pinge tekitas. Hawsk tegi veel kolm väga head vesternit koos Wayne´iga, neist parim oli ,,Rio Bravo" (1959). Anthony Manni viies filmis oli peaosas James Stewart. Nende viie seas olid Bend of the River (1952) ja ,,Mees Laramiest" (The Man from Laramie, 1955), mis olid 1950. aastate ühed parimad vesternid. Parimate seas olid ka Bud Boetticheri seitse pingelist vesternit Randolph Scottiga peaosas, sh Seven Men from Now (1956); Henry Kingi ,,Relvakangelane" (The Gunfighter, 1953), Fred Zinnemanni ,,Keskpäev" (High Noon, 1952), George Stevensi ,,Shane" (1953), William Wyleri ,,Suur maa" (The Big Country, 1958) ning mõned harvad filmid, kus indiaanlastesse suhtuti lugupidavalt, näiteks Delmer Davesi ,,Murtud nool" (Broken Arrow, 1950) ja Robert Aldrichi ,,Apats" (Apache, 1954). Zanri allakäik 1950. aastal toodeti Hollywoodis 130 vesternit. 10 aastat hiljem oli see number vaid 28. Sellisel langusel oli mitu põhjust: seni kino jaoks toodetud B-kategooria
Old M a n . Nevertheless, almost every story calls on the energy of this archetype at some point. INNER M E N T O R S In some Westerns or film noir stories the hero is an experienced, hardened character who has no need for a M e n t o r or g u i d e . H e has i n t e r n a l i z e d the archetype a n d it now lives within h i m as an inner code o f behavior. T h e M e n t o r m a y be the unspoken code of the gunfighter, or the secret notions of honor harbored by S a m Spade or Philip Marlowe. A code of ethics may be a disembodied manifestation of the Mentor archetype guiding the hero's actions. It's not uncommon for a hero to make reference to a M e n t o r who meant something to him earlier in life, even i f there's no actual M e n t o r character in the story. A hero may remember, " M y m o t h e r / father/ grandfather/drill sergeant used to say...," and then call to m i n d the bit of
annaabi.ee 
