The Lighting

This is non a horse opera that prettifies the West and its denizens. Instead, Ford approaches the West hither as a hard egress to live and as a place peopled by hard people. Those who seem to "belong" to this adorn will be contrasted with Clementine, who clearly does not belong, especially in the eyes of Wyatt Earp.

The lengthy sequence in the town of tombstone that first night shows the power of source lighting as the exterior darkness contrasts sharply with the flood of light that comes with windows and open doorways. On the walkway outside, Earp moves through a serial publication of light spills from windows and doors, with extremely dark areas amid. The sense of black-and-white here is strong, with the light world very white and the dark being very dark, making the town as harsh a landscape as the prairie. The tonsorial parlor is well-lit, even raspingly so, which also contrasts with the murkier vistas out on the street. Low-key lighting is utilize here to evoke rather than illuminate faces. As the Earps push back into town, Ford continues the day-for-night slam he use as they approached from their camp, highlight the night sky with fiery halos most the clouds. The eyeshots in-town are probably on an interior set, and the sky is no longer shown. In town, the night is truly dark, while out on the prairie, the day-for-night shooting means there is much more(prenominal) than light around than would be likely even on a moon-lit night. in a way, this ac

tually makes the prairie seem more inviting and safer than the town.

Robert Warshow in his article "Movie Chronicle: The westerlyer" offers an arouse example of genre criticism as he finds relationships between what he calls the "two most successful creations of American movies," the mobster and the Westerner, "men with guns" (Warshow 469). Warshow prefers the parameters of the Western legend, and he sees a preoccupation with style, much(prenominal) as he finds in several films by stern Ford, as destructive to the outlines of the Western legend.

Ford assimilates the legend into "the more sentimental legend of rural America and making the wedge a more dangerous Mr. Deeds" (Warshow 482). Ford's heroes are not active enough for Warshow, who specifically cites the character of Wyatt Earp in My pricy Clementine as a man who does not do enough in the way a true Western hero would.

This is apparent in the lengthy bar scene after Wyatt becomes Marshal and is playing poker. The bar is well-lit because it has a act of hanging light sources throughout. Often, these scenes use a high-key light, but content light is minimal, which leaves the faces with deep shadows from hats, obstructions, and the angle of the light. The natural look of the scene is maintained with shadows cast on the walls--no fill lights are used to eliminate these shadows, either. When a longer view is taken, scenes are severalize by emphasizing depth. When Wyatt and several poker players are sit at the table in the foreground, they are lit to be in sharp black and white. In the distance, Doc Holliday stands all at the bar, and the high lighting level in the bar, on with the smoke used to diffuse that light, causes thi
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