Jesse James History Project Essay, Research Paper

Jesse James: History Undertaking

Over one hundred old ages ago that & # 8220 ; soiled small coward & # 8221 ; Bob Ford killed Jesse Woodson James in his place in St. Joseph, Missouri. Today, the typical individual has derived much, if non all, knowledge about the life and times of Jesse James from the films. Get downing with Jesse James Under the Black Flag in 1921 starring Jesse Edwards James ( referred to as Jesse James Jr. ) , and reasoning with the 1980 movie ( The Long Riders ) with James Keach, films have portrayed Jesse James on both sides of the coin. He has been a hero or condemnable, liquidator or Jesus, cunning person or murderous lunatic, and a money-hungry stealer or a western Robin Hood. And because of this double portraiture, the populace is frequently times unable to separate between fact and fiction.

This survey will cover chiefly with the word picture of Jesse James on movie in order to exemplify why people confuse the existent individual with the fable. It will besides research how and why fables are made, and it will see the development of western films and the & # 8220 ; cowboys & # 8221 ; in these films. Finally, it will analyze the mirroring consequence that the populace has on film production and which film books have on its audience. In kernel, film production companies are mirrors having an image of what they believe audiences want to see in a film. When the audience sees that film they may comprehend it as being more factual than it is, non recognizing that they indirectly helped to build that image.

Movies did non give birth to the Jesse James legend, but merely continued with what had started before his decease. After the Gallatin, Missouri bank robbery of 1869, John Newman Edwards, editor of the Kansas City Times, began modeling the image of Jesse and Frank James. A missive that Jesse purportedly wrote appeared in the Times. This missive prepared the foundation for later letters which surfaced sporadically. In this missive, Jesse James claimed to be guiltless of all the Gallatin bank robbery charges ; he admitted that he had been a Confederate guerrilla soldier, but had since peacefully obeyed all Torahs ( Settle, 1966 ) .

In 1867 Edwards wrote Shelby and His Work force, in which he supported Confederate guerrilla warfare and glorified those Southerners who took portion in these actions. In 1872 brigands robbed the box office at the Kansas City Fair, injuring a little miss in the procedure. Most people disapproved of the offense itself, and they were made aware of the danger to by-standers in such an event. Though Edwards besides referred to the act as a offense, he admired the courage of the felons for & # 8220 ; a title so cavalier, so devilishly make bolding and so absolutely in disdain of fright that we are found to look up to it and idolize its perpetrators. & # 8221 ; ( Settle, 1966, p. 45 ) In a Times column on September 29, 1872 entitled & # 8220 ; The Chivalry of Crime, & # 8221 ; he compared the criminal to knights of the Round Table, who had been born excessively late in clip ( McGrane, 1980 ) .

Although rival publications denounced Edwards & # 8217 ; positions refering Missouri offense and felons, he continued to support and praise the courage of the James pack until the clip of his decease in 1889. His readings and justifications for the actions of Jesse James began the metabolism of Jesse James & # 8217 ; image from that of stealer, slayer and criminal to one of a ill-conceived, misunderstood Missouri Robin Hood ( Settle, 1966 ) .

Other authors continued Edwards & # 8217 ; eulogising of Jesse James. Books and articles printed in the late 1800s had Jesse contending the Mexicans or the Chinese, or salvaging demoiselles in hurt. Street and Smith entirely published 121 & # 8220 ; dime novels & # 8221 ; about Jesse James between 1901 and 1903 ( Time, January 23, 1939 ) .

The fable grew and the expression for that growing is attributed to Richard K. Fox, editor of the National Police Gazette from 1877 to 1922. Harmonizing to Fox a hero had to hold a mixture of 10 qualities or constituents. Whether it was Jesse James or any other manufactured fable, the hero had to hold a combination of these standards:

1. The hero & # 8217 ; s truth with any arm is colossal.

2. He is unequaled in courage and bravery.

3. He is gracious to all adult females & # 8212 ; regardless of rank, station age or physical appeal.

4. He is soft, modest, and unassuming.

5. He is fine-looking & # 8212 ; sometimes even reasonably, so that he seems even feminine in visual aspect ; but withal he is of class really masculine, and extremely attractive to adult females.

