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Sloper's right about this being so full of good things, and unlike other Ford films, I can think of no awkward, slightly over-acted or overdone moments. As was remarked, it's not the easiest film to write about for a number of reasons, and it's just one of those films I can always put on and enjoy, and just feels self-evidently great.

With that said, one thought I had as I was thinking of something to write is how beautifully imperfect every character is. There is no real "leader" in the group, and the equality within the trip allows for plenty of time to get to know and enjoy every character.

Another thing I'm trying to articulate is the interesting way that Ford often favors culture above all else, including and especially more formal institutions. A lot of the injustice in his films is perpetuated by outsiders, trying to bring order, formality, and "new rules" to people who've always done things a certain way. Hatfield, Dallas, and Ringo are treated more sympathetically than the members of the party trying to bring law and order to the west. Stagecoach touches on the "civilization being imposed on the west" theme so beautifully, and much less explicitly than other films, perhaps because it is about the journey these people are on. Whereas many westerns focus on an old way of life being threatened or coming to an end, Ford's film doesn't seem to deal with characters who are settled. They are all wandering, journeying together. We don't know where they began or where they will end up. And throughout, we are treated to superb performances, charm, and a rich complexity to all of them.

Drucker wrote:Another thing I'm trying to articulate is the interesting way that Ford often favors culture above all else, including and especially more formal institutions. A lot of the injustice in his films is perpetuated by outsiders, trying to bring order, formality, and "new rules" to people who've always done things a certain way. Hatfield, Dallas, and Ringo are treated more sympathetically than the members of the party trying to bring law and order to the west. Stagecoach touches on the "civilization being imposed on the west" theme so beautifully, and much less explicitly than other films, perhaps because it is about the journey these people are on. Whereas many westerns focus on an old way of life being threatened or coming to an end, Ford's film doesn't seem to deal with characters who are settled. They are all wandering, journeying together. We don't know where they began or where they will end up. And throughout, we are treated to superb performances, charm, and a rich complexity to all of them.

Oh my,what an excellent observation.

Yes, that's a great point Drucker - very well said. Your comments made me think, also, that the film has a lovely way of balancing its sympathy and admiration. Even though Hatfield and Boone, or Dallas and Lucy, are set up in opposition to each other, there's a sense that each one's qualities and values are equally important. Although they all end up working together, there's never a sense that the film wants to homogenise them into one collective entity. The stagecoach that brings them together also throws into relief the contrasts between them. It's somehow a good thing that they're all so different, and that they all wander in different directions. That's an important corrective to my earlier point about the sadness of their drifting apart at the end.

domino harvey wrote:I always encouraged my students who were interested in taking screenwriting classes to save their money and just watch this and the Apartment instead, as they'll teach you everything you need to know

Agreed...and to think that at Emerson the only John Ford I ever saw while getting my BA in film was the kitchen scene from The Man Who Shot Liberty Valance...