In westerns cowboys are usually depicted as symbols of ultimate freedom. In John Huston’s epitaph to the western, 1961’s The Misfits, Clark Gable’s character explains the life of a cowboy as “Well, you start by going to sleep. You get up when you feel like it. You scratch yourself. You fry yourself some eggs. You see what kind of a day it is; throw stones at a can, whistle.”* And this notion of freedom is part what makes Raoul Walsh’s 1947 film Pursued so interesting. Billed as the first ever western-noir, Pursued takes the vastness of the old west and transforms it into a stifling landscape where you can run but you can’t hide.
Pursued stars Robert Mitchum as Jeb Rand, a man haunted by the scattered memories of a traumatic event. The film opens with Jeb hiding out in the dilapidated remains of a weathered ranch. Then through a series of flashbacks Jeb narrates how fate led him to this point. This narrative framing device is often used in noir* as a way to start off the movie by letting the audience know how it’s going to end: badly. It steeps the rest of the film in an ominous dread because no matter how good things look for our characters we know their ultimate and unfortunate fates.