1'. '! 3l6ins. htt0:NN-yweb.w5net.eduNVGel6insNfil-!'Nwri ht.ht-l. 1! 7an 2!!/.
"7

22

content of the 5en eance 5ariation differs in these 0oints: the hero see6s 5en eanceL the hero oes outside the societyL the hero ta6es u0 his re5en e.'1 En this cate ory #ri ht enlisted e. . &ord*s -o5ies Sta)ecoach and The Searchers. Historically, it o5erla0s with the end of the classical era and continues until the 12/!*s, with later recurrences.'2 (he transition the-e, as the na-e re5eals, indicates a shift fro- the classical 0lot. +t the be innin , the hero is inside the society and lea5es it at the end. En this narrati5e 0attern, the society is well established and radually beco-es hostile to the hero. Et acAuires the role of the 5illains fro- the classical 0lot. (he shinin eDa-0le of transition the-e is Tinne-ann*s #i)h oon+ (he distincti5e feature of the 0rofessional 0lot is that the hero oes out of his loneliness and for-s a 0osse with other un-en. #hat connects the- is a co--on wor6 or tas6, usually done in fa5or of the society which is alone inca0able of fi htin the 5illains. (he heroes in the 0rofessional 0lot beco-e less 0ositi5e than the hero of the 0re5ious 0lots. En this sense, they should rather be considered as anti1heroes. Historically, this 0lot co5ers the era fro- 12/< to 127! and its re0resentati5es accordin to #ri ht are e. . ,a- Pec6in0ah*s $i!d 8unch or Ooy Hill*s 8utch Cassidy and Sundance 3id B12/2C. E will eDa-ine the a00licability of #ri ht*s 0lot ty0es in the structural analysis of the C4ech 0arody western Limondov Joe.

5. Ste'eot"6es ?o -atter what the reser5ations of so-e scholars to #ri ht*s theory -i ht be, we can say that the characters in western -o5ies ha5e not chan ed -uch throu hout the eDistence of the
'1

&ro- #ill #ri ht, ,iD Guns and ,ociety. &en)eance &ariation. Fni5ersity of )issouri, ,t. =ouis. htt0:NNwww.u-sl.eduNdi5isionsNartscienceNen lishNfacultyN radyN.3?G3+?C3.ht-. < )ay 2!!/. '2 Co-0. Place. htt0:NNwww.eGu-0cut.or Narchi5eNonlinessaysN7C1<folderN/ uns,ociety.ht-l. < )ay 2!!/.

2"

enre. E will now characteri4e the -ost i-0ortant western stereoty0es. (his ty0olo y will be used later in co-0arison with the characters in Limondov Joe.

5.1 T e He'o En the early westerns we encounter a hi hly ideali4ed i-a e of #esterner. He is a handso-e, sli htly fe-inine ty0e, usually dressed in shinin white s0otless clothes a thin which could ha5e ne5er ha00ened in the dusty streets of the real #ild #est. +n eDa-0le of such a Isu0erJ hero is the first fa-ous cowboy (o- )iD. )oreo5er, the hero was not 0erfect only aesthically but also s0iritually. Gene +utry*s I(en Co--and-ents of the CowboyJ characteri4e well the early stereoty0e of a cowboy. '" (he early i-a e of a cowboy should beha5e accordin to followin rules: e. . Ihe -ust not ta6e unfair ad5anta e, he -ust always tell the truth, be entle with children, elderly 0eo0le and ani-als, be a ood wor6er, 6ee0 hi-self clean in thou ht, s0eech, action and 0ersonal habits. He -ust neither drin6 nor s-o6e.J'' (hese co--and-ents cannot be ta6en seriously in today*s westerns. ,uch an ideali4ed i-a e of a cowboy beco-es eDactly what #arshow 0redicted ridiculous. En this -o-ent, 0arody co-es on the scene. =e-onade 7oe is an eDa-0le of the 0rinci0les e-bodied in the I(en Co--and-entsJ. His hy0erbolic 0erfection 0ro5ides s0ace for the tools of 0arody. $ne as0ect of hero*s character ne5er chan es he always stands on the side of ood. Good in this sense is eAui5alent to law. He co-es fro- the outside Bwe do not 6now fro- whereC and hel0s the city to settle down its dis0utes. (his is usually done by -eans of a un, althou h the hero tries to 0re5ent the 5iolence to the 5ery end. ?e5ertheless, his -urderous reasons are of noble ori in: 0ayin off re5en e, sa5in wo-an*s life etc. +s the enre de5elo0ed, the hero was beco-in -ore a ressi5e and brutal and the shootin was done -ore easily.
'" ''

&enin, 35erson 127", 0. 2!. Ebid.

2'

(he heroic deeds of the cowboy often result in e-otional attraction of so-e wo-an to the hero. :ut because the hero is a no-adic inde0endent fi ure, thin s such as a fa-ily life or settlin down are out of Auestion. %issin or other seDual issues are also a5oided because they could s0oil the -elancholic ad5enturous at-os0here of western -o5ies. En this conteDt, and in co-bination with the I(en Co--and-entsJ, the hero acAuires al-ost -on61li6e Aualities. &inally, the hero rides off alone on horsebac6, towards the hori4on in the distance. &or -ost +-ericans the hero stereoty0e is associated with the +-erican actor 7ohn #ayne. #ayne 0layed the 0art of -any fa-ous western heroes, e. . (o- Doni0han in The Man $ho Shot Li%erty &a!ance. (o- is the -an who hel0s the town to et rid of the outlaw and at the sa-e ti-e sa5es his friend*s life. En the end this friend ets the wo-an of (o-*s heart and (o- stays alone as a ty0ical #esterner. $ther #ayne*s si nificant roles are (he Oin o %id of Sta)ecoach or 3than 3dwards in The Searchers. + well16nown hero stereoty0e beca-e also #yatt 3ar0 BHenry &ondaC, the bra5e sheriff of (o-bstone in My :ar!in) C!ementine B12'/C.

5.# T e A%ti7 e'o #ith the arri5al of the re5isionist western in the 12/!*s, the -ain 0rota onist has under one an i-0ortant chan e. +s the enre 0ro ressed towards its de-ytholo i4ation, the hero was beco-in -ore and -ore realistic. His 0ositi5e Aualities retreated and the ne ati5e started to 0re5ail. En connection with +utry*s I(en Co--and-entsJ it can be said, that the anti1hero brea6s all of the-. (he anti1hero does not thin6 twice before he firesL he shoots a -an as easily as he orders another lass of whis6ey. He -ay be a ban6 robber as in 8utch Cassidy and Sundance 3id< ne5ertheless the audience will lo5e hi- and e5en 6ee0 their fin ers crossed for hi- to run away with a ba full of -oney. En co-0arison to his 0ositi5e 0redecessor, the anti1hero stereoty0e is seDually -ore -atured. He shows interest in wo-en

25

and e5en ets in5ol5ed in a lo5e affair, althou h only te-0orarily. (he duration and character of the relationshi0 is eAual to anti1hero*s choice of wo-en: sin le eD0erienced fe-ales, usually fro- around the local saloon. + 5i5id eDa-0le of an anti1hero is 7ac6 Crabb in The Litt!e 8i) ManL althou h he is a confused, clu-sy, 0hysically wea6, anti1-acho fi ure, he -ana es to sur5i5e because he is luc6y. (he western -o5ies which started to be 0roduced in Etaly in the -id /!*s, the so1called ,0a hetti westerns, 0roduced a crucial anti1hero fi ure Clint 3astwood a brutal -an without a na-e.

5.- T e 4illai% (his cate ory contains a colorful ran e of ban6 robbers, alcohol or un s-u lers, cattle

thie5es, sta ecoach bandits in one word, the outlaws. (heir 0lace is on the dar6 side, on the side of e5il, where law is i nored or totally absent. (he &rontier was full of such ty0es. (hey too6 ad5anta e of the laD le al syste- and anony-ous -ilieu. #ithout the rascals, the western enre would lac6 a factor, which is crucial for buildin u0 the story the o00osition between the ne ati5e and the 0ositi5e characters. #ithout the 5illain we could not fully reali4e and a00reciate the fairness of the hero. (he nature of westerns is li6e the one of fairy tales it fa5ors the heroes, 5illains always lose. (he stru le between

those two 0arties for-s the basis of the western 0lot. (he border between ood and e5il worlds is so-eti-es 0er-eable and thus the hero can easily be a for-er outlaw who was later refor-ed. (he shinin eDa-0le of this situation is (he Oin o %id B7ohn #ayneC in Sta)ecoach. Gettin on the board IhandcuffedJ, he ets off in =ordsbur as a hero with the intention of -arria e and settled life. ,uch twist in cate ory can create a -oral tension and -a6e the story -ore interestin . + 0o0ular 0lot de5ice is to lin6 the hero and the 5illain by -eans of 6inshi0.

2/

En contrast to the lonely fi ure of the hero, the 5illains tend to rou0 in 0osses or -obs. #hat brin s the- to ether is reed, lust for -oney or Gust 0ri-iti5e fa5or of 5iolence. (here is usually a leader of the an who is the reediest of all, the -ost corru0t and the others are afraid of hi-. $ut of these doubtful Aualities he deri5es his authority. Concernin the 0hysical de0iction, the outlaws are al-ost always 0ortrayed in dar6 colored outfits and they ha5e unsha5ed Bor a -oustacheC, ill1fa5ored faces. (he fa-ous outlaw &ran6 )iller BEan )acDonaldC of #i)h oon is a ood eDa-0le of the 5illain stereoty0e.

5.0 T e Wo8a% =ife in the infertile sandy en5iron-ent was full of hardshi0 for -en and it was e5en -ore de-andin for wo-en. #o-en often 0erfor-ed -asculine roles, includin ty0ically -ale 0hysical wor6 and at the sa-e ti-e had to function as -others. En other words, western wo-en had to be stron characters. #hat 0ortrayal did they recei5e on the cine-atic screen> +s E -entioned abo5e, western is considered a ty0ically BwhiteC -ale enre. ?e5ertheless, so-e scholars do not share this 5iew. :la6e =ucas, in his essay Sa!oon (ir!s and 0anchers dau)hters* The $oman in $estern, calls for a chan e: IEt*s ti-e to see the #estern in a different li ht not as a -asculine enre but as one su0re-ely balanced in its -aleNfe-ale as0ect.J'5 En -y o0inion, this was only 0ossible later, in the re5isionist for- of western, when wo-en recei5ed -ore careful attention. (he reason, why wo-en 0lay less i-0ortant roles in westerns, at least in the classical sta e of the enre, is because their characters are essentially 0assi5e. )an is the character who carries a un and rides a horse, in other words, he creates the action of the -o5ie. (he fe-ale fi ure is usually hi hly de0endent on the hero her co--on tas6 in the 0lot is to be sa5ed and ser5e as a 1st 0ri4e for the winner. ?e5ertheless,
'5

=ucas, :la6e. Sa!oon (ir!s and 0anchers dau)hters* The $oman in $estern . En: %itses, 7i-, Oic6-an, Gre . Beds.C The $estern 0eader. =i-eli ht 3ditions, ?ew Mor6 122<, 0. "!1.

27

so-eti-es she can 0erfor- -ore acti5e, te-0tin ways of beha5ior. +s E will eD0lain now, there are different 6inds of fe-ales in western. #o-en in westerns are usually reduced to two basic stereoty0es, which ha5e so-e -inor 5ariations Irancher*s dau hterJ and Isaloon irlJ. (hey stand in o00osition to each other and dis0lay totally different Aualities. (he re0resentati5e of the first rou0 is a wea6, naU5e, fa-ily1oriented lady with ood -anners. ,he is usually so-ehow interconnected with the 3ast or with its associations ci5ili4ation, education, reli ion etc. ,he -ay as well be a 0ioneer, a Puritan, who had co-e to the #est in search of better to-orrows. En this sense she beco-es what =ucas calls the Irancher*s dau hterJ.'/ .ery often this stereoty0e is a ca5alry-an*s wife or a Wua6er with -essianic intentions, such as te-0erance -o5e-ent or educational -ission. En this conteDt this stereoty0e is so-eti-es referred to as Ischool-ar-J.'7 (he two fe-ale ty0es are also distin uished 0hysically the rancher*s dau hter usually bein an an el1li6e fi ure with fair hair, analo ous to her 0ure nature. (he concrete eDa-0les of such fe-ales in westerns are -any: )arshal %ane*s 0acifist Wua6er wife +-y BGrace %ellyC in #i)h oon, loyal wife and -other %athleen Mor6e B)aureen $*HaraC in 0io (rande etc. (he ad5ersary character of the rancher*s dau hter, in =ucas*s ter-inolo y, is a Isaloon irlJ.'< En contrast to her ci5ili4ed counter0art, the saloon irl is an eD0erienced, inde0endent and seDually a ressi5e fi ure. #e usually encounter her at the bar or, -ore 0recisely, on the bar dancin , drin6in , s-o6in , in one word entertainin -en. ,he usually li5es directly in the saloon or in the nearby hotel. ,he is a wo-an without co--it-ents a 0rostituteL we can ne5er i-a ine her as a fa-ily -e-ber or e5en as a -other. ,o-eti-es, she can be a rich widow, in5ol5ed in a blac6 -ar6et, dealin with uns, alcohol or dru s. Et is not a bi sur0rise when she 0ulls out a un fro- a drawer and handles it Auite well. (his de5ilish sinful wo-an
'/ '7

=ucas 122<, 0. "!". ,chool-ar- is a fe-ale teacher in a s-all town Ba co-0ound of school and -ada-C. '< =ucas 122<, 0. "!".

2<

is usually 0ortrayed with dar6 hair which stresses the character of her soul. Her role in the 0lot is Gust -ar inal she often 6ee0s so-e 6ind of secret, usually connected with the hero*s dar6 0ast, e. . that they were in5ol5ed in a lo5e affair. ,hinin eDa-0le of such a stereoty0e is Helen Oa-ire4 B%aty 7uradoC in #i)h oonL she is the total o00osite of s0iritually innocent +-y. +nother re0resentati5e of this fe-ale cate ory could be Dallas BClaire (re5orC in Sta)ecoach. En this crucial western, &ord -ade an interestin switch: the K ood* irl is a brunette and the Krotten* one a blonde. ,ur0risin ly, blonde, war-hearted 0rostitute Dallas is de0icted with -ore sy-0athy than rather cold dar6 but ci5ili4ed =ucy )allory B=ouise PlattC, Bthe reason of this in5ersion -ay be that Dallas wants to chan e she is lea5in the town where she used to li5e, 0lans to settle down and start a new, better life. ,he e5en shows so-e -aternal Aualities durin the ad5enturous Gourney to =ordsbur she hel0s to deli5er a baby and loo6s after it later. E thin6 that the s0ectator identifies with her -ore than with =ucy, because they want to belie5e that e5ery hu-an can redee- and be in a new better lifeL es0ecially in the #estC.

