Lethal Passage_ The Story of a Gun - Erik Larson [24]
The popularity of westerns rose steeply through the 1920s, then alternately rose and fell until the end of World War II when Hollywood revived the genre once again, this time with a vengeance. Fourteen feature-length westerns appeared in 1947; more than twice that number appeared in 1948. Forty-six westerns debuted in 1956 alone. All to some extent reinforced the notion that guns tamed the frontier. Some westerns did so by casting guns as central protagonists, as in Colt .45, Springfield Rifle, Winchester ’73, and of course, The Gun That Won the West.
Others portrayed gun violence as the only effective course of action against evil, as in George Stevens’s 1953 blockbuster, Shane. In the movie, Alan Ladd plays a gunfighter who rides into the middle of a conflict between homesteaders and the local cattle baron and soon takes the side of the homesteaders. Marian, the lead female character, played by Jean Arthur, loathes violence and guns. But Shane tells her, “A gun is just a tool, Marian. It’s as good or as bad as the man that uses it.” In Shane’s hand, clearly, the gun is a force for good. The underlying message, writes Richard Slotkin, is that “ ‘a good man with a gun’ is in every sense the best of men—an armed redeemer who is the sole vindicator of the liberties of the people,’ the ‘indispensable man’ in the quest for progress.”
The barrage of Hollywood westerns was soon matched, if not exceeded, by television westerns, which conveyed the same message, but now on a weekly basis. In 1959, the networks broadcast twenty-eight different series westerns, or 570 hours of imaginary frontier history, the equivalent of four hundred movies. And we loved them. In 1959, eight of the ten most highly rated shows were westerns:
Many of the TV westerns gave guns star billing, among them “Restless Gun,” “The Rifleman,” “Yancy Derringer,” “Have Gun Will Travel,” and “Colt .45,” whose theme song week after week reinforced the mythic role firearms played in establishing the nation:
There was a gun that won the West,
There was a man among the rest,
Faster than any gun or man alive,
A lightnin’ bolt when he drew his Colt .45.
One direct impact of all this fabrication was the kindling of a desire among many gun owners to experience the myth in some small way, sometimes with drastic and lethal effect. A growing number of gun owners now strap on low-slung holsters and participate in quick-draw competitions and “Cowboy Shoots.” An advertisement in the July 1993 issue of the NRA’s American Rifleman offered a $169.95 frontier-style holster called The Laredoan. Firearms manufacturers market guns to fill such holsters. In the “Wyatt Earp” TV series, which debuted in 1955, Hugh O’Brian, playing Earp, carried a long-barreled Buntline Colt, named for Ned Buntline, the dime novelist. Colt had halted production of the gun, but demand ignited by the Earp series prompted the company to reintroduce it. In 1982, Colt again merged fact and myth when it produced a “John Wayne-American Legend” commemorative edition of the Colt Peacemaker, complete with a gold-inlaid engraving of the actor’s face. In 1992, Colt introduced a new .44-caliber revolver, the Colt Anaconda. The gun embodied a modern design, but Colt nonetheless linked the gun to the company’s frontier heritage. The headline read: “The Legend Lives, Larger Than Ever.”
The master at marketing guns that evoke the Old West, however, is Sturm, Ruger & Co. of Southport, Connecticut. In 1953 its founder and chief executive, William Ruger, sensing that the advent of Hollywood and TV westerns signaled a marketing opportunity, introduced a line of single-action revolvers intended to resemble the old Colt Peacemaker, which Colt at the time no longer produced. Ruger sold 1.5 million of the guns. But the company had made them too authentic, to the point of retaining the old Colt’s propensity to fire when dropped. Sturm, Ruger halted production of the guns in 1973 when it introduced a line of similar revolvers equipped with