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The Overland Stage Lines stagecoach is traveling from the frontier town of Tonto, Arizona to Lordsburg, New Mexico. Geronimo, the Apache chief, has just jumped the reservation and starts an uprising. Before leaving Tonto, the passengers are notified by the Calvary that they are now traveling at their own considerable risk but they will be escorted by the soldiers (here's a clue: don't believe it). Among the passengers are a prostitute being thrown out of town by a group of women with their noses so stuck up in the air you could fly flags off of them. She is joined by a drunken doctor, a gentlemen card shark, a meek whiskey salesman, a crooked banker, a pregnant woman on her way to meet her husband, and a young cowboy who just broke out of jail and out to revenge his family's murder. The coach driver and his shotgun complete the group.

It's all based on a short story called appropriately Stage to Lordsburg but also on a French story (Guy de Maupassant's Boule de Suif) with similar characters traveling in a coach during the Franco-Prussian War.

The basic structure of the plot is also familiar to fans of disaster films. Passengers are introduced, board a common conveyance and face a tremendous danger. The exciting adventure of who lives, who dies, will the stage make it to its destination, and what happens next is highlighted by perhaps the most famous stunts in film history by the most famous and respected stuntman of all Yakima Canutt. If one of the stunts looks familiar, Steven Speilberg recreated it for his first Indiana Jones film.

The film is also a lot more. Unlike other westerns up to its time which were mainly shoot-em-ups between the good guys in the white hats and the bad guys in the black hats, it examines very serious social issues and how different people look down at others differently. Besides prejudice, some of the characters are flawed with alcoholism, greed and revenge. We also see the good in bad people with respect for new life and ultimately redemption. Nominated for seven Academy Awards, including Best Picture, Best Director, Best Cinematography, Best Interior Decoration, Best Film Editing, Best Supporting Actor (won) and Best Score (won), Stagecoach was John Ford's first sound Western and elevated the genre in both critical praise and popularity. The low camera angles in Monument Valley would become a John Ford trademark. Despite doing 70 films, this is the one that made Wayne a star and it's easy to see why. Many consider it his best performance; both subtle and clear he cares for the needs of the people around him and yearns for his own need for a home, a wife and a family. It is considered one of the great films in cinemas greatest year, 1939. Gone With the Wind, Goodbye Mr. Chips, Mr. Smith Goes to Washington, Wuthering Heights, Dark Victory, The Wizard of Oz, Of Mice and Men and Ninotchka were all nominated for best picture alongside Stagecoach that year.

Regarding the political incorrectness of an Apache uprising, well, they happened. If you just happened to be in a stagecoach in the middle of the southwest during an Apache uprising chances are you would be killed. This story does not examine the reasons for the uprising only the effects on a group of travelers trying to travel through it.

"Grand Hotel"-styled Western that puts nine very different people together on the titled vehicle to go across some very dangerous Indian territory. There is convict John Wayne (in his star-making role), scorned prostitute Claire Trevor, drunken doctor Thomas Mitchell (in a well-deserved Oscar-winning role), slick gambler John Carradine, pregnant youngster Louise Platt, shady banker Berton Churchill, whiskey salesman Donald Meek, lawman George Bancroft and driver Andy Devine on this star-studded ride. Soon the characters are turned from would-be stereotypes to very complicated three-dimensional figures that are all deep and humanistic. "Stagecoach" does not only benefit from its actors and screenplay though as legendary director John Ford (Oscar-nominated) shows his ability to mix and mesh quiet, heartfelt moments with amazingly detailed action sequences that were way ahead of their time. A great picture from arguably the cinema's finest single year of films. 5 stars out of 5.

I first saw Stagecoach the year it was released 1939, when I was nine years old. I saw it again the other afternoon as a rerun on tv. Despite that technically it is showing it's age, afterall it is 63 years old, and all of it's players are no longer with us, it is still one of the greatest westerns to ever grace a cinema screen. The indian attack, the cavalry to the rescue, the drunken doctor, the bar room floozie with a heart of gold, the gambler, and the hero doing "what a man's got to do" and escaping without a scratch . All the ingredients and more of a classic western but done superbly. Not a scene overplayed, not a (film) shot wasted.

Classy Western dealing with a motley crew of roles in a cross-country coach beset by Indians and thieves . A voyage throughout Arizona with varied group of characters , a strange assortment of individuals formed by a prostitute (Claire Trevor, who received top-billing) , a coward swank (Donald Meek) , a crooked card-player (John Carradine) turned into protector to pregnant young wife (Louis Platt) , a philosopher alcoholic doctor (Thomas Mitchell , deservedly winner Oscar) , a swindler banker (Barton Churchill) , a sheriff (George Bancroft), a sympathetic coach driver (Andy Devine) and , of course , Ringo Kid (John Wayne , who arose his career languishing in Poverty Row) . The motley crew pull off a journey through Indian territory passing Apache Wells and towards Lordsburg . At the beginning they're protected by a military detachment commanded by a brave lieutenant (Tim Holt). Ringo Kid is an outlaw looking for to revenge the killing his father and brother by the Plummer brothers (Tom Tyler) . The stagecoach is besieged by Apaches and several dangers.....