II. COWBOYS ENTER THE EUROPEAN CONTINENT

1. E$'o6ea% Weste'% /il8 3uro0ean 0roduction co-0anies started to 0roduce westerns only when the enre be an to fade in its country of ori in in the -id siDties. +t that ti-e, the olden a e of +-erican western was o5er and it was oin throu h the re5isionist 0hase. 3uro0e too6 char e and continued in the de5elo0-ent of the enre. (hus -ost of the 3uro0ean westerns fro- the 12/!*s belon to the re5isionist cate ory. ?e5ertheless, also other for-s of western e-er ed I,0a hetti westernJ, 0arodies, co-edies or e5en ro-antici4ed, fairy1tale li6e Ger-an westerns.

22

(he 3uro0ean directors of westerns be an to 0roduce a enre which was until that ti-e considered eDclusi5ely +-erican. &irstly, it dealt with the history of settle-ent of the western 0art of the Fnited ,tates. ,econdly, the +-erican landsca0e 0layed a crucial role in the 0roduction of westerns. Concernin the first 0roble-, the 3uro0eans handled the historical -aterial considerably well, in so-e cases e5en better then the IfathersJ of the enre. &or eDa-0le the Ger-an Endian -o5ies fro- the D3&+ 0roduction de0ict the coeDistence of white settlers with the ?ati5e +-erican 0eo0le 5ery realisticallyL -oreo5er, they offer an eDce0tional 5iew on the -atter the whites are illustrated as bad corru0t 0eo0le har-in the Endians. (he reason of the historically -ore accurate 0ortrayal in the 3uro0ean westerns is, on one hand, enre*s de-ytholo i4ation durin the re5isionist 0eriod. (he other cause is 0erha0s the fact that the 3uro0eans, in contrast to the +-ericans, were not in5ol5ed with their own -yth and could e-brace the to0ic -ore obGecti5ely, or in the case of a 0arody, -ore li htly. (he 0roble- with the eo ra0hical settin was sol5ed Auite ele antly as well. (he 3uro0ean 0roduction co-0anies did not ha5e enou h financial -eans to -o5e the whole crew to Grand Canyon, so they had to loo6 for a closer 0lace. +nd they did not ha5e to o far the dry southern 0lains of ,0ain or Croatia offered an ideal en5iron-ent for si-ulatin the #ild #est countryside. (he western enre beca-e Auic6ly 0o0ular with 3uro0ean audiences. +lthou h westerns are 0laced in s0ecific historical and eo ra0hical settin , their 0lot is uni5ersal and can address a wide ran e of s0ectators. )oreo5er, the 0articularity can function in a 0ositi5e way as an eDotic attraction for the 3uro0eans cine-a1 oers. &enin and 35erson eD0lain that Ibecause of the #estern*s forei n ori in, it retains a 6ind of eDotic a00eal for the 3n lish child that it no lon er has for the +-erican.J'2 E su00ose that this clai- is true for -ost of the 3uro0e*s children audience as it -anifests itself for eDa-0le in the 0o0ular a-e of

'2

&enin, 35erson 127", 0. "21.

"!

ICowboys and Endians.J +nother western*s well eD0ortable co--odity has always been action. Gradually, the Hollywood cine-a as such beca-e associated with action fil-s. :efore E will draw an outline of the 3uro0ean countries which 0layed a si nificant role in the 0roduction of westerns, E find it hel0ful to clarify one theoretical 0roble-. +s &enin and 35erson stress, there is a difference between the imitation of the western, the utili4ation of #estern*s techniAues and the in/!uence of the western enre u0on fil-s that are not considered westerns.5! ,o-e fil-s -ay utili4e the techniAues which are nor-ally used by the directors of westernsL eDa-0les of such IloansJ are lon shots of the landsca0e, stunt-an*s -ethods or sound tric6s etc. $ther -o5ies are influenced directly by the western enreL this is the case of the an ster fil-s which use so-e of the features of westerns, e. . the conce0tion of a hero, ad5enture and law. :ut in -y thesis E will only deal with the fil-s that try to i-itate the +-erican western enre, that is fil-s which so-ehow rese-ble the +-erican westerns in their style. (he Ger-an fil-s are a ood eDa-0le of i-itations of westernsL they try to co0y the historical and eo ra0hical settin of +-erican westerns. (he reason why E will concentrate on the i-itation westerns is because the -o5ie on which E focus in -y thesis Limondov Joe also belon s to this cate ory. &ro- the 3uro0ean countries which shot westerns, Etaly and Ger-any can be considered the -aGor 0roducers of westerns. En the -id /!*s Etalian directors started to 0roduce a uniAue style of westerns which was labeled I,0a hetti westernJ. $b5iously, it has nothin in co--on with the fa-ous Etalian 0asta but rather ser5es as a -ar6 to denote the national ori in of these fil-s. I,0a hetti westernsJ are usually narrowed down to one director ,er io =eone and one actor Clint 3astwood. (he first successful Etalian western which tri ered the I,0a hettiJ wa5e was The -ist/u!! o/ :o!!ars BPer un pu)no di do!!ariL 12/'C.51 (his
5! 51

Co-0. Ebid., 0. "27. =eone based the story of The -ist/u!! o/ :o!!ars on 7a0anese fil- AoDim%o B12/1C by +6ira %urosawa. (his was not for the first ti-e that director of western fil- was influenced by 7a0anese -o5ie. &or eDa-0le when +-erican director 7ohn ,tur es wor6ed on The Ma)ni/icent Seven B12/!C he was ins0ired by another %urosawa*s fil- Seven Samurai B125'C.

"1

-o5ie is a 0art of the fa-ous IDollarJ trilo y, the other two westerns bein -or a -ew :o!!ars More BPer Eua!che do!!aro in piFL 12/5C and The (ood< the 8ad and the G)!y B8uono< i! %rutto< i! cattivo, ElL 12//C. Etalian westerns tried to co0y the style of +-erican westerns as closely as 0ossible. (hey were usually shot in ,0ain in order to i-itate the )eDican border where the action of Etalian westerns was set. Etalian directors often used 3n lish na-es, e. . :ob Oobertson was ,er io =eone*s 0seudony-. =eone e5en assi ned +-erican actor in his -o5ies Clint 3astwood. :ac6 in the Fnited ,tates, 3astwood was Gust an a5era e actor but in 3uro0e, =eone -ade hi- a star. He beca-e the well16nown I-an without a na-eJ, the brutal silent anti1hero. Perha0s the -ost si nificant feature of I,0a hetti westernsJ is 5iolence. Etalian westerns are -uch -ore brutal than the +-erican ones. Good eDa-0les are the ten1-inute wild shootin scenes in The -ist/u!! o/ :o!!ars. Et should be 0ointed out that -usic 0layed an i-0ortant role in I,0a hetti westernsJ. (he soundtrac6 is ti htly lin6ed with the co-0oser 3nnio )orricone. En Etalian westerns -usic was used as a -eans of co--unication and to hi hli ht the -ood of the concrete scene. En =eone*s -aster0iece Hnce Gpon a Time in the $est BCera una vo!ta i! $estL 12/<C there is a character called Har-onica. (his hero is a silent -an who uses his har-onica instead of tal6in . #ith co-bination of -elancholic -usic and close1u0s, =eone creates a uniAue at-os0here with a feelin of nostal ia. #ith the e-er ence of I,0a hetti westernJ the roles between +-erican and 3uro0ean westerns ha5e re5ersed. ?ow the Etalian western be an to influence +-erican directors, such as ,a- Pec6in0ah in the -o5ie $i!d 8unch. Ger-any acAuired a s0ecial na-e of its westerns which was ta6en fro- the area of national food as well I%raut #esternJ. (he Ger-an westerns can be differentiated into two rou0s. #esterns of the first rou0 ori inated in the 3ast Ger-an state -o5ie 0roduction D3&+ between the years 12//112<". (hey are called Endian fil-s and belon to a lar er

"2

cate ory of Oed #esterns. Endian fil-s are a series of twel5e fil-s all of which are featurin the Mu osla5ian actor GoG6o )itic, who beca-e a star in 3ast Ger-any. +s its na-e 0ro-0ts, these fil-s are about 0articular Endian tribes and their fa-ous chiefsL for eDa-0le fil-s such as: Chin)ach)oo9< The (reat Sna9e BChin)ach)oo9< der (rose Sch!an)eL 12/7C, Hsceo!a BHsceo!aL 1271C or Tecumseh BTecumsehL 1272C. #hat -a6es the Endian fil-s so eDce0tional is the fact, that they are not white1-ale oriented and offer a wide obGecti5e s0ectru- of different characters of inhabitants in the #ild #est. En these fil-s you -ay encounter bra5e Endian, corru0t white 5illain, Endian traitor or white friend of the +-erican ?ati5es. +n internet article on 3ast Ger-an Endian -o5ies indicates how such realistic a00roach was 0ossible: I3ast Ger-an &il--a6ers did an eDtensi5e research in an atte-0t to be true to the historical e5ents in eneral, and the ?ati5e +-erican culture in 0articular.J52 (his attitude was in shar0 contrast with the a00roach of the directors in #est Ger-any. (he #est Ger-an westerns were based on the no5els by successful Ger-an writer %arl )ay. En the center of these -o5ies stood the blood brotherhood of +0ache chief #innetou and white Greenhorn $ld ,hatterhand. (heir relationshi0 was hi hly ro-antici4ed within I)ayJ fil-s as was the 0ortrayal of Endians. Ger-an director )ichael :ully Herbi shot an a-usin co-edy Manitous Shoe B:er Schuh des ManituL 2!!1C 0arodyin the westerns about #innetou and $ld ,hatterhand. E will analy4e Manitous Shoe and its function as a 0arody -ore thorou hly later. 3uro0ean fil--a6ers of westerns could s6illfully lin6 the 5isual and sound as0ect: the shots of the 5ast landsca0e were enhanced with -elancholic -usic. (he soundtrac6 to #innetou fil-s was 5ery 0o0ular throu hout 3uro0e and -any co0ies were sold. Concernin the 5isual as0ect, the Ger-an directors of westerns found the suitable landsca0e with an

52

#ild 3ast. :ac6 round. .ast (erman Movies. 2 7ul 2!!1. htt0:NNwww.wa4el.or NwildeastNbafacts.ht-. 1! 7un 2!!/.

""

authentic western loo6 in Mu osla5ia. (han6s to its 0o0ulari4ation in the #est Ger-an westerns, these 0laces beca-e nowadays fa5orite tourist destinations. +fter reachin the 3uro0ean continent, the enre has soon do-esticated there and -ore 3uro0ean countries followed in the 0roduction of westerns. &rance released a considerable nu-ber of westerns which were cate ori4ed as ICa-e-bertJ westerns, Goinin the 3uro0ean rou0 of Ifood westernsJ. (he -ost debated &rench western is 7ean :astia*s :ynamite Jac9 B12/1C, a 0arody of the +-erican westerns. (he ICa-e-bertJ western radually s0read outside &rance, to &rench colonies )orocco and +l eria. +n ac6nowled ed s0ecialist in &rench westerns, Peter 7. :loo-, eD0lains how the relations of &rance and its colonies were reflected in the +-erican western: IEn &rance, colonial +l eria and )orocco were re0resented as the &rench frontier -ost freAuently co-0ared to the cli-ate, o00ortunities and -oral dile--as of the +-erican #est.J5" (he ri hts to :ynamite Jac9 were later bou ht by +l erian directors &ella and +llalou who re-ade it into 0olitical satire on the conte-0orary reli ious situation in +l eria. (he na-e of the +l erian 5ersion is :ynamite Moh B122/C, )oh bein a short na-e for the Esla-ic 0ro0het )oha--ed. E find reali4ation of such 0olitically critical -o5ie 5ery darin , es0ecially when you consider the serious attitude of )usli- co--unity towards any 6ind of 0arody fro- the #estern world addressed to their di5ine Pro0het. =ast 3uro0ean country which should not be o-itted in connection with the 0roduction of westerns is Oussia Bthen: the ,o5iet FnionC. :ecause of the eo ra0hical location the Oussian westerns are so-eti-es referred to as 3asterns B$sternsC or Oed #esterns. (he story of 3asterns is usually set in the 0eriod of Oussian Ci5il #ar in Central +sia in the 122!*s. (he action is created by the conflict between Oussian Oed +r-y and the I:as-achiJ rebels. I:as-achiJ or bandits is a 0eGorati5e ter- used by ,o5iet officials for the Esla-ic radicals
5"

:loo-, Peter 7+ 8eyond the $estern -rontier* 0eappropriations o/ the I)ood %admanJ in -rance< the -rench co!onies< and contemporary A!)eria+ En: #al6er, 7anet Bed.C. $esterns+ -i!ms Throu)h #istory. Ooutled e, ?ew Mor6, =ondon 2!!1, 0. 127.

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li5in in the area of (ur6estan.5' ?e5ertheless, so-e historians disa ree and clai- that the rebels were Iordinary 0easants and no-ads who o00osed the cultural i-0erialis- of Oussia.J55 (he re5olt of I:as-achiJ 0eo0le a ainst the :olshe5i6 brutality can be 5iewed as a 0olitical alle ory based on the 0attern of the stru +-erican ?ati5es in westerns. $hite Sun o/ the :esert B8e!oe So!ntse PustyniL 12/2C was not only the -ost successful Oussian Oed #estern but also one of the -ost 0o0ular Oussian -o5ies e5er. (he 0lot de5elo0s around the I:as-achiJ rebellion, co-binin ele-ents of co-edy and dra-a. (he soundtrac6 of the -o5ie created fa-ous hits and its sayin s enriched the 5ocabulary of Oussian lan ua e. En short, $hite Sun o/ the :esert beca-e a cult. +nother eDa-0le of Oed #estern with the I:as-achiJ to0ic is The 8ody)uard BTe!ohranite!L 1272C. le between +n lo1,aDon settlers and

#. C9e) oslo3a:ia #. 1. Weste'%s a%( t e T'a(itio% o+ A8e'i)a% West i% C9e) oslo3a:ia Parody as a for- assu-es a ood 6nowled e of the enre which is la-0ooned. Eronically, des0ite the reat success of Limondov Joe, this condition was not fulfilled in C4echoslo5a6ia. (he distribution of +-erican westerns was scarce at the ti-e when Limondov Joe was released. &il- critic E5an D5o8@6 infor-s about the situation in C4ech cine-as in a fil- -a a4ine -i!m a do%a fro- the 12/': I,ince the ti-e when the i-0ort of +-erican fil-s was interru0ted as a conseAuence of #orld #ar EE until now, this -eans for al-ost a Auarter of century, only one western fil- has been released in co--on fildistribution #i)h oon.J5/ He further clai-s that a li-ited nu-ber of audiences saw a cou0le of -o5ies by &ord in the fil- clubs.57 (hus we ha5e to loo6 for the reason of
5'

Co-0. #ales, 7i--y BfounderC. #i6i0edia. (he &ree 3ncyclo0edia. 8asmachi 0evo!t. / 7un 2!!/. htt0:NNen.wi6i0edia.or Nwi6iN:as-achi. 11 7un 2!!/. 55 8asmachi 0evo!t. htt0:NNen.wi6i0edia.or Nwi6iN:as-achi. 11 7un 2!!/. 5/ :rde;6a, 7i89. Limondov Joe ane% 3oKs9 opera. Xes6oslo5ens6Y fil-o5Y Zsta5, Praha 12<<, 0. 1</. 57 Co-0. Ebid.

