The Big Picture

Anthony Mann’s Man of the West shocked audiences with its graphic portrayal of brutality and sexuality, raising eyebrows at the time despite it being one of the top-grossing films of 1958. The film depicted scenes of sexual violence, such as a forced strip-down, which was highly controversial by the standards of the 1950s. Despite being deemed morally objectionable by the National League of Decency, Man of the West became a top-grossing film, suggesting a shift in audience preferences and a rejection of moral authority.

Anthony Mann’s Man of the West (1958), starring pioneer of the Western genre Gary Cooper as the reformed outlaw Link Jones, shocked audiences with its graphic portrayal of brutality and sexuality. Link struggles to maintain his new morality as he navigates a gauntlet of violence with plenty of bloody on-screen brawls that raise more than a few eyebrows at the time of release. The most controversial scene by far occurs when the proto-feminist archetype, Billie Ellis (Julie London), is forced to strip down to her underwear while Link, her love interest, is held at knifepoint. Such depictions of sexual violence are shocking by today’s standards, let alone those of Fifties audiences.

Per Variety, American critics initially found the film uneven and nearly ignored Andrew Mann’s 1958 redemption tale. Still, following the film’s release, the National Legion of Decency, aka The National Legion Of Catholics, criticized the film’s “brutality and unnecessary suggestiveness” as morally objectionable. This ranking was significant as this confederation of Catholic dioceses could dissuade some twenty million Catholics from seeing the film (or any film for that matter). Ironically, this blast from the Catholic Church would have the opposite effect, and in the decades to follow, the film would garner a lot of acclaim and attain cult status among Western fans everywhere.

Man of the West A reformed outlaw becomes stranded after an aborted train robbery with two other passengers and is forced to rejoin his old outlaw band. Release Date October 10, 1958 Director Anthony Mann Runtime 100 minutes Main Genre Western Cast Gary Cooper, Julie London, Lee J. Cobb, Arthur O’Connell Rating Not Rated Genres Western Writers Will C. Brown, Reginald Rose

‘Man Of The West’ Is Shockingly Violent
When Link Jones first appears on the screen sitting atop his horse against a pale blue sky, chewing on some beef jerky, it’s difficult to see how a film like this could kick up such a fuss. Further to that point, Link is genuinely frightened by the mechanical monstrosity as he waits for a train. Link nearly leaps out of the way as the train hisses out its steam and lurches to a stop! Such timidity is atypical for a Western film and certainly not the mannerisms of a murderous cowboy. It isn’t until the local Sheriff recognizes Link and asks him his name, to which Link responds with a lie, that the audience is inclined to think that something might be up. What follows, however, is a profoundly moral tale about a man trying to atone for the sins of his past that is steeped in both emotional and physical brutality.

As Link rides the train, he confides in the shady but lovable con man Sam Beasly (Arthur O’Connell), who is headed to Fort Worth to purchase the services of a school teacher for the town of New Hope. Beasly introduces him to the sharp-witted saloon singer Billie Ellis. He insists she could be a good school teacher, catching Jones’s interest. But their journey is interrupted when his old gang attacks the train. Waylaid and stranded, the trio makes for a remote farm only to discover that Link once lived there with his family of cutthroats. The trio is, more or less, held prisoner by the thugs, led by Link’s uncle, Dock Tobin (Lee J. Cobb). Link is then forced to rejoin the gang in a bid to survive. The family reunion will test Link’s morality as his relationship’s violent and uncouth nature pulls him back into the dark folds of his deeply dysfunctional family. This is where things take an unexpected turn.

