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	Stagecoach (1939)
		This film debuted John Ford's favorite setting - the majestic Monument Valley of the Southwest - the first of seven films he made in the famed western valley, followed by My Darling Clementine (1946), Fort Apache (1948), She Wore a Yellow Ribbon (1949), The Searchers (1956), Sergeant Rutledge (1960), and Cheyenne Autumn (1964).
		This revolutionary, influential film - a story of redemption - is considered a landmark quintessential film that elevated westerns from cheaply-made, low-grade, Saturday matinee "B" films to a serious adult genre - one with greater sophistication, richer Western archetypes and themes, in-depth and complex characterizations, and greater profitability and popularity as well.
		In Stagecoach, nine passengers during a stagecoach journey are placed together in a position of danger, one in which their true characters are tested and revealed.
	www.filmsite.org /stagec.html (2155 words)

	Stagecoach - Wikipedia, the free encyclopedia
		And the stagecoach was vital in the colonisation of North America.
		The stagecoach, with seats outside and in, was a public conveyance which was known in England from the 16th century.
		Stagecoaches could compete with canal boats, but they were rendered obsolete in Europe as the rail network expanded in the 19th century.
	en.wikipedia.org /wiki/Stagecoach (1091 words)

	Stagecoach (film)
		Stagecoach is a 1939 Western which tells the tale of a motley group of strangers thrown together on a stagecoach which is attacked by Indians.
		The film was adapted by Dudley Nichols[?] and Ben Hecht from the Ernest Haycox[?] story "Stage to Lordsburg".
		The film has been deemed "culturally significant" by the United States Library of Congress and selected for preservation in the National Film Registry.
	www.ebroadcast.com.au /lookup/encyclopedia/st/Stagecoach_(film).html (172 words)

	Stagecoach
		Pitching his idea for a film version of Ernest Haycock's story "Stage to Lordsburg," Ford tried at first unsuccessfully to find a producer for his "classic Western." Such was the reputation of the genre.
		The shots of Monument Valley may become an icon for the film genre that signal their mythic character, but the films themselves are traditional, even if classic, narratives that tell the story as myth.
		The linear development of the film along the path of the stagecoach's journey from Tonto to Lordsburg constructs the difference between the civilized white community and the savage Indians who threaten their journey.
	www.missouri.edu /~filmstud/courses/ger131/Stagecoach.htm (2160 words)

	stagecoach
		In Stagecoach, the film never takes its eyes off the Wayne character when he's onscreen, as most of the narrative is filmed from within the stagecoach and the location remains unimportant--it could be anywhere since Ford could care less about the setting.
		It was Ford's first film in Arizona's Monument Valley, a location he was to use repeatedly in over a quarter of a century of filmmaking--proving location and the country didn't matter much to him, as he was satisfied showing the same mesas for all his pics.
		In another of the film's famous action shots, the strapping Wayne kills the three Plummer boys in town with a carbine as he was falling to the dusty street and thereby settles his old scores.
	www.sover.net /~ozus/stagecoach.htm (493 words)

	Stagecoach (1939)
		It was the first in a long line of films that Director John Ford was to make in Monument Valley (an area he was to turn into his own preserve), and the film that marks John Wayne's emergence from B movie actor status to the rank of screen icon.
		The film's hero is the Ringo Kid (Wayne), who is introduced to the audience in a dazzling tracking shot that opens with him standing statuesquely, grasping his rifle, and ends with a close-up of an anguished Kid who is being thwarted in his attempt to revenge the murders of his father and brother.
		As in the films "Grand Hotel" and "Ship of Fools" for which this device was named, the films principle focus is on the interactions between these diverse and colorful characters who have been thrown together by fate and closely confined for a period of time.
	www.twyman-whitney.com /film/lecture/stagecoach.html (645 words)

	The DVD Journal \| Quick Reviews: Stagecoach: Special Edition
		Stagecoach (1939) was to be Ford's first western shot with sound, and, as usual, he was determined to make it his way, with the unknown John Wayne as his star.
		Stagecoach includes a justly famous cinematic introduction — after we hear a rifle-shot and a man call "Hey!," Ford's camera rapidly zooms in on The Ringo Kid (Wayne), an outlaw who has just escaped from prison but got sidetracked by a lame horse.
		When the first film schools were founded in the 1960s and '70s, in the wake of an emerging body of scholarship, John Wayne as an actor was commonly dismissed, along with most of his pictures.
	www.dvdjournal.com /quickreviews/s/stagecoach39.q.shtml (1098 words)

