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Gwendolyn Audrey Foster on “I Was Impaled”

Saturday, April 27th, 2013

Gwendolyn Audrey Foster has a new essay on I Was Impaled and similarly warped “reality” TV shows in Film International.

As she writes, “television shows such as I Was Impaled (2012-) and 1000 Ways to Die (2008-) appropriate tropes from horror film and re-narrate them into digestible bite-size “safe” forms. I’d argue they have similar voyeuristic pleasures as the horror film, but they are almost entirely shorn of narrative and any sense of morality. In 1000 Ways to Die, ‘hilarious’ stories of death, loosely based on actual stories, are stripped of any humanism, and edited together as a series of graphic and repetitive mini-narratives of sadistic slaughter. It’s all for sick kicks; set to quirky music, sutured together by a wisecracking voice-over narrator. Here, the destruction of the body is almost a postmodern destruction of humanity, with a snuff-like lack of ethos; presented much in the same manner as the ‘funny’ clips from America’s Funniest Home Videos, which themselves often rely on the humor in watching, for example, children hurting themselves.

For anyone unfamiliar with I Was Impaled, I’ll offer here some brief plot summaries. I Was Impaled features people who accidentally end up with foreign objects impaled in their body. While examining how these mysterious items were often initially ignored and later ‘discovered,’ the program carefully reenacts the gruesome impalements and also features faux forensic material popular to any reality programming. Here, in CSI style, we are treated to gruesome reenactments of actors playing medics and surgeons who use the most groundbreaking techniques to extract objects from bodies as a flat voice over narrative explains what we are watching in excessively bloody detail. Using cutting-edge animation, firsthand testimony and sophisticated recreations, often including CGI, each 60-minute episode highlights the stories of three or four ‘impalements,’ from the time the injury occurs to the moment the person ‘realizes’ they are actually impaled by something, through the euphoric moment when the object is removed, and usually it includes an actor saying ‘I should not be alive,’ or some variant on that idea, in this way gesturing to the trope of the so-called ‘deservedness’ of death as it is featured on 1000 Ways to Die.

The stories include a woman who was impaled on a five-inch iron spike railing; a man whose esophagus was ripped open by a French fry; a gardener whom fell face first onto his pruning shears; a young man who was accidentally shot with a five-foot long fishing spear; a man who was impaled by a six-foot fence post; a woman who fell directly onto a hooked planter while gardening; a man who had a foreign object mysteriously lodged into his brain; a woman who was impaled through her neck by a Christmas tree; a boy who accidentally swallowed a barbed hook while fishing; a man who nearly died after being pumped full of enough air to blow up a thousand party balloons; a surfer who ended up with his fiberglass surfboard embedded in his skull; a motocross rider who crashed and ended up with a stick in his face; a 64-year-old woman who discovered a bug in her ear and a pencil in her brain; a carpenter who got a splinter in his eye; and an ex-Marine who was left with a pole penetrating his mouth after a car accident (TV Tango).

As you can tell from these plot descriptions, the definition of ‘impalement’ is stretched beyond credulity. The show promises the kinds of impalements one would expect from a horror film, but impalement from within by a French fry, or being pumped up with excess air seems hardly comparable with classic horror movie impalements. A classic horror film, usually a moral tale, often involves the impalement of a vampire by wooden stake, or a villain being impaled on an iron spike, specifically a black wrought iron spiked gate of the type found either in Victorian England, or the Transylvanian countryside. While I Was Impaled may borrow from the classic horror film (one that almost always features a clear morality tale), it leaves behind the moral binarisms of good vs. evil in the traditional horror film. Instead, the program foregrounds a series of impalements and dismemberments without the narrative conscience of a moral center.”

This is where television is today; essential reading. Click here to read the entire essay.

Gwendolyn Audrey Foster on Fifties Hysteria and Doomsday Preppers

Saturday, February 2nd, 2013

Gwendolyn Audrey Foster has a new essay on Doomsday Preppers in the journal Film International.

As she writes, “on leaving office, President Dwight D. Eisenhower gave a very famous and oft-quoted speech condemning the rise of the military-industrial complex. Eisenhower specified that Americans ‘must avoid the impulse to live only for today, plundering, for our own ease and convenience, the precious resources of tomorrow.’ Though he no doubt was referring to the escalation of government funding for armaments, the military, and weapons of mass destruction, he would be appalled by the manner in which individual Americans have begun selfishly destroying the environment as they individually prepare for war.

