In "Chisum" his shallow characterization exudes no visible menace even after Bonney, well-provoked though not well-reasoned, turns against the law. The script works against him, setting Bonney up as a decent, humble guy to the point of boringness, and director Andrew V. One scene freezes on Bonney holding a gun in one hand and a Bible in the other. One nice thing about this film is seeing these actors, all best known for TV series work, stretching out beyond their popular identities of the period.
Selznick, his boss dismissed the proposed project as an insignificant B picture and Ford as a flaky talent in need of firm handling. The film would forever fix the relationship between Ford and the Old West.
En route, he falls in love, which adds extra emotional force to the peril. In the script Ford commissioned from Dudley Nichols, the hero is also an outlaw who is under arrest, stacking the odds against him even higher. Joining these men are Lucy Mallory Louise Platta pregnant southern belle although cinematic propriety of the day prevented her showing any outward symptoms ; chubby coachman Buck Rickabough Andy Devine, his voice an oscillating rasp like from a rusted slide guitar ; mild-mannered whiskey salesman Mr.
Curley is played by former silent movie gangster George Bancroft, with his extraordinary helmet of hair, a man who never really learned to treat the microphone as a friend, preferring to bellow it into submission.
Stock types, but Nichols and Ford and the cast make them fresh by letting them bounce off one another in surprising ways.
Nearly everybody in Stagecoach is either developed or transfigured during the adventure. Snooty Lucy transcends the prejudices of her upbringing via her growing respect for Dallas, and even the timid Mr. Peacock gains a little force.
Curley, meanwhile, thanks to his exposure to that noble outlaw the Ringo Kid, abandons his rigid service to the law so a higher justice can be done. The fast dolly-in to close-up on Wayne, thirty-one but still an Adonis, if Adonis twirled a rifle, marks the end of his B-movie purgatory and the beginning of his stardom.
As Edward Buscombe has observed, the traditional western has sexism built in because the woman symbolizes an alternative to violence: But Dallas does more than allow the specter of pacifism to be raised and rejected.
It helps that Trevor was no ingenue—if Dallas seems a little too vulnerable, she nevertheless projects a believable air of world-weariness. The stagecoach becomes a miniature civilization, isolated in a vast expanse of hostile wilderness.
Monument Valley had barely featured in movies before Stagecoach, for the excellent reason that it was two hundred miles from anywhere. And how and why Ford chose it remains something of a mystery. He probably welcomed the remoteness, since it made close supervision by the studio impractical. He would return with almost every western, regardless of where its story was laid the years-long wandering of The Searchers and the desperate trek from Oklahoma to Montana in Cheyenne Autumn were both filmed almost entirely on that one Utah mesamaking the prehistoric moonscape stand for his entire West.
Even within Stagecoach, he warps actual geography, switching buttes around like chess pieces to create an infinite loop of Road Runner backdrop.
With the setting taken care of, Ford strove to make the studio interiors equally convincing—low ceilings press down on the cast, floorboards resound with sonorous thuds.
The solid ceilings also forced naturalism on cinematographer Bert Glennon, who had to blast light in through the doors and windows.
But Glennon makes realism painterly, with the lambent glow as Wayne ignites his cheroot with a lantern, or the dawn blazing through a far doorway. Welles reportedly ran Stagecoach forty times to learn film grammar.
Jumping from his steed onto the team pulling the coach was hazardous enough, but Canutt alarmed Ford by falling from the front horses, dragging along the ground, then letting go and passing between all six horses and under the stage, which had to travel at top speed to avoid weaving from side to side and killing him.
Throughout the film, the Apaches are an anonymous threat, Geronimo a mere renegade with no motivation supplied. He obviously intends to grant it. The story of Stagecoach takes us from a town of self-righteous humbugs to Lordsburg, a protonoir hellhole of prostitution and incipient violence all forms of urban living seem intolerable to Ford.
His script invents some idiosyncratic but plausible frontier attitudes: Stagecoach, which Selznick had written off as a potboiler, was immediately recognized as an important picture, by both critics and audiences.
Ford had given the pulp pleasures of the western the weight of legend, with added character psychology and social commentary carried in human interactions and glances.
The film was a triumph. Kite and Sudarshan Ramani.Oct 27, · Wayne - despite being a layman - did a remarkable and convincing job showing us not only the similarities between Brushy and the Kid but also showing us that other contenders like John Miller simply can't have been the Kid because their features, height and other markers are just too different from the Kid.
It stars John Wayne in one of his earliest roles as the Ringo Kid, a heroic gunfighter willing to do anything to protect the passengers of a stagecoach, whose route is complicated by the fact that Geronimo and his army are on a warpath in the area.
John Wayne was viewed as the embodiment of America s spirit. He and the fictitious land he roamed is, says Louis Owens, The greatest dream of all, (La Puerta ). The man was always trying to correct some wrong, avenge a moral crime, save a damsel in distress, or capture the bad guy.
For example the story of Billy (and Brushy) swearing revenge during John Tunstall's funeral is straight out of "The Saga of Billy the Kid" which was published in Billy wasn't there, he was being held by Sheriff Brady and apparently quite pissed off about missing the funeral among many other things.
Oct 27, · Watch video · The story of the day siege between the Alamo's defenders, and General Santa Anna's 6,man army, has NEVER been told on a grander scale than in the John Wayne version, and the uncut edition of the film is presented in a wide-screen format, which allows the viewer to really share Wayne's vision/10(K).
Dec 07, · Sorry Wayne, I know this is an old thread but was curious about Brushy's father, in the book by Dr. Hannah Valdez and Judge Bobby E. Hefner, "Billy the Kid Killed in New Mexico died in Texas", there is a copy of a letter that Brushy wrote, (actually Lizzie wrote it for Brushy) on Oct 27 addressed to a Mrs Everhard it pertains to uncle Jesse?