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Film Studies- PG1

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1) Discuss some of the significant themes in the narrative of John Ford’s Stagecoach (1939)
with reference to the historical and ideological frameworks they are informed by.

Based on a short story- ‘Stage to Lordsburg’- by Ernest Haycox, Stagecoach released in 1939 not
only resurrected the dying western genre of Hollywood but also put in front the number of
thematic revelation through it’s characters, landscape and plot.
Stagecoach has put across the historical dilemma about ‘West’ as the territory of adventure, it
narrates a story of a ‘Western’ through the American ideological perspective. It became a
representation of the much buried fact about how immigrants especially from Europe came to
America to settle. Thus, taking away much of the Native Americans land. With time, conflict
arose and they (the immigrants) slowly moved towards the western side of the continent and the
boom of expansion around the mid 1880s gave a strong base to all forms of art to represent
‘Western’. Stagecoach, very minutely caricatured the central dilemma of Western- the question
of endurance, masculinity, adventure and strength. It put across very vividly the classical
contradiction of civilisation and not-so-civilized. Stagecoach, put itself into the valuable premise
of the Golden Era of Western. All westerns are based on some historical factor.
Andre Bazin puts Stagecoach as the “ideal example of maturity of a style brought to classical
perfection.” Western started off as just an adolescent genre that saw the light of it’s day when
John Ford made Stagecoach. Here, we too need to discuss how Western was just confined to the
B-movie category until Stagecoach and also Drums of Mohawk, both made by Ford changed the
outlook for Western. Stagecoach also to some extent, being a generic innovation became a very
important film from both commerce and critics' sides. According to film scholars, it too became
the flag bearer of melodrama in western- which was never seen before.
Stagecoach spoke about a number of themes both literally and metaphorically. It deals with a
diverse themes from social prejudice, class, community, democracy, revenge and of course,
civilisation v/s wilderness. To begin with, Stagecoach has two climaxes in front of us, the first
climax being when the Stagecoach was attacked by the Indians and when Ringo - played by John
Wayne - had a shootout with the Plummer brothers. I shall talk about the first climax first.
The attack scene was shot entirely in Monument Valley- which is a border between Arizona and
Utah- many scholars mention it was the Monument Valley which played a very important role
ideologically, they described Monument Valley as a, ‘state of mind, pointing toward eternity.’
Thus, the location itself becomes a character in the film. As Andrew Sarris mentions, “ A double
image- alternating between close-up of emotional intensity and long shots of epic involvement
thus capturing both twitches of life and silhouette of legend.’’ Thus, talking about how Ford
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continuously showed life outside the stagecoach and inside the stagecoach. The outside being the
world of wilderness and the inside being the civilized american identity . The continuous
dilemma of what’s right and what’s wrong, to work as a unit to overcome the obstacle. We see
Ford using extreme wide shots to show the ‘wilderness’ through the landscape. We see, inside
the stagecoach, how Hatfield tries to protect Ms. Mallory under all costs. To notice something,
Ford purposely doesn’t show any settlements in Monument Valley- showing the vulnerable side
of the apaches.
The second climax is the shootout scene between the Plummer brothers and Ringo Kid. Ringo,
who is the quintessential representative of the protagonist under the impression of American
individualism. He is the morally right character who is destined to win under all conditions. The
gun showdown is shot in a way, which visually shows that the opposing forces of Ringo are
culprits. The personal quest of Ringo Kid, becomes a representative of the state America was.
The morally right, courageous America and Ringo itself is destined to win. A major theme I
come across is revenge. The revenge of America from both apaches and personal quest.