6. He is fair-haired. His piercing bluish eyes turn grey as steel when he is aroused ; his associates would hold been good advised to maintain a colour chart Handy, so that they might hold dived for a storm basement when the blue turned to tattletale grey.

7. He was driven to a life of lawlessness and offense by holding rather decently defended a loved one from an unbearable insult & # 8211 ; with deadly effects.

Thereafter, nevertheless,

8. He shields the widow and orphan & # 8212 ; robbing merely the banker or railway monopolizer.

9. His decease comes about by agencies of treachery or perfidy, but

10. It is seldom a conclusive decease, since he keeps bobbing up subsequently on, in other topographic points, for many old ages. ( Lyon, 1960, pp. 35-36 )

Most, if non all, of the above ingredients could be found in the literature and film books written about Jesse James. Writers gave Jesse the qualities of courage, bravery, gradualness, and decease by treachery. They besides revealed unfairness as the ground for his turning to offense. But one property could non be bestowed upon Jesse in print until many old ages after his decease. That was the reappearance of Jesse James from the grave. This Resurrection became so common that when asked about it in 1939, Frank James & # 8217 ; boy casually remarked that since 1882 he had had eleven different uncles named Jesse ( Breihan, 1961 ) .

The same qualities needed in literature to make a legendary hero carried over into the movie industry. Three films about Jesse James appeared during the 1920s. Jesse James Jr. starred in two of these, Jesse James Under the Black Flag and Jesse James as the Outlaw. The first rubric is the more notable of the two, since the shareholders of this movie were composed of members of the James household and a few Kansas City business communities. The secret plan concerned a immature Eastern chap who wanted to get married the grand-daughter of Jesse James. Before holding to get married him the immature lady made him cognizant of her household background by holding her male parent read the narrative of her gramps. This narrative, looking on the screen, portrayed Jesse as caught in the tumult of the Civil War, which finally turned him into a hardened felon ( Eyles, 1975 ) .

In his book Jesse James Was His Name, William A. Settle, Jr. explores the myth that the war turned Frank and Jesse James to a life of offense. In this, the most factual of any book written about Jesse James, Settle denounces the myth when he states: & # 8220 ; Examples are legion of former Quantrill work forces who lived in peace and prospered softly after the war. In all chance, ennui and inability to set to the composure of postwar life drove them to offense, though their guardians assert that they were revenging wrongs inflicted by predatory bankers. & # 8221 ; ( p. 32 )

Fred Thompson and his Equus caballus, Silver King, starred in the film Jesse James in 1927. Typical of 1920s movies, this film concerned itself more with the star looking in a function, instead than the content of the movie. This becomes apparent when Jesse commits merely one offense, a stagecoach armed robbery, in the book. The presentation of Jesse as a western Robin Hood did non appeal to the audience or the critics, and this along with other dissatisfactory Westerns caused James R. Quirk to province in 1929 that the western gesture image had died and would ne’er be revived ( Settle, 1966 ; Tuska, 1976 ; Ferrin & A ; Everson, 1962 ) .

However, Quirk & # 8217 ; s declaration of the western film & # 8217 ; s decease proved baseless. Had he waited a few old ages he would hold seen an alone flourishing of the western film during the Depression. The societal tendency of the thirtiess can best be expressed in footings of single diffidence and the hunt for security. During the Great Depression people disregarded the inauthentic historical representation shown on the screen in favour of films as an flight from their mundane lives.

