Stagecoach (1939)

STAGECOACH (1939)

By Ralph Santini - ****

“Stagecoach” from 1939 was not only John Ford’s first western in a long time but it’s also considered by many to be landmark for the genre. I think it’s a well-deserved statement for this masterpiece because I have seen no other pre-war Western like it. It also helped former B-film star John Wayne move in to the A-level mainstream, since it was this film that made him a full-blown movie star. Most westerns in the 1930s that came before “Stagecoach”, with some exceptions, were just nothing but routine. Major studios seemed to have abandoned the genre to lower-tier studios which belonged to the “Poverty Row” section. But all that, with thankful results, has changed with the arrival of one of the greatest Westerns of all time guaranteeing the future of other films as excellent for the genre.

Another brilliant element for “Stagecoach” is the story’s premise; a stagecoach driver along with 7 more passengers are warned that the vengeful Geronimo and his fierce Apaches arrived on the warpath and they must travel at their own dangerous risk. The cowardly driver, Buck (a comically witty portrayal by relief from Andy Devine) refuses to go on but his bossy shotgun guard, Marshall Curley Wilcox (George Bancroft, terrific in the role) wants no part of Buck’s cowardice and demands that he moves the stage in from Tonto to Lordsburg, New Mexico. The 6 other passengers include a tough adventuress (an amazing portrayal by the brilliant and underrated Claire Trevor) who has been ordered by the town’s sheriff at the request of the puritan-like, theologically minded group of no-nonsense society women that call themselves “The Ladies Of The Law and Order League” with one of them evicting another passenger, an alcoholic physician named Dr. Daniel Boone (a well-deserving, Oscar® winning role for Thomas Mitchell as the best supporting actor of 1939) who is also going to be one of the stagecoach’s passengers.

The other passengers included in the trip are also a beautiful, young pregnant woman named Lucy Mallory (the gorgeous Louise Platt) whose husband is Captain in the army, an old goodie-two shoes gentleman named Peacock (Donald Meek, wonderful and hilarious) who always has the bad luck being addressed as “Hancock”, a gentle-like gambler (John Carradine, dashing) calling himself Hatfield who is willing to help the pregnant damsel during the trip, and last but not least, an arrogant and bullying corrupt banker named Gatewood (Berton Churchill with his character being so despicable he is very good portraying it) who wants to go to Lordsburg so bad even if he will yell at the rest of the passengers’ faces. When the stagecoach pushes on they eventually meet up with our film’s hero none other than The Ringo Kid (John Wayne in his fabulous star making role), who is wanted for breaking out of jail seeking revenge for his father and brother both of them murdered by a devious gang of cutthroat brothers known as the Plummers, with Luke (Tom Tyler) being the most notorious of them all.

                According to film critic Scott Eyeman, “Stagecoach” has been the prime example of being the beginning “The Quality Western for Adults” stating the obvious content of films from the genre produced in the 1930s that consisted mostly of being B-films and occasional epics and/or other A-listers (The Plainsman (1936), The Texas Rangers (1936), Wells Fargo (1937), Annie Oakley (1935) to name a few). But Eyeman, among other critics, is right, it was the success of Stagecoach that definitely helped launch the industry to make more “Adult Westerns” in years to come.

                I must agree with those who praise the reputation of “Stagecoach” because I find it not only one of the most exciting westerns I have ever seen but also one of the most moving and satisfying ever of those produced before World War II began. It’s got plenty of great assets that I enjoy very easily particularly the way John Ford shot parts of the film in one of the filmmaker’s most famous trademarks, Monument Valley. It has a terrific landscape that shows the beauty of Americas’ southwest with plenty to dream of while watching this gem. Let’s not forget however that the beautiful cinematography must be credited to Bert Glennon. I think he is one of Hollywood’s finest cinematographers ever, and I must confess that he definitely deserved to work frequently with John Ford in other films ranging from “Young Mr. Lincoln” made the same year as this film, to “Rio Grande” (1950). On top of that, I think “Stagecoach” is such a great western it demands multiple viewings because of its poetic nature about humanity. It was such a big hit, that for more than 25 years it would be eventually remade in widescreen and color, but far less remarkable that this classic masterpiece.