> ## Content Index > Fetch the complete content index at: https://theparnassian.com/en/llms.txt > Use this file to discover other available public pages before exploring further. # ⚡️Something Beautiful for the Night ⚡️ - URL: https://theparnassian.com/en/krasivoe-na-noch/ - Published: 2024-11-22T20:50:02.000Z - Updated: 2026-10-01T05:32:02.000Z - Author: Alexandr Radayev - Tags: Cinema, Paris, Pop Culture A shoot by Ellen von Unwerth for Ulyana Sergeenko's new collection, with Natalia Vodianova and Katya Letskaya, Ulyana herself and her daughter Vasilisa (attention, please), held on a ranch in the outskirts of Paris. I would never have thought such a thing existed. It turns out that Ellen von Unwerth had long wanted to shoot at the country estate of two collector brothers, who have created a genuine American ranch filled with authentic antiques of the Wild West and every attribute of cowboy life. When Ellen saw Ulyana's new resort collection, Rodeo, inspired precisely by the aesthetics of westerns, the patience came out perfectly. It is interesting that Ulyana has managed to present the cowboy style so femininely and to show the female character of the western from such a non-classical angle. First and foremost, the shoot recalled *The Oil Drillers* \[a rendering of the title as given\] with Brigitte Bardot and Claudia Cardinale. If anyone wishes to object that there is no place for a woman in the classic western, I shall have to disagree. Firstly, the traditional plot of a western is built in such a way that meeting a woman proves one of the hero's main goals, and this woman embodies his happiness in the future, the salvation if not of his perishable body then of his soul. In the drama of the Wild West, girls do not merely love and inspire the hero, as in *My Darling Clementine* or *Stagecoach*, where the heroine is even rewarded with an engagement; they help the enchanted cowboy, become the reason a lovesick villain is caught, as in *Winchester '73*, dance in the cabaret, bear children and weep, as in *Fort Apache*. No, not only that. Although the role of the woman as creator of the family idyll amid the chaos of the world can hardly be considered secondary. Whom is this shoot really about? About the ringleaders of the women's community that defies a gang of cutthroat men in the series *Godless*? No, the aesthetic is quite different. Rather, it is about Marlene Dietrich in the western *Destry Rides Again* of 1939, who with her sudden masculinity combined with refined beauty overturns every notion of how the brutal world of the Wild West is arranged. Or one may recall the amusing episode in the same *Winchester*, where a husband flees in fright at an Indian raid, handing the reins of the wagon to his wife, and she copes perfectly well with the assigned mission of preserving the family's property. And it is also about the idealistic girl from a little farm in *The Westerner* of 1940, who is literally left alone, in an elegant Victorian dress and with a bow in her hair, against an entire world of men who have usurped the government of her town. And having made one of her enemies fall in love with her, she brings him over to the bright side and saves the town together with him from the bandit sheriff and his gang. Is she not a vestal of flawless beauty two thousand years on? Very vividly the woman as a guiding star is shown in *The Naked Spur*, where the gloomy antihero, an unprincipled bounty hunter, is reborn through love and passes along a difficult path of dramatic development to raise his soul from the ashes. And since my fashion column has gradually turned into a club of the Parnassian Mockingbird at the cinema, let us recall other westerns worth watching with iconic, strong and beautiful heroines: *Bad Girls* (1994), *The Quick and the Dead* (1995), *Hannie Caulder* (1971), *True Grit* (2010), *Duel in the Sun* (1946), *The Ballad of Little Jo* (1993), *Furies* \[as given\] (1950), *The Last Raid* \[as given\] (2003), *The Nightingale* (2018), *Johnny Guitar* (1954), *The Homesman* \[as given\] (2014), *Meek's Cutoff* (2010), *Jane Got a Gun* (2015) ![](https://theparnassian.com/content/images/2026/09/photo_14278@22-11-2024_23-50-02.jpg) ![](https://theparnassian.com/content/images/2026/09/photo_14279@22-11-2024_23-50-02.jpg) ![](https://theparnassian.com/content/images/2026/09/photo_14280@22-11-2024_23-50-02.jpg) ![](https://theparnassian.com/content/images/2026/09/photo_14281@22-11-2024_23-50-02.jpg) ![](https://theparnassian.com/content/images/2026/09/photo_14282@22-11-2024_23-50-02.jpg) ![](https://theparnassian.com/content/images/2026/09/photo_14283@22-11-2024_23-50-02.jpg) ![](https://theparnassian.com/content/images/2026/09/photo_14284@22-11-2024_23-50-02.jpg) ![](https://theparnassian.com/content/images/2026/09/photo_14285@22-11-2024_23-50-02.jpg) ![](https://theparnassian.com/content/images/2026/09/photo_14286@22-11-2024_23-50-02.jpg)