To make full the demand of its audience, Hollywood cranked out 100s of action & # 8220 ; B & # 8221 ; Westerns. The populace found a hero from out of the yesteryear in the & # 8220 ; cowpuncher, & # 8221 ; who was seen as a representative of American righteousness. To carry through this desire of people to hold a feeling of security the Westerns produced during most of the 1930s catered to the public & # 8217 ; s hunt of American & # 8220 ; self-worth & # 8221 ; and patriotism. Movie manufacturers incorporated the qualities which Gene Autry called the & # 8220 ; Ten Commandments of the Cowboy & # 8221 ; :

1. A cowpuncher ne’er takes unjust advantage & # 8211 ; even of an enemy.

2. A cowpuncher ne’er betrays a trust.

3. A cowpuncher ever tells the truth.

4. A cowpuncher is sort to little kids, old folks, and to animate beings.

5. A cowpuncher is free from racial and spiritual bias.

6. A cowpuncher is helpful and when anyone & # 8217 ; s in problem he lends a manus.

7. A cowpuncher is a good worker.

8. A cowpuncher is clean about his individual and in idea, word, and title.

9. A cowboy respects muliebrity, his parents, and the Torahs of his state.

10. A cowpuncher is a nationalist. ( Maynard, 1974, p. 62 )

During the latter old ages of the 1930s Hollywood turned to existent historical events and characters as topics for gesture images. These were non typical & # 8220 ; B & # 8221 ; Westerns, but instead expensive, well-produced heroic poems. Such films as Union Pacific, Wells Fargo, Custer & # 8217 ; s Last Stand, Stagecoach, and Jesse James emerged at this clip. Even though the events and characters had historic ties, the manufacturers and managers deliberately distorted, added or deleted historic truths so that the merchandise appealed to their audience. Without cognizing it, the film industry followed a line from John Ford & # 8217 ; s 1962 film, The Man Who Shot Liberty Valance. That line comes near the terminal of the movie when a newspaper editor tells Jimmy Stewart, & # 8220 ; When the fable becomes fact, publish the legend. & # 8221 ;

The 1939 production of Jesse James starred Tyrone Power as Jesse and Henry Ford as Frank. The cinematography of this film is the footing of Larry Bradley & # 8217 ; s book, Jesse James: The Making of a Legend. Producer Darryl F. Zanuck set out to make an reliable history of the western criminal and even hired Jo Francis James, Jesse & # 8217 ; s granddaughter, to assist research and assemble stuff for the book. After finishing the cinematography, manager Henry King stated that the movie did non seek to laud or reprobate Jesse James, but concerned itself with building an accurate historical representation of the criminal & # 8217 ; s life ( Meyer, 1979 ) . However, neither the purpose of Zanuck nor the reading of King is found in the film.

Henry King chose Pineville, Missouri [ Larry Bradley ‘s book, Jesse James: The Making of a Legend offers an history of the cinematography of this film ] as the site for the location shot of the movie, doing it one of merely two movies ( as of this authorship ) about Jesse James to be filmed in Jesse & # 8217 ; s native province. [ Jesse James Under the Black Flag was filmed in the Kansas City country. ] The secret plan is simple. Jesse is driven into lawlessness because of unfairnesss to his household and can non return to a normal household life. Therefore, he lives out the balance of his life as a condemnable seeking retaliation on the 1s responsible for his destiny.

This film became one of the major box-office attractive forces of the twelvemonth and turned out to be one of the top money-makers besides ( Steinberg, 1980 ) . People went to see and appreciate a well-made film and in the procedure were exposed to one of the most fabricated lifes in film history. But unlike the audience of the 1927 film, people during the Depression enjoyed seeing person fight back against an oppressor and cilium out at a recognizable force & # 8211 ; the railway & # 8211 ; that was set on the devastation of single lives. Americans, tired of their everyday, uneventful, and frequently times suffering being, found a hero, a contemporary Robin Hoood, from out of their yesteryear. And in the procedure of accepting this reading of Jesse James, they accepted the fable.

