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

that justice is been served, is for him to take justice into his own hands and, individually, become a murderer and gun down the Plummer brothers. By extension, in defending the societal value of justice by breaking the law, he risks becoming exactly like them. Transforming from a hero into a villain. However, his search for justice and revenge is fueled by a deep love for his lost brother and father, emphasizing the importance of family. In turn, reflecting the familial values shared by Classical Hollywood Cinema as an industry, as well as, the fictional society within the film. Furthermore, this love for his deceased family, which is fueling his revenge, turns into love for Dallas (Claire Trevor) and the hope of starting a new family. But, due to his actions, he becomes an outsider and must pursue these familial values outside of society. To demonstrate this, I will be focusing on the scene when the stagecoach reaches Dry Fork only to find the cavalry detachment that was supposed to escort them the rest of the way has left. Leaving the passengers to decide if they are going to turn back or risk continuing on their journey to Lordsburg. Ultimately, Ringo Kid’s individualism and lone stature as an outside figure is conveyed through his quest for revenge with the Plummer brothers, his finding redemption in his relationship with Dallas and their subsequent retreat, and his return, into the wilderness.
In appearance, Ringo Kid represents the quintessential western hero complete with a cowboy hat, gun, and jeans.

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

spinning his rifle, wearing his jeans and cowboy hat with the clear backdrop of the mountains. However, what is most interesting about this scene is the blurring that happens between himself and the background as the camera zooms in on his face. This mixing of the two images, him and the scenery behind him, acts as a motif to extenuate his “wild appearance” and his intimate connection with the wilderness to the point where they become one.
Moreover, the fact that Ringo’s reputation precedes him is what leads to his initial separation from the fellow travellers on the stagecoach. Dallas points out, “I know you, I mean, I know who you are. I guess everyone in the territory does.” Ringo is separated from the rest of the passengers because there is a myth surrounding him. His motivations are the clearest out of any other character in the film, he is seeking revenge for the murder of his family. In this scene, he declares, “Ain’t nothing keeping me out of Lordsburg”. He is on the stagecoach for one reason and one reason only, he is going to bring justice upon the Plummer brothers, despite being outnumbered three to one.
Additionally, all the passengers know him by his childhood nickname, Ringo Kid, as opposed to his “right name”, Henry. No other grown man in this scene is referred to by a childhood nickname. They are referred to by their given names, such as Hatfield (John Carradine), their professions, such as Doc (Thomas Mitchell), or by a completely wrong, but still proper sounding name as with Mr. Peacock (Donald Meek) who is mistakenly called Mr. Hancock. Nonetheless, these names all recognize them as grown men whereas Ringo is often referred to, particularly by Curley, as simply “Kid”, implying a certain degree of innocence surrounding the character of Ringo. Curley tells Ringo, “I’m voting your proxy, Kid. You go with me.” On one hand, this signifies Curley looking out for Ringo. Curley is bringing Ringo to jail partly because he thinks it is the safest place for him, that he stands no chance against the Plummer brothers. Similarly, at this point in the narrative, Ringo is actually innocent. His reputation as an outlaw has no just foundation. He has not yet murdered anyone. However, on the other hand, this comment by Curley emphasizes the weakness of the rule of law in society. Curley’s duty, as a US marshal, is to return Ringo, the escaped convict, to the “pen” (penitentiary). Ringo is not a passenger on the stagecoach but a “prisoner”. However, the conversation between Dallas and Ringo shows that Ringo is there because he wants to be, not because Curley or the law is subduing him. When she warns him that they will take him back to prison, he replies, “Not until I finish a job in Lordsburg.” The justice system has failed. It has convicted an innocent man, failed to keep him behind bars, and failed to carry out justice onto the guilty party. His family was taken from him and he lost the end of his childhood when he was sent to jail at seventeen. Now it is up to him to take on the role of a vengeance hero and become the “judge, jury, and executioner” (Wright 157). Despite his innocence and him being the one wronged by a society who is not strong enough to uphold its own values, his reputation and need for revenge makes him an outsider. As he remarks, “I guess you can’t break out of prison and into society in the same week.”
Ringo is further set aside by the fact that he appears to be an outlaw with the manners of a gentleman, with no regard for the opinions and objections of others.

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.

Mallory, as shown by the close-ups of her looking down. Here, Dallas’s insecurity in the midst of social disapproval is contrasted with Ringo’s confident disregard. “…Dallas has so little sense of herself that she feels crushed by an unjust society’s judgment of her” (Rothman 167). Ringo, on the other hand, accepts his status as a social outcast to be a result of his need for revenge. This vulnerability is also what allows for a relationship between the two to emerge.
Dallas offers Ringo the opportunity to regain what he has lost, a family, and abandon his pursuit of vengeance. But, as Wright argues, in the vengeance variation, “…the hero responds to female entreaties and gives up his desire for revenge; then, through unfortunate (fortunate?) circumstances, he is placed in a position where he must fight villains, whom he kills” (159). This scene not only demonstrates the allure Dallas holds for Ringo, but also their future together, as a domestic couple, despite remaining outside of society. Towards the end of the scene, Dallas and Ringo are repeatedly photographed in a shared close-up where they sit, side by side, apart from the rest of the stagecoach passengers. When Dallas tries to serve Ringo chilli, he takes the serving bowl and spoon from her hands and serves her instead. Foreshadowing his want to take care of her and provide for her, which he does with his ranch in Mexico. Also, while catching him looking at her, she asks, “Why do you look at me like that?” Foreshadowing the power of the glance within the film. It is during the close-ups of Dallas and Ringo, after the birth of Mrs. Mallory’s baby, when Ringo sees a future and a family with Dallas and this is all conveyed through the glances they share. And as Wright claims, Dallas does convince Ringo to abandon his revenge but he is forced to go through with it anyways due to the threat of the Apaches.
Ultimately, after the revenge has been executed, Ringo is unable to return to society and returns to the wilderness with Dallas by his side. As stated at the beginning of this paper, “…if the values of society are accepted, they cannot be defended; and if they are defended, they cannot be practiced” (Wright 162). In order to restore law and order, Ringo has to break the law and kill the Plummer brothers. Therefore, in the eyes of the law, he is now also a murderer and should return to jail, losing his freedom. The Dry Fork scene demonstrates how restrictive society and its values, such as democracy and law, are and how Dallas and Ringo are not welcome within it. The very fact that the vote had to take place inside, instead of when they were already outside, and the establishing shot of the room where the vote occurs equates society with confinement. Along with the shadows, placing the camera low bellow eye level emphasizes the ceilings and the concrete walls, they are entering into a confined space. In order for both Ringo and Dallas to be together, free from the being “struck down by the foul disease called social prejudice”, they must leave society. In this way, the final scene when Dallas and Ringo ride off towards the mountain together, is a reiteration of the link between Ringo and the mountains in his introduction illustrating how the wilderness is an essential part of him, but as a hero and as an individual.
In conclusion, the wilderness and family values play are instrumental to Ringo Kid’s revenge, justice and redemption which solidify Ringo Kid’s lone stature as an outside figure. Together, Ringo’s differing appearance and reputation from the other passengers as well as his manners and desire for a family while remaining connected to the wilderness, outside of society and civilization, demonstrates his freedom and independence. Moreover, John Ford’s all-American western, Stagecoach, exemplifies the western vengeance variation, outlined by Will Wright, to critique the constraints of society and propagate the unlimited agency and possibility that awaits for the individual who abandons society for freedom of the western wilderness.