Noir westerns combine the best of both worlds, and tell complex stories of violence and betrayal set against the backdrop of the Old West. Unlike the slickly-produced westerns that have come to typify the genre, noir westerns feature lower budgets and an overall gritty tone that dispels the idealized mythology of the American West.

Hearkening back to the earliest days of film, westerns were cheap and easy to produce, and usually featured edgy stories. That trend continued into Hollywood’s Golden Age, even as mainstream westerns grew into legitimate first-run features. There were dozens of so-called B-movies in the western genre during that period, and some of them were downright classics.

Noir film burgeoned around the same time as westerns, and it had its own set of gray morals. Often showing the seedy underbelly of modern life, noir was the one genre that continuously pushed boundaries in an era of puritanical censorship. Trading in gumshoes for cowboys, the noir western reflects the highlights of both genres perfectly.

Johnny Guitar (1954)

Johnny Guitar is an interesting addition to the noir western subgenre because it combines the vibrant imagery of mainstream Hollywood with a classic noir story. The Nicholas Ray film stars Joan Crawford in one of her best roles as a fiery saloon owner who is beloved by all the seediest characters in town.

Unlike most ’50s films, the western is led by a compelling female character who isn’t just a prop for her male co-stars. It’s violent and gritty, and certainly exists in the morally grey zone, but still has stunning color pH๏τography that lends the film a larger-than-life look.

High Noon (1952)

Besides being one of the great noir westerns, High Noon is also one of the most important westerns in film history. The Gary Cooper vehicle sees the screen legend play a small town sheriff who has a few hours to prepare for a ᴅᴇᴀᴅly showdown. Exploring Kane’s mental state, High Noon is a dissection of common western themes.

The movie has a low budget and rugged look, and its black and white pH๏τography lends gravity to the action. The ticking clock element is pure genius, and it allows the audience to become fully invested in Kane and his dilemma. High Noon is an inherently political movie, but it uses the trappings of the western to obfuscate its messaging.

Rawhide (1951)

Not to be confused with the TV series of the same name, Rawhide is a dire and violent western that perfectly exemplifies the genre’s crossover with noir cinema. Bandits take over a waystation and hold several townsfolk hostage. A tense battle ensues, and the film has none of the usual grandeur and exaggerated heroics of other westerns.

Rawhide is not a pretty movie, but that’s one reason that the Tyrone Power film is so effective. The minimalism of the locations adds an element of claustrophobia, and even the Old West vistas look bleak. The so-called hero isn’t morally certain, and in that way it is closer to a noir than a classic western.

The Gunfighter (1950)

Gregory Peck’s westerns are usually overlooked, but movies like The Gunfighter are worth remembering. Henry King directs a fascinating character study of a man who is trying to put his violent past behind him. Typically, the heroes of westerns are inspired by their own violence, but Peck’s Ringo is dragged down by his dark history.

The Gunfighter is structured more like a noir film in that it explores the consequences of violence instead of glorifying it. It also has some interesting twists which are unusual for the western genre. The Gunfighter is a sad western, and Peck’s acting is top-notch as he brings the haunted man to life.

I SH๏τ Jesse James (1949)

Samuel Fuller was one of the best directors of Hollywood’s Golden Age, and his debut feature was a shining example of the noir western. I SH๏τ Jesse James follows legendary Old West villain, Robert Ford, as he tries to live his life after the тιтular ᴀssᴀssination. The film has an edgy realness that lends even more weight to the story.

Robert Ireland’s tragic performance as Ford is a highlight, and the movie has that distinct cynicism found in classic noir films. Not only does it explore the consequences of violence, but it dissects the idea of justice and doesn’t portray the law as any more heroic than the villains themselves.

Blood On The Moon (1948)

Robert Mitchum’s best western films feature a lot of crossover with noir, especially since the actor was quite accomplished in that genre too. Blood on the Moon sees Mitchum play a cowboy-turned-detective who uncovers a conspiracy while mediating a cattle dispute. Strip away the spurs and hats, and the movie could easily be a modern noir story.

Blood on the Moon dispels the notion of heroes, and doesn’t glorify a single aspect of the Old West. The violence is noticeably more realistic than other contemporary westerns, particularly the brutal barfight. Mitchum’s performance isn’t as a swaggering cowboy, but as a complex man who can’t distance himself from the corrupting influence of evil.

Forty Guns (1957)

Nearly a decade into his career as a director, Samuel Fuller had perfected the noir western method. Forty Guns is one of the director’s most lavish movies, and involves a willful rancher and her battle against a headstrong Marshall. Like many of its noir counterparts, Forty Guns is unabashedly Sєxy for a film from 1957.

Forty Guns showcases the dying days of the Old West, and Fuller brilliantly examines the hypocritical establishment of law and order on the frontier. The result is a movie with grey morals and an almost absurd philosophy. Fuller’s Forty Guns is a noir film in western garb, and he brings a decidedly avant-garde style not seen in either genre before.

The Ox-Bow Incident (1943)

Though later westerns would tear down the genre’s tropes, The Ox-Bow Incident is an early film that can be considered an anti-western. A posse corners criminals after a manhunt, and a debate then rages about how to handle them. Henry Fonda gives his usual thoughtful performance, and it’s a lot like the 12 Angry Men of the Old West.

The Ox-Bow Incident lacks the cynicism of noir, but borrows the visual conventions of the genre. Light and shadow are used to effectively convey emotion in the story, and it has none of the sweeping imagery that westerns are known for. The movie is so thoughtful and progressive that it’s hard to believe it came out in 1943.

3:10 To Yuma (1957)

Noir is so called because it features dark images and dark themes, and no western lived up to that idea quite like 3:10 to Yuma. A rancher escorts a criminal to his outbound train, but is faced with violence and temptation. Like in most noir films, the hero can’t interact with evil without being tainted by it as well.

The movie questions the very notion of right and wrong, and the seductiveness of darkness spills off the screen thanks to its stunning black and white pH๏τography. 3:10 to Yuma is the quintessential noir western because it wouldn’t be the same without its two genres. It perfectly straddles the line, and is neither a western nor a noir film alone.

My Darling Clementine (1946)

There are tons of films about Wyatt Earp, but My Darling Clementine is arguably the best of all time. Loosely recounting the story of the shootout at the O.K. Corral, the movie follows Earp as he exacts his protracted revenge. Henry Fonda is inspired in the Earp role, and he’s noticeably grimmer than his usual performances.

My Darling Clementine is more western than it is noir, but it does borrow some of the latter genre’s visual accents. Shadows are used to accentuate the story’s darker moments, and Earp’s revenge is less heroic than the usual Old West icons. The noir western pairing produced some genuine gems, but none surpᴀssed My Darling Clementine.