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"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.

`Stagecoach' isn't so much a traditional Western as it is a forefather to the modern disaster film (with Apache warriors being the `disaster'). In many ways, the film is closer in style to `The Towering Inferno' than to `True Grit', but it's undeniably a great film, one of John Wayne's best. It's a simple story, really -- eight strangers, each with their own secrets and emotional baggage, are passengers on an Arizona stagecoach going from the town of Tonto to the city of Lordsburg, despite the looming threat of imminent Apache attacks. Along the way, the stagecoach comes across the Ringo Kid (John Wayne), who's just broken out of prison -- he's looking to go to Lordsburg as well, to avenge the death of his kid brother. He joins the passengers to Lordsburg, and during the journey, in one way or another, most of the passengers wind up learning something about themselves -- and wind up fighting Indians as well.

Hokey? Not really -- the story's quite good, and for the most part, the acting's wonderful. John Wayne's great as the Ringo Kid -- this actually may be one of his best Western roles. The Ringo Kid is a murderer, looking to avenge his family, but he's also a fairly principled man. The role's a lot deeper and more complex than some of Wayne's later `white hat' heroes who were always perfectly good and flawless. The Ringo Kid wants a normal life, but at the same time knows he'll probably never have one, and John Wayne pulls off this internal conflict flawlessly. Wayne also has great chemistry with the wonderful Claire Trevor, who plays Dallas, the former lady-of-the-evening -- she's also seeking to create a new life, and the uncomfortable, almost shy way she reacts to Wayne's gentle, genuinely polite comments is terrific to watch. Like the Ringo Kid -- indeed, like most of the characters in `Stagecoach' -- Dallas wants to change her life around, but doubts that she can. The other characters in `Stagecoach' are excellent as well, but it's Claire Trevor and John Wayne who really make the film enjoyable. (Side note -- while he's quite good, I was shocked to read that John Mitchell actually won an Oscar for Best Supporting Actor for his portrayal of Dr. Josiah Boone in this film. His character's essentially a cross between W.C. Fields and Yoda, and while I'm not sure who else was in contention for the Best Supporting Actor award with Mr. Mitchell, I find it hard to believe that this was, in fact, the best supporting performance captured on film in the year 1939.)

John Ford's direction is excellent as well. `Stagecoach' is the first film where Mr. Ford used the breathtaking landscapes of Monument Valley, and even in black-and-white, they're still used to vivid effect. His action shots of an Apache attack and war raid are also stunning, even by today's standards. Ford also has great touch with changing moods in `Stagecoach' -- the film moves effortlessly from light comedy to tear-jerking drama, and the changes of mood never seem contrived. `Stagecoach' is clearly one of John Ford's better films.

Does `Stagecoach' have problems? Yes, but most of them are more a by-product of the customs and conventions of filmmaking in the 1930s. For example, the music is often obtrusive, and doesn't always fit with what's actually happening in a given scene. There's also not a lot of time spent exploring the character's backgrounds -- it would've been nice to know lot more about where the characters had come from (particularly Dallas), if only to help understand each character's motivations. Since this can be said about most films made during this era, it' somewhat forgivable. However, one significant flaw of `Stagecoach' itself is the character of Hatfield (John Carradine) -- while Mr. Carradine does a good job with the part, the character constantly contradicts himself. He behaves one way in one scene, then in a completely different manner in the next, and there's never a reason given for this. Add to this that Hatfield adds next to nothing in the film (his only useful purpose, apparently, is to ask Mrs. Platt (Lucy Mallory) `Are you all right?' every thirty seconds), and he becomes totally superfluous. If the part of Hatfield had been excised entirely from the script, "Stagecoach" would have been much better.

`Stagecoach' is not a typical Western (there's a lot more character introspection going on than blazing six-shooters), but it's an extremely entertaining film nonetheless. The memorable interaction between John Wayne and Claire Trevor alone makes it a near-classic. Grade: A-

Saw this in the 90s on a vhs. Revisited it recently on a bluray. It is an awesome entertaining film with beautiful scenery n amazing action sequences. The long shots captured the landscapes well, the characters r all very memorable n the tension is maintained throughout, the action scenes were top notch, especially the stagecoach running in the middle of the vast wide open space n pursued by the Indians. Wayne shooting his guns from the top n he controlling the horses were amazing action sequences. This movie did two great things. Wayne became a major movie star n western movies upgraded to A grade. It is also the first western shot in the beautiful Monument Valley. The movie is about a group of passengers who r travelling in a stagecoach. The passengers are given the alarming news that Geronimo is on the warpath and that their lives are in danger but each of the passenges has their own reasons for taking the risk. When the Marshall is informed that an outlaw is present in the destination town, he joins the stagecoach which is filled with a driver whos got a unique voice, a prostitute who has just been forced out of the previous town, a drunken doctor, a pregnant woman, a gambler, a liquor salesman and a crooked banker. Wayne gets a solid entrance after we have heard about him multiple times from other characters. Ringo Kid (Wayne) joins the stagecoach cos his horse has gone lame. He has to surrender his gun to the Marshall n will be arrested once they reach the destined town but our Ringo kid has to settle score with a trio of outlaws who killed his father n brother.

I grew up watching the old, crotchety, gruff John Wayne, the iconic hero of the right wing, and even though I'd seen some of his early films on television, I'd forgotten what a sexy and compelling presence he had when a young man. It's easy to see while watching his performance how this film made him a star. As great as Wayne is in this film, he doesn't overshadow any of his fellow performers. Thomas Mitchell plays the drunken doctor thrown out of town, a performance that earned him an Academy Award. Andy Devine is hilarious as the complaining, squeaky voiced stagecoach driver. John Carradine is sleek and snake-like as the gambler. Claire Trevor gives a heartbreaking turn as the good-hearted whore thrown out of town by pious hypocrites. Donald Meek plays his name, a meek whiskey salesman befriended by the whiskey-loving Doc. Each actor quickly and deftly sketches his character so vividly that every performance is memorable.

But the real star of the show is John Ford, the director. To introduce and define nine characters in the context of a fast-paced western is no easy task, and he accomplishes it in masterly fashion. Much of the action takes place in the limited confines of a stagecoach, but Ford takes advantage of the limits by staging brilliant and subtle bits between characters; John Wayne casts sultry glances at Clare Trevor, who blossoms under his glance, the young calvary wife's eyes glaze over as the banker pontificates, and Doc sneaks sips of whiskey from the samples case while he solicitously keeps the wind from chilling the whiskey salesman. When the action moves outside, he films the action in dynamic angles and stunts that were the most daring of its time.

If you enjoy westerns and haven't seen this, you have a great night of film-watching ahead of you. And if the last time you saw Stagecoach was some midnight years ago when you wandered home for a bit of the late show before bedtime, watch it again and rediscover what a great western it is

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.