Several major elements of the fable are found in this film. The gap scenes depict a St. Louis Midland Railroad representative named Barshee ( played by Brian Donlevy ) who is strong-arming people into selling their farms in order to do manner for the new railway line. When Mrs. James ( played by Jane Darwell ) refuses to sell, Barshee and Frank acquire into a battle, and Barshee is wounded. He subsequently returns with the sheriff ( played by Randolph Scott ) and non cognizing that the James brothers are gone, tosses a grenade into the house which kills Mrs. James. Because of their female parent & # 8217 ; s decease, Jesse and Frank enter into a life of offense ( Bradley, 1980 ) .

This incident can be compared to a existent event. On January 26, 1875 a group of Pinkerton agents threw a fume bomb into the James & # 8217 ; place in an effort to capture Jesse and Frank. Mrs. James pushed the bomb into the hearth and it exploded, killing Archie Peyton Samuel, Jesse & # 8217 ; s stepbrother, and badly injuring Mrs. James in the right arm, which subsequently had to be amputated ( Settle, 1966

) . But this incident took topographic point old ages after the James brothers became felons, so to picture Jesse and Frank as being forced into a life of offense is stretching the truth.

One scene in the film perpetuating the & # 8220 ; Robin Hood & # 8221 ; image finds Jesse coming to the assistance of a widow about to free her farm because she can non pay the mortgage. Jesse gives her the money to pay off the mortgage, lies in delay until the banker has received the payment, so robs the banker of the money he originally gave the widow.

Some of the questionable, if non wholly untrue, sections of the film include Jesse concealing out in a cave ; Jesse turning himself in to the governments and so get awaying ; Bob Ford alarming the governments about the Northfield, Minnesota foray ; and Jesse and Frank siting their Equus caballuss off a drop into a river in order to get away the Northfield posse ( Bradley, 1980 ) . In fact, most reappraisals tried to warn the populace about the phantasy in the movie. A Newsweek article labeled it a good melodrama, but non factual. Time compared it to a modern mobster film. The New York Sun wondered if Hollywood would besides laud John Dillinger and Al Capone ( Newsweek, January 23, 1939 ; Time, January 23, 1939 ) . Finally, the Chicago Daily News declared the movie should get down with the statement, & # 8220 ; The events and characters depicted in this photoplay are fabricated. Any similarity to existent individuals, populating or dead, is strictly coincidental. & # 8221 ; ( Meyer, 1979, pp. 73-74 )

Jo Francis James, Jesses granddaughter, refused to back or praise the content of the movie. In an interview she said, & # 8220 ; I don & # 8217 ; t cognize what happened to the history portion of it. It seemed to me the narrative was fiction from get downing to stop. About the lone connexion it had with fact was that there one time was a adult male named Jesse and he did sit a horse. & # 8221 ; ( Meyer, p. 74 )

Why did a film intending to show a historical life of Jesse James turn out to be so non-factual? Director Henry King best summed up the ground when he said, & # 8220 ; But what we were seeking to make was to make a Jesse James who would be worthy of the fable ; for we knew that no affair what we or any other Godheads of fiction did now, the fable would persist. & # 8221 ; ( Bradley, 1980, p. 26 ) In kernel, he was stating that the fable would be a bigger box office hit than the truth and that people needed a film hero to idolise.

The inclination to romanticize and popularise the Jesse James legend continued throughout the 1940s and the 1950s. But sometimes the character would be depicted as a worthless person, instead than a Robin Hood. Assorted histrions assumed the individuality of the Missouri criminal during this clip, including such luminaries as Don & # 8220 ; Red & # 8221 ; Barry, Roy Rogers, Clayton & # 8220 ; The Lone Ranger & # 8221 ; Moore, Audie Murphy, and Wendell Corey ( Eyles, 1975 ) . But no film or histrion competed with the 1939 production. That is, non until it was re-made in 1956.