The first pairing of Ford and Wayne changed the course of the modern Western turning into adult Western , portraying in depth characters and brooding events with allegorical issues running beneath surface script . But the movie's little budget looked cash well spent when this classic picture earned more than two million dollars on first exhibitions . Based on the story 'Stage to Lordsburg' by Ernest Haycox and this one based on Guy de Mauspassant's novel . Outstanding cinematography capturing the nebulous skies by Bert Glennon and Ray Binger . Thrilling as well as sensitive soundtrack by Richard Hageman based on traditional music . Slick edition by Dorothy Spencer , a woman with a long career during fifty years . Stunning shooting by John Ford in the mythical Monumental Valley , a place that Ford was often to revisit and he befriended Indians tribes . The film won Academy Award for secondary actor , Thomas Mitchell , original musical score and was nominated to best movie for Walter Wanger and major studio , United Artists ; furthermore, for edition and Production Design . Very inferior remake in 1966 by Gordon Douglas with Alex Cord , Anne Margret , Red Buttons , Van Johnson , Mike Connors ; and a forgettable adaptation for TV in 1986 by Ted Post with Willie Nelson , Johnny Cash , Elizabeth Ashley , Mary Crosby , Tony Franciosa , John Schneider and Kris Kristopherson.

John Wayne is "The Ringo Kid" in this John Ford-directed parable of outcasts traveling towards various kinds of figurative and literal redemption/salvation. On a surface level, the basic plot is disarmingly simple--a motley crew of eight takes a stagecoach from Tonto to Lordsburg, trying to avoid Geronimo and his Apaches on the way. They are having their own problems with the U.S. government and are thus likely to attack. The stagecoach bounces from outpost to outpost while the relationships of its passengers evolve, helping each other to "find themselves" and (usually) providing hope of some kind of new life.

The Ringo Kid has been wrongly accused of a crime and is on his way to Lordsburg to avenge both the false accusations and more importantly, the murder of his father and brother. Dallas (Claire Trevor) is implied to be a prostitute, and so is ostracized from Tonto (which means "stupid", "foolish" or "daft" in Spanish) by a self-stylized matronly moral majority. Doc Boone (Thomas Mitchell) is far more concerned with getting drunk than being a doctor, and is partially ostracizing himself from Tonto. Hatfield (John Carradine) is a "gambler gentleman" with a shady reputation and a false identity. Lucy Mallory (Louise Platt) is trying to get to her husband, who is in the military; she's in a surprisingly "secret" physical state. Samuel Peacock, whom everyone keeps mistaking for a reverend, is in the alcohol business and just wants to get back east to get back to his business. Henry Gatewood is a crooked banker trying to flee before his questionable dealings are discovered. And the stagecoach drivers consist of a lovable buffoon, Buck (Andy Devine) and the most forthright, straight arrow of the bunch, Marshal Curly Wilcox (George Bancroft).

Even though Stagecoach remains tightly focused on its wilderness road trip, that might seem like a large stable of characters to shape into a taut plot. Ford, working from script by Dudley Nichols and Ben Hecht, based on a short story, "Stage to Lordsburg", by Ernest Haycox (which itself bears a relation to Guy de Maupassant's "Boule de Suif", 1880), keeps the proceedings in check by only giving us the information we need to explore the evolving relationships, and only focusing on each character when they're important to the plot. This results in a few of the characters being functionally absent for extended lengths of time, but Ford can so easily establish a "deep" character with a minimum of screen time that the absences are not a detriment.

The principal focus, of course, is between Ringo and Dallas, as on a significant level, Stagecoach becomes a romance. They're initially brought together via their mutual ostracization, even among the ostracized, which gives them an immediate bond beyond their physical attraction towards one another. Wayne and Trevor are both fantastic in their roles, avoiding the occasional overacting by some other performers. But this is a film where it's difficult to count the slight overacting as a flaw, as it was more of a stylistic tendency of the genre during this period and it provides a nice counterbalance to Wayne and Trevor.

Stagecoach is also famous for its setting. Much of the film was shot in Utah's Monument Valley, along authentic stagecoach "roads". The (beautiful) starkness of the desert is often taken as a symbolic trip through a kind of purgatory for the characters, where they're left alone with their souls, their only connection being their small group, to contemplate their pasts and futures. Whether we choose to read something along those lines into the film or not, Monument Valley is at least a captivating presence in the film, although for me, the cinematography could have been better technically, especially considering that Stagecoach was made at the same time as The Wizard of Oz (1939). Ford's famous tendency to do only one take results in a couple minor gaffes, such as the initial shot of John Wayne--a zoom into a close-up--that is out of focus for most of the zoom.

As one could guess, eventually our passengers run into a band of Apaches, who are often interpreted as representing more of a "natural force" that our heroes must surmount. The climax features a fabulous extended chase/fight sequence with a number of amazing stunts by both humans and animals. The most impressive human stunts are performed by the legendary Yakima Canutt, including one that involved being dragged through the dirt by the horse-pulled stagecoach, which was moving along at about 40 miles per hour and supposedly missed running over Canutt by only 12 inches (30.5 cm). This scene was an inspiration for a similar stunt in Steven Spielberg's Raiders of the Lost Ark (1981).

Although it's not a "perfect" film to me, and it's not even my favorite western (I'm more partial to the classic spaghetti westerns, for example), Stagecoach is a very good film and was very influential, despite being made at a time when Ford was told that he was committing professional suicide by even contemplating a western. As the plethora of critical literature attests, it works on many levels, including as an allegorical microcosm of U.S. Depression-era society, and should be seen at least once by anyone serious about film literacy.