The western film goes back more than 100 years, but there are a handful of movies that make for the perfect starting point for new fans to the popular genre. Since commercialized filmmaking began, the western has been a go-to genre to pack movie houses. With their larger-than-life heroes and idealized view of American history, westerns exemplify blockbuster escapism.

Despite being one of the most accessible movie genres, there are definitely westerns that new fans shouldn’t start with. Whether they’re too subversive or just too weird, not every western is going to appeal to the average moviegoer. Thankfully, the genre has also produced its fair share of crowd-pleasers, and that is the best place to start.

The all-time classics have stood the test of time, and like most great pieces of cinema, were crafted to appeal to the mᴀsses. What’s more, some westerns better exemplify the genre’s tropes, and often originate concepts that would be repeated over and over again. The best way to love westerns is to start with the movies that everyone loves.

Destry Rides Again (1939)

James Stewart isn’t necessarily synonymous with the western genre, but his jaunts out West were usually pretty good. Stewart’s тιтular character is a brash young lawman who is sent to a dangerous town to bring order. What follows is a hilarious western romp. The movie’s true power is how effectively it spoofs the genre while remaining true to its tropes.

Newcomers to westerns will get a kick out of the movie’s late ’30s style, and can get some laughs out of the smart parody. However, it still offers a compelling and classic western plot that can be enjoyed by anyone, western fan or otherwise. It’s a spoof that doesn’t require a lot of expertise about westerns to be enjoyed.

Once Upon A Time In The West (1968)

The spaghetti western subgenre should usually be reserved for experienced fans, but Sergio Leone’s Once Upon a Time in the West is an exception. The epic tale centers on a single plot of land, and the myriad characters who want to claim it. Leone’s direction gives every moment a heightened sense of reality, and the film is pure cinema.

Unlike the many B-movies of the spaghetti western variety, Once Upon a Time in the West gives any American western a run for its money. It synthesizes all the themes of vengeance, justice, and violence into digestible visuals and sound, and any movieger can be swayed by Leone’s storytelling. Its epic length might be daunting, but it’s worth the ride.

Rio Bravo (1959)

Because it’s a stock-standard western, Rio Bravo is actually a perfect place to start for new fans. The John Wayne vehicle sees him play a stoic sheriff who rounds up a team of misfits to help him defeat some criminals. Director Howard Hawks’ style is on full display, and it elevates what was already a pretty cliche story by 1959.

The real power of Rio Bravo is its character work, and Wayne plays nicely with Walter Brennan and Dean Martin. Newcomers will also like the Old Hollywood gloss, and the movie’s glorious color pH๏τography represents the peak of what the era had to offer. It’s a perfect movie for fans who haven’t seen too many western tropes in action before.

Fort Apache (1948)

Fort Apache is a somewhat odd addition to the quintessential classic western category because it was subversive for its time. Tensions flare at the тιтular outpost when a H๏τsH๏τ new Lt. Colonel arrives to shake things up. The John Ford western pairs John Wayne and Henry Fonda in a dynamic duo of Old Hollywood proportions.

New fans will get a thrill out of the тιԍнтly-written conflict and suspense, and may even be surprised by its progressive (for the time) message. Unlike other westerns which treated Native Americans with disrespect, Fort Apache approaches relations with a bit more class and nuance. Regardless, it’s a western war movie that checks all the boxes.

Shane (1953)

Though it sometimes falls to the wayside in favor of other classics, Shane is undoubtedly a must-see for newcomers to westerns. Alan Ladd leads the thrilling story of an ex-gunfighter who is forced back into service to protect his new life. The тιтle character isn’t some swaggering heroic caricature, but a flesh-and-bone man who is worn down by his life.

As the gripping drama plays out onscreen, the viewer is treated to stunning cinematography that captures the grandeur of the West. Many of the clichés from westerns got their start in Shane, so they will feel fresh to new viewers who aren’t as experienced. Other films might have copied Shane, but few can match the movies overall quality.

Red River (1948)

There wasn’t a lot of diversity in John Wayne’s best characters, but his turn as Thomas Dunson in Red River bucked that trend. The Howard Hawks western centers on a cattle drive, and the ego clashes that threaten all involved. Wayne’s Dunson is not a hero, and his angry and headstrong performance represents a big shift for the actor.

Red River is the ultimate cowboy movie, largely because ranching and cattle driving are its primary focuses. In that way, it’s essential western viewing, and a perfect introduction to the profession which is often in the background of other films. Other than that, it’s an expertly crafted drama with stunning performances that is sure to rivet any viewer.

Tombstone (1993)

The western genre had nearly died out by the 1990s, but Tombstone brought it back with a vengeance. The movie tells the well-worn tale of Wyatt Earp and the Gunfight at the OK Corral, but it does so with a heightened sense of style. Tombstone is a deeply nostalgic film, especially after years of anti-westerns and more subversive films.

In that way, Tombstone is one of the best movies to first experience the western genre, because it’s a classic story made with a modern sensibility. It doesn’t have any of the staged quality of older films, but it still fulfills all the expected beats of a western. Many modern westerns have built upon the foundation that Tombstone helped establish.

Stagecoach (1939)

Stagecoach was the first film that John Wayne and John Ford made together, and it launched a partnership that would define westerns. The surprisingly modern film concerns a stagecoach and its pᴀssengers as they pᴀss through dangerous territory. Wayne appears as the Ringo Kid, an early flash of his brilliance as a swaggering hero.

Despite being made in the 1930s, Stagecoach hasn’t aged a day since its release. Western newbies will enjoy the clever camerawork and excellent characters, and it avoids the common pitfalls of older films by never feeling stodgy or boring. Stagecoach is one of the most influential films of all time, therefore it deserves to be watched first.

The Good, The Bad And The Ugly (1966)

The final film in Sergio Leone’s Dollar Trilogy, The Good, the Bad and the Ugly, is without a doubt the most iconic western made after Hollywood’s Golden Age. A trio of shady characters all hunt for buried gold during the Civil War. Behind John Wayne, Clint Eastwood is the name in westerns, and Leone’s opus is his best film.

As befitting the spaghetti western, the film is hyperstylized and brash, and a far cry from the simplistic and slow films being made in the U.S. Newcomers will likely recognize many of the movie’s iconic visual and aural cues, as they have also become a part of western history. Beneath that is a compelling action story with plenty of thrills.

The Searchers (1956)

While some films might be arguably better, The Searchers is the first movie that any newcomer to westerns must watch. John Ford’s masterpiece casts John Wayne as a vengeful man on the hunt for his kidnapped niece. Wayne gives what is his finest performance, and he steps away from his usual heroic roles to play someone distinctly villainous.

Ford uses the language of cinema perfectly, and the vibrant color pH๏τography is still majestic decades later. It has many of the expected tropes, including exaggerated machismo and violence, but is actually a deeper story about the dangers of obsession. Westerns don’t get much better than The Searchers, and it’s the best way to introduce a viewer to the genre.