A brief history of Atom Age hysteria films of the Cold War makes evident the through-line to prepping as a form of overcompensation around the fear of emasculation of the nation, from films such as Alfred E. Green’s Invasion, U.S.A. (1952) to more recent television programs such as Doomsday Preppers. Invasion U.S.A. is a prime example of a fascinating, almost forgotten genre of post-war red scare films that traded on American fear and hysteria in the Cold War era. It typifies the post-war captivity narratives in which Americans are subject to wholesale Communist takeovers in what amounts to a repetitive psychologically driven compulsive mass hysteria.

While trading upon the crisis of masculinity, the film poster for Invasion U.S.A. promised the exploitational kicks Americans love to devour in their filmed nightmares: ‘See vast U.S. cities vanish before your very eyes.’ Indeed, in a morally objectionable use of stock footage, audiences of the film were barraged with actual documentary war images from World War II; actual air raids, on camera deaths of American soldiers and images of endless destruction and mayhem were disturbingly exploited as stand-ins to portray a massive Communist military invasion of the United States. Invasion U.S.A. is an outright plea for massive spending and expansion of the American military. Repeatedly, the United States is dishonestly depicted as militarily emasculated, ill equipped, and poorly prepared.

Like Red Nightmare (George Waggner, 1962), Invasion U.S.A. is revealed to be a hypnotic dream, or a nightmare that is incurred by the brandy-swirling Dan O’Herlihy, who hypnotizes a bar full of patrons into believing that America has been taken over by an unnamed Communist nation. Red Nightmare and Invasion, U.S.A. were designed to both exploit hysteria and add even more irrational fear to an already frightened nation experiencing a crisis of masculinity.

‘It will scare the pants off you,’ wrote Hollywood gossip columnist Hedda Hopper for the poster of Invasion, U.S.A. Jack Webb, an ultra rightwing bully, and star of the radio and television series Dragnet, really scares the pants off the audience as the narrator of Red Nightmare. This ‘educational’ film features Jack Webb presenting a vision of an alternative America, a dream scenario proudly sponsored by the United States Department of Defense, in which average American Jerry Donavan (Jack Kelly), who is not much interested in civil defense, much less Army Reserve Conferences, gets his just comeuppance in the form of a nightmare sent by macho Jack Webb.

‘Let’s give him a real red nightmare,’ threatens Webb, and indeed Jerry’s character awakens to a frightening captivity narrative – once again, the United States has been taken over by Communist forces. Jerry’s daughter Linda (Patricia Woodell), formerly sweet, feminine, and docile, announces she is going off to work on a collective. The nuclear family falls apart completely; Jerry’s wife and friends turn against him when Jerry is arrested for treason and he has no one to turn to.”

You can read the entire article by clicking here, or on the image above.

A Short History of Film, Second Edition

Saturday, October 6th, 2012

A Short History of Film

Second Edition

Wheeler Winston Dixon and Gwendolyn Audrey Foster

Rutgers University Press

A history of world cinema that makes its past as vibrant as its present—now revised and updated through 2012.

Praise for the previous edition:

“This is the film history book we’ve been waiting for.” —David Sterritt, Chairman, National Society of Film Critics

“Highly recommended for all collections.” —Library Journal (starred review)

The second edition of A Short History of film provides a concise and accurate overview of the history of world cinema, detailing the major movements, directors, studios, and genres from 1896 through 2012. Accompanied by more than 250 rare color and black and white stills—including photographs of some of the industry’s most recent films—the new edition is unmatched in its panoramic view of the medium as it is practiced in the United States and around the world as well as its sense of cinema’s sweep in the 20th and early 21st centuries.

Wheeler Winston Dixon and Gwendolyn Audrey Foster present new and amended coverage of film in general as well as the birth and death dates and final works of notable directors. Their expanded focus on key films brings the book firmly into the digital era and chronicles the death of film as a production medium.

The book takes readers through the invention of the kinetoscope, the introduction of sound and color between the two world wars, and ultimately the computer generated imagery of the present day. It details significant periods in world cinema, including the early major industries in Europe, the dominance of the Hollywood studio system in the 1930s and 1940s, and the French New Wave of the 1960s.

Attention is given to small independent efforts in developing nations and the more personal independent film movement that briefly flourished in the United States, the significant filmmakers of all nations, and the effects of censorship and regulation on production everywhere. In addition, the authors incorporate the stories of women and other minority filmmakers who have often been overlooked in other texts.

Engaging and accessible, this is the best one-stop source for the history of world film available for students, teachers, and general audiences alike.