Robert Wagner starred in this 1957 release entitle The True Story of Jesse James. In this version the railway is non blamed for doing Jesse & # 8217 ; s life of offense. Rather, it was the & # 8220 ; Yankees & # 8221 ; migrating to Missouri who persecuted former Confederate soldiers and pushed them into Acts of the Apostless that they would hold avoided otherwise. As with the earlier version, this movie centered on the fable and non the facts ( New York Times, May 31, 1957 ) . The major difference between the 1939 and the 1957 films lay in the histrions portraying Jesse. In the 1930s Tyrone power was the focal point for the unfairnesss on the screen to the Depression audience. In the 1950s, Hollywood manufacturers cast immature Robert Wagner as Jesse in order to appeal to that audience, the adolescent. Who better could associate to the persecutions of a immature adult male on the screen?

In 1960 and once more n 1965 and 1966 Hollywood produced films about Jesse James aimed at the immature movie-goer. Young Jesse James starred Ray Stricklyn. In this movie Belle Starr chooses Cole Younger over Jesse as her lover. This rejection causes Jesse to vent his defeats through his guns ( New York Times, May 31, 1957 ) . Two films released in 1965 and 1966 had Jesse James as a chief character. The Outlaws Is Coming was the name of a & # 8220 ; Three Stooges & # 8221 ; comedy. The rubric of the 1966 release, Jesse James Meets Frankenstein & # 8217 ; s Daughter, is adequate to explicate its entreaty to the younger audience.

The sixtiess besides saw telecasting effort to sell a positive image of Jesse James to its audience. On Monday dark, September 13, 1965 ABC aired The Legend of Jesse James. Modeled after the 1939 film, Mrs. James is killed in the first show and Jesse ( played by Chris Jones ) and Frank ( played by Allen Case ) spend the balance of the series protecting guiltless victims and bringing mayhem with the Great Western Railroad ( Terrance, 1976 ; Brooks & A ; Marsh, 1979 ) . Even though the station warned its viewing audiences by including & # 8220 ; Legend & # 8221 ; in the rubric, this portraiture of the James brothers gave many viewing audiences diabetes of the psyche, and the series ended after merely one season.

In the films of the late sixtiess and into the 1970s the Jesse James character follows the tendency of many other movies and the chief character becomes an anti-hero. In the 1962 film The Great Northfield Minnesota Raid, manager Philip Kaufman alterations Jesse from the guiltless rural ex-soldier to a psychopathologic slayer who believes the Civil War is non over ( Life, June 16, 1972 ; New York Times, June 15, 1972 ) . In this movie Robert Duvall portrays Jesse as cruel, inhuman, and a small stupid. In general, he is the exact antonym of the 1939 Tyrone Power character.

William T. Pilkington and Don Graham ( 1979 ) in their book, Western Movies, draw analogues between the male monarch and the Kaufman movies. For Kaufman & # 8217 ; s Jesse, the foray on Northfield is non avenge against unfairnesss, but another act of guerrilla warfare. Jesse is non a romantic lover, but a neurotic, impotent also-ran. Kaufman does retain the widow & # 8217 ; s mortgage scene. However, alternatively of acting like Robin Hood, Jesse kills the banker and so leaves a hint to imply the old lady. The flight from the Northfield posse is non a brave, adventuresome one, as Jesse returns to kill the old widow and masks in her apparels to dodge the posse and do it safely back to Missouri.

One of the most recent, and in most ways the most factually accurate, portraiture of Jesse James in a movie is in the 1980 release, The Long Riders. Director Walter Hill centers most of the attending of the film on household ties and friendly relationships. Unlike its predecessors, this movie does non seek to rock the audience & # 8217 ; s sentiment either for or against the criminal. Hill gives the feeling that Frank and Jesse James chose a life of offense due to the short hours and large payroll checks, non because of outside influences and force per unit areas ( Newsweek, June 2, 1980 ; Time, June 16, 1980 ) .

The Long Riders, unlike any of the old movies, leaves most of the fable aside and presents a narrative of Jesse James the criminal, the brother, the hubby, the male parent, and the friend. In short, a existent adult male and non a & # 8220 ; whitewashed being & # 8221 ; assembled from person & # 8217 ; s head. The other characters in this film are besides existent, although at times they are treated peripherally.

