Rating: 4.5/5
Vienna is nonbinary — I won’t be taking questions at this time
Never seen a woman who was more a man. She thinks like one, acts like one. It sometimes makes me feel like I'm not.
Explosions on the ridge. Johnny Guitar (Sterling Hayden) sits on his horse, guitar on his back, looking down as though from heaven. He makes his way through the windstorm to an empty gambling parlor on the outskirts of Albuquerque. He has an appointment with Vienna (Joan Crawford).
Vienna strategically positioned her bar and casino for the upcoming railroad depot. The McIvers control the area’s land and cattle. They know the value of her land and want it for themselves.
A crowd of people burst into the bar carrying a body. Led by Emma Small, they blame Vienna for the death of Emma’s brother — that is, The Dancin’ Kid and his gang, who frequent Vienna’s bar. Emma resents Vienna because Emma and Vienna both fell for The Dancin’ Kid, and he chose Vienna.
Vienna won’t take that sort of blame idly. She draws her gun, saying she won’t leave without a fight.
The Dancin’ Kid and his crew burst in, laughing until they realize what’s happening.
Ultimately, Johnny steps in and de-escalates the situation with a guitar.
McIvers gives Vienna 24 hours to close the bar and leave town.
During the town’s funeral for Emma’s brother, Vienna goes to the bank to withdraw all her savings. The Dancin’ Kid and his gang hold the bank up, taking everything except Vienna’s cash.
The Kid’s gang runs to their secret hiding spot, leaving Vienna and Johnny Guitar to plot their next moves. Johnny can shoot, but he doesn’t want to. He used to be gun-crazy, according to Vienna. Five years ago, they met and fell in love. Johnny paints a picture of them together again, that everything that happened between their past and now was a bad dream.
The town forms a posse led by Emma, still dressed in their funeral clothes. They go to the bar, finding it empty except for Vienna in a white gown playing Johnny Guitar on the piano. The bar’s open back reveals a cliffside, heightening the drama of her performance. They tell her she has to choose a side — that she can’t ride the fence any longer.
Like a true bisexual icon, she refuses to make a choice.
It’s all dreams — blurry edges, exaggerated backdrops — voices reverberating against the mountains, banks held up with guns and promises, rangers gathering in matching suits like they’re hitting marks for dance numbers, explosions like fireworks.
The timing has an almost musical quality to it. The TruColor is lavish — the dialogue is lyrical and indirect — a trait I’ve noticed in other Nicholas Ray movies.
This is a romantic melodrama set in the Western genre.
Emma is a fantastic villain — her motives make sense, as flawed as they are, and I’m infuriated by her choices.
Vienna only wears a dress once. She typically opts for jeans and the most colorful button-up. I want all of them.
Fallout: New Vegas has made it impossible for me not to hear the movie’s theme without getting chills. They don’t play the version with lyrics until the denouement — phew!