Elisabeth Grace Foley

Historical Fiction Author

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The Cowboy and the Sailor

May 13, 2021 by Elisabeth Grace Foley 5 Comments

A few years ago, one of my sisters was doing a lot of reading about the Age of Sail, particularly the life of the common seaman during the golden age of British seafaring in the 17th and 18th centuries, and (as is common in our family) filling me in thoroughly on everything she was learning. There was a time when I felt almost equipped with enough knowledge to put to sea and manage a modest-sized sailing ship myself. But one night when we were talking I realized something interesting: there were a number of remarkable parallels, in both a practical and cultural sense, between the British tar and the American cowboy. For some reason that conversation was called to my mind again recently, and looking back over it, I realized that there were actually even more parallels than I noticed at the time—so as a matter of interest, I decided to tally them up:

  • Both were working-class, outdoor professions involving strenuous physical labor and conflict with the elements; both professions became surrounded with an aura of romance even in their own times, with the British sailor and the American cowboy each becoming a figure symbolic of their respective nations.
  • Both were freelance laborers who frequently traveled widely, signing on as a crew member of different ships or cattle outfits for varying periods of time.
  • Both carried all their worldly possessions with them in a single portable piece of luggage: the sailor’s sea chest, the cowboy’s war sack.
  • Both wore clothing specifically adapted to the conditions of their work, which society at large considered “picturesque,” eventually borrowing and adopting elements of their costumes for general wear.
  • Both were known for singing at their work, and specifically for inventing their own songs inspired by or fitted to their tasks: sailors’ sea shanties for hauling on ropes, cowboys’ lullabies sung to soothe restless cattle.
  • Because of their physcially demanding nature, both professions were primarily the domain of young men: elderly sailors or cowboys were not common.
  • Owing to specific aspects of the work, very tall or large men were less common in both professions: sailors had to be agile for climbing and could not be too tall to stand up below decks in ships of the period; and cowboys who spent most of their lives in the saddle tended to be lighter and leaner men as well.
  • Both had the reputation of possessing upbeat dispositions and a distinctive sense of humor.
  • Both had a reputation for being roisterers, fond of wine, woman, and song.
  • Both had a criminal alter-ego who turned the tools of their trade to unlawful use: the pirate and the rustler.
  • Despite the hard and often dangerous nature of their work, men from both professions were often known for having a strong emotional attachment to the wide-open, untamed natural setting they belonged to—the open sea, the open range—a sense of restlessness and wanderlust that drew them to it.
  • Both the sailor and the cowboy were often considered rough and less than respectable by polite society, but at the same time credited with qualities such as bravery, dependability, tenacity, and loyalty—in other words, perhaps not the kind of person you’d want to mix with socially, but definitely the kind you’d want on your side in a fight.

Am I the only one to have made these connections? Looking at this list laid out in detail I find it hard to believe at least some of it hasn’t struck somebody before. I’ve never come across the analogy myself in any of the reading I’ve done, but I’d be fascinated to hear if anyone else has!

Filed Under: History, Lists, Westerns

Favorite TV Episode Blogathon: Stagecoach West, “The Remounts”

March 19, 2021 by Elisabeth Grace Foley 7 Comments

Stagecoach West was a lesser-known Western show that ran for only one season, 1960-1961. It centered around a stage line run by Simon Kane (Robert Bray), with his adolescent son Davey (Richard Eyer) and sidekick Luke Perry (Wayne Rogers) along for the ride. (Not sure I’ve ever heard of an entire stage line operated by just a couple of people who did all the driving themselves, but that’s not what we’re here to talk about today.) I’ve only seen a few episodes so far, but have found them all enjoyable. With an interesting premise, likable series regulars, and a typically solid guest cast booking passage on the stagecoach each week, it’s a bit surprising the show didn’t last longer. Perhaps the series leads didn’t have enough star power, or perhaps the pleasantly understated characters they played didn’t have the swagger to compete with other, flashier TV Western headliners.

