FREE ESSAY ON STAGECOACH

STAGECOACH

An Interpretation of 'Stagecoach'
In 1939 John Ford masterminded a classical western film by the name of Stagecoach. This
film has the integrity of a fine work of art. Being that it could be considered a work of
art, the impression left on a viewing audience could differ relying on the audience's
demographics. However, it is conceivable to all audiences that Ford delivers a cast of
characters that are built on stereotypes and perceptions conjured from 'B' westerns that
preceded this film's time. Each character is introduced to the audience in a
stereotypical genre, as the film progresses, these stereotypes are broken down and the
characters become more humanized. This is apparent with a handful of characters being
portrayed better than others. One can investigate each individual character to correlate
such a pattern. The characters are, in no particular order: Curly, Hatfield, Gatewood,
Peacock, the stagecoach driver, Dallas, Lady Mallory, and of course Ringo. 
Robert Slotkin writes in Gunfighter nation,  . . . by 1890 it was clear that the
industrialization of the economy had produced a social order in which wealth and power
would increasingly be concentrated in the hands of relatively few men . . . (p 31). It
was this social order that influenced iconography of many 'B' westerns. Such iconography
would create the ideal of the crooked banker, or the shoot em' up outlaw and even a
brothel prostitute, all of which are found in Ford's Stagecoach. The social classes that
each character can generally be categorized as an upper, middle and lower class. 
In Stagecoach the upper class is composed of Gatewood and Lady Mallory. Gatewood is first
introduced as a stern and modest character and part remains to be for most of the film.
He exemplifies the 'B' western icon of the crooked banker in every manner. His crooked
behavior is not revealed until the end of the film climaxing at his arrest as the
stagecoach reaches town. His actions are arrogant and always in line with a financial
mind set. His main focus was bag full of money, nothing else. 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. Gatewood's character is one of those
that does not stray from the 'B' side icon. He is clearly plays the stereotype of the
financial trusts that fueled the industry of the time. Lady Mallory,also in the category
of upper class is really of little significance in the plot of this movie. Her only claim
to such an elite profile is her husband, who belongs to the US Calvary. Her iconography
is that of upper class women, nothing more really. She longs for her husband, she too is
arrogant to some degree, and she is despised of things subordinate to her nature. She is
revolted Dallas who is portrayed as a prostitute. She could not even bear to share a meal
at the same table with someone of Dallas's social standing. It is only after the birth of
her child that she breaks away from her stereotype. She realizes the aid and care that
she received from Dallas with her newborn and soon after begins to socially accept
Dallas. This is not the last one will see of a character breaking their stereotypical
role.
This brings us to the characters that compose the middle class. These characters are:
Curly, Hatfield, Doc Boone and Peacock. The roles of these characters are not built and
manifested throughout the film. For instance, Curly is introduced as the sheriff out to
imprison the Ringo kid. This is in line with the 'B' men of the justice of the peace. His
major concern is to see that the laws of the land are upheld. He deviates from this role
at the very end of this film by letting the Ringo kid go. Clearly this is an action that
is not in line with his law keeping duty. Hatfield, a southern gambler, is really a
unique character. Most 'B' western icons depicted as gamblers are usually shown as hard
and emotionless. Hatfield is far from this. In fact he never did fit his stereotype from
the beginning. He is more of a lady's man. This can be noticeably seen by his treatment
of Lady Mallory. He becomes her personal guard to ensure her safety. Even in the dramatic
scene of the Indian siege he oddly shows his valor by his readiness to take Lady
Mallory's life himself rather than see her killed by savages. Doc Boone is a character
who could have easily have been categorized as lower class. Doc is really nothing more
than a drunk ( a classic 'B' western icon). His raging alcoholism is fueled in material
by Mr. Peacock. Doc does redeem himself by his delivery of Lady Mallory's child. Mr.
Peacock is a character who is very seldom seen or heard. Throughout the movie he
establishes himself to be a typical homesteader of the time period. Although the
characters in this class never really resoundingly break out of their class, their
actions portray a behavior that would lead one to believe that Ford was breaking their
stereotypical roles.
This brings us to the lower class. These are the quintessential roles of this particular
film, mainly for the fact that they provide most of the storyline and dialog. These
characters are Dallas, Ringo and the stagecoach driver. Ford really shows how humanistic
these characters really are. Starting with Dallas, when she is introduced, she is
portrayed as worthless prostitute. However, throughout the film, she has a real nurturing
personality, as seen when she helps Lady Mallory in the care of her newborn. She defies
her stereotype as does the Ringo Kid. Ringo who is first described as a real menace to
society is reported by the townspeople and by Curly. On the contrary when Ringo is first
seen in the movie he is not violent nor is he much of a menace. He seems to be a real
gentle man, as one may have noticed in his actions toward Dallas even after finding what
her line of work was. He is not ill mannered nor tempermental. He is on a mission to seek
revenge as any man rightfully would. He is a far cry from his gun toting tobacco spitting
counterpart in the 'B' westerns. The stagecoach driver is the last of these unique
characters. Typically, he is charactered in 'B' westerns as being filthy, blockheaded and
offensive. Despite his crackled voice and foolish nature, the stagecoach driver was
anything but these descriptions. Granted, at times he may not have said the smartest of
things or have been the bravest of men during the film, but he does come off as a
sensible good minded man. 
Every character of Ford's Stagecoach was derived from the 'B' westerns to years before.
Each one is usually introduced in that genre of the 'B' western. Ford has a unique way he
portrays these characters. He shed new light on stereotypes that are not commonly broken.
It truly was one of the many factors that made this film unique.