Converting an article into a film appears incredibly daunting considering the restricted amount of depth presented by the former medium. Then again, depending on the content and level of interest piqued by the article, transforming it into a film can be relatively facile. “The Ballad of the Urban Cowboy: America’s Search for True Grit” provides a detailed enough account of the life of a cowboy named Dew who spends his nights at a Houston honky-tonk called Gilley’s. Aaron Latham’s lengthy depiction of Dew’s escapades translates quite naturally into Urban Cowboy, the 1980 film that brought hedonism and style to the western genre as only John Travolta could.
Striking Similarities
Surprisingly, Urban Cowboy bears numerous similarities to the article on which it is based. Even the nuances were adapted; the article profiles Dew, initials for his real name Donald Edward Westbrook much like the film’s protagonist Bud, initials for his real name Buford Uriah Davis. Writer James Bridges also uses the punching bag in Urban Cowboy for the same reason given in the article: So the patrons of Gilley’s would be less inclined to take their aggressions out on others and more concerned with impressing the ladies by hitting the punching bag.Not every facet could be maintained to a precise degree though. Certain characters were created to encompass several of the people or actions mentioned in the article.
Uncle Bob, for instance, is wielded to carry out significant expository dialogue. When Bob is training Bud for the bull riding contest, he recites the following line from the article: “In some ways the mechanical bull is harder to ride because you can’t watch its head and tell which way it is going to turn. The treachery of the bull depends upon the treachery of the man at the controls.” The story about Steve, who was injured after riding a real bull and as a result had to have a plastic bone in his leg, a plastic plate in his head, and a plastic testicle, was transferred over to Uncle Bob for cinematic purposes. If Uncle Bob had not been a bull rider, there would have been no motivation for Bud to go ahead with his plan to win the bull riding contest at Gilley’s. Without the sentimental value of Uncle Bob’s belt buckle, Bud’s decision probably would not have been as credible.
Deviations from the Article
One of the less faithful variations on the article is the relationship between Eddie and Betty, or Bud and Sissy, as they are called in the movie. While the primary reason for their schism remains the same (Bud is threatened by Sissy riding the bull), the entire dynamic of their marriage is altered. In the article, the incident at Granny’s when Bud slaps Sissy is not nearly as much of a plot point as it becomes in the film. Without this event, the viewer would not have been given a chance to detect the foreshadowing of their tumultuous marriage. Bud also seems more caring, with a hair less machismo than Dew. Pam, Bud’s replacement for Sissy, is loosely modelled after Jan, Dew’s girlfriend after he divorces Betty.
Pam, unlike Jan, comes from a wealthy Houston family and makes a sport out of sleeping with cowboys. When Bud first meets Pam, it is to make Sissy jealous, whereas in the article, it is simply because he is fed up with Betty’s willful disobedience. The initial encounter between Pam and Bud employs one of the same elements present in the article. Just as in “The Ballad of the Urban Cowboy,” the movie makes use of the line, “When are you going to take me home and rape me?” Perhaps the line made it into the screenplay for shock value or to portray the direct, almost crass persona of the urban cowboy. That being said, Wes, the villain/love interest in Sissy’s life, is the very embodiment of a tactless would-be urban cowboy whose temper rules his thought process. Steve, the man who controls the mechanical bull in the article, and Les Walker, a bull master referred to briefly by Latham, coalesce to form the character that is Wes.
Complications with the Filmic Conversion
The chief issue that hindered “The Ballad of the Urban Cowboy” from metamorphosing into a film was that there was no central antagonist. This is where Wes’ character factors in. By forming a character that was not in the article, writers Bridges and Latham are able to channel the viewer’s frustrations over Bud’s pride and overbearing curtness toward Sissy into disdain for Wes. A kernel for the idea of Wes’ background is derived from the Huntsville prison rodeo talked about in the article.
From there, Wes evolved into the lecherous villain throwing a wrench into Bud and Sissy’s relationship. In addition, every great hero needs some sort of counterpart to thwart his objectives, which is why the bull riding contest was inserted into the story’s plotline. Wes and Bud needed to compete in order to generate a steady source of conflict and anticipation. Bud comes out even more victorious after Wes attempts to steal the prize money and Bud is given legitimate grounds for beating him to a pulp. It is this type of constant struggle and disagreement that bolsters a film’s chance for success.
The Urban Cowboy Legacy
All in all, Aaron Latham’s article was able to remain largely intact (most likely because he was a writer on the project), with the principal difference being the film’s ending. Urban Cowboy sees the triumph of Sissy and Bud’s relationship over all of the obstacles that got in their way. “The Ballad of the Urban Cowboy” is more realistic in concluding with a quote by Sissy that affirms her love for bull riding above all else. This would not have been a viable culmination to the film adaptation because the unwritten rule of the movie industry is that a Hollywood ending is a happy ending.
Genna Rivieccio - Genna Rivieccio's brain was designed specifically to retain an amalgam of pop culture images, references, and sound bites.
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