WHEELER WINSTON DIXON is the James Ryan Professor of Film Studies at the University of Nebraska, Lincoln. His many books include Death of the Moguls: The End of Classical Hollywood, 21st-Century Hollywood: Movies in the Era of Transformation (co-authored with Gwendolyn Audrey Foster), A History of Horror, and Film Noir and the Cinema of Paranoia (all Rutgers University Press).

GWENDOLYN AUDREY FOSTER is a professor of film studies in the Department of English at the University of Nebraska, Lincoln, and with Wheeler Winston Dixon, Editor in Chief of Quarterly Review of Film and Video. Her many books include 21st-Century Hollywood: Movies in the Era of Transformation (co-authored with Wheeler Winston Dixon) and Class-Passing: Social Mobility in Film and Popular Culture.

Second edition available in paper, hardcover and Kindle March, 2013 from Rutgers University Press.

Capitalism Eats Itself: Gluttony and Coprophagia from Hoarders to La Grande Bouffe

Wednesday, September 5th, 2012

You really are what you eat.

Gwendolyn Audrey Foster has a new article in the journal Film International, entitled “Capitalism Eats Itself: Gluttony and Coprophagia from Hoarders to La Grande Bouffe,” which examines a number of television programs and films that deal with excess consumption and wastage, seemingly a more and more popular topic in contemporary throwaway culture. Here are the opening paragraphs:

“Consumption. Excess. Gluttony. Hoarding. Waste. Massive debt. The pathologies of capitalism are our greatest export. Endless examples of unproductive expenditure only add to our credibility as gluttons with little or no use-value. Americans consume recklessly in order to convince ourselves that we are not alienated, and that late-stage capitalism will provide for us, and fulfill our emotional needs. TV and media reflect and take part in insatiable hoarding, gluttonous consumption, and excessive production and dissemination of images that reify the very same pathologies and deadly sins they purport to expose – in a cyclical loop that I call ‘capitalism eating itself.’

The US has a long history of excessive gluttony and hoarding, starting with people, as one prime example. Human beings, slaves were hoarded and gluttonously exchanged for their value in capital and manufacture of products. Our historical pathology of gluttony is easily demonstrated by our origins; we are a stolen nation; a huge gobbled up land mass birthed from colonial theft, gluttony, and hoarding. America’s bloody legacy of greed, theft, and violence is one we obsessively and compulsively deny. By replacing our primal beginnings with a narrative of so-called patriotic struggle for freedom, we deny, (like hoarders deny their compulsions), our long complex history of thievery of capital, bodies, countries, vast amounts of land, commodities and wealth.”

You can read the entire article by clicking here, or on the image above.

Embracing The Apocalypse: A World Without People

Tuesday, August 21st, 2012

Gwendolyn Audrey Foster has a new essay in the latest issue of Film International, “Embracing the Apocalypse: A World Without People,” examining visions of the future as imagined by various Dystopian films and television programs.

As she writes, “Human-centered popular folktales of Apocalypse and Doomsday narratives of every imaginable scenario are undeniably as powerful and plentiful as they have been from the beginnings of human narrative tradition. Indeed, apocalyptic events permeate a plethora of grand narratives from myriad cultures and textual sources that prominently, almost ecstatically, feature and carefully describe the gory details of our violent end times. They are set in the future, and almost all revolve around human-centered stories complete with often similarly violent narratives, inevitable tropes of conflict, judgment, drama, and resolution, the stops we require of any genre or tradition in human narrative form.

At the center of apocalyptic vision we find, perhaps predictably, a human-dominant form of speciesism, revealing a widespread, almost universally held belief in the dominance of human beings as a species. Human beings are placed at the center of events and narratives, even narratives that don’t involve human beings. This is something that often goes unnoticed, but it is especially notable in apocalyptic, post-apocalyptic and depeopled futuristic visions.

The plethora of doomsday scenarios and apocalyptic narratives are far too numerous to list, from religious scripture and Revelations, to secular visions of end times, to the myriad, often bizarre and insane sounding predictions of the end by various individuals and groups. All are narratives of human-centered destruction; some invoke the end of the earth, and some portray the end of people and human civilization; but all embrace, and seem to enjoy visions of the end. We cannot agree on much, but people agree that the end is near, the end is coming, and the end is usually defined as the end of people and human civilization.”

You can read the entire article by clicking here, or on the image above; fascinating work in an area that is largely unexplored.