	John Ford's "Stagecoach" (ed. Barry Keith Grant) \| Film International
		This certainly proves that Ford had made a number of films which continued to be popular well after their initial release; this is, of course, not the same as implying that there was a John Ford cult, or even a general consciousness of Ford among a significant number of moviegoers.
		Viewing Stagecoach in relation to nineteenth-century frontier history and literature as well as a contemporary context, Studlar asserts: “my primary interest is in how the film speaks to longstanding social contradictions inscribed in depictions (both fiction and non-fiction) of the frontier.
		Stagecoach, by far the darkest, most pessimistic of the 1939-1941 “A”-Westerns, was almost uncanny in its anticipation of the jaundiced views of American society which infused 1950s classics, for example, Henry King’s The Gunfighter (1950), Fred Zinnemann’s High Noon (1952) and Nicholas Ray’s Johnny Guitar (1954).
	www.filmint.nu /?q=node/22 (3808 words)

	Stagecoach (1939) - Film Talk
		Stagecoach is the first sound western from the great director John Ford who hadn't made a western for thirteen years following Three Bad Men and The Iron Horse.
		Before Stagecoach blazed on the screen, the western genre was considered for cheaply-made, low-grade, Saturday matinee B movies that largely was abandoned by the major studios.
		The film's sophisticated screenplay by Dudley Nichols, about the adventures of a group aboard a stagecoach across Indian country between two frontier settlements during a sudden Apache uprising, was based on Ernest Haycox's short story "The Stage to Lordsburg".
	www.film-talk.com /forums/index.php?showtopic=13046 (2072 words)

	Katherine Lawrie on Stagecoach (Site not responding. Last check: )
		The analytic theory posited by Robert Warshow in his essay "The Westerner", itemizes the elements necessary for a film to belong to the genre of the "western".
		It would be nearly impossible to declare Stagecoach a non-western by either Warshow's own generic criteria or the expectations of the genre viewer, yet the film clearly conveys the more individuated social concerns of its director.
		In the film's conventional form, the male hero's relation to his horse may be the most important.
	www.film.queensu.ca /Critical/Lawrie1.html (1616 words)

	[No title]
		Stagecoach made at end of Depression--it is both rewriting the history of the West and addressing contemporary problems in the US.
		Stagecoach is well known as the film that "gave new life" to the genre--indeed, Ford had considerable trouble getting a producer for the film--Selznick backed out because he didn't have confidence in the big-budget Western, for example.
		The opposition between "civilization," represented by the stagecoach and by the small towns and outposts, and "savagery," represented by the harsh but beautiful landscape and by the Indians is made much more absolute than in the story.
	www.u.arizona.edu /~swhite/e300_s2003/Stagecoach_notes.doc (928 words)

	100 Greatest Films
		The artistic greatness of films (and other works of art) can never be rated or quantified, although critics, reviewers, and fans still make ten best lists, hundred best lists, all-time greatest lists, favorites lists, awards lists, and generate results of polls.
		These 'Greatest Films' refuse to fade from memory even after the long passage of time - they share the unifying fact of being seen and talked about decades after they were made.
		Negative judgment on foreign films or non-English language films is not intended or implied.
	www.filmsite.org /momentsindx.html (837 words)

	At-A-Glance Film Reviews: Stagecoach (1939)
		Yet Stagecoach is never heavy-handed, never feels like it's as substantial as it is. On the surface, this is just a good, sweet, and exciting story, succinctly but artfully told.
		Director John Ford was a master at infusing meaning into his films without diluting their appeal as action/adventure stories.
		The film so transcended the established western that it revolutionized the genre.
	a.rinkworks.com /movies/m/stagecoach.1939.shtml (233 words)