Stagecoach, puts in front how itself in the civilization there are a number of diversities. All the
seven characters we see in stagecoach are different from one another. And there comes how class
is ever persistent. Ford has given every character their own personal quest which drives the plot
narratively. Ford, shows how civilisation is also uncivilized. Dallas - a prostitute who was forced
to live the town by so called right and moral people, doctor Boone was also forced out for being
alcohloic. Ringo Kid- escaped from jail and now is going to Lordsburg to take revenge- the
Plummer brothers who have killed his brother and father. We see Hatfield- an aristocrat and a
gambler he is a ‘gentleman’- at least that’s how he is shown, doing everything for Ms. Mallory- a
pregnant wife who is set to find her husband from the regiment. Then, we see Gatewood- a
selfish fellow who won’t do anything for anyone. The other two characters are Curley and Buck
who are driving the Stagecoach, who as well show the differences between them and the society.
Ford has shown how within the stagecoach the class division won’t just erase. No matter how
much Dallas wishes to help Mallory, Mallory won’t just talk to her. Or the way Doc Boone is
treated for being alcoholic, irrespective of the fact that he is a doctor.
We hear Doctor Boone stating, “they are saved from the blessings of civilization’’ quite in a
sarcastic tone, as a victim of such blessings of civilization it is, Doctor Boone knows the perks of
living with so called cultured people of America. It is through Doctor Boone that John Ford
upholds the ideological ambiguity and the primitive message of the film- ‘THE CIVILISATION
IS UNCIVILIZED.’
John Ford, also comments in parallel how ‘apaches’ are evil. Andrew Sarris criticizes Ford for
not giving us enough knowledge about them. It feels as if he is giving us a preconceived notion
of immigrants being evil under all cost. In Sarris’s words, “It is a dance of racial triumph and
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exaltation”. Where, it is like announcing that they are a national threat. We also see Dallas
commenting on the intolerant women “as worse than apaches.” Thus, as Ford talks about
civilization it also criticizes it and shows the darker side of civilization, whereas for freedom or
wilderness we only see him commenting very subtly on them.

Another important theme that is persistent towards the end of the film- redemption. I believe
Ford has shown redemption in a very off bit way- The birth of the baby. Mrs. Mallory was
pregnant and under an emergency situation they had to deliver the baby at the place of their stay.
We see, the passengers from diverse classes came together to help her out. The outlaws
especially, who are from the beginning of the film were mistreated. Ford shows, in time of an
emergency everyone comes together to rescue irrespective of caste, creed, profession or class. It
also comments how civilization has come together. We see Doctor Boone getting sober to
deliver the baby. Dallas stood through all of it and was there to care for both mother and the
child. Thus, firmly putting across that the outlaws have finally been accepted. The redemption
gets more prominent when at the end we see Mr. Peacock, who was in a stretcher wounded, told
Dallas, “if you ever come to Kansas City, I want you to come out to see us.” Thus, an universal
acceptance occurs here and Ford sums up that at the end that civilization always wins against
wilderness and the class distinction too wipes away with time. In the words of Peter Stowell,
“one must be truly civilized, not simply cultured”. Thus, at last summing up the true need for
civilization.

Classical Hollywood has always catered to happy endings through cause and effect motivation.
Stagecoach vividly talks about love and acceptance through two main characters Ringo and
Dallas. From the moment Ringo boarded the stagecoach, he felt a certain kind of attraction
towards Dallas. Through all the tremors and rough journey they both felt a certain kind of
attraction for each other. After the delivery of Mrs. Mallory’s child, Ringo, confesses to her
about having a future life with her. Though, Dallas too felt same she was reluctant if Ringo will
at all stay after knowing that she is a prostitute. We see Dallas asking Doctor Boone for a
suggestion as well. Just like all other classical Hollywood films we see Ringo after winning
against the Plummer brothers come to Dallas and they ride off to live a new life in Ringo’s
ranch. Ford, shows how both the parties have acknowledged and accepted each other. Alsp,
Curley leaving Ringo Kid all alone for a better life, too shows one can accept things for people
who are morally right and just.

Thus, as McBride puts it, “Stagecoach leaves the question of American imperialism, the cavalry
v/s indians, tantalizingly unresolved.” It caters highly to the American ideology of family and
domesticity. To the role of Ringo and Plummer as Ringo being a representative should always
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push away evils of the society. Stagecoach comes about as a generic amalgamation and an
interaction between themes, culture, history and America at last. As Andre Bazin puts it, “John
Ford struck the ideal balance between social myth, historical reconstruction, psychological truth
and the traditional theme of western mise-en-scene.” It shows how Ford extensively used
characters, landscapes to drive the plot. As film scholars describe him, “a flamboyance in
outdoor action scenes and restraint in human interaction.”
Thus, to conclude Stagecoach not only put in front the true lens of America but also discussed
extensively about the future of America as well. The real story begins after all the seven
passengers have parted ways and started contributing to their American ideology of society.
Ford’s vision of America got delusional with every film of his, and each of them spoke about a
different societal structure. In short, Stagecoach in Bazin’s words, “was like a wheel, so perfectly
made that it remains in equilibrium on its axis in any position.”

REFERENCES-
1. Andre Bazin, ‘What is Cinema.’
2. Andrew Sarris, ‘The American Cinema- Directors & Directions:1929-1968.
3. David Brodwell & Kristin Thompson, ‘Film Art.’
4. McBride, ‘Searching for John Ford : A life’
5. Thomas Schatz, ‘Stagecoach and Hollywood’s A-WEstern Renaissance.’