Subverting Capitalism and Blind Faith: Pascal Laugier’s Martyrs

Monday, August 20th, 2012

Gwendolyn Audrey Foster has a fascinating piece on Pascal Laugier’s controversial film Martyrs (2008) in the current issue of Film International. Here’s the opening paragraph:

“It’s not a likable movie. Even me, myself, I hate the film.” (Pascal Laugier)

Pascal Laugier’s radically experimental horror film Martyrs (2008) is a persuasive and explosive leveling of capitalism, which is not limited to materialism, the Catholic Church, the cynical genre of torture porn, and the widespread embrace of anti-humanist postmodern irony. Martyrs joins the work of Pasolini, Bava, Bataille and other confrontational artists, including Luis Buñuel. Specifically, Martyrs recalls the eye-slitting scene in Buñuel’s Un Chien Andalou. It directly assaults viewers with both detestable visuals and agonizing sounds of pain, in an almost unbearable filmic experience of terror that rouses the even the most cynical viewer from her/his postmodern stance of superiority. Martyrs makes the viewer responsible for the reinforcement of institutionalized capitalism, particularly religion, and more specifically religion’s obsessive embrace of death, its insistence on afterlife, its abuse of women, and its concomitant obsession with martyrdom. It is also a critique of the consumer of the horror film and an astounding film in and of itself.”

You can read the rest of this excellent essay by clicking here.

Gwendolyn Audrey Foster on “A Man Escaped”

Thursday, February 16th, 2012

In issue 62 of Senses of Cinema, Gwendolyn Audrey Foster offers a compelling essay on Robert Bresson’s brilliant drama of survival in prison, A Man Escaped, noting that; “For Bresson, the images are everything, along with the unerring precision with which they are edited together to create a world that is hermetically sealed, and unsparingly distanced from the viewer. As always, Bresson’s camera movement is a model of economy and precision; in many instances, the camera lingers on an image for what seems an eternity, to accentuate the tedium and endless waiting of prison life. But what is perhaps most striking about A Man Escaped is that it manages to create an atmosphere of almost unbearable suspense despite the fact that the title gives the basic narrative arc of the film away; the title character of the film does indeed escape his imprisonment, but the means by which he accomplishes this are tortuous indeed.

Based on the memoirs of André Devigny, who escaped from Fort Montlucin Lyonin 1943, during World War II, A Man Escaped tells the story of Fontaine (François Leterrier), a member of the French Resistance who is imprisoned by the Nazis in Montluc prison after an unsuccessful escape attempt. The prison is a forbidding, inhuman structure; indeed, the opening shot of the film shows us a plaque memorialising the 7000 men who died within the prison’s walls during the war. Thus, the basic situation of the film is set up from the outset; for the next 99 minutes, we will be witnesses – in every sense of the word – to one man’s fight for survival against almost insurmountable odds. Fontaine is thrown into a prison cell, and almost immediately begins to strategise an escape plan, despite the enormous risks involved.  His plans are deliberate and methodical, but the risks are enormous.

Another prisoner, Orsini (Jacques Ertaud) tries his own escape attempt but fails, and the consequences are severe; a brutal beating and a death sentence. Despite the tedium and monotony of prison life, Fontaine continues in his methodical preparations for escape, only to be told at the last minute that he has been sentenced to death for his Resistance activities. Returned to his cell, Fontaine discovers he has a new companion, François Jost (Charles Le Clainche) a 16-year-old soldier who is supposedly sympathetic to the Nazis. Now Fontaine has a new problem; his escape is nearly imminent, and he has to decide whether to take Jost with him, or to kill him. At length, and after much deliberation, Fontaine decides to trust Jost with the details of his plan. The film ends with their successful escape over the rooftop of the prison, and the two men slip away silently into the night, as A Man Escaped comes to its predestined conclusion.”

You can read the entire essay by clicking here, or at the image at the top of this page.

Gwendolyn Audrey Foster

Born to Kill (1947)

Thursday, September 15th, 2011

Albert Arnett: “It’s quite all right, Mrs. Brent. I am a man of integrity, but I’m always willing to listen to an interesting offer.”
Helen Brent: “Well, I’m prepared to pay handsomely.”
Albert Arnett: “Good. Obstructing the wheels of justice is a costly affair.”
Helen Brent: “Five thousand dollars should do it.”
Albert Arnett: “Fifteen thousand dollars should do it.”

