How exactly did the Left romanticize the Lost Cause Confederacy, and by extension its secession and efforts to preserve slavery?
To use a shopworn phrase, “It’s complicated.”
Good Ol’ Rebels
Well before the end of Jim Crow, post-war leftist Hollywood still largely continued its soft mythologies of the Confederate Lost Cause. Perhaps the cinematic romance arose because of the lucrative fumes of earlier Gone with the Wind fantasies, which themselves might’ve come from an understandable desire to play a part in “binding up the nation’s wounds.”
In George Stevens’s mythic Shane (1953), the tragedy of the post–Civil War heroic gunslinger seems eerily tied to his past as an against-the-odds ex-Reb. In contrast, the movie’s odious villain, Unionist Jack Wilson, is a hired gun and company man (brilliantly portrayed by then newcomer Jack Palance).
Wilson shows off his bought cred by gunning down a naïve southern sodbuster, “Stonewall” Torrey (played by Elisha Cook Jr.), accompanied by slurs about the Confederacy. (“I’m saying that Stonewall Jackson was trash himself. Him and Lee and all the rest of them Rebs. You too.”)
In the movie’s final shootout, replaying the Civil War provides the catalyst for more violence. This time Shane — and the heroic South — wins for good, with a payback Civil War exchange with Wilson:
Shane: I’ve heard about you, Jack Wilson.
Wilson: What have you heard, Shane?
Shane: I’ve heard that you’re a low-down Yankee liar.
Wilson: Prove it.
Wilson is then blown back across the barroom under a hail of bullets. Even out on the Wyoming range, the Hollywood subtext is that sodbuster homesteaders can find a former Confederate loser to protect them, with courage and chivalry, against the northern corporatists trying to steamroll them. The noble savior Shane, we are assumed to believe, had no part in slavery or insurrection but was fighting for his southern soil in service to the Confederacy.
Part of the dark mystery and tragedy of John Ford’s anti-hero Ethan Edwards in The Searchers originates in Edwards’s edgy Lost Cause mettle — and acts of bravery that never seem to result in his own positive outcome. His prior stint with the Confederacy is alluded to not just to remind the audience of his unrepentant side but also to emphasize the origins of Edwards’s formidable skills, doggedness, and principles — especially valuable in times (and only during such times) when frontier law fails and such assets are necessary, even if acquired in nihilist service to the losing side.
John Ford drew on that Confederate romance of noble opponents in several films, from Stagecoach (1939) to The Horse Soldiers (1959). A common theme is audacity fueled by admirable past loyalty to a bad cause, a key ingredient in classic portraits of the tragic hero from Homer to Erwin Rommel.
Hollywood Westerns — often in the 1950s and early 1960s — increasingly saw in the Confederate romance a way of reuniting the country, and they partook of the leftist pushback against a federal establishment. Indeed, it is hard to watch a Western in which a southern officer is portrayed purely negatively. At worst, they are daydreamers plotting to rebuild a western confederacy (Rio Conchos). At best, they play into the stereotypes that the better fighters of the South lost the war only because of overwhelming industrial output and manpower of the North — and thus former Confederates are especially valuable Indian fighters on the frontier, a safe space for them that is the United States but not the North.
The True Grit movies have a larger-than-life Rooster Cogburn character, an anti-hero and former member of the Quantrill Raiders, the pro-Confederate rangers’ gang that included Jesse and Frank James. John Wayne first portrayed Cogburn in 1969, in a finale to his earlier southern roles in John Ford’s cavalry movies.
In 1969’s The Good, The Bad and The Ugly, Clint Eastwood mastered the art of portraying Confederates as noble opponents, especially in a haunting scene of an oppressive Union POW camp overseen by a psychopathic criminal commandant, set to the moving lyrics of Ennio Morricone’s “Story of a Soldier.”
Eastwood later went the full Confederate, in The Outlaw Josey Wales (1976). The former son of the South, Wales becomes a 1970s cowboy version of Dirty Harry, serving as a jack-of-all-trades multiculturalist equalizer — fighting back against vicious northern red-leg marauders and in behalf of abandoned women, the poor, and Native Americans.
The supposedly left-wing 1960s and 1970s, in fact, were the heyday of Confederate Chic. True, there were plenty of In the Heat of the Night portraits of the now-familiar racist white Neanderthals, but with the passage of the Voting Rights Act and the end of Jim Crow segregation, the romance of the Old South reappeared