Stagecoach (1939)

Rating: • • • • ½
Age Recommendation: 5+
This was actually my third time watching John Ford's classic Stagecoach (1939), the first two being in classroom settings, and I loved it every bit as much this time around as the first two times.  The only difference I noticed was that there were a few small plot details that I picked up on this time, but that's not to say that it was any less enjoyable before.

This film has just about as many classic Western elements as can be fit into a movie, but what really makes this movie is the cast of characters. Like any disaster movie of the 1970s, Stagecoach sets up a situation in which an unusual assortment of individuals are forced to overcome their differences and work together due to their forced proximity.  However, rather than terrifying the audience with flipping ships or burning buildings, the danger facing our group is the threat of an attack by Geronimo's Apache warriors.  The fact that the danger is potentially escapable forces the characters to make choices about continuing their journey and reveal their motivations.

The characters on this dangerous voyage are: Mrs. Mallory (Louise Platt), a proper Virginian woman seeking her soldier husband as her "illness" progresses; Dallas (Claire Trevor), a disreputable woman shunned by polite society; Mr. Gatewood (Berton Churchill), a very unlikable banker; Buck (Andy Devine), the simple-minded driver; Hatfield (John Carradine), a mysterious gambler and a Southerner; Mr. Peacock (Donald Meek), a mild-mannered whiskey drummer; Doc Boone (Thomas Mitchell), a perpetually drunk doctor; Curley (George Bancroft), the sheriff; and the Ringo Kid (John Wayne), a chivalrous jailbird seeking revenge on his family's killers.

While this film is known as Wayne's break-out role, what is forgotten in the (well-deserved) fuss over Wayne is the Best Supporting Actor Oscar won by Thomas Mitchell.  In fact, Stagecoach's seven nominations were up against such 1939 greats as Gone with the Wind, The Wizard of Oz, Mr. Smith Goes to Washington, and Beau Geste, to name a few, so to have won at all--let alone be nominated--says a lot.  As it turns out, Thomas Mitchell had roles in Gone with the Wind and Mr. Smith Goes to Washington, as well; yet, his Oscar was for Stagecoach, which goes to show how well he plays the lovably well-intentioned drunk doctor.  The film also won for Best (adapted) Score, which features fully orchestrated, majestic renditions of "The Rambling Boy," a wonderful traditional American song also heavily used (I believe) in Rawhide.

The only thing not to like about John Wayne's presence in this film is his lack of it at the beginning.  It is about fifteen minutes before he makes an appearance, but it is well worth the wait.  Ringo's naivety about the gentlepeoples' shunning of Dallas--he believes their distaste is aimed at him--and general good will toward all remove any suspicion the dialogue may leave of his being a dangerous criminal.  Unlike recent trends, our hero's search for vengeance, though his driving factor, does not corrupt his character or become the obsession that so many films would make it; I find this nice, for a change.  Because of this, Ringo is able to act as a lovable hero who doesn't need the complications of inner turmoil. 

 While racial sensitivities in the film may not be perfect by today's political correctness police, the representation of Mexicans and American Indians in Stagecoach is no worse than any other Western of the time and a lot better than most.  Yes, the Apache serve more as a plot device than as characters, but they are not portrayed as particularly malicious or brutal, and there is none of the gruesome violence of later Westerns.  Only the Mexican man's "savage" wife is presented in a negative light, and even she is not as bad a character as some found in the stagecoach.

In the end, everyone gets what they deserve, be that love, a lesson in humility, or a locked jail cell.  Because the plot is divided into two main chunks--the journey to Lordsburg and what happens in Lordsburg--the plot seems to stretch out, but the subtleties to the acting and dialogue, interspersed with the action, are well-spaced throughout and make up for the "Wait, there's more?" moment when they arrive in Lordsburg.  The addition of the magnificent Monument Valley landscape serves as the icing on the cake for this family-friendly, all-around charming film.  With great acting, interesting characters, good music, and beautiful scenery, John Ford's 1939 Stagecoach is a treat to watch time and again.

Summary: This film is a timeless classic that I would recommend to anyone, Western fans or not, with the exception of those extremely sensitive to issues of race.  It has action, but will not leave you drained of adrenaline; those who prefer explosions to story may find it a tad dull but I hope that is not the case.  The story is convincing--no "Yeah right" moments in spite of the Ringo Kid's questionable conviction (in both senses of the word).  Though it may seem a little long, Stagecoach is well-made throughout and leaves the viewer filled with good feelings.

The Good: music, cast, acting, plot, script, setting,
The Bad: a tad on the long side, some plot details easy to miss
The Even Worse: nothing