Stagecoach (1939 film)

Stagecoach is a landmark 1939 American Western film directed by John Ford.

The movie is widely considered one of the most influential films in cinema history. It is celebrated for its dramatic depth and its ability to transcend the standard Western genre. Because of its immense artistic and historical value, the United States Library of Congress selected it for preservation in the National Film Registry in 1995. The film was also included on the Vatican's list of significant films under the category of "Art." It remains a textbook example of how to combine action with complex character studies.

The story is an adaptation of a 1937 short story titled "The Stage to Lordsburg" by Ernest Haycox. Dudley Nichols wrote the screenplay for the film. The plot follows an eclectic group of travelers riding a stagecoach through dangerous Apache territory. The journey begins in June 1880, traveling from Tonto, Arizona Territory, toward Lordsburg, New Mexico. The passengers include a variety of social types, such as a doctor, a banker, a whiskey salesman, and a woman named Dallas. Among them is Henry, known as the "Ringo Kid," who has escaped from prison to seek revenge against a dangerous gunslinger named Luke Plummer.

As the journey progresses, the passengers face several intense stages of conflict and crisis. First, they encounter Ringo, who is stranded after his horse goes lame. Second, the group must deal with the sudden labor and birth of a baby at Apache Wells station. Third, they face a violent encounter at a ferry crossing that has been sacked by Apache warriors. To survive, the travelers must lash logs to the stagecoach to float it across a river. This sequence leads to a long, high-stakes chase scene. The film's tension is heightened by the presence of the 6th Cavalry and the constant threat of pursuit by the Plummer brothers.

Producing the film was a difficult process due to the high costs and the casting choices. Many Hollywood studios initially rejected the project because big-budget Westerns were not popular at the time. Additionally, director John Ford insisted on casting John Wayne, who was then considered a B-movie actor. Producer Walter Wanger initially had reservations about using Wayne and suggested more famous stars like Gary Cooper. Ford refused to compromise, stating it would be Wayne or no one. Eventually, a deal was reached where Wanger provided $250,000 in funding. To balance the budget, Ford gave top billing to Claire Trevor, who was more established than Wayne at the time.

Filming required the crew to endure extremely harsh environmental conditions. The production team lived in a spartan CCC camp in Kayenta, Arizona. They faced constant strong winds and very low temperatures due to the high elevation. Much of the location work was done near Goulding's Trading Post on the Utah border. This film marked the first of many Westerns that Ford would shoot in the iconic Monument Valley. Because scenes were also shot at the Iverson Movie Ranch and RKO Encino Ranch, some geographic inconsistencies appear in the landscape. Despite these challenges, the location work helped create the film's legendary visual style.

Stagecoach had a massive impact on the film industry and the career of John Wayne. The film was a commercial success, earning a profit of $297,690. It helped cement John Wayne's status as an A-list leading man. Famous director Orson Welles was so impressed by the film that he used it as a learning tool. He reportedly watched it more than 40 times to prepare for his own masterpiece, "Citizen Kane." The American Film Institute also recognized its excellence, ranking it #63 in their "100 Years...100 Movies" list. It was also named the ninth best film in the Western genre during their "Ten Top Ten" poll.

While the film is a masterpiece of craft, it has also faced significant modern criticism. Many viewers and historians point out its problematic depiction of Native Americans. The film portrays the Apache people as "mere savages" without acknowledging that white settlers had invaded their lands. This lack of perspective is noted by critics like Roger Ebert, who described the film's attitudes as unenlightened. Despite these controversies, the film remains a vital subject of study. It connects the traditions of the Western genre to the broader evolution of cinematic storytelling and myth-making in America.