‘Man of the West’ Features One of the Most Disturbing Scenes in a Western

In a tense and disturbing scene, Link’s cousin, Coaley Tobin (Jack Lord), holds a knife to Link’s throat, drawing rivulets of blood, much to the horror of Billie. He commands that she strip, and she complies, removing her clothes piece by piece until she is in her underwear. Billie is a proud figure and acutely aware of how men view her as property. She is a refreshing break from traditional saloon women by being acutely aware of her societal position. Earlier in the film, she laments to a drunk that he is the only one who has never put his hands on her. Later, she will confide in Link that he is the only man she ever loved due to his moral nature. She was extraordinarily vocal for a woman of the time. Her self-awareness and relaxed attitude are a testament to her strength of character and dignity, so it is alarming to witness this violation of her person. Scenes of this nature were atypical for Westerns at the time, and such a flagrant display of sexualized violence was sure to draw the ire of some critics.

Later, as Link’s grit is tested by his sadistic uncle, Coaley and him square off. A brutal fight ensues, lasting an excruciatingly long time. The two roll around in the dust, trading blows, until Link, now pushed to his limit, beats and strips Coaley of his clothes. He mocks Coaley; he bellows, “What was that you said? Strip!” taunting him the way Coaley bullied Billie. Coaley is reduced to tears as the gang hoots and hollers. Coaley is dejected, destroyed by the loss. He sniffles and blubbers that they “can’t make fun of him,” and as he aims to shoot Link, Dock intervenes and kills Coaley. It’s heartbreaking to watch. The fragility of this character and his shattered ego are more striking than the bloody brawl. The level of psychological violence present in this scene eclipses the traditional shoot ’em-up style synonymous with Westerns.

This rare insight into the traumatized psyche of this man is strangely relatable and disturbing on a deep and personal level. Somehow, the audience is compelled to pity this man, giving depth to the film that makes it stand apart from other films of the genre and era. It was remarkable that critics could ignore such a film, that is, of course, until it caught the attention of the National League of Decency.

Why ‘Man of The West’ Was Deemed “Morally Objectionable”

The National League of Decency, also known as the Catholic League of Decency, was a loose confederation of Catholic dioceses. Participating dioceses would decide which motion pictures contained material offensive and indecent to Christian morality. Some 20 million participating members would then boycott the film, greatly diminishing the chances of the film’s success. The League also had inroads with non-Catholic faiths, giving them even greater sway over the potential success or failure of the films. It was no wonder that when Man of the West came to the attention of censors, the National League of Decency deemed the film morally objectionable on the grounds of the film’s “brutality and unnecessary suggestiveness,” as shared in the 1958 issue of Motion Picture Daily.

The funny thing about bad press is that sometimes, it can backfire. Despite the condemnation of the film by the National League of Decency, Man of the West was one of the top-grossing films in 1958. The film made a whopping $1.75 million, demonstrating the ineffectual nature of the League’s non-binding resolutions, a guard dog without teeth. So what exactly happened? It is difficult to say why this moral objection to the film had the opposite of its intended effect. A tentative explanation is that major cultural shifts occurred in the United States. The groovy Sixties were looming in the future, an era known for its pushback against moral and political authorities. Audiences were fed up and were sick of being told what to watch, so they flocked to the film and made it a hit.

How ‘Man of the West’ Shifted From Older Westerns

It’s not clear whether Anthony Mann set out to shock audiences with the brutal violence and overt sexuality present in the film, but it turned out to be just the thing audiences wanted to see. Modern audiences are used to sex and violence as prominent themes in cinema, and this is especially true of Westerns. Things were undoubtedly different in 1958, and the novelty of this film would be sure to leave an impact dividing the self-righteous finger wavers from a burgeoning cultural renaissance. Attitudes were changing, and audiences were ready for something fresh and ‘Man Of The West’ delivered.

This film is important because it was a marked change from the old Westerns. It became a watershed film and some of the first cinematic shots fired in a massive cultural upheaval. The films that stick with audiences and have the most impact always push boundaries and defy norms, and this film does exactly that. For modern-day filmmakers and fans of the genre, this film teaches valuable lessons about the importance of taking risks. There is no such thing as bad press.

Man of the West is available to stream for free on Plex in the U.S.

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