"5

Limondov Joe*s success so-ewhere else. En -y 5iew the ele5ated acce0tance of the -o5ie was a co-bination of the two followin thin s. &irstly, it is the -ultilayered hu-or which =i0s6Y s6illfully incor0orated within Limondov Joe. (he s0oof of the -o5ie is built, on one hand, on the 0arody of +-erican western e0icsL these are the Go6es referrin to brea6in the western clichHs. (he other layer of hu-or is for-ed by a s and uni5ersal co-ic ele-ents which do not corres0ond to western enre, but the audience enGoys the-, althou h it lac6s the ood 6nowled e of +-erican westerns. (he second as0ect which, in -y o0inion, bro6e the round for the 0arody of westerns was the 0o0ularity and tradition of the +-erican #ild #est culture in C4echoslo5a6ia. (he enchant-ent by the +-erican #ild #est culture has ot a lon tradition in the C4ech Oe0ublic, for-er C4echoslo5a6ia. Et dates bac6 to 12th century and it was lin6ed with the birth of the tra-0 -o5e-ent. 5< (he tra-0 culture and westerns ha5e certainly -any features in co--on, e. . the lo5e of countryside and sur5i5al in it or worshi0 of freedo-. (he ro-antic idea of the +-erican &rontier was also elicited by the distribution of di-e no5els or =eatherstoc6in (ales, in C4ech countries called Krodo6a0s*, and later by the western fil-s.52 (he KorthodoD* C4ech #ild #est fans radually se0arated fro- the tra-0 -o5e-ent and for-ed a si nificant Country and #estern rou0, 0arallel to the ori inal +-erican C[# -o5e-ent. (hey started to or ani4e e5ents which co0ied the life on the &rontier: country balls, festi5als of C[# culture, horse ridin etc. :ecause of the co--unist re i-e which, of course, did not su00ort this 0ro1+-erican -o5e-ent, -any of these acti5ities were held in secret. (he first le ally 0ublic e5ent was the C4echoslo5a6ian Pony 3D0ress ride in 12<5, which has been or ani4ed e5ery year since then./! ,ince that ti-e the 0o0ularity of +-erican
5<

#esterners Enternational. %do Ge to #E CT. $esterners "nternationa! v srdci .vropy. 2< )ay 2!!5. htt0:NNwww.westerners.c4NwiQc4N6doQGeQwiQc4.ht-. 22 )ay 2!!/. 52 KOodo6a0sK is an abbre5iation of Kno5el into a 0oc6et*. /! Co-0. $esterners "nternationa! v srdci .vropy. htt0:NNwww.westerners.c4NwiQc4N6doQGeQwiQc4.ht-. 22 )ay 2!!/.

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#est by C4ech 0eo0le has not declined and can be de-onstrated e. . by the nu-ber of the #ild #est IcitiesJ in C4ech Oe0ublic and their hi h attendance.

#. #. ;i<= B'(e>:a a%( t e C9e) Weste'% Mo3ies #hen the 0arody western Limondov Joe was released in 12/', it was -et with an i--ediate success by the C4ech audience. C4ech 0eo0le ad-ired the culture of +-erican #est and it was also curiosity which brou ht the- to the cine-asL it was for the first ti-e when a C4ech director ot en a ed with a enre that was still considered rather eDotic in 3astern 3uro0e. Limondov Joe is a result of coo0eration between two fi ures the director, $ld8ich =i0s6Y B122'112</C and the screenwriter, 7i89 :rde;6a B1217112<2C. Parody was :rde;6a*s fa5orite enre and truly, he beca-e an ac6nowled ed -aster in this cine-atic field. +-erican culture was the usual tar et of his witty critiAue. :esides Lemonade Joe, he also wrote a screen0lay to another 0arody Ad!a DeLtM neveNeOe!a BAde!a hasnt had dinner yetL 1277C, a story satiri4in +-erican 0ul0 literature about detecti5e ?ic6 Carter. Des0ite the fact that he was la-0oonin the western enre, :rde;6a li6ed +-erican western -o5ies 5ery -uch. En an inter5iew, 0rinted in the boo6 Limondov Joe, he -entions se5eral classical western e0ics, such as Sta)ecoach, $e!!s -ar)o B12"7C or -rontier Marsha!! B12'2C, which ori inally e5o6ed his interest in the #ild #est./1 He further ad-its that he eD0erienced Icertain enchant-entJ while he was watchin these fil-s./2 His attention to the history of the +-erican #ild #est re-ained and 0robably ins0ired hi- to write a serious historical boo6 about the life on the &rontier, called 3o!ty %eP poP!t9a B125/C. En this boo6, :rde;6a analy4es stories of three historical #estern fi ures #ild :ill Hic6oc6, :illy the

/1 /2

:rde;6a 12<<, 0. 2. Ebid., 0. 1!.

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%id and 7esse 7a-es. He se0arates fiction fro- historical reality, de-ytholo i4es the le ends and shows that they were not so -uch heroes, but rather outlaws with corru0t -anners. Production of 0arody reAuires a ood orientation within the enre which the director wants to la-0oon. +s E de-onstrated abo5e, :rde;6a confir-ed that he had all the necessary dis0ositions to do so.

#. #. 1. rie prrie Limondov Joe has its less 6nown 0redecessor in a short deft 0u00et 0arody fil- rie prrie B12'2C, which :rde;6a created to ether with a well16nown C4ech cartoonist, 7i89 (rn6a. + 0arody of western -ade in the for- of a 0u00et fil-> +lthou h it -ay sound absurd, rie Prrie is a cle5er and a-usin satire critici4in bad western fil-s. Et contains all i-0ortant features a real western should ha5e uns, horses, desert1li6e landsca0e, a hero, a Ischool-ar-J, an e5il a-bler, bottles of whis6ey, )eDicans, coyote, 5ultures and cactuses. &enin and 35erson -ention this -o5ie in their cha0ter on international westerns BSon) o/ the PrairieL 1252C and call the fil- a Isatiri4ed #esterns per se.J/" (he action is set so-ewhere in the #estern 0art of the Fnited ,tates, where a bunch of outlaws raids a sta ecoach. Does it sound fa-iliar> Mes, the authors of rie prrie were 0arodyin &ord*s classical -o5ie Sta)ecoach. ?e5ertheless, the -ain tar et of the authors* critiAue was not the fil- itself, but the re0etiti5e style of western 0lots. (he narrati5e in rie prrie co0ies the usual sche-e of western fil-s: the rascal steals the old and the beautiful ladyL the hero ets rid of the 5illain, brin s the ItreasureJ bac6 thus hel0in the society, and is awarded the wo-an in the end. (his is also the 0attern of #ri ht*s classical 0lot with all the ty0ical western stereoty0es. Pa5el (aussi , a C4ech historian, 0uts it this way: Brie prrieC Iis a 0arody of sche-atis- which is -anifested by the naU5e de5elo0-ent of the story. (his

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&enin, 35erson 127", 0. "2".

"<

-eans that in the end the e5il is 0unished and the ood rewarded.J/' (o illustrate his clai-, E will describe the indi5idual 0u00ets -ore closely and discuss their 0articular role within this IwesternJ. (he sta ecoach is dri5en by two funny coach-enL one of the- is constantly drownin hi-self in whis6ey. 7i89 (rn6a is said to ha5e created his own caricature in this ridiculous fi ure, a fact that declares the hu-orous a00roach of the authors. :ut the crew inside the 5ehicle is -ore i-0ortant: there is a beautiful lady and an old senile -an. (he wo-an is wearin a white dress and be uiles the Gourney with 6nittin , readin and sin in L she also ta6es care of the old -an a caricature of drun6en Doc :oone fro- &ord*s Sta)ecoach. (hese acti5ities re5eal that she is clearly the Ischool-ar- stereoty0eJ she 0robably co-es fro- the 3ast and is educated. ,he la-0oons =ucy )allory, the ca5alry-an*s wife, froSta)ecoach. #hen the lady starts sin in a son Bof the 0rairieC, a handso-e un-an on a horse a00ears in the window of the sta ecoach and Goins her with the son . He is dressed in white as well and he rides a snow white horse. (he white color lin6s hi- with the lady inside the coach and indicates that they are both on the side of ood. (he son I,ou &@r (u 7Z +G )eGJ which they sin can be heard twice throu hout the -o5ie, always when the cou0le -eets. 7an Oychl96, the author of the son and the -usic, coo0erated with :rde;6a also later durin the shootin of Limondov JoeL the lyrics are a s0ecial -iDture of 3n lish and ,0anish without an ob5ious -eanin . E will analy4e it -ore thorou hly in the cha0ter dealin with Limondov Joe. +s a oodbye, the hero shoots holes in the lady*s boo6 in the sha0e of a heart and in return he ets one 6nitted soc6 fro- her. (his scene has clearly a tone of 0arody: instead of eDchan in a co--on 6iss, a 0icture or a 0hoto, the hero ets one soc6 a 0ractical ift, as the ni hts were cold in the #ild #est, but useless without the other 0iece.
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:rde;6a 12<<, 0. 15.

"2

$n the way, inside the dar6 roc6 0ass B)onu-ent .alley>C, another character Goins the crew the a-bler. En contrast to the lady and the hero, he is dressed all in blac6, the color of the e5il. )oreo5er, he has a -oustache a ty0ical si n of 5illains. (hrou hout the cartoon he is 0layin cards all the ti-e, and they e5entually beco-e his sy-bol. #hen he dies after fallin off a cliff, his body is eaten by the 5ultures and nothin is left of hi- eDce0t the cards. (he 0hysical a00earance of the e5il a-bler was created by 7i89 :rde;6a accordin to his own a00earance. (he hu-orous as0ect of rie prrie is based on the si-0lifyin di5ision of cate ories into oodNbad and on the eDa eration of the Aualities of the characters. (he whitewashed hero is shown in a 5ery 0ositi5e li ht without a sli htest -ista6e. He 0ossesses s0ecial abilities: he is a 0erfect shooter, an eDcellent riderL can ele antly cli-b a stee0 roc6 and s-o6e a ci arette at the sa-e ti-e. #hen the 5illain throws a hu e stone at the hero, the only har- it does hi- is the touslin of his haircut, an i-0erfection which he i--ediately corrects with a co-b. ,uch an ideali4ed 0icture cannot, and should not, be ta6en seriously. ,i-ilar -otif, as the one with the co-b, is used also with the lady. #hile she is han in on the branch and waitin for her hero, she uses a fla0Gac6 to -a6e u0 her face. (he hostility between the 5illain and the hero is eDa erated to such le5el that neither their horses are on friendly ter-s. (his is 0articulary in the scene when the horses cool down their bac6s in a 0ond after slidin a hillL after the white horse has seen that the 5illain*s horse is also there, he -o5es away fro- hi-. (his esture is acco-0anied by a des0isin si h. +nother western clichH 0arodied by the authors is the co--on i--ortality of the un-en in western fil-s. #hen the sta ecoach is attac6ed by the a-bler and his -ob, the drun6en coach-en is shot se5eral ti-es. ?e5ertheless, he stays ali5e but when he drin6s fro- the bottle of whis6ey, the liAuid co-es out throu h the holes in his body. (his 0roble- is Auic6ly sol5ed by the other coach-en who banda es the holes.

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&inally, E would li6e to 0oint out 7i89 (rn6a*s s6ills in the handlin of the 0u00ets. (hey do not e5o6e the usual wooden i-0ression that -ost of the 0u00ets do but, Auite on the contrary, they ha5e fluent -o5e-ents and when they sin , they are de0icted with o0en -ouths and closed eyes.

#. #. #. Le8o%a(e ;oe * a He'o o' a Sales8a%? #. #. #. 1. O'i,i%s :efore he a00eared on the cine-atic screen, =e-onade 7oe Bread: \Moe], not \D4ou]C had one throu h se5eral sta es. He was ori inally -ade to order for a 0o0ular -a a4ine AhoD na nedM!i as a 0arody of di-e no5els. :ut as the author hi-self ad-itted, he di ressed fro- this intention and created a satire of western e0ics instead./5 +s a youn -an, :rde;6a saw Auite a nu-ber of western fil-s and clai-ed that those had -uch reater influence on hi- than the Icowboy talesJ which he 6new only -ar inally. // +fter beco-in a literary fi ure at the be innin of the 12'!*s, 7oe was 0layed also in theatres. (he success he brou ht in different -edia con5inced :rde;6a to -a6e a fil- about =e-onade 7oe. (hus, in 12/', the s0ectators could see historically first C4ech feature western fil- in the cine-as.

#. #. #. #. Pa'o(" as a Ge%'e :rde;6a said that Limondov Joe was a 0arody of +-erican western e0ics. (hese were the narrati5e westerns with ca0ital1intensi5e 0roduction shot at the be innin of the olden era of westerns, e. . Sta)ecoach. (he western e0ics should be distin uished fro- chea0, low Auality series of so1called Ihorse o0erasJ. +0art fro- western e0ics, :rde;6a directed his hu-orous critiAue to early western fil-s starrin sin in cowboys such as (o- )iD or Gene +utry.

/5 //

Co-0. :rde;6a 12<<, 00. /1<. Co-0. Ebid., 0. <.