Robert Wise’s Born to Kill (1947), starring Lawrence Tierney, Elisha Cook Jr. and Claire Trevor is one of the most perverse of all 1940s noirs; Tierney stars as Sam Wild, a sociopath who thinks nothing of killing anyone who causes him even the slightest annoyance. Fleeing town after another senseless killing, he picks up Helen Brent (Trevor) on a train to San Francisco, and despite their differences in social class (an important point in the film), the two form an unholy alliance to claw their way to fame and fortune, using and discarding people at whim. Sam quickly realizes that Helen is “slumming,” and immediately calls her on it:

Sam Wild: “Oh, I see. You cross the tracks on May Day with a basket of goodies for the poor slum kid, but back you scoot – and fast – to your own neck o’ the woods. Don’t you?”
Helen Brent: “I wouldn’t say that.”
Sam Wild: “No, you wouldn’t ’say’ it… but that’s the way it is.”

On their trail is Albert Arnett (Walter Slezak), who, upon confronting Helen about Sam’s homicidal activities, dryly observes that “I remind you that Nevada courts have rather puritanical views. Why, some of our more impassioned juries even insist that a man who commits murder pay with his life.” And yet Arnett is just as crooked as Sam and Helen; his silence can be obtained, for a price.

Tierney’s sidekick, Mart (Cook Jr.), has a rather peculiar arrangement with Sam, functioning not only as an enabler in Sam’s schemes, but also as an oddly “spousal” figure, lending cash, arranging cover-ups and alibis, and scaring off witnesses to Sam’s numerous transgressions. As directed by Wise with ferocious intensity (it’s really hard to square this film with The Sound of Music [1965], much later in Wise’s career), Born to Kill is one of the most brutal and unyielding films ever made, of which the title says all; Sam Wild is “born to kill.” Or, as Sam bluntly puts it, “I’ve got a dame on my mind – and she’s dead. That’s plenty for me.”

Here’s an excellent essay on Born to Kill by Gwendolyn Audrey Foster.

The Women in High Noon (1952)

Wednesday, September 14th, 2011

Kathy Jurado, Grace Kelly and Gary Cooper on the set of High Noon

High Noon (1952) is an iconic Western; it enraged John Wayne, who thought it Communist propaganda, but it’s really nothing of the sort. It’s also a deeply ironic comment, in view of the fact that Cooper had testified before the HUAC on October 23, 1947, as a friendly witness, condemning supposed Communist influence in Hollywood.

It’s very, very bleak morality tale, in which small town Marshal Will Kane (Gary Cooper) discovers, to his shock and dismay, that when convict Frank Miller (Ian MacDonald) gets out of prison and comes gunning for him, no one — absolutely no one — will come to his aid.

What makes the film all the more depressing is that it starts out with a wedding — Kane marries Amy Fowler (Grace Kelly), a Quaker, and plans to leave the town and start a new life working the land, removed from guns and violence. All Kane’s “friends” gather round at the wedding: the town’s mayor, Jonas Henderson (Thomas Mitchell), the judge Percy Mettrick (Otto Kruger, reliably despicable as always), Sam Fuller (Harry Morgan) the town’s retired Marshal, Martin Howe (Lon Chaney), and when word arrives that Frank Miller is on his way, all desert him. Their only advice; get out of town, fast, but Kane realizes that if he did that, he’d simply be running from Frank Miller for the rest of his life.

Complicating matters further are Kane’s former lover, saloon owner Helen Ramírez (Katy Jurado), who has also had an affair with Harvey Pell (Lloyd Bridges), the Deputy Marshal, who covets both Kane’s job, and his past relationship with Helen. Amy, meanwhile, tells Kane she will leave him if he engages in gunplay with Frank Miller. As the clock ticks inexorably towards High Noon, and Kane’s options run out, it seems that there is nothing to do but face up to Frank Miller, even though Kane will likely be outdrawn.

What is interesting here to me is that the women are arguably the central figures in the film, rather than the men, although Gary Cooper’s performance won him the Academy Award for Best Actor in 1952. (The film also got, and deserved, the Oscar for Best Film Editing, to Elmo Williams and Harry W. Gerstad, for what amounted to a miraculous “save” job in the cutting room, but that’s another story; it also won Best Song – “High Noon [Do Not Forsake Me, Oh My Darlin']” by Dimitri Tiomkin and Ned Washington, and Best Score for Tiomkin; Fred Zinnemann was nominated, but did not win, for Best Director; the film was also nominated, but didn’t win, for Best Picture [Stanley Kramer] and Best Screenplay [Carl Foreman]).

