American Westerns were amongst the US films imported into the early Soviet Union.[1] As a result, certain Soviet films at the time are seen to incorporate Western elements. For example, the image of the Western cowboy is used to symbolize the United States and the West as a whole in the soviet silent comedy The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924). Red Devils is a revolutionary action film that also borrows from the Western genre. As cultural restrictions tightened during the Stalinist era, however, Western-inspired films in the Soviet Union became few and far between. It is worth noting, however, that Stalin was an avid enjoyer of Hollywood Western films, and is argued by some to have desired the Western genre within the Soviet Union.[2]
Emergence of the Ostern genre
1957's Miles of Fire is one of the earliest examples of a Soviet Western as it was released years before the Ostern genre became formalized and prevalent. The Western genre saw a resurgence in the Soviet Union in the 1960s, largely resulting from the Khrushchev Thaw. In 1962, the USSR allowed for the screening of certain US and foreign films. The Magnificent Seven, an American Western starring Steve McQueen, become the most successful of these films commercially, becoming an instant cult classic amongst Soviet moviegoers.[3] The overwhelming popularity and commercial demand of films like The Magnificent Seven enticed Soviet filmmakers and state-run film institutions to experiment with Western elements in their own productions, resulting in the creation of the Soviet Western.[4]
The Czechoslovakian comedy Lemonade Joe or the Horse Opera (1964) gained popularity amongst Soviet citizens and those in the Eastern Bloc.[5] Though the film is largely a parody of the Western genre, its commercial success nonetheless furthered the familiarity of Western tropes within the Eastern Bloc and the general Soviet audience.
The East German The Sons of the Great Bear (1966) is a seminal Red Western. The film turned the traditional American "Cowboy and Indian" conventions on their head, casting the Native Americans as the heroes and the American Army as the villains, a motif inspired by Karl May's highly successful German Western novels (such as the Winnetou series). The film started a series of Indianerfilme or "Indian Films" produced by the East German DEFA studios. These films were immensely popular among the East German audience, furthering the widespread German fascination of Native American culture[6] (see Native American Hobbyism in Germany).
White Sun of the Desert (1970) stands out as the quintessential Ostern, with its release considered by some to usher in the "golden era" of Soviet Western film.[7] Set in rural Turkmenistan, the film incorporates many elemental Western characteristics, namely wide shots of empty skies and nature, transportation via horse and leather saddle, and the lone stoic protagonist. The film quickly obtained a cult-like status, with multiple catchphrases from the film making its way into casual conversation.[8]