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Oeference to this early western 0eriod is e5ident in the 5isual style of the -o5ie and in the illustration of the characters. :ut to understand the role of 0arody in Limondov Joe we ha5e to in5esti ate the -atter further. En the followin Auote :rde;6a describes his 0lans durin wor6 on the scri0t to the fil-: IE was loo6in forward that E will brea6 the rules and stereoty0es of enre Bthat is 0arody of westernsC, and will write so-ethin Iin betweenJ, that is co-bination of hu-orous, al-ost absurd fiction, with -any situations and characters who did really eDist in the history of the #ild #est.J/7 :rde;6a*s 5ision 0oses a Auestion: is Limondov Joe a 0arody or is it -ore a fictional co-edy> (o clarify this a-bi uity it will be hel0ful to -a6e an eDcursion into the theoretical field of 0arody. Parody is defined as a Is0ecial sub1 enre of co-edyJ./< Ets hu-or is based on the fact that it distorts con5entions of enre. Parody actually eD0loits the 0arodied and co0ies the storyline and the con5entions of enre or heroes in a co-ic way./2 +ccordin to these definitions Limondov Joe should be cate ori4ed as a 0arody. +s E will de-onstrate in the structural analysis of the -o5ie, it uses all the abo5e -entioned features of 0arody enre. $n the other hand, Limondov Joe de0icts the characters and es0ecially the -ise1en1scPne in such a realistic and serious way that it so-eti-es e5o6es an i-a e of an ori inal western fil-. En co-bination with the usa e of uni5ersal co-ic a s, the -o5ie could be understood at this le5el as a fictional co-edy. En this sense, it can be said that :rde;6a and =i0s6Y created a enerically ori inal fil- in which each s0ectator can find their inter0retation. (o understand the nature of 0arody it is hel0ful to 5iew this 0heno-enon in the 0ost-odern conteDt. =inda Hutcheon, a Canadian fe-inist writer, clai-s that a 0arody is an inherently 0ost-odern feature.7! ,he clai-s that 0ost-odernis- and 0arody share a co--on
/7 /<

:rde;6a 12<<, 0. 11. Pt@;e6, =ubo^ Bed.C. Panorma Nes9ho /i!mu. Oubico, $lo-ouc 2!!!, 0. 2/7. /2 Co-0. Ebid. 7! &ellu a, Dino. _)odules on Hutcheon: $n Parody._ "ntroductory (uide to Critica! Theory. 2< ?o5 2!!" htt0:NNwww.cla.0urdue.eduNacade-icNen lNtheoryN0ost-odernis-N-odulesNhutcheon0arody.ht-l. 1' 7un 2!!/.

'2

as0ect IreconteDtualisationJ.71 (he ter- defines a -ethod which enables to see old thin s in a new 0ers0ecti5e or conteDt. $b5iously, this is also what 0arody does: it ta6es an established enre, usually in the 0hase of eDhaustion, and 0uts it in the conteDt of -odern a e. IOeconteDtualisationJ leads to 0aradoDical situations which for- the basis of 0arody. +n eDa-0le of such an absurd lin6a e is =e-onade 7oe, a cowboy who drin6s and sells le-onade. +nother case of IreconteDtualistationJ in Limondov Joe is the usa e of ad5ertise-ents in the -ilieu of the #ild #est. +ccordin to Pytl96, I0arody, as a for- of co-ic illustration has ot two 0arts: the i-itation of the ori inal, which has to be thorou h and a0t. (he other side is the la-0oonin and si nificant shift to co-ic reali4ationJ.72 (he 5isual as0ect of Limondov Joe was ri orously wor6ed out with the loyalty to classical westerns and is a -erit of :rde;6a*s eDcellent 6nowled e of the history of the #ild #est. He was constantly 0resent on the scene durin the shootin and controlled e5erythin fro- hats to uns and other 0ro0s. (he -o5ie contains all 6ey features of western as E analy4ed the- in the introductory 0art of this thesis: the stereoty0es, the 0lot, the landsca0e and other clichHs connected with the de0iction of the #ild #est in fil-s. (here is a ty0ical western town with the -ain street where you can find a saloon, a ban6 or a barber. (he -ain street is a settin for a ban6 robbery or for settlin -en*s dis0utes in duels. En the saloon, wild fi hts are an e5eryday -atterL chairs are bro6en, shots fired, whis6ey 0ours in liters and 0rostitutes are a5ailable. ?earby the town, a ce-etery and Dead )an*s .alley are situated. (he characters tou h white -acho uys ride horses, wear leatherstoc6in s, hats and 0ull the tri ers of their ,-ith [ #essons7". (he authentic western loo6 is also underlined by western -usic. (he Auality of the 5isual side of Limondov Joe

71

&ellu a. htt0:NNwww.cla.0urdue.eduNacade-icNen lNtheoryN0ost-odernis-N-odulesNhutcheon0arody.ht-l. 1' 7un 2!!/. 72 Pytl96, Oad6o. -enomeno!o)ie humoru. 3-0orius, P89bra- 2!!!, 0. /5. 7" (he C4ech actor %arel &iala B=e-onade 7oeC tells a story in the docu-entary on C4ech 0arodies Bsee TvOe Nes9ho /i!muC how the ,-ith and #esson un was borrowed fro- a -useu- for the ta6in of Limondov Joe and was re0aired es0ecially for this o00ortunity.

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was noticed also by +-erican critics at fil- festi5al in ,an &rancisco where the -o5ie was shown.7' +ll the necessary ele-ents of the enre are 0resent, so the first condition of Pytl96*s definition the i-itation of the ori inal is successfully -et. Eronically, the i-itation of the western enre is -aybe too 0erfect and it is 0ossible that this fact 0re5ented so-e s0ectators to reali4e the ele-ent of 0arody in the fil-. :efore E will discuss the second 0art of Pytl96*s definition E want to de-onstrate so-e 0arallels connected with the -o5ie*s 0lot.

#. #. #. -. Na''ati3e St'$)t$'e (he narrati5e in Limondov Joe i-itates the 0lot of western e0ics and is a00licable to #ri ht*s classical 0lot. Ef we co-0are the de5elo0-ent of the 0lot to #ri ht*s siDteen indi5idual 0hases Bsee abo5eC, we find -any analo ies. =e-onade 7oe arri5es in ,tetson City B1C where he does not 6now anybody. He is called by the towns0eo0le Ia stran erJ B2C. His s0ecial ability is his te-0erance, a truly eDce0tional 5irtue a-on the alcohol1based society in the #ild #est. 7oe is fa-ous for drin6in only %olalo6a B"C. #hen the 0eo0le see how 7oe co0es with the local bandits, they ad-ire hi- and want to be li6e hi-L he beco-es a hero B'C. ?e5ertheless, he is still called Ithe stran erJ and does not settle in the town B5C. 7oe*s 0ro-otion of %olalo6a causes that the (ri er #his6ey ,aloon loses all its custo-ers. + tension de5elo0s between the :ad-an, who runs the saloon, and the townsfol6 B/C. (he inhabitants are 0ortrayed as a wea6 -ass without their own o0inionL they drin6 what is in fashion at the -o-ent. (hus the 5illains brin the- bac6 easily to their saloon B7C and the lorification of alcohol, a-blin and seD be ins anew. (he stron relationshi0 between 7oe and Hor@c is later confir-ed by their co--on 6inshi0 B<C. (he renewed re5elry has a har-ful effect on the society B2C. +t first, 7oe does not want to inter5ene and lea5es the town B1!C. :ut when e5il Hor@c 6idna0s 7oe*s fiancHe #innifred B11C 7oe ta6es action i--ediately B12C.
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:rde;6a 12<<, 0. 2!/.

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+fter o5erco-in a few obstacles he -ana es to defeat the rascals B1"C and sa5e the town fro- alcoholis- B1'C. &inally, 7oe -arries #innifred, loses his indi5idualistic status B15C and beco-es an ordinary citi4en B1/C. :y usin the -ost co--on narrati5e 0atter, the authors indicated their awareness and disa00ro5al of the sche-atis- which can be traced re0eatedly in the -aGority of western fil-s. (his clichH was already satiri4ed in rie prrie.

#. #. #. 0. ;oe& Ho'@)& Wi%%i+'e(& To'%a(o Lo$ a%( Ot e' Ste'eot"6es Limondov Joe contains all the stereoty0es of classical western fil- as E defined the- in the introductory 0art of this thesis. (here is, ne5ertheless, one i-0ortant difference: the Aualities of the characters in Limondov Joe are hy0erbolic and si-0lifyin . En order to create a 0arody, the authors 0ortrayed the stereoty0es as IwhiteJ too 0erfect, di5ine fi ures or as Iblac6J de5ilish cri-inals. (his si-0lification is 0roGected also in the colors of the costu-es of these characters. En other words the structural dichoto-y oodNbad is eDa erated in Limondov Joe to eDtre-es. (he eDa-0les E ha5e Gust -entioned are the second as0ect of Pytl96*s definition of 0arody the sub5ersion of ori inal enre*s for- and shift to co-ic reali4ation. En this sense, caricature and eDa eration are the crucial -ethods of 0arody and rotesAue. +s (ho-son 0uts it I$ne lau hs at a caricature because a reco ni4able or ty0ical 0erson or characteristics is distorted Bor styli4edC in a ridiculous and a-usin way that is a 0eculiar feature is eDa erated to the 0oint of abnor-ality.J75 E will show how this 0rinci0le wor6s when a00lied on concrete characters fro- Limondov Joe. (he -ost ob5iously 0arodied western clichH of the -o5ie is its hero =e-onade 7oe B%arel &ialaC. +s his na-e 0ro-0ts he is an ad5ocate of le-onade. (his is one of his absurd Aualities a cowboy who drin6s only le-onade. ?eDt 0aradoDical -o-ent co-es when the s0ectator finds out that he is also a sales-an of this 0roduct. (he idea of a #esterner as a lonely
75

(ho-son, Phili0. The (rotesEue. CoD [ #y-an =td., &a6eha- 1272, 0. "<.

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-elancholic fi ure wanderin throu h the desert is la-0ooned in Limondov Joe when 7oe calls hi-self eD0ressi5ely Ia lonely wolfJ and Ia5en er of inGusticeJ. 7oe re-inds us of the first cowboys, such as (o- )iD or Gene +utry, or e5en cartoons li6e =uc6y =u6e. 7ust li6e the hero in rie prrie, 7oe is dressed in an ironed white outfit and rides a white horse. He is 5ery touchy about the neatness of his clothes. He 6ee0s it clean throu hout the whole -o5ie. #hen he falls throu h the chi-ney into =ou*s a0art-ent, he cleans hi-self -iraculously in few seconds. (he bi est hu-iliation for 7oe is the final torturin when the -e-bers of Gri-0o*s -ob 0our 5arious liAuids o5er hi-, thus sullyin his s0otless white dress. ,uch an obsession with tidiness is of course unthin6able in the real life of rou h -en in the #ild #est and -a6es 7oe a ridiculous fi ure. Concernin the 0hysical a00earance, 7oe is a handso-e, blond, neatly sha5ed fellow with beha5ior of a real entle-an. ?e5ertheless, his 0oliteness see-s absurd in certain conteDts, e. . durin the 0ursuin of Hor@c he co-es to =ou*s roo- throu h the chi-ney and the first thin he does is that he a0olo i4es that he did not 6noc6. ?o -atter what situation 7oe ets into, he does not for et to reet e5erybody first. #hen the torturers threaten 7oe with throwin hi- into a well, 7oe as6s the- to label the well afterwards as 0olluted and dan erous for health. ,i-0ly, 7oe is the e-bodi-ent of +utry*s I(en Co--and-entsJ, the -oral code of early cowboys. 7oe*s entrHe on the scene is fabulous: he a00ears in the door of (ri er #his6ey ,aloon and is fully enli htened by the sun fro- the bac6. +nother shot lorifyin 7oe*s -a nificence is used when he is wal6in alon ,tetson*s -ain street and the earth is sha6in under hi-. (hose saint1li6e i-a es clearly dub 7oe a hero nu-ber one. #hen the ban6 is robbed, 7oe hides, to ether with #innifred and her father 34ra Good-an, behind a water tan6. &ro- there he co--ents on the 0oor ability of the shooters who are fi htin the cri-inals Butterances such as: I?o bodies, bu-s`JC and in between his s0eech he shoots all four robbers. 7oe*s

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eDtraordinary shootin 0erfor-ance is eDa erated to such de ree that he e5en stri6es a fly in the air. 7oe*s 0ri-ary 0osition a-on the un-en is Gustified by the consu-0tion of %olalo6a. En this conteDt all 7oe*s heroic deeds can be understood as a 6ind of 0ro-otion of this 0roduct. En other scenes, 7oe is i5en su0ernatural Aualities: he Gu-0s off a hi h cliff and IfliesJ down in a ,u0er-an1li6e style for unrealistically lon ti-e. #ith such a hy0erbolic i-a e of the cowboy :rde;6a wanted to la-0oon and critici4e the ideali4ed de0iction of the #esterner in the early westerns. (he cowboys were then often -ytholo i4ed and 0resented as an incarnation of ood. (his trend be an to chan e only in the 12/!*s durin the enre*s re5isionist 0hase when the hero acAuired -ore realistic si ns. 7oe*s reatest ad-irers are fe-ale characters #innifred B$l a ,chobero5@C and (ornado =ou B%5ata &ialo5@C. (he two are co-0lete o00osites #innie is the e-bodi-ent of 5irtue and =ou the sinful coAuette. =o ically, 7oe chooses #innifred as his future wife. ,he is a confident te-0erance fi hter, a -e-ber of +ri4ona Oe5i5al, so she fits to 7oe*s abstinence 0erfectly. =i6e 7oe, #innifred is associated with colors of the ood side she is dressed in white and has ot blond hair. ,he is clearly the Ischool-ar-J stereoty0e. 3Dce0t of bein a 0ious, naU5e irl, she is also 0ortrayed in the -o5ie as silly and childish. (his was 0robably done by the author to satiri4e the often ro-antici4ed stereoty0e of a Irancher*s dau hterJ. &or eDa-0le durin her te-0erance s0eech in (ri er #his6ey ,aloon, #innifred for ets the words and is unable to i-0ro5ise. Her father 0ro-0ts the teDt to her. (hey de0end on each other and usually occur at the scene to ether. #innifred*s neDt childish as0ect is that al-ost e5ery trifle -a6es her cry. (his Auality of hers is eDa erated and la-0ooned in the scene with Hor@c dressed u0 for a blind 0iano tuner. Durin his -o5in story #innifred*s hand6erchief is literally soa6ed with tears and conseAuently she has to wrin it. (ornado =ou is a caricature of all the western*s saloon irls. Dar6 fe--e fatale, wearin fancy blac6 dresses, the authors 0lace =ou on the rotten side, to ether with the :ad-ans