Katy Jurado brings to her portrayal of Helen Ramírez a dignity that’s missing from most 1950s portrayals of Latina women; she’s a figure of power, integrity, decisiveness, and a shrewd judge of character. As Amy, Grace Kelly seems overwhelmed by the turn of events that thrusts her newly wed husband back into the arena of violence, but in the end, as Brecht always advised, realizes that “only violence helps where violence rules,” and takes an active hand in ending Frank Miller’s reign of terror.

It’s really these two women, and the way they deal with the situation given to them, that informs the internal structure of the film. The townspeople simply cower; Kane tries to get help, but can’t; and for most of the film, Zinnemann keeps cutting back to the town’s lonely train station, where Frank Miller’s sidekicks wait for him to arrive on the noon train. So their roles are somewhat predestined by the narrative structure of the film; for Helen and Amy, the matter requires more thought, and how they react is crucial to the resolution of the film’s narrative.

What John Wayne — and others — probably objected to more than anything else was the film’s conclusion, when Kane throws his badge in the dirt after, against all odds, and with the help of his pacifist wife, Amy, he manages to defeat Frank and his gang. Heroes just don’t do that.

As director Howard Hawks told an interviewer much later, “I made Rio Bravo because I didn’t like High Noon. Neither did Duke [John Wayne]. I didn’t think a good town marshal was going to run around town like a chicken with his head cut off asking everyone to help. And who saves him? His Quaker wife. That isn’t my idea of a good Western.” But in Kane’s case, he can’t forgive the town for folding up on him when he needed them most; these people were supposed to be his friends.

Gwendolyn Audrey Foster wrote an interesting essay on this often-neglected side of the film, “The Women in High Noon (1952): A Metanarrative of Difference,” in the book The Films of Fred Zinnemann: Critical Perspectives, edited by Arthur Nolletti (SUNY UP, 1999). Definitely worth seeking out, and reading.

The Dalton Girls

Wednesday, September 14th, 2011

Lisa Davis as Rose Dalton in The Dalton Girls

The Dalton Girls (1957) is a feminist western directed by Reginald LeBorg, which follows the adventures of Holly, Rose, Columbine and Marigold Dalton as they go on a crime rampage in the old west following the violent deaths of their brothers, members of the infamous Dalton Gang. When they visit Mr. Slidell (Glenn Davis), the mortician who is preparing the bodies of their brothers for burial, Slidell attempts to force himself on Holly, who kills him with a shovel in self-defense.

Just like Thelma and Louise (1991), the women are now on the run, and soon learn that no one will cut them an even break because of their past. They resolve to lead a life of crime, starting out with a stagecoach robbery, moving on to banks, poker games, and other potentially lucrative targets. Director LeBorg keeps things moving at a rapid clip, and the performances by Merry Anders, Lisa Davis, Penny Edwards and Sue George are all surprisingly convincing and sympathetic. Shot location near Kanab, Utah, the film is sparse, brutal and unforgiving.

What strikes one the most about The Dalton Girls is the speed and brutality of the narrative; it’s over in 71 minutes, and instead of being centered on a group of outlaw men, the Dalton women make their plight seem like a calling — ridding themselves of the patriarchy. As Rose Dalton observes of one of their “gentlemen admirers,” “Oh, honey, don’t think about him. They tell me he plays women just like he plays poker. Riffle, shuffle, fast cut, big deal, the sky’s the limit; and then all of a sudden you’re lying there in the discard.”

As Hal Erickson notes, “After all the members of the notorious Dalton outlaw gang have been killed or arrested, their sisters decide to pick up where the boys left off. Led by Holly Dalton (Merry Anders), who since killing a man in self-defense has been outside the law, the girls terrorize Colorado territory with their criminal raids. The other members of the gang are Rose, Columbine and Marigold Dalton, played by Lisa Davis, Penny Edwards, Sue George. In true Hollywood Chauvinist fashion, the Dalton girls are trailed by a bunch of matrimony-minded men; refreshingly, however, the ladies remain true to their heritage to the last.”

The film is also, despite its somewhat compromised origins, absolutely serious. The best essay on the film is Gwendolyn Foster’s “Crossdressing and Disruptions of Identity in The Dalton Girls,” in Film Criticism 20.3  (Spring 1996): 24-33, which was reprinted in her book Captive Bodies: Postcolonial Subjectivity in the Cinema (SUNY UP, 1999). The Dalton Girls is scheduled to be released to DVD a part of the MGM Classics Collection in late September 2011; another interesting film that finally makes it to DVD.

Here’s a clip.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at or

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