From the Vault: Stagecoach
A Film That Legitimized the Western Genre
By 1939, John Ford had been making movies for over twenty years. Though prominent in the filmmaking business during that time, Ford had years to go before many would consider him a true auteur. Churning out multiple films a year, Ford was a workhorse that enjoyed mild success. His film Arrowsmith (1931) was nominated for Best Picture at the Academy Awards but did not win (losing to Cimarron, one of two Westerns to ever win Best Picture). His 1935 film, The Informer, was also nominated for Best Picture (losing to Mutiny On the Bounty), and Ford did take home the Best Directing award. Culturally, Ford’s films had little impact during his early career.
Enter John Wayne and Stagecoach.
Wayne, a Western icon in the making, had starred in minor roles in Ford’s films. The actor and director formed a strong bond, as they both boasted similar work ethics and ideologies. When Ford bought the rights to “The Stage to Lordsburg” — the short story Stagecoach is based on — Ford believed that this was Wayne’s chance for a lead role. When Wayne insisted that another actor was right for the part, Ford scoffed and reiterated his belief that Wayne was perfect for the part.
Western films have had a prestigious but rocky journey throughout film history. Stagecoach is the golden example of the greatness that can come from this genre. The film tells the tale of nine people that must cross the Arizona desert and Apache country in a single stagecoach. During the trip, the people riding in this stagecoach must battle internal and moral conflicts within themselves, as well as the natural elements and many external conflicts.
The greatest aspect of Stagecoach is its strength in characterization. Due to the simple setting and plot, the viewer can relate to the characters during their stagecoach travels. The script is best when the audience gets to spend time listening and watching each character. The audience develops sympathies or dislikes rather quickly based on the conversations and assumptions these characters share. For example, should we like Hatfield, played by John Carradine, when he subtly reveals his sympathy for the recently defunct Confederate States of America? What are his intentions? What kind of a person is he? Those are the type of questions that leaves the audience wondering.
When John Wayne — “The Ringo Kid” — enters the picture, the audience learns that his character has outlaw-ish tendencies. He is put into custody when he is found on the trail in Arizona. The others are wary of Wayne, but the viewer sees him in a heroic light. Wayne’s iconic entrance is nothing short of heroic. We instantly take a liking to him. The way Ford films the introductory shot is legendary. Yet, it leaves a wrinkle with Wayne’s character. Today, these characters are commonplace: the antihero.
Stagecoach was also Ford’s first film to feature his most famous character: Monument Valley. This setting would be the star of numerous Ford westerns. Its endless horizon and deep canyons give Stagecoach a setting that is equally as authentic looking as it is beautiful. Shot in black and white, Stagecoach is filmed effectively and uniquely. The setting, however, is still as colorful and rich as it would be in another Ford masterpiece, The Searchers. Through the Stagecoach lens, this is the beginning of John Ford’s rise to auteur-ship. Not long after, Stagecoach would have a great impact on the cinematography of Hollywood films. In his semi-autobiography, This Is Orson Welles, Orson Welles stated that Ford’s Stagecoach was the only film he watched when preparing for Citizen Kane. He also stated that he watched the film every day for a full month so that he could understand how a film should be made.
Dealing with the main character’s morality issues, Stagecoach illuminates another morality problem with Westerns: its depiction of Apaches and, generally, other Native American tribes. Throughout the film, the travelers in the stagecoach fear an Apache attack. In reality, many who traveled through the west during this time feared an attacking Native American tribe. However, in Stagecoach, the Apaches are seen through a white person’s point of view. They are vengeful and vicious for no reason. The members of the Apache tribe are one-dimensional. They want to attack for fun and sport. Despite this looming fear that hangs over each of the travelers’ heads, the Apaches do not make an appearance until the end. The scene is an epic battle between Wayne and the travelers and the attacking Apaches.
Stagecoach is a classic. Though countless Westerns were made before its release, Stagecoach ushered in cinematic respect for the Western genre. Sure there had been some successful Westerns beforehand, but Stagecoach is a cinematic masterpiece — not just a really good Western. Today, we look at Stagecoach as the cinematic breakouts for John Ford and John Wayne, ushering in a fandom that survives to this day.
Stagecoach is currently streaming on The Criterion Channell, Amazon Prime, and Kanopy.