'7

fa-ily. (owards the end of the -o5ie, as =ou redee-s, she is dressed in white clothes. =ou ironically calls herself Ian artistJ, i norin the fact that sin in for drun6en un-en in a saloon can hardly be considered as a for- of art. )ost of the 0rostitutes or sin ers on the &rontier wanted to li5e better li5es and the character of (ornado =ou is no eDce0tion. (hrou hout the -o5ie she 6ee0s re0eatin one sentence: IE want to be different, better.J (his wish is re0eated o5er and o5er until it beco-es an e-0ty 0hrase. En this sense she could be associated with the redee-ed 0rostitute Dallas fro- Sta)ecoach. (ornado =ou lin6s her inner transfor-ation to ether with an ideal -an a cha-0ion for who- she waits. &inally, he co-es, but to =ou*s distress he chooses #innie for his wife. Et is, of course, =e-onade 7oe. Des0ite the unfulfilled lo5e, =ou radually beco-es IbetterJ, her transfor-ation cul-inatin in a decision to o0en her own brothel where she would offer %olalo6a le-onade. Ho0efully, the audience reali4ed the hu-orous tone behind =ou*s InobleJ achie5e-ent. (here is a nu-erous rou0 of ne ati5e characters in Limondov Joe but one of the- is clearly outstandin Hor@c :ad-an alias Ho o &o o B)ilo^ %o0ec6YC. He is an orthodoD 5illain, a -aster of dis uise, a shar0er. Hor@c 0uts on blac6 clothes and wears a -oustache, a ty0ical accessory of all cri-inals. Ef 7oe*s character was is eDa erated to 0ositi5e su0erlati5es, Hor@c*s Aualities are the worst fro- worse. He is wanted in four states a conseAuence of his rich cri-inal 0ast. #hen Hor@c and his brother Dou re-inisce about I ood old daysJ we et to 6now that they robbed ban6s, trains and sta ecoaches, -urdered etc. ?ow they are in5ol5ed in business with whis6ey. Hor@c*s cunnin nature is la-0ooned in his dis uises. Durin the fil- he chan es se5eral costu-es but to the s0ectator he is always easily reco ni4able. ?onetheless the other characters of the -o5ie are always fooled by Hor@c*s -asAuerade and e5en his own brother Dou :ad-an or =e-onade 7oe do not unco5er his true identity. (his fact increases Hor@c*s credit as a 0rofessional cri-inal. (ere4a :rde;6o5@, C4ech fil- critic and dau hter of 7i89 :rde;6a, reco ni4ed in Hor@c 7ohn

'<

Carradine who 0layed the a-bler Hatfield in Sta)ecoach. Endeed, these two characters share si-ilar features they wear a -oustache, they are char-in and 0lay cards. +nother i-0ortant ne ati5e character is Gri-0o B7osef Hlino-a4C. Et is one of the best wor6ed out caricatures of the -o5ie. En contrast to Hor@c*s corru0t creati5ity and intelli ence, Gri-0o*s si nificance lies -ainly in his 0hysical stren th. His hy0erbolic rou hness ridicules the dullness of all the tou h uys of western e0ics. Enstead of eatin -eat as a real un-an, Gri-0o eats a 5iolin, a stic6 or e5en a lass. +fter eatin the lass, he cleans his -outh with a hand6erchief, an absurd esture for a bandit. (he eDcellent actin of 7osef Hlino-a4 in the role of Gri-0o should be 0ointed out. His -i-ics and body lan ua e are re-ar6able and co-0lete the o5erall co-ic effect of the character. +n i-0ortant feature of western fil-s in connection with Limondov Joe has not been considered yet the -inorities. En this sense, Limondov Joe i-itates other western classics. (his -eans that the -o5ie is focused al-ost entirely on white race. (he other races )eDicans, the :lac6s or the Endians are dealt with only -ar inally. (he two -e-bers of Gri-0o*s bunch are )eDicans Pancho %id and %oGot %id. +s their na-es indicate, they are closely connected with each other and always a00ear on the scene in 0air. #ith this i-a e, the authors -i ht ha5e critici4ed the usual de0iction of )eDicans in westerns which ne lected their indi5iduality and rather dis0layed the- as an anony-ous -ass. (he only Iblac6J character in Limondov Joe is Horac*s dis uise of blac6 tru-0et 0layer which is de0icted stereoty0ically: his face is co5ered with blac6 crea- and has eDa eratedly hu e white li0s. (he blac6 -usician rese-bles the ,a-bo stereoty0eL his beha5ior is as ridiculous as ,a-bo*s -o5in fast fro- one 0lace of the roo- to another and 0erfor-in a funny dance.7/ (here is also one Endian in Limondov Joe, althou h a 5ery incons0icuous one. He is hidden behind

7/

+s Pos09^il eD0lains the ,a-bo stereoty0e has its roots in the so1called 7i- Crow dance. (his dance was 0erfor-ed by a white co-edian with face co5ered by blac6 crea- as a 0arody of +fro1+-erican dances. BCo-0. Pos09^il, (o-@^. Sam%o tu DiQ ne%yd!RS o%raP A/roameriNanT v americ9m /i!mu ;7+ sto!etR+ ?adace Fni5ersitas )asary6iana, :rno 2!!", 0. 17C

'2

the screen in Hor@c*s roo- to ether with other -usicians and 0layin dru-. He is standin in a static 0osture and loo6s -ore li6e a wooden statue than a li5in bein . ,o-e scenes in Limondov Joe refer directly to concrete western classics. &or eDa-0le Dou :ad-an, leanin in a chair on the 0orch in front of the ,aloon is analo ous to si-ilar scene with #yat 3ar0 fro- My :ar!in) C!ementine. +nother reference to the sa-e -o5ie is 7oe*s 5isit at the barber, a ain i-itatin 3ar0 at the hairdresser*s. +0art fro- the abo5e -entioned stereoty0es, there are other -inor characters and -ore eneral clichHs 0arodied. &or eDa-0le the i-0ression of (ornado =ou*s 0erfor-ance -a6es the un-en in the saloon cry. :y connectin two unusual cate ories, un-en and cry, the director causes an absurd effect which results in a-use-ent. (he way the characters reet each other can be seen as bein abnor-al in the conteDt of western as well. (he -urderers are addressed I un-anJ, =e-onade 7oe is called Ia stran erJ and (ornado =ou Ia ladyJ. 35en -ore hu-orous is when 7oe insults Gri-0o and uses followin abuses: Istin6y coyoteJ, Is-elly s6un6J or Is-elly o0ossu-J. (he 5ocabulary of an ordinary unfi hter fro+-erican western fil- is usually -uch harsher. (he na-es in Limondov Joe re5eal a tone of 0layful 0arody as well. (o -a6e it easier for the s0ectator to identify the 0ositi5e fi ures and differentiate the- fro- the 5illains, the authors di5ided the na-es of the characters into two fa-ily clans, accordin to their 0ersonal con5iction. (hus we ha5e two fa-ilies the Good-ans and the :ad-ans. (he 5irtuous te-0erance fi hters, #innifred and her father 34ra, belon to the first fa-ily, whereas the owners of (ri er #his6ey ,aloon Dou and Hor@c and (ornado =ou are -e-bers of the :ad-ans clan. (he disclosure in the end of the -o5ie is sur0risin : =e-onade 7oe, Hor@c, Dou and =ou find out that they are all -e-bers of one fa-ily which -eans that 7oe is associated with the :ad-ans as well. (he clear distinction of the -o5ie*s characters into the

5!

two fa-ilies with their a00ro0riate na-es, critici4es the Iblac6 and whiteJ de0iction of fi ures in classical western fil-s. (here are also other a-usin na-es in Limondov Joe referrin to western clichHs. (he town*s na-e is ,tetson City, alludin to the na-e of the fa-ous cowboy hat. +nother reference to the #ild #est is e. . the Dead )an*s .alley, funny 5ersion of the real Dead .alley in the ,outh #est of the Fnited ,tates. Perha0s the -ost ob5ious of all 0arodied na-es in the -o5ie is the brand of 7oe*s fa5orite le-onade %olalo6a. $ri inally, the le-onade should be called %ola6o6a.77 (hen the 0arodied 0roduct would be e5en clearer. (he la-0ooned be5era e is, of course, the fa-ous +-erican le-onade Coca1Cola.

#. #. #. 0. T e St"le (he encyclo0edia of C4ech fil- infor-s that durin the reali4ation of the -ise1en1scPne of Limondov Joe, =i0s6Y was ins0ired by silent rotesAues.7< (his ins0iration is clearly 5isible in the fil-, since it is shot in blac6 and white colors and uses so-e of the -ethods ty0ical for a rotesAue. =i0s6Y is either acceleratin or deceleratin the shot, accordin to the character of the scene and the effect he wants to cause. +cceleration is used -ainly in the unfi ht scenes, for eDa-0le in (ri er #his6ey ,aloon when 7oe shoots down Gri-0o*s trousers and Gri-0o scoots u0stairs to his roo-. (he fi ht scenes in the saloon, such as the fa-ous one at the be innin of the fil-, e5o6e the destruction fi hts in du-b rotesAue fil-s. $n the other hand, deceleration can be seen when #innifred sin s the son I+ri4onaJ in God :less %olalo6a ,aloon. (he slow shot i5es the director ti-e to contrast #innifred*s sin in with the shots fro- the saloon fi hts. Photo ra0hy in Limondov Joe often uses close1u0s. &or eDa-0le the funny detailed shot of 7oe*s -outh when he is sin in or the close1u0 of #innifred*s eyes which ca0tures well
77 7<

Co-0. :rde;6a 12<<, 0. '. Co-0. Pt@;e6 2!!!, 0. 2<7.

51

her -isery. Et is a re-ar6able coincidence, that ,er io =eone*s -or a -ist/u! o/ :o!!ars which was released in the sa-e year as Limondov Joe contains the sa-e close1u0 shots. +nother interestin ca-era techniAue in the -o5ie is the double eD0osure. Et is used in the scene when 7oe rides throu h &ata-or ana .alley. (he bac6 round chan es alon the way and we can see i-a es of the Pyra-ids, Pra ue castle or #innifred callin for 7oe*s hel0. (he -ost stri6in techniAue which =i0s6Y introduced in Limondov Joe is the tintin . :y usin filters of different colors he distin uished 5arious settin s and co-0leted their at-os0here. Critic 7an :ernard co--ents on the tintin in Limondov Joe: I+s far as E 6now, it was the first 0iece, in the eD0eri-ental era of +ntonioni and .ard with color fil-, which bra5ely re5i5ed the old filter techniAue.J72 (hree colors are used in the fil- yellow, red and blue. (he choice of colors and its association with 0articular scenes is adeAuate to traditional color sy-bolis-: IEn eneral, cool colors Bblue, reen, 5ioletC tend to su tranAuility, aloofness, and serenityb#ar- colors Bred, yellow, oran eC su est est

a ressi5eness, 5iolence and sti-ulationJ.<! (he yellow filter enli htens the outdoor scenes ,tetson*s -ain street, Dead )an*s .alley, the ce-etery but is also used for the interior of the (ri er #his6ey ,aloon. +s the abo5e Auote 0ro-0ts this color illustrates the 5iolent character of the saloon. (he other i-0ortant function of the yellow filter was certainly to i-itate the scorchin heat of the #ild #est which would be otherwise hard to e5o6e in the te-0erate cli-ate C4echoslo5a6ia. (he red color acco-0anies the 0ictures which are so-ehow considered erotic. (hese are the sti-ulatin scenes showin (ornado =ou*s 0erfor-ances or the cancan dance of the 0rostitutes. (he blue filter is used only in the settin of God :less %olalo6a ,aloon. En a ree-ent with Gianetti*s color definition, the scenes frothis non1alcoholic saloon arouse church1li6e at-os0here. (he uests sit cal-ly at the tablesL the Auiet a-biance is do-inated by the or an -usic.
72 <!

:rde;6a 122<, 0. 21'. Gianetti, =ouis. Gnderstandin) Movies. Prentice Hall, ?ew 7ersey 2!!2, 0. 25.

52

Limondov Joe also contains -any ani-ated 0arts. (his fact -ay be eD0lained by :rde;6a*s for-er coo0eration with C4ech -aster of cartoon, 7i89 (rn6a. (rn6a also collaborated on Limondov Joe. &or eDa-0le, Hor@c co--unicates with his brother Dou throu h s-o6in si nals. Durin a card a-e, Dou re5eals to Hor@c the other 0layer*s cards by Idrawin J their sy-bols with s-o6e. (he neDt cartoon de5ice is the ani-ated dotted line, Goinin Hor@c*s and 7oe*s bullets durin the unfi ht. =i0s6Y so-eti-es co-bines the feature fil- with cartoons, or -ore 0recisely, with eDcer0ts fro- the di-e no5els or news0a0ers. (his style is used e. . when Dou and Hor@c re-inisce about their co--on cri-inal 0ast. Limondov Joe would not beco-e such a cult without its audio as0ect. (he -usic is a crucial ele-ent of the fil- and Limondov Joe e5en loo6s in certain 0arts li6e a -usical. (he son IHor@c*s &uneral :luesJ is acco-0anied by a cabaret show which see-s as if cut out fro- so-e -usical. (he nu-ber one hit of the -o5ie is I,ou &@r (u 7Z +G )eGJ, which a00eared first in rie prrie. En this son , the 3n lish lan ua e of western e0ics beca-e a tar et of author*s hu-orous critiAue. +s the title of the son 0ro-0ts, the lyrics are in 3n lish Band 0artly in ,0anishC but it is a Is0ecialJ 6ind of 3n lish. Durin the first listenin the s0ectator -ay not reali4e this Idiscre0ancyJ. :ut after hearin it a ain they will find out that the sentences do not ha5e any -eanin . (hey use 3n lish words but these are shuffled at rando-. (o illustrate this lin uistic anecdote, E will Auote a few lines fro- the abo5e -entioned son : USou /r tu DV aD meD /or tu nD mR tu seD mu Na Ni ta mia 9ra to ver on maD deD seD aD (ud %D )ud %D+I=4 Et is not that the authors of 7oe did not s0ea6 3n lish 5ery wellL they rather wanted Limondov Joe to be a close i-itation of the ori inal +-erican westerns so they used the
<1

:rde;6a 12<<, 0. 172.

5"

traditional lan ua e of western fil-s. (o add the hu-orous as0ect to the son , they 0ut the words in wron order so they are -eanin less. #hen Limondov Joe was released in the 12/!*s, not -any C4ech 0eo0le s0o6e 3n lish. Eronically, it is 0ossible that they were not able to notice this le5el of 0arody within the -o5ie. &inally, E would li6e to co--ent on the actin in Limondov Joe. +ccordin to C4ech historian and critic (aussi , Iwithout ood actors, there would not be a ood 0arody. (hey also ha5e to 6now the for- which is 0arodied.J<2 )ost of the actors in Limondov Joe belon in the cate ory of C4ech elite actors. ?a-es such as )ilo^ %o0ec6Y, %5ata &ialo5@ or $l a ,chobero5@ are associated with ood Auality fil-s. En 0arodies in eneral and in case of Limondov Joe as well, the 6ey ele-ent of actor*s 0erfor-ance rounds in the sincerity with which he or she 0lays the essentially co-ic character. En the words of a critic, Ithe co-ic actor has ot a s0ecial ift, which distin uishes hi- fro- the tra ic actor, and this is the ability to show the hy0erbole with all details of life, with dead 0an hu-or, 0roDi-ity and at the sa-e ti-e with -aDi-al sincerity.J<" #atchin the character in a funny situation with a deadly serious eD0ression in his or her face -a6es the s0ectator lau h. %arel &iala as 7oe de-onstrated that he understands the co-ic nature of his role 5ery well. Cowboys are tou h uys and had to e5o6e a serious and loyal i-0ression. + sentence sincerely uttered by 7oe I+re the ni hts cold these days>J BIMes.JC ,o E should better ta6e war- underwear,J e5o6es s-ile and a-use-ent.

