Film Review: Stagecoach (1939)

When someone mentions “classic Western”, first names that come to mind are John Ford and John Wayne. Legendary director and iconic actor took part in production of so many great westerns, including when they worked together, which often led to some of the most important titles in the history of the genre. Those included Stagecoach, 1939 film which is sometimes described as the first modern western and the template many great westerns would use in subsequent decades.

The film is based on “The Stage to Lordsburg”, 1937 short story by Ernest Haycox, itself inspired by “Boule de suif”, classic short story by French author Guy de Maupassant. The plot is set in Summer of 1880 and begins in Tonto, small town in Arizona where stagecoach driven by Buck (played by Andy Devine) has stopped to pick mail and passengers on route to Lordsburg, New Mexico. The passengers include Dallas (played by Claire Trevor), prostitute driven out of town by “Law and Order League”; Josiah Boone (played by Thomas Mitchell), doctor who lost his license because of uncontrollable alcoholism; travelling whiskey salesman Samuel Peacock (played by Donald Meek) who tries to reunite with his family; Henry Gatewood (played by Berton Churchill), corrupt banker who tries to leave town with embezzled money; Lucy Mallory (played by Louise Platt), wife who wants to reunite with his husband, US Cavalry officer; Hatfield (played by John Carradine), notorious gambler who boards stagecoach simply because he is attracted to her. Curley Wilcox (played by George Bancroft), town’s marshal, volunteers to ride shotgun in order to locate Ringo Kid (played by John Wayne), young man who has escaped from prison after hearing that his father and brother were killed by Luke Plummer (played by Tom Tyler), outlaw residing in Lordsburg. Curley thinks that he would catch Ringo along the way and his reasoning proves correct; he detains Ringo, but soon he and other passengers find themselves with much more important problem. Apaches led by their chief Geronimo has escaped reservation and began attacking white settlers, with US Cavalry spread too thin and unable to provide protection. Stagecoach passengers must decide whether to continue with perilous journey; in that case, Ringo will be temporarily released by Curley in order to help defending stagecoach from Apache raiding party.

While making Stagecoach, Ford and Wayne were already lifelong friends. Both men were associated with genre. Wayne had extremely prolific filmography, most of it being made of forgettable low budget westerns made on Hollywood backlots. Ford had made some epic westerns during silent era. For most of 1930s, however, Hollywood was mostly sceptical towards the genre, considering it too “pulpy” for larger budgets. Because, Ford had serious problems in pitching Stagecoach to major studios and in the end only independent producer Walter Wanger agreed to finance it. This was followed by long and difficult negotiations about main star, with Ford insisting that the role of Ringo Kid should be played by his friend Wayne and Wanger thinking that unknown B-production actor simply can’t carry A-production film. Wanger relented only after slicing Wayne’s salary in half and having his name listed in credits under better known Claire Trevor.

Needless to say, Ford’s insistence to cast Wayne was correct decision. Wayne, who has by that time matured into fine actor, can still pass for a young man, but his fans would easily recognise iconic “Duke” in the role of Ringo Kid. He plays him like “everyman”, an ordinary person who might not be the brightest, most eloquent or even had some dubious decisions in the past, but whose stoicism and pragmatism ultimately saves the day. Wayne’s character is iconic, but it is actually introduced nearly at the half of film. Before and afterwards Stagecoach functions as brilliant ensemble piece. Ford has gathered truly remarkable cast of character actors and this allowed him that make action in the finale look more exciting and emotionally engaging because audience would care about what happens to each of the characters. Ford turns stagecoach to serve as some sort of allegory of American society, with director’s sympathies clearly on the side of those on the margins, like prostitute Dallas (whose real profession had to be only hinted because strict censorship guidelines of Hays Office), outlaw Ringo Kid (who finds kindred spirit in her), and, last but not least, larger-than-life figure of disgraced physician who, like Ringo Kid, rises to the occasion. Thomas Mitchell delivers the best performance and, unsurprisingly, he won Oscar for Best Supporting Actor. Ford allows opportunity even for some comments on contemporary America, with despicable character of greedy and hypocritical Gatewood standing in for bankers whom impoverished American blamed for still ongoing Great Depression.

Great work of the cast was accompanied by great talent behind camera. For Ford Stagecoach represented first sound western. He decided to shoot much of it on locations in Arizona. Although it created a lot of difficulties for crew, it also allowed Ford to run set without interference from producers. Most notably, one of those locations was scenic Monument Valley, with which Ford fell in love and used not only in number of scenes of film, but would also use in number of subsequent films, also giving example for many other directors of westerns. Ford also benefited a lot from excellent work by editors Otto Lovering and Dorothy Spencer, as well as good black-and-white cinematography by Bert Glennon. But few things can match excellent stunt work in the famous scene when Apaches are attacking stageoach, including impressive feat by legendary stuntman Yakima Canutt. Music in Stagecoach, based on traditional Western songs, is also good, although not particularly memorable. Song performed by Elvira Rios, popular Mexican singer who plays Yakima, Apache wife of Mexican innkeeper, while likeable seems a little bit too Hollywood for otherwise realistic film. This was, however, caused less criticism towards Stagecoach than allegedly racist attitude towards Native Americans and depiction of Apaches as faceless, dangerous and almost non-human enemy.

Stagecoach, however, deeply impressed contemporary critics and, more importantly, general public, showing that westerns can be, if given proper talent and resources, box office gold. Ford’s film is often credited for starting the golden age of the genre that would last for more than three decades. The film itself had two official remakes – 1965 feature film directed by Gordon Douglas and 1986 television film directed by Ted Post. In 1991 Monte Markham directed Canadian film Neon City, which is sometimes considered remake of Stagecoach in post-apocalyptic setting.

RATING: 8/10 (+++)

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