“The Remounts,” the show’s twenty-third episode, opens with a couple of young cowboys, Clete Henry (James Beck) and Hutch Barnett (Don Burnett) driving a herd of horses down from the hills to sell them to the U.S. Army. A couple of the temporary drovers they’ve hired (James Griffith and Mort Mills) make an attempt at stealing the herd, but Clete and Hutch manage to foil their attempt and kick them out. The foiled badmen promptly join forces with another pair of outlaws even more vicious (Richard Devon and Chris Alcaide), and find another way to profit off the horses—ambushing the Army horse buyers at a nearby stage station and stealing the price of the herd. Not content with that, they decide to have another go at stealing the horses and re-selling them for even more money. [Read more…]

Filed Under: Blog Events, Film and TV, Reviews, Westerns

Legends of Western Cinema Week: Steel, the Four-Legged Star

August 20, 2020 by Elisabeth Grace Foley 14 Comments

I would have liked to write a deep, thoughtful review or essay of some kind for Legends of Western Cinema Week—but no matter how hard I tried to think of something to write, all my brain would say was, “I got nothing, pal.” But I hated the idea of missing out on the event altogether, so I decided to contribute a post on one of the things that drew me to Westerns in the first place: horses. In this case, one horse, a particularly beautiful one who is always a joy to see gallop across the screen.

His name was Steel. A burnished chestnut with three white feet, a wide blaze, and a luxuriant mane and tail, his proud arched neck and graceful, fluid way of moving stand out among the many handsome horses that have appeared on a movie screen. According to IMDB, Steel was so prized as a mount that his owner, Clarence “Fat” Jones, was able to make it a condition that all the horses in a film had to be rented from the Jones stables if Steel was used in the movie.

Like some human actors, Steel paid his dues in B-Westerns. At the bottom of this page you can see several photos of him with the stars of B-grade Westerns in the mid-to-late 1940s, including Tim Holt and a young Robert Mitchum. But at the same time, Steel was already carrying A-listers too. In 1944 John Wayne rode him in Tall in the Saddle—pretty nice mount for a drifter new in town!

In 1948, Steel appears to beautiful advantage as Joel McCrea’s mount in that time-bending chase scene from Four Faces West (again, the fugitive drifter sure scored a nice horse somehow).

In Yellow Sky (1948), it’s Steel who carries Gregory Peck across the desert—looking a bit less elegant than usual, as does everybody else in the movie.

But what most Western fans probably remember him best for is his teaming with Ben Johnson, one of the finest riders in the movies (and also “Fat” Jones’ son-in-law). Steel’s grace and Johnson’s horsemanship made an unforgettable combination in She Wore a Yellow Ribbon (1949), Wagon Master (1950), pictured above, and Rio Grande (1950). (I’ve also read that Johnson rode Steel when he won his roping championship, but couldn’t find a picture or record to confirm that on a quick search.)

In Rio Grande, Steel is the subject of an amusing plot gaffe. Johnson’s character is supposed to abscond with his commanding officer’s horse—played by Steel—but John Wayne’s Colonel Yorke rides an entirely different horse throughout the whole movie, both before and after the theft: a powerful bay horse with a narrow stripe down his face, named Banner. Well, perhaps Steel was the colonel’s best horse, kept for Sundays and holidays.

(You can spot John Wayne riding Banner in Red River (1948) as well—and he was also sturdy enough to carry the substantial Andy Devine in Under California Stars (1948). I think he may have been Henry Fonda’s mount in Fort Apache (1948) as well. Banner had a busy ’48!)

Steel was valuable enough to have his own stunt double. The hardest-riding chase scenes in Rio Grande and She Wore a Yellow Ribbon were doubled by another horse called Bingo—but in the above shot ’tis clearly the horse himself, in Oscar-winning Technicolor.

More Steel in color—ridden by Henry Fonda in Warlock (1959) and Richard Widmark in Broken Lance (1953). These screenshots don’t even really do him justice, though; you have to see him in motion to appreciate what a beautiful horse he was.

Steel with Clark Gable on the set of Across the Wide Missouri (1951). I don’t know how many times he appeared onscreen in total—I know Randolph Scott rode him too, but am not sure in which movie(s). If you know of one I’ve overlooked, comment below and tell me!

Filed Under: Blog Events, Film and TV, Westerns

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