#. #. #. 2. C'itiA$e o+ Ca6italis8 )any critics ha5e noticed that Limondov Joe, eDce0t of bein a 0arody of western clichHs has also another le5el within the story. +ccordin to Da5id +ustin, Ithere is also an odd anti1 ca0italist subteDt.J<' :y odd, +ustin does not -ean that the conce0t itself is odd but rather that
<2 <"

Ebid., 0. 17. :o;e6, 7arosla5. H 3omedii. $rbis, Praha 12/", 0. 7/. <' +ustin, Da5id. Lemonade Joe< or The #orse Hpera* Surrea!ist CPech $estern . Cine-a ,tri6es :ac6, 2!!5.

5'

it is difficult to say fro- the -o5ie, whether the director is bein serious or not.<5 :efore E will su est 0ossible answer to +ustin*s Auestion E will analy4e the anti1ca0italist readin of the

story. :y critici4in ca0italis- and its ele-ents in the 12/!*s, :rde;6a has for one his ti-e. Limondov Joe de0icts the society as wea6, easily influenced by the indi5idual 0roduct*s co-0etitors. En this sense, the -o5ie is still hi hly rele5ant e5en today. #hen we first see =e-onade 7oe in (ri er #his6ey ,aloon, he is 0ersuadin the drun6en un-en about the har-ful effects of alcohol and see-s to be Gust another +ri4ona Oe5i5al -e-ber. =ater, at the ce-etery, #innifred finds out fro- 7oe*s diary that he is a dealer of %olalo6a le-onade. Pleased by this fact, she is interro atin 7oe about his 0ercenta e frothe 0rofit and conseAuently a rees on en a e-ent. En IreturnJ #innie as6s 7oe for s-all 0ercenta e share. (his -ar6et beha5ior is also characteristic for 7oe. #hen (ornado =ou sa5es his life, he as6s her what she wants in return. #hen she re0lies that she did it for the sa6e of lo5e, 7oe is 5ery disturbed by her Inon1co--ercialJ esture. +lthou h 7oe e5o6es a 0ositi5e i-0ression of hero, his -ain interest see-s to be %olalo6a and her sale. +s E eD0lained, the na-e %olalo6a is a word rebus of the brand Coca1Cola. 7oe identifies %olalo6a with IlawJ. (a6in this idea further, this -eans that Coca1Cola rules the world, in other words that our world is o5erned by lobal co-0anies, such as Coca1Cola. Oachel ,anders, a fil- critic, co--ents accurately on the followin state-ent fro- the fil-: I#hat*s ood for %olalo6a is ood for the law,J declares one character, accurately 0redictin the relationshi0 between o5ern-ent and cor0orations in early 21st century +-erica.</ &ro- certain 0ers0ecti5e Limondov Joe can be 5iewed as an alle ory of the co-0etiti5e fi ht between whis6ey and %olalo6a. (he ad5ocates of whis6ey, Dou and Hor@c :ad-an
htt0:NNwww.cine-astri6esbac6.co-NindeD.0h0>0c17. 1< 7un 2!!/. <5 Co-0. +ustin. htt0:NNwww.cine-astri6esbac6.co-NindeD.0h0>0c17. 1< 7un 2!!/.
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,anders, Oachel. Lemonade Joe. +0ollo Guide. Entelli ent Oe5iews $nline. htt0:NNa0ollo uide.co-N-o5Qfullre5.as0>CEDc'17![,0ecificc'2"1 . 12 7un 2!!/.

55

co-0ete with =e-onade 7oe, the sales re0resentati5e of %olalo6a. (he ordinary 0eo0le fro,tetson City are dra ed into this co--ercial fi ht. (hey are 0ortrayed in the -o5ie as wea6 and 5ery easily influenced: they are consu-in whis6ey in liters but when 7oe co-es and 0ro-otes the ood effects of %olalo6a e5erybody switches the brand and -o5es to %olalo6a ,aloon. (hen the fa-ous outlaw Hor@c :ad-an arri5es and 5isits the %olalo6a saloon. He orders a bottle of le-onade and after ha5in a si0 he cries out: IF h`J (he sheriff reacts Auic6ly and as6s hi-: IDid you say Ku h* to %olalo6a le-onade, stran er>J +fter Hor@c confir-s it, the ,heriff calls hi- Ian anarchistJ. :rde;6a used a ain a hy0erbolic de5ice to hi hli ht the critici4ed nature of ca0italis- unifor-ityL who does not follow the fashion is an o00onent of ca0italis-, an anarchist. ?e5ertheless, Hor@c*s cri-inal fa-e and charenchants the consu-ers of %olalo6a so -uch that they return to #his6ey, a drin6 for Ireal -enJ. (he co-0etiti5e fi ht is su00orted by the traditional ca0italist Iwea0onJ ad5ertise-ent. (his ta6es se5eral for-s in the -o5ie. &irstly, 7oe hi-self is a Ili5in J ad5ertise-ent for %olalo6a le-onade. :ecause he drin6s %olalo6a, he is the best shooter in the town and the wo-en lie at his feet. )oreo5er, 7oe has al-ost fetishistic relation to this soft drin6L after he drin6s fro- the bottle of %olalo6a, he 6isses it. Co--odity fetishis- is one of the crucial features of ca0italis-. ,econdly, so-e of the dialo ues in Limondov Joe sound li6e co--ercial slo ans, e. . after the duel in the -ain street in which both -en die, the doctor states death and eDclai-s: I#hen the consu-er of %olalo6a le-onade shoots, it is not necessary to call a doctor.J +uthors* intention was to satiri4e the idea of ad5ertise-ent as such and to su est that

nowadays you can 0ro-ote al-ost any 6ind of 0roduct. (his idea is e5ident when Hor@c ad5ertises whis6ey: I+lcohol in little 0otion, is not har-ful in any 6ind of a-ount.J

5/

(he neDt for- of 0ro-otion used in the fil- is the 0rinted ad5ertise-ent. $ne -ornin ,tetson is co5ered with %olalo6a 0osters. (hese show two +-erican 0residents, Geor e #ashin ton and +braha- =incoln, leadin an absurd dialo ue: IEf E were ali5e E would drin6 %olalo6a,J says #ashin ton. I)e too,J re0lies =incoln. (his 0oster is an a-usin 0arody of +-erican 0atriotis- which is a 0o0ular de5ice in +-erican co--ercials. + careful s0ectator will notice that there are 0ictures with notices han in in different 0laces durin the fil-. &or eDa-0le in (ornado =ou*s roo- there is a ca0italist si n: IHard wor6, s0ells success.J (aussi describes the a-use-ent elicited by this Puritan note durin the 0roGection of Limondov Joe in the Fnited ,tates.<7 +nother si n, 0ro-otin consu-0tion, is situated in the %olalo6a ,aloon: I:etter buy, than borrow.J (he satirical lorification of ca0italis- cul-inates at the end of the fil-. En the final scene, al-ost as cut out fro- a soa0 o0era, the dead characters are re5i5ed B0arody of the freAuent Ii--ortalityJ of heroes in westerns>C and disco5er their co--on 6inshi0. 7oe, =ou, Hor@c and Dou are all -e-bers of the sa-e fa-ily. ?ow a 0roble- arises: there are two brands and only one fa-ily. (his obstacle is sol5ed in a way which is characteristic for current lobal econo-y a fusion is -ade and a new 0roduct is born. (he 0roduct is na-ed accordin ly #his6ola. Ca0italis- is once a ain celebratin its 5ictory or in the words of )r. %olalo6a IE 6new ood was oin to win.J Ca0italis- is satirically considered in the -o5ie as bein 35erybody is ha00y and Hor@c is e5en thin6in about refor-in his life and sto0 bein a 5illain. :ut his father, )r. %olalo6a, assures hi- that their business needs 5illains too. (his is another critical state-ent directed towards the corru0tion of ca0italis-. (he final disco5ery of old and 0etrol su ests the future rowth of ca0italis-. ood.

(o clarify the issue Auestioned by +ustin whether :rde;6a was serious about the anti1 ca0italist -essa e of Limondov Joe E will -a6e an eDcursion into the 0olitical situation in C4echoslo5a6ia in the 12/!*s. +t that ti-e, 3uro0e was di5ided into to alien ca-0s
<7

Limondov Joe. D.D. :onuso5Y -ateri@l. ,lo5o histori6a.

57

ca0italist and socialist as a conseAuence of Cold #ar which resulted fro- the #orld #ar EE. C4echoslo5a6ia belon ed to the Co--unist bloc which was controlled by the ,o5iet Fnion. (he ca0italist ca-0 was lead by the other su0er0ower the Fnited ,tates. :rde;6a was lo ically influenced by the anti1i-0erialist at-os0here of C4echoslo5a6ia of the 12/!*s and 0robably 0roGected his critiAue in Limondov Joe. ,lo5a6 fil- critic, Peter Hord@6, accused :rde;6a of bein 0rinci0ally anti1+-erican and clai-ed that Limondov Joe was a 0eda o ical 0a-0hlet rather than a 0arody.<< $utra ed by his o0inion :rde;6a eDcluded the 0ossibility that Limondov Joe should ser5e as so-e 6ind of an educational ideolo y. (o clarify the -isunderstandin he described the 0eriod when he was wor6in on the screen0lay as a ti-e of chan e towards liberali4ation. (his trend was in 0rocess since the 12/!*s and e5entually lead to Pra ue s0rin in 12/<.<2 :rde;6a than eD0lained why he included the anti1 ca0italist -essa e in his -o5ie: He wanted to eD0ress his disa00ro5al of the co--ercial bac6 round of classical +-erican westerns. Oather than bein interested in the authentic 0ortrayal of the &rontier, the +-erican directors are dri5en by the 0ossibility of 0rofit and create westerns in such way, as to -a6e the- attracti5e for the s0ectators.2! &ollowin Auote should dis0ose +ustin of his doubts: I)y screen0lay was not addressed to the -yth Bthat is -yth of the #estC but rather to the abuse of this -yth. Hy0ocritically -oral un-an, ensurin his 0o0ularity by consu-0tion of le-onade that is an illustration of business with a -yth.J 21 En this conteDt :rde;6a should not be seen as a strict left1win ad5ocate but rather as a critic who was aware of the co--ercially oriented +-erican culture and could 0redict the ine5itable cultural decline of such society.

#. #. #. 5. C'iti)s a%( A!a'(s

<< <2

:rde;6a 12<<, 0. 121. Co-0. Ebid., 0. 122. 2! Co-0. :rde;6a 12<<, 0. 12/. 21 Ebid., 0. 127.

5<

&inally, E would li6e to close the cha0ter about Limondov Joe by infor-in briefly about the acce0tance of the -o5ie in C4echoslo5a6ia and other countries, abo5e all in the ho-eland of the western enre the Fnited ,tates. (he C4echoslo5a6 0re-iere too6 0lace on 1/th $ctober 12/'. En eneral, the fil- war recei5ed 0ositi5ely by critics. ?e5ertheless, they eD0ressed se5eral reser5ations. (he -ost co--on obGection was the i-balance between the first and the second 0art of the -o5ie. ,o-e critics considered the second 0art as Itoo slowJ and Ilen thyJ, loosin the ele-ent of 0arody and concentratin -ore on the anti1ca0italist -otif.22 +n eDa-0le of such critiAue would be followin Auote by $ta6ar .@da: I,o-ewhere in the -iddle, the 0arody chan es into satire by hi hli htin a new u0datin trac6. ?e5ertheless, it is here where Limondov Joe be ins to lose its for-er 0ace.J2" $ther freAuent reser5ation was that the 0ur0ose of the -o5ie, which is to 0arody bad western fil-s, went in 5ain. (his -eans that -ost of the audience lac6ed the necessary 6nowled e of 0arodied enre. (his was not so -uch fault of the author of the -o5ie but rather a conseAuence of the low distribution of +-erican westerns. En this conteDt one critic -ar6ed Limondov Joe as a 0arody Iwithout a funda-entJ.2' (he actress %5ata &ialo5@ B(ornado =ouC describes her eD0erience fro- the cine-a in 3ast Ger-any where she was on a tour to ether with the other actors: after the 0roGection the actors ca-e on the sta e only to see the unsatisfied audience which threw bottles and other obGects at the-. (he 3ast Ger-ans as6ed why did the dead characters in the -o5ie co-e to life a ainL they si-0ly did not understand the -o5ie.25 (he situation was different in +-erica and in western 3uro0ean countries. (here the s0ectators were literally flooded by western fil-s so they could enGoy the entertain-ent based on the s0oof of western clichHs. )oreo5er, :rde;6a and =i0s6Y did a 0ioneer wor6 by

22 2"

Ebid., 0. 12. Ebid., 0. 1<". 2' :rde;6a 12<<, 0. 1</. 25 ,ee TvOe Nes9ho /i!mu+

52

shootin a 0arody of westerns, thus introducin a 0heno-enon which was rare e5en in cine-as of western countries. =i0s6Y s0ea6s about the ti-e when Limondov Joe was shown at the fil- festi5al in ,an &rancisco: +fter the 0roGection, he was as6ed by the 0resident of the +-erican &il- +cade-y to send the -o5ie to Hollywood.2/ =i0s6Y says that Iit was historically the first case when a C4echoslo5a6ian fil- had a chance to ain the $scar.J27 Fnfortunately, the lac6 of financial -eans ruined the 0ros0ects. )oreo5er, the neDt year +-erican director 3lliot ,il5erstein 0roduced a 0arody of westerns Cat 8a!!ou B12/5C which was awarded se5eral $scars. =i0s6Y thin6s that ,il5erstein Icut out his -o5ie accordin to Limondov JoeJ.2< En the Fnited ,tates Limondov Joe was acce0ted te0idly in eneral. (he only as0ect of the -o5ie which the critics 0raised was its 5isual side.22 (hey lac6ed the action of +-erican westerns and called for additional editin . ,tanley 3ichelbaufro- San -rancisco .'aminer did not li6e the anti1ca0italist -essa e of the -o5ie: Ithe -aGor 0art of this satire is rather an anti1+-erican dialectics than an innocent 0arody of Hollywood westerns.J1!! $b5iously the 0roud IfoundersJ of western enre could not bear a witty critiAue fro- the country as insi nificant in the 0roduction of westerns as C4echoslo5a6ia. 3ichelbau- should ha5e reali4ed that Limondov Joe is actually both an anti1ca0italist satire and an a-usin 0arody of western clichHs. (he reaction of fa-ous +-erican actor Henry &onda, who 0layed the lorified western hero #yatt 3ar0, declares that at least so-e of the +-ericans ha5e understood the fil-. +fter the 0roGection of Limondov Joe at the fil- festi5al in %arlo5y .ary he said: IE ha5e not had so -uch fun for a lon ti-e.J1!1

2/

Co-0. =ihe-, +nton9n 7. HstOe s!edovan /i!my+ Wes9os!ovens9 P9uLenost. ?@rodn9 fil-o5Y archi5, Praha 2!!1, 0. 17'. 27 =ihe- 2!!1, 0. 175. 2< Ebid. 22 :rde;6a 12<<, 0. 2!/. 1!! :rde;6a 12<<, 00. 2!/12!7. 1!1 .yse6alo5@, 7it6a. H!dOich Lips9+ Cesta Pa humorem+ Xes6oslo5ens6Y fil-o5Y Zsta5, Praha 12<', 0. 1".

