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Stagecoach

72 years ago today was the Western Stagecoach premiere. In Germany, the film had the somewhat silly title rental hellish trip to Santa Fe . The film marked the beginning of the career of John Wayne, although that was actually many years in the Western business. But most were quickly turned the B-Pictures. His role in the feature-length film Raoul Walsh The Big Trail in 1930 brought surprisingly not a breakthrough. At that time, America obviously needs no national hero, with which one could identify with. In 1939 you need the. The previously low estimate of Western film genre is now to get precious Western and (at least in the interpretation of Mr McBride and Wilmington in her book on John Ford) has a new symbolic dimension: The coach is America, a nation of exiles , riven with warring factions and contradictory, the Indians are the wild forces of nature, the pregnant woman is Liberty, the banker is the corrupt Republican establishment, the spokesman for selfish individualism, the benevolent sheriff riding shotgun is Roosevelt, the Plummer gang are the Axis powers; Buck, the driver, and his Mexican wife 'Hoolietta' are the ethnic minorities Which give the country its democratic character.

The entire American society as a microcosm in a Grand Hotel on Wheels on the way to Lordsburg, the city of the Lord. But where John Wayne is in this concept? He is probably the American Adam, a natural gentleman a primitivist ideal figure. He has no ticket for the Wells Fargo coach by Tonto to Lordsburg solved, he is suddenly there, alone in Monument Valley. Where to play all the Westerns of John Ford. He should be buried in Monument Valley , Woody Strode had said when he learned of the death of John Ford. The Winchester by John Wayne in this scene holds in his hand while he Hold it! says has not disappeared in any props. She is now in the John Wayne Room of National Cowboy Hall of Fame and Western Heritage Center in Oklahoma City .

I play John Wayne in every picture regardless of the character, and I have been doing all right, have not I? , John Wayne once said. Perhaps because he speaks so little. John Ford has the director Robert Parrish (who had studied with him as an editor) once asked: Take a piece of paper and count the number of times Duke talks in 'Stagecoach' and in 'The Long Voyage Home'! The number in both cases was fourteen. That's how you make 'em good actors. Do not let any of 'em talk! said Ford John Ford's career, he has made in the silent film, has never denied. John Wayne does not need to say much, his nuanced mastery of the game and cut by Dorothy Spencer do the rest Wayne is not as young as he looks in the film. He will never be so young and beautiful, as in this film.

Many will see this movie because of John Wayne, because many of the scene where the coach is attacked by the Indians, and where John Wayne (which, however, is represented as the stuntman Yakima Canutt) brings the continuous horses under control. But film-makers see the film with different eyes. Because not only the actors are perfect, cutting and fitting is perfect, no it is the camerawork by John Ford, some of the interior scenes in the Dry Ford Station, and seem to Apache Wells film noir and Orson Welles' Citizen Kane anticipating. Orson Welles was also known to: John Ford was my teacher. My own style has nothing to do with his. But 'Stage Coach' what my movie textbook. I ran it over forty times .

All John Ford presents in this film is somehow recycled. Probably all great art is recycled. The stunt with the horses Yakima Canutt had ever made in Riders of the Dawn . The attack of the Indians probably comes from Buffalo Bill's show number Attack of the Deadwood Stage. The scene in which the Southern Gentleman Hatfield (who is now a player, but still has excellent manners) the last bullet in his revolver for Mrs Mallory kept them from a fate worse than death keep coming, Lillian Gish already in a silent movie. And all persons inventory is not exactly new: the innocent suspect Ringo Kid (John Wayne), the honest sheriff who sings elegant Southern gentleman, the Mexican woman, the sad songs of the homeland, the bloody Indians, the drunken doctor (who had played in Gone with the Wind the father of Scarlett O'Hara), the rescue by the cavalry at the last minute and the hooker with a heart of gold.

But it is the art of John Ford, that he all the stereotypes of the B-Pictures in this film, rearranged and played with the citation. Of course he needs to our willing suspension of disbelief , so we pay attention not so much on the logic. Why did not the Indians just shoot the horses? Ford was asked at a press conference. To which he replied calmly: If the Indians had done that, they would have stopped the picture .

At the end of the film is the showdown in Lordsburg, a town that bears the name of the Lord wrong. This is not the city upon the hill , this is quite a dark limbo, staged as expressionist film noir . But the Plummer Gang (the Axis powers) will be extinguished and the corrupt banker is arrested (which at that time you wish as now). And Lucy Mallory, who gave up their arrogance towards the prostitute Dallas, learns that her husband survived the Indian attack on Dry Fork. And of course there is a happy ending . Ringo Kid and Dallas take the coach in the sunrise. You drive - to the tune of Stephen Foster songs leitmotif used Jeannie With The Light Brown Hair - to Mexico, which commented on Doc Boone as saying Well, they're safe from the blessing of civilization . Like Huck Finn and his lighting out for the territory (and as the young hero in Cormac McCarthy's All the Pretty Horses flee) Dallas and Ringo in a new West, the American West no longer works for the utopia of paradise. Our only hope is to project a further frontier, a mythic space space outside American and American history, for the genuine possibilities of our Frontier have used up says Richard Slotkin in Gunfighter Nation .


I wrote here last year and as ever about John Wayne and John Ford, and will probably do that again. In terms of Ford and Wayne, I am a repeat offender. The film Stagecoach is easily accessible on DVD. Richard J. Anobile writer (with Photos all settings of the film) is related to second-hand yet. The best book to film, in which everything is about Stagecoach is Edward Buscombe Stagecoach (British Film Institute, 1992).