	Stagecoach
		Yet Stagecoach is one of the films that initiated these conventions and perhaps has lost some of its freshness only through subsequent imitation of later works; critics Joseph McBride and Michael Wilmington comment that "before Stagecoach, the Western seemed to be dying; after Stagecoach, it became the one permanently popular film genre".
		Sadly, the Native Americans in the film are outsiders to this society and exist solely to represent a dangerous threat to it.
		The film shows the Law and Order League that expels Boone and Dallas to be a group of hateful, self-righteous perpetrators of "social prejudice"; one of them hurries to put on her badge and joins the others in leading Dallas to the stagecoach.
	www.geocities.com /Hollywood/Bungalow/1204/stagecoach.htm (1411 words)

	STAGECOACH (1939, U
		This journey takes us from Tonto to Lordsburg (in fact, the three major settings–Tonto, Lordsburg, and the stagecoach journey in between--can be said to embody the three parts of this film).
		Wayne is clearly the central figure in the film, the figure against whom all the other characters are defined.
		14. The cinematography of the film is marked by the contrast between the enclosed space of the coach and the great vistas of the American West.
	spot.pcc.edu /~mdembrow/STAGECOACH.htm (592 words)

	TheRaider.net - Indiana Jones' Influences: Inspirations
		While the film seems rather tired now to modern audiences, keep in mind that this film started it all for the Western, and was truly revolutionary.
		When the stagecoach finally arrives at the town in the middle of the night, battered and bruised, Indy fans may notice similarities in the lighting scheme of the town to that of the scene in Raiders of the Lost Ark in which Indy and Marion are parting with Sallah at the docks.
		Copyrights and trademarks for the films, books, articles, and other promotional materials are held by their respective owners and their use is allowed under the fair use clause of the Copyright Law.
	www.theraider.net /information/influences/stagecoach.php (829 words)

	Stagecoach (1939)
		A classic (if not the classic) Western, Stagecoach wields the standard elements of any Cowboys and Indians flick with such precision that the whole is far greater than the sum.
		The odds are that a lone stagecoach won't make it but these passengers are a plucky lot and working together (apart from bad-egg Gatewood) they might just make it.
		The beauty of Stagecoach is that it combines strongly drawn characters with frenetic action and awe-inspiring panoramas.
	www.film.u-net.com /Movies/Reviews/Stagecoach.html (819 words)

	Stagecoach Press (Site not responding. Last check: )
		Stagecoach Press is a multimedia collective spanning all formats of multimedia design and presentation.
		Feel free to enjoy what Stagecoach Press has to offer or hire us to help you achieve whatever form of expression you envision.
		Please explore the links to the left and trudge your way through the jungle that is Stagecoach Press.
	www.stagecoachpress.com (113 words)

	DVD Verdict Review - John Wayne-John Ford Film Collection
		Stagecoach: Wayne stars as the Ringo Kid, an escaped criminal with a heart of gold, as he and an ensemble cast travel through Monument Valley under the threat of Native American attack.
		Consider also that this is a film much more concerned with images and the creation of mood than with narrative, and it's no surprise that audiences in 1940 were mystified by it.
		This is one of the most important collaborations in film history, of course, although fans will have to decide on their own whether this set is strictly necessary.
	www.dvdverdict.com /reviews/johnwaynejohnfordcol.php (2877 words)

	John Wayne : John Wayne-John Ford Film Collection (The Searchers Ultimate Edition / Stagecoach Two-Disc Special Edition ... (Site not responding. Last check: )
		Stagecoach and The Searchers...two of the all time greatest movies ever made....Fort Apache and She Wore a Yellow Ribbon...perhaps only a notch below and the other films while not on that level...wonderfully enjoyable.
		Stagecoach has an all star cast and made Wayne a star this was their first teaming together.
		The only complaint that I have with most of Ford's films is that he inserts scenes of comic relief that just don't work but if this is the worst complaint that anyone has, then it isn't much (but why I rate it 4 instead of 5 stars).
	dvd.mysic.com /B000F0UUI2++John+Wayne+john+Ford+Film (2181 words)