/!

(he reactions of 3uro0ean critics about Limondov Joe 5aried i--ensely: B=i0s6YC Iis de-ystifyin in a 0leasin way the old western fil-sJ1!2 clai-ed one &rench critic, while the other wrote that Ithis le-onade is a bit flat.J1!" &inally, Limondov Joe ca-e throu h in ,0ain at eeE. Enternational &il- &esti5al in ,an ,ebastian in 12/'. ,ur0rised but 0leased, the authors returned ho-e with three awards the ,il5er ,hell bein the -ost i-0ortant one. )any critics saw Limondov Joe in ,an ,ebastian and co--ented on the -o5ie afterwards. (he feedbac6 was enerally 0ositi5e, e. . +nton Dietrich, a #est Ger-an fil- critic describes the -o5ie in the followin ter-s: I+n i-0ish caricature of +-erican westerns, full of ideas and a s, where rotesAue is co-bined with irony. =au hin aloud, the s0ectator does not e5en reali4e, that the -o5ie is not only entertainin but at the sa-e ti-e -orali4in and offendin the ca0italist syste-.J1!' +fter ,an ,ebastian Limondov Joe was sold in -any countries, the resources clai- that the -o5ie Itra5eledJ to -ore than fifty of the-.1!5

-. Ot e' E$'o6ea% Pa'o(ies o+ Weste'%s * Manitous Shoe (he neDt country which 0ro5ed that it can deal with the western enre with hu-or was Ger-any. ?e5ertheless, the Ger-an directors chose sli htly different tar et than :rde;6a did in Limondov Joe. (he Ger-ans actually 0arodied the-sel5es. (he 0roduction of western fil-s in Ger-any was se0arated into two Ica-0sJ: 3ast and #est. #hereas 3ast 0roduced Auality 0ro1Endian westerns, #est shot the ro-antici4ed western Ifairy1talesJ based on the ada0tations of %arl )ay*s no5els. (he fil-s about the ad5entures of +0ache chief #innetou and his inse0arable white blood brother Greenhorn $ld ,hatterhand beca-e a cult in 3uro0e.

1!2 1!"

:rde;6a 12<<, 0. 127. Ebid., 0. 12<. 1!' Ebid., 0. 2!'. 1!5 .yse6alo5@ 12<', 0. 1".

/1

En 2!!1 #est1Ger-an director and co-edian )ichael :ully Herbi released Manitous Shoe< an a0t 0arody of I)ayJ westerns. :efore E will analy4e the 0arody itself a characteristic of the -aterial it la-0oons should be eD0lained. (o understand the nature of #innetou and $ld ,hatterhand -o5ies we ha5e to o bac6 to the IfatherJ of these fi ures %arl )ay. )ay, who hi-self 5isited the Fnited ,tates only four years before his death, created in his boo6s a hi hly ideali4ed i-a e of the #ild #est based on the tra5el boo6s, anthro0olo ical uides to the fauna and flora of the ,outhwest.1!/ (his would not be such 0roble- if )ay had not 0resented his boo6s as trustworthy resources. +s &enin and 35erson infor-: I)ay clai-ed to ha5e li5ed a-on the Endians, and to be writin of e5ents of which he had heard firsthand accounts.J1!7 =ater on, )ay was forced to ad-it that he was a decei5er. (han6s to )ay*s ro-antic 5ision of the &rontier -ost Ger-ans ained a distorted idea of the real life in the #est. (he I)ayJ westerns, in co-0arison to D3&+ Endian fil-s, are full of clichHs and ro-antic 5iews of the relationshi0s between the white settlers and the Endians. (hus they should be considered as ad5enturous fairy1tales for Gu5enile audience. (he -ost classical #est Ger-an westerns are: Apache (o!d X$innetou 4+ Tei!, 12/"C, a trilo y with two other 0artsL and The Treasure o/ Si!ver La9e X:er SchatP im Si!%ersee, 12/2C. (he the-e of )ay*s no5els and conseAuently the 0lot of the -o5ies based on the-, are 5ery well 6nown in 3astern 3uro0e. )ay 0roGected his e o into the fi ure of a youn Ger-an writer %arl, with a nic6na-e $ld ,hatterhand, who co-es west to hel0 with the construction of the railroad. :ecause the construction wor6s ta6e 0lace in the land of +0ache tribe, $ld ,hatterhand is ca0tured by #innetou and has to buy out his life in a race with #innetou*s father Entchu1tchuna. ?ot sur0risin ly, $ld ,hatterhand wins but, -oreo5er, he 0reser5es

1!/

Co-0. Hollic6, 7ulian Crandall. $innetou and H!d Shatterhand+ The American $est in the .uropean "ma)ination+ Ende0endent :roadcastin +ssociates, Enc. 2!!2. htt0:NNwww.ibaradio.or N3uro0eNwinnetouNiaNia2.ht-. 1! 7an 2!!/. 1!7 &enin, 35erson 127", 0. "2'.

/2

Entchu1tchuna*s life. ConseAuently, #innetou and $ld ,hatterhand beco-e blood brothers and an inse0arable friendshi0 de5elo0s between the-. (hey wander throu h the #ild #est*s deserts and et in5ol5ed in series of ad5entures. (he director of I)ayJ western fil-s, Harald Oeinl, reali4ed his -o5ies with reat loyalty to the ori inal. (he Endians are 0ortrayed ro-antically as 0ossessors of natural wisdo- and with res0ect to their custo-s. (hey s0ea6 Endian dialect but #innetou can also s0ea6 the lan ua e of white 0eo0le e5en thou h he uses fi urati5e style inherent to Endian co--unication. :oth, #innetou and $ld ,hatterhand are de0icted in a hi hly ideali4ed -anner. (heir har-onious relationshi0 so-eti-es acAuires al-ost ho-o1erotic Aualities.1!< (hey are the 0ositi5e characters who fi ht for the 0eaceful &rontier, a 5ision which is constantly bein s0oilt by Man6ees and a ressi5e Endian tribes Be. . the ,hoshonesC. (he ne ati5e characters are re0resented by ,anter, a white 5illain who had co-e to the #est in search of old, and his bunch. &e-ale characters are dealt with e5en less -ar inally than in classical +-erican westerns. (he I#innetouJ westerns, in order to 0reser5e their ro-antic notion, are stron ly aseDual. (assilo ,chneider describes this trend in followin words: IEt is as if the I)ayJ fil-s stri5e to 0rotect their -ale 0rota onists fro- the threat of seDuality, and to 6ee0 the- within the confines of a -ythically 0ure, Kinnocent*, i.e., 0re1NaseDual boyhood uni5erseJ.1!2 $ne of the few wo-en in these -o5ies is #innetou*s sister ?scho1tschi who falls in lo5e with $ld ,hatterhand but the director Ilets he dieJ before any seDual relationshi0 can be de5elo0ed. $ther -inor characters include the ridiculous tra00er ,a- Haw6ens or ad5enturous Gournalist and butterfly hunter =ord Castle0ool. Manitous Shoe re5eals that )ichael :ully Herbi has studied the I)ayJ fil-s 5ery thorou hly. (he two -ain 0rota onists Endian +0ahachi and white settler Oan er clearly 0arody #innetou and $ld ,hetterhand fro- I)ayJ westerns. ?e5ertheless, their relationshi0
1!< 1!2

Co-0. ,chneider 122<, 0. 15!. ,chneider 122<, 0. 15!.

/"

is illustrated as far less har-onious. (hrou hout the -o5ie they ar ue as if they were a lon 1 -arried cou0le. En these Auarrels, the cultural differences between the- are hi hli hted B+0ahachi does not li6e the way Oan er rides the horse, Oan er on the other hand considers +0ahachi to be too slow in e5erythin C. En other scenes, Herbi s0oofs the cultural enrich-ent which +0ahachi and Oan er eDchan e, e. . when Oan er teaches wild +0ahachi how to use cutlery or brush his teeth. (he ro-antici4ed idea of Endians and their s6ills of I)ayJ westerns are satiri4ed in Manitous Shoe, e. . the ,hoshone Endians do not ha5e any horses but a s-all 0onyL +0ahachi is 0ortrayed as clu-sy he falls off a horse or is not able to snea6 in a house without bein noticed by the 5illains. $n the other hand, +0ahachi*s crafts-anshi0 is so-eti-es 5isibly eDa erated: sittin by the fire with the Gree6 Di-itri, he car5es out a BuselessC wooden toy in cou0le of seconds. (he arch15illain and caricature of ,anter is ,anta )aria, a real1estate a ent. (he 0lot is based on the tension between ,anta )aria and his child1li6e an on one side and +0ahachi, Oan er and their absurd crew on the other. (hese two rou0s co-0ete in a hunt for a treasure hidden near )anitou*s shoe. (he ele-ent of the Itreasure huntJ is ob5iously ta6en froanother I)ayJ western The Treasure o/ Si!ver La9e. Herbi uses -any -otifs fro- this western, e. . the secret way fro- the IPin6 &ace Powder OanchJ or the final scene with a tra0 door 0rotectin the treasure inside the ca5e. (he re0resentati5e of wo-en in Manitous Shoe is half1Endian irl and saloon sin er Fshi. En co-0arison to the fe-ales in I)ayJ westerns, Fshi is de0icted -ore seDually. (he ho-o1erotic ele-ent of #innetou and $ld ,hatterhand*s friendshi0 was incor0orated by Herbi in the fi ure of +0ahachi*s ho-oseDual twin brother #innetouch. ,urrounded by

/'

0in6, #innetouch li5es on the IPin6 &ace Powder OanchJ, in ori inal Ger-an IPuder Oosa OanchJ a 0arody of Ponderosa Oanch.11! Herbi did not for et to create a caricature of the author of the 3uro0ean -yth about the #ild #est hi-self %arl )ay. En Manitous Shoe he is caricatured as a drun6en writer in Di-itri*s ta5erna. =i6e the C4ech 0arody western Limondov Joe, Manitous Shoe also includes ad5ertise-ents. (hese are references to concrete Ger-an co--ercials so the co-ical effect is unfortunately wea6ened in the non1Ger-an 5ersions of the -o5ie. +n eDa-0le is the scene in front of the ca5e with the treasure. ,anta )aria oes inside the ca5e and co--ands his bunch to wait outside. (hey as6 hi- to brin the- Iso-e 0resent, so-e sur0rise, so-e chocolate,J which is a 0arody of the Ger-an co--ercial for chocolate e s with s-all toys inside.111 +nother feature which the fil- shares with Limondov Joe are the son s which acco-0any the -o5ie. #e can hear a wide ran e of son s, such as Fshi*s western blues san in 3n lish or ridiculous I=eb6uchenJ son in Ger-an.112 :ut Manitous Shoe is not only a s0oof of the I#innetouJ westerns and the -ytholo i4ed #est they de0ict. + fan of western fil-s will notice that there are also so-e analo ies to classical I,0a hetti westernJ Hnce Gpon a Time in the $est. (hese references 5ary fro- an incons0icuous shots to whole scenes ta6en fro- the Etalian western: there is a close1u0 of the wooden board han in in the air with a si n I,tationJL Oan er 0layin his har-onica rese-bles the character Har-onicaL the scene in which +0ahachi standin on Oan er*s shoulders and tryin to reach an a00le fro- a tree is a clear analo y to the scene in which Har-onica*s brother is 6illed. :esides westerns, Manitous Shoe also la-0oons "ndiana Jones and the Temp!e o/ :oom B12<'C usin its Iroller coasterJ ride at the end of the fil-.
11!

Ponderosa Oanch was an a-use-ent #ild #est 0ar6 near =a6e (ahoe in ?e5ada o0ened until 2!!'. #i6i0edia. (he &ree 3ncyclo0edia. :er Shuh des Manitu. htt0:NNen.wi6i0edia.or Nwi6iNDerQ,chuhQdesQ)anitu. 2' 7un 2!!/. 111 %inderscho6olade in Ger-an. 112 =eb6uchen dance is a traditional Ger-an dance.

/5

(o su- u0 the analysis, it has been de-onstrated on concrete eDa-0les that Manitous Shoe is a s0oof of the #est Ger-an westerns which are based on %arl )ay no5els. %arl )ay created a 3uro0ean -yth of the +-erican &rontier which was 0roGected also in these westerns. :y his 0arody, )ichael :ully Herbi de-ytholo i4es the ro-antic 0ortrayal of the ?ati5e +-ericans and the ideal ho-o1erotic relationshi0 between #innetou and $ld ,hatterhand. :ecause of the eneral fa-e of the I)ayJ westerns throu hout 3uro0e, Manitous Shoe can a00eal to a wide ran e of s0ectators. ?e5ertheless, in the ho-e of the enre, the Fnited ,tates, Manitous Shoe would 0robably loose its rele5ance because its funda-ent is not 6nown there.

