The Woman With No Name in Monte Hellmans The Shooting :: Film Movie Shooting Hellman Essays

The Wo art object With No Name in Monte Hellmans The guessworkWorks Cited Missing chiefly forgotten by amateurs, and classified as alternately a furor classic and a B-movie (in reference to both its budget and its reception), Monte Hellmans The Shooting is a film worth revisiting. At a remote encamp in the middle of the desert, a Woman With No Name arrives to take away two work force to lead her to the town of Kingsley, days after angiotensin-converting enzyme of the camp members was shot dead and another ran away. On their descent into the heat desert, it becomes apparent that the Woman has misled her employees as a hired gun joins their caller and they continue their journey, it would seem, to execute some trunk. The Woman from time to time physically leads the pack, and is unendingly deliberately in control of their actions. She is granted much agency in terms of both plot, and cinematic structure, frequently, for instance, holding a position in the frame physically over t he men in order to release a command. She enacts the ability to do, without being done to, resorting to a performance of muliebrity/desirability at times to do her bidding. A textual depth psychology of the jibe in which the childlike Coley is ordered by the Woman With No Name to stay behind in the blistering sun reveals a unique style with which Hellman plays with the conventions of the Western and the utilization of the gaze to question sexual activity roles and authority. Open the Sequence Storyboard in a new browser window. The scene in question opens with an image (shot 1 in the storyboard) atypical in a film coded as a Western two men riding together atop the same horse, as one critic points out, jogging listlessly in a limbo without perspectives (Strick, 50). At the fondness of the scene is the metaphor central to this opening shot that of male instability, masculinity in crisis. Coley has given his horse to the Woman With No Name and rides on the back of Gashsades stee d out of necessity. He has given up his means of transport, his agency. Without his horse, Coley lacks mobility in the narrative and his position as a male is challenged. The male body is celebrated in the Western with the phallic image of a man on horseback, sitting high above the ground, upright and superior, gazing down at a world whose gaze he in turn solicits (Mitchell, 167).