	Amazon.ca: Stagecoach: Books: Buscombe (Site not responding. Last check: )
		Resisting David O. Selznick's description of his project as "just another Western," director John Ford intended something special from the start: a film that would integrate all the traditions of the horse opera--chases, gunfights, spectacular scenery--with a tale of romance and intrigue appealing to a sophisticated audience of both sexes.
		Shedding new light on an old favorite, this is an enjoyable account of how the film got made, combined with a careful scene-by-scene analysis, a wealth of illustrations, and the most complete credits yet assembled.
		He does a very thorough job, covering things like political implications, the musical score, the compensation of the cast, and the role of "Stagecoach" in the revival of the Western at the end of the Thirties.
	www.amazon.ca /Stagecoach-Buscombe/dp/0851702996 (416 words)

	Stagecoach Film Review - Time Out Film (Site not responding. Last check: )
		Impossible to overstate the influence of Ford's magnificent film, generally considered to be the first modern Western.
		Shot in the Monument Valley which Ford was later to make his own, it also initiated Wayne's extraordinarily fertile partnership with the director, and established in embryo much of the mythology explored and developed in Ford's subsequent Westerns.
		The contrast between the innocence of the wilderness and the ambiguous 'blessings of civilisation' are brilliantly stitched into a smoothly developed narrative, which climaxes with the famous Indian attack on the stagecoach.
	www.timeout.com /film/75226.html (180 words)

	Filmtracks: Stagecoach/The Loner (Jerry Goldsmith)
		It is different, however, in the approach taken towards the film.
		The main theme of Stagecoach serves as a weak preview of the pretty and memorable theme for Wild Rovers.
		What Film Score Monthly and Fox have done together in producing this first "Silver Age Classics" CD is not by any means misguided.
	www.filmtracks.com /titles/stagecoach.html (628 words)

	Stagecoach Theater - Fredericksburg, Texas - Movie Cinema
		Intended to showcase short films created by independent film makers, this is your opportunity to get you work shown and rated up on the big screen in front of live general audiences!
		More importantly, your film will need to be shot in a format and at a resolution that can be projected on a real movie theater screen, so clips made on camera phones are out.
		We're in a mid-size german town in Texas, so films with a western theme, german language films, and stories that appeal to family-friendly mid-western values are going to be most likely to be screened.
	www.stagecoachtheater.com /fest.html (529 words)

	Essays.cc - Stagecoach
		In Stagecoach the upper class is composed of Gatewood and Lady Mallory.
		His crooked behavior is not revealed until the end of the film climaxing at his arrest as the stagecoach reaches town.
		Even as the stagecoach was under siege by the savage Indians, the audience could catch a glimpse of Gatewood clasping his bag rather than brandishing a firearm.
	www.essays.cc /free_essays/c5/ena182.shtml (1236 words)

	The FreshSite: Film: Reviews: Stagecoach (1939)
		Stagecoach sets off with perhaps the best ever opening sequence in classic narrative filmmaking as we are introduced to the film's many distinctive characters.
		These are not all necessarily multi-dimensional, but they are so brilliantly conveyed and interlaced that they all keep their essentiality to the story up until the very end.
		Arguably the first ever road movie, this is a calculated, energetic and incredibly amiable piece of film history.
	www.arnadal.no /film/Movies/stagecoa.htm (146 words)

	Combustible Celluloid film review - Stagecoach (1939), John Ford, John Wayne, Claire Trevor, dvd review
		The thing about watching Stagecoach in 1998 is that it does come across as a textbook, an essential piece of film history to be studied, but not savored.
		The rich folks look down their noses at the scoundrels, but the scoundrels are the ones with the heart and the courage to be the heroes at the end of the day.
		These scenes are impressive, and they bring the film briefly to life, but they, too, have been integrated so firmly into film language that it's no longer a surprise.
	www.combustiblecelluloid.com /stagec.shtml (716 words)

	Stagecoach - Music from the Movies
		As Lukas Kendall rightly states in his Producer's Notes, the Mainstream re-recording of Stagecoach was one of the worst soundtrack albums of all time (how many other Mainstream albums can we add to the list?).
		For the premiere of their series of limited mail order releases, Film Score Monthly have chosen to issue the original recording of the Stagecoach score.
		Given that Goldsmith avoided scoring the film's action sequences, the pace of the score is slow, though occasionally, as in 'Escape Route', Goldsmith's famous western drum-riff makes a brief appearance.
	www.musicfromthemovies.com /review.asp?ID=363 (323 words)

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