CONCLUSION
(he structural analysis of Limondov Joe has confir-ed that the -o5ie is a 0arody of +-erican western e0ics. +s E ha5e shown on concrete eDa-0les, the storyline of Limondov Joe is a00licable to #ill #ri ht*s classical 0lot and the characters fro- the -o5ie are re0resentati5es of the stereoty0es fro- classical +-erican westerns. Limondov Joe contains all necessary features which for- the western enre: the hero, uns, horses and western landsca0e. (he -ise1en1scPne also co0ies the action and settin of classical westerns: the

//

-o5ie includes saloon fi hts, bad irls, a ban6 robbery, a duel in the -ain street, a barber, an underta6er, a ce-etery etc. (hese essential western clichHs are su00orted by a00ro0riate choice of costu-es and other 0ro0s. (he authentic i-itation of the ori inal in Limondov Joe fulfills its condition to function as a 0arody. :y a00lyin the techniAues of 0arody, such as eDa eration, si-0lification, absurdity or IreconteDtualisationJ, on the characters and situations with which they deal, 7i89 :rde;6a s0oofs the -ost freAuent western clichHs, e. . the Iblac6 and whiteJ 0ortrayal of characters, the ideali4ation of the hero, the sche-atis- of the 0lot in westerns and others. :ecause Limondov Joe la-0oons the classical +-erican westerns, its function as a 0arody has a uni5ersal a00eal to the international audience of western enre. Limondov Joe can be also inter0reted as an alle ory of a co-0etition fi ht between two brands: %olalo6a and whis6ey. &ro- this 0oint of 5iew, Limondov Joe has an anti1ca0italist -essa e, critici4in the co--ercial co-0anies dri5en by the 5ision of 0rofit and eD0loitin the easily influenced consu-er society. (his anti1ca0italist le5el in the -o5ie reflects :rde;6a*s disa00ro5al with the fact that +-erican directors of westerns, in order to fill the cine-as and ensure the 0rofit, distort the historical reality of the #ild #est 0ortrayed in their fil-s. En other words, :rde;6a critici4es the +-erican directors of westerns for bein 0rofit1 oriented. (he analysis of the other 3uro0ean 0arody of westerns, Manitous Shoe, has re5ealed that it -a6es fun of other clichHs than those 5alid in case of Limondov Joe. Herbi *s fil- is a s0oof of a s0ecific sub1 enre within the western enre the #est Ger-an westerns based on the no5els by fa-ous Ger-an writer %arl )ay. (hus the -ain tar et of Herbi *s hu-orous critiAue are not clichHs of +-erican westerns but the ro-antici4ed illustration of Endians and their relationshi0 with white settlers. (he basis of the 0arody in Manitous Shoe is the friendshi0 between red +0ahachi and white Oan er which reflects the ro-antici4ed ho-o1

/7

erotic relation between +0ache chief #innetou and white settler $ld ,hatterhand in the I)ayJ westerns. (he s0ecific orientation of the 0arody in Manitous Shoe Bthat is on #est Ger-an westernsC narrows the ran e of 0otential audience. (hus the +-erican s0ectator, unfa-iliar with the I)ayJ westerns would 0robably lose the -ain 0oint of the -o5ie.

APPENDIX: Poste's

/<

PRIMARY SOURCES

/2

/il8o,'a6 ": Limondov Joe B12/'C :ased on the no5el and theatre 0lay by 7i89 :rde;6a. S)'ee%6la": 7i89 :rde;6a, $ld8ich =i0s6Y. Di'e)te( b": $ld8ich =i0s6Y. Ci%e8ato,'a6 ": .ladi-9r ?o5otnY. L"'i)s: 7i89 :rde;6a, .ratisla5 :lafe6, Pa5el %o0ta, 7an Oychl96. C o'eo,'a6 ": 7osef %on9;e6. Desi,%e': %arel g65or. So$%(: 7osef .l;e6. E(iti%,: )irosla5 H@Ge6. S6e)ial e++e)ts: 7i89 (rn6a, :8etisla5 PoGar. Cast: %arel &iala B=e-onade 7oeC, Oudolf Deyl 7r. BDou :ad-anC, )ilo^ %o0ec6Y BHor@c1Ho ofo oC, %5ata &ialo5@ B(ornado =ouC, $l a ,chobero5@ B#innifredC.

Ot e' +il8s a%al"9e(: 12"2 12'/ 12'/ 12'2 1252 125" 125' 12/! 12/1 12/2 12/' 12/5 12/5 12/5 Sta)ecoach, 7ohn &ord :ue! in the Sun, %in .idor My :ar!in) C!ementine, 7ohn &ord Aria o/ the Praire Xrie prrieY, 7i89 (rn6a, 7i89 :rde;6a #i)h oon, &red Tinne-an Shane, Geor e ,te5ens The Seven Samurai XY, +6ira %urosawa The Ma)ni/icent Seven, 7ohn ,tur es AoDim%o XY< +6ira %urosawa The Man $ho Shot Li%erty &a!ance, 7ohn &ord A -ist/u! o/ :o!!ars XPer un pu)no di do!!ariY, ,er io =eone Apache (o!d X$innetou 4+ Tei!, 12/"C, Harald Oeinl Cat 8a!!ou, 3lliot ,il5erstein -or a -ew :o!!ars More BPer Eua!che do!!aro in piuC, ,er io =eone

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12/5 12// 12// 12/2 12/2 2!!1

The Treasure o/ Si!ver La9e X:er SchatP im Si!%ersee, 12/2C, Harald Oeinl The (ood< the 8ad and the G)!y B"! %uono< i! %rutto< i! cattivoC, ,er io =eone The Sons o/ the (reat Mother 8ear B:ie SZhne der )ro[en 8\rinC, 7osef )ach 8utch Cassidy and Sundance 3id, Geor ie Ooy Hill The $i!d 8unch, ,a- Pec6in0ah Manitous Shoe B:er Shuh des ManituC, )ichael :ully Herbi

SECONDARY SOURCES Boo:sB :arto^6o5@, g@r6aL :arto^e6, =ubo^. -i!mov pro/i!y+ Wes9os!ovenLtR scenrist< reQisOi< 9ameramani< hude%nR s9!adate! a archite9ti hranch /i!mT. Xes6oslo5ens6Y fil-o5Y Zsta5, Praha 12</. :er felder, (i-L Carter, 3ricaL Gh6tir6, Deni4 Bed.C. The (erman Cinema 8oo9+ :&E Publishin , =ondon 2!!2. :o;e6, 7arosla5. H 3omedii. $rbis, Praha 12/". :rde;6a, 7i89. 3o!ty %eP poP!t9a. Xes6oslo5ens6Y s0iso5atel, Praha 12<7. :rde;6a, 7i89. Limondov Joe ane% 3oKs9 opera. Xes6oslo5ens6Y fil-o5Y Zsta5, Praha 12<<. :rin6ley, +lan. American history * a survey+ &o!+ ;< Since 4=6> ?8rin9!ey< 4554@ . <th ed. )cGraw1Hill, ?ew Mor6 1221. :usco-be, 3dwardL Pearson, Ooberta 3. Beds.C 8ac9 in the Sadd!e A)ain+ ew .ssays on the $estern. :&E, =ondon 122<. Coyne, )ichael. The Crowded Prairie. American ationa! "dentity in the #o!!ywood $estern. E. :. (auris Publishers, ?ew Mor6 1227.

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&enin, Geor e ?.L 35erson, #illia- %. The $estern+ -rom Si!ents to the Seventies. Gross-an Publishers, ?ew Mor6 127". Gianetti, =ouis. Gnderstandin) Movies. Prentice Hall, ?ew 7ersey 2!!2. Gir us, ,a- :. #o!!ywood 0enaissance+ The Cinema o/ :emocracy in the .ra o/ -ord< Capra< and 3aPan. Ca-brid e Fni5ersity Press, Ca-brid e 122<. %itses, 7i-L Oic6-an, Gre , Beds.C. The $estern 0eader. =i-eli ht 3ditions, ?ew Mor6 122<. =ihe-, +nton9n 7. HstOe s!edovan /i!my+ Wes9os!ovens9 P9uLenost. ?@rodn9 fil-o5Y archi5, Praha 2!!1. Pos09^il, E5o. 0oPpMtR Qnru. ,0rint10rint, :rno 1222. Pos09^il, (o-@^. Sam%o tu DiQ ne%yd!RS o%raP A/roameriNanT v americ9m /i!mu ;7+ sto!etR+ ?adace Fni5ersitas )asary6iana, :rno 2!!". Pt@;e6, =ubo^ Bed.C. Panorama Nes9ho /i!mu. Oubico, $lo-ouc 2!!!. Pytl96, Oad6o. -enomeno!o)ie humoru. 3-0orius, P89bra- 2!!!. Oichardson, Herbert. Parody. $Dford Fni5ersity Press, $Dford 12"5. ,i--on, ,cott. The "nvention o/ the $estern -i!m+ A Cu!tura! #istory o/ the (enreCs -irst #a!/]Century. Ca-brid e Fni5ersity Press, Ca-brid e 2!!". ,-ith, Henry ?ash. &ir)in Land+ The American $est as Sym%o! and Myth. Har5ard Fni5ersity Press, Ca-brid e 127<. ,ta0les, Donald 3. Bed.C. The American Cinema. &oru- Oeader ,eries, #ashin ton 127". ,uchY, $nd8eG. .'9urPe do 9r!ovstvR )rotes9y. Pr@ce, Praha 12<1. (aussi , Pa5el. Wes9 /i!mov ne%e+ Ma! a!%um ve!9ch hercT. :r@na, Praha 2!!1. (aussi , Pa5el. :evatero /i!movch Oemese! JiORho 8rdeN9y. Xes6oslo5ens6Y fil-o5Y Zsta5, Praha 12<".

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(aylor, OichardL #ood, ?ancyL Graffy, 7ulianL Eordano5a, Dina Beds.C. The 8-" Companion to .astern .uropean and 0ussian Cinema. :&E Publishin , =ondon 2!!!. (ho-son, Phili0. The (rotesEue. CoD [ #y-an =td., &a6eha- 1272. (us6a, 7on. The American $est in -i!m+ Critica! Approaches to the $estern. Fni5ersity of ?ebras6a Press, =incoln 12<5. .yse6alo5@, 7it6a. H!dOich Lips9. Xes6oslo5ens6Y fil-o5Y Zsta5, Praha 12<'. #al6er, 7anet Bed.C. $esterns+ -i!ms Throu)h #istory. Ooutled e, ?ew Mor6, =ondon 2!!1.

E%)")lo6e(iasB Wes9 animovan /i!m. Jeho minu!ost a pORtomnost. )inisterst5o 6ultury Xes6H re0ubli6y, Praha 122'. Wes9 hran /i!m "&+ 4564 ^ 4517. ?@rodn9 fil-o5Y archi5, Praha 2!!'.

Do)$8e%ta'iesB +-erican Cine-a. The $estern. ,asha +l0ert. 122'. )ist8i ;es6Hho ani-o5anHho fil-u, 22N'". $estern. 2!!' (5@8e ;es6Hho fil-u, '. Parodie. 2!!1

I%te'%et So$')esB

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+ustin, Da5id. Lemonade Joe< or The #orse Hpera* Surrea!ist CPech $estern. Cine-a ,tri6es :ac6, 2!!5. htt0:NNwww.cine-astri6esbac6.co-NindeD.0h0>0c17. 1! 7an 2!!/. :arrett, (ho-as ). Lemonade Joe. &il- and History. +n Enterdisci0linary 7ournal of &iland (ele5ision ,tudies.:oo6 and &il- Oe5iews, "2.2., 2!!2. htt0:NNwww.h1net.or NVfil-hisNre5iewsN"2Q2Nfil-Nle-onadeQGoe.ht-. 1! 7an 2!!/. :erardinelli, 7a-es. A -ist/u! o/ :o!!ars. + &il- Oe5iew by 7a-es :erardinelli. 1222. htt0:NN-o5ie1re5iews.colossus.netN-o5iesNfNfistful.ht-l. 1! 7an 2!!/. Crowther, :osley. Screen* .ast o/ Pecos* Pra)ue ot 8i) .nou)h -or _Lemonade Joe. ?ew Mor6 (i-es Oe5iews. )o5ies. Published ?o5 21, 12/7. htt0:NN-o5ies2.nyti-es.co-N-e-N-o5iesNre5iew.ht-l>title1c[title2c=e-onadeR2!7oe R2!R2<)o5ieR22[re5iewerc:$,=3M R2!CO$#(H3O[0datec12/71121[5Qidc222/7[orefclo in. 1! 7an 2!!/. 3dwards, =aurie. Lemonade Joe+ #ideous #orse Hpera. (oDicFni5erse.co-. !"N1"N2!!2. htt0:NNculturedose.netNre5iew.0h0>ridc1!!!271'. 1! 7an 2!!/. 3l6ins, 7a-es O. otes /rom $i!! $ri)htCs Si' (un and Society. =awyers and &il-. htt0:NN-yweb.w5net.eduNVGel6insNfil-!'Nwri ht.ht-l. 1! 7an 2!!/. &ellu a, Dino. _)odules on Hutcheon: $n Parody._ "ntroductory (uide to Critica! Theory. 2< ?o5 2!!" htt0:NNwww.cla.0urdue.eduNacade-icNen lNtheoryN0ost-odernis-N-odulesNhutcheon0arody.ht -l. 1' 7un 2!!/. -ist/u!!]o/]Leone+com. + tribute to the -asterful ,er io =eone. 2!!'. htt0:NNwww.fistful1of1leone.co-NindeD.ht-l. 1! 7an 2!!/. &ro- #ill #ri ht, ,iD Guns and ,ociety. &en)eance &ariation. Fni5ersity of )issouri, ,t. =ouis. htt0:NNwww.u-sl.eduNdi5isionsNartscienceNen lishNfacultyN radyN.3?G3+?C3.ht-. < )ay 2!!/.

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Ha-es, Peter. $ay Hut $est+ H!dOich Lips9Cs Limondov Joe ane% 9oKs9 opera+. %inoeye. ?ew Pers0ecti5es on 3uro0ean &il-. htt0:NNwww.6inoeye.or N!2N15Nha-es15.0h0. 1! 7an 2!!/. Hollic6, 7ulian Crandall. $innetou and H!d Shatterhand+ Ende0endent :roadcastin +ssociates, Enc. 2!!2. htt0:NNwww.ibaradio.or N3uro0eNwinnetouNwinnetou.ht-. 1! 7an 2!!/. E)Db. "nternet Movie :ata%ase. htt0:NNwww.i-db.co-N. 2" 7un 2!!/. Place, 7aney. Structured Cow%oys. Jump Cut* 0eview o/ Contemporary Media. no. 1<. +u ust 127<, 2!!5. 00. 2/12<. htt0:NNwww.eGu-0cut.or Narchi5eNonlinessaysN7C1<folderN/ uns,ociety.ht-l. < )ay 2!!/. Oo er, 7i-L Oo er, :e5erly. The $estern Movie :ata%ase. :e5erly and 7i- Oo ers )useu- of =one Pine History. htt0:NNwww.lone0inefil-history-useu-.or N-useu-.ht-. 1! 7an 2!!/. ,anders, Oachel. Lemonade Joe. +0ollo Guide. Entelli ent Oe5iews $nline. htt0:NNa0ollo uide.co-N-o5Qfullre5.as0>CEDc'17![,0ecificc'2"1. 1! 7an 2!!/. #ales, 7i--y BfounderC. $i9ipedia+ The -ree .ncyc!opedia. htt0:NNen.wi6i0edia.or Nwi6iN)ainQPa e. 22 7un 2!!/. #esterners Enternational. %do Ge to #E CT. $esterners "nternationa! v srdci .vropy. 2< )ay 2!!5.htt0:NNwww.westerners.c4NwiQc4N6doQGeQwiQc4.ht-. 22 )ay 2!!/. #ild 3ast. :ac6 round. .ast (erman Movies. 2 7ul 2!!1. htt0:NNwww.wa4el.or NwildeastNbafacts.ht-. 1! 7un 2!!/.

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