Stagecoach Film Analysis

“…if the values of society are accepted, they cannot be defended; and if they are defended, they cannot be practiced” (Wright 162). This fundamental societal flaw is what forms the basis of, what Will Wright coins, the “vengeance variation” of the western. This model of the western is exemplified by John Ford’s first sound western, Stagecoach (1939). Wherein, eight travelers board a stagecoach from Tonto to Lordsburg, despite threats from Geronimo and the Apaches. Along the way, the stagecoach picks up an escaped fugitive, Ringo Kid (John Wayne), who is going to Lordsburg to seek revenge and justice for his wrongful conviction and the murder of his father and brother by the Plummer brothers who above the law. The only way for Ringo to ensure

The scene at Dry Fork, clearly illustrates a difference in attire between Ringo and all the other men. Ringo is the only one wearing jeans and the only one not wearing a jacket. This shows a lack of sophistication and informality on the part of Ringo, he is failing to adhere to the same form of social style as the other men. Even Buck (Andy Devine), the stagecoach driver, who is arguably the lowest in form of social class out of the people travelling in the stagecoach, is wearing a jacket. Earlier on, in a conversation with Curley (George Bancroft), the US marshal riding shotgun on the trip, Buck complains that, “my wife has more relatives then you ever did see. I bet I’m feeding half the state of Chihuahua” and that all he gets to eat when he returns home are “beans, beans, beans.” He is clearly not in a position of financial power, yet he still wears a jacket. Furthermore, Ringo, is separated from the other men in the scene when Curley says, “we have four men who can handle firearms, five with you Ringo.” This establishes Ringo as not only separate from the other men in appearance but also through his skill as a gunman. He is more skilled then any of them and the shotgun becomes an extension of his appearance. Ringo’s introductory scene is marked by the sound of a shotgun going off, the stagecoach coming to a sudden stop and a quick zoom in on Ringo as he is

Undeterred by the rudeness and disapproving glares from the rest of the passengers of the stagecoach, Ringo shows Dallas, a known prostitute, all the respect that Hatfield shows the “real lady” Mrs. Mallory (Louise Platt). During the vote, Ringo interrupts Curley by asking, “Where are your manners Curley, ain’t ya gonna ask the other lady first?” This outburst is followed by a close up of Dallas that frames her in such a way as to make her appear small, with her eyes being lower in the frame and a fair bit of wall visible above her head, as she looks up at Ringo in utter shock. He also invites her to the table and pulls out a chair for her, as Hatfield does for Mrs. Mallory. Again, this is met with great opposition as Mrs. Mallory refuses to sit beside Dallas and moves, taking Hatfield and Gatewood (Berton Churchill) with her to the other end of the table. Mistaking this for being his fault, Ringo gets up to move but sits back down when Dallas assures him that it is not his fault. As it would appear, Ringo and Dallas have a great deal in common with one another, both are social outcasts and both lost their families to extreme violence. However, even so, Ringo still differs from Dallas in that he is more self-assured. During the exchange between Dallas and Mrs. Mallory, Dallas is evidently intimidated by Mrs.