As in most films, facts are sometimes distorted, and this is evident in The Long Riders, although on non so expansive a graduated table. For case, when the Pinkerton & # 8217 ; s throw the bomb into the James ; place, it comes through the forepart window and non the back door. Archie, the stepbrother, is seen as a simple-minded adolescent, alternatively of a normal nine-year-old male child. In add-on, Jesse truly died in the forenoon and non after the supper repast. Frank did non give up to the governments in order to bury Jesse, but really held out for several months. And the train robbery from horseback and the drive through the forepart window in Northfield, which is besides seen in the 1939 film, may hold been exciting screening, but did non take topographic point ( Kansas City Times, June 13, 1980 ) . Other characters & # 8212 ; the Youngers, John fords, etc. & # 8212 ; besides take portion in fabricated, entertaining scenes throughout the film.

For 80 old ages Jesse James has been a portion of the movie-goer & # 8217 ; s life. And because of this exposure to his life, many people feel that they know the facts and can separate them from a fable that has carried over from popular literature. However, what they believe to be true is in portion due to Hollywood. The film industry, as with any industry, is in concern to do money. To do money, the industry produces movies that people will go to. The public sometimes forgets this facet when they are sing a film. If you are watching a film in which the rubric happens to get down with The Absolute, Unquestionable, Historically Accurate, True Life Adventure of. . . . Just program on being entertained throughout the film.

JESSE JAMES IN THE MOVIES

Year Title Actor

1921 Jesse James Under the Black Flag Jesse James, Jr.

1921 Jesse James as the Outlaw Jesse James, Jr.

1927 Jesse James Fred Thompson

1939 Jesse James Tyrone Power

1939 Days of Jesse James Don & # 8220 ; Red & # 8221 ; Barry

1940 Return of Frank James Jesse James & # 8211 ; Not a Fictional character

1941 Jesse James at Bay Roy Rogers

1941 Bad Men of Missouri Alan Baxter

1942 The Remarkable Andrew ( non-western ) Rod Cameron

1942 The Kansan George Reeves

1946 Badmen & # 8217 ; s Territory Lawrence Tierney

1947 Jesse James Rides Again Clayton Moore

1948 Adventures of Frank and Jesse James Clayton Moore

1949 Contending Man of the Plains Dale Robertson

1949 James Brothers of Missouri Keith Richards

1949 The Younger Brothers

1949 I Shot Jesse James Reed Hadley

1950 Kansas Raiders Audie Murphy

1951 The Best of the Badmen Lawrence Tierney

1951 The Great Missouri Raid Macdonald Carey

1953 The Great Jesse James Raid Willard Parker

1953 Woman They Almost Lynched Ben Cooper

1954 Jesse James & # 8217 ; Woman Don & # 8220 ; Red & # 8221 ; Barry

1954 Jesse James V. The Daltons Not a character

1955 Outlaw Treasure Harry Lauter

1957 The True Story of Jesse James Robert Wagner

1957 Hell & # 8217 ; s Crossroads Henry Brandon

1959 Alias Jesse James ( Bob Hope comedy ) Wendell Corey

1960 Young Jesse James Ray Stricklyn

1961 The True Gang Murders Documentary. . .

1965 The Outlaws is Coming ( 3-Stooges ) Wayne Mack

1966 Jesse James Meets Frankenstein & # 8217 ; s Daughter John Lupton

1969 A Time for Diing Audie Murphy

1972 The Great Northfield Minnesota Raid Robert Duvall

1980 The Long Riders James Keach

1994 Frank and Jesse Rob Lowe

Eyles, The Western, pp. 90-91 ; Kansas City Times, June 13, 1980, pp. C-2 & A ; C-3. ; and the IMDb: Internet Movie Database & # 8212 ; hypertext transfer protocol: //www.imdb.com/

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