Stagecoach Essay -- essays papers

StagecoachAn Interpretation of StagecoachIn 1939 John track masterminded a classical western word picture by the name of Stagecoach. This tear 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 auditory modality could differ relying on the audiences demographics. However, it is conceivable to all audiences that Ford delivers a clay sculpture of faces that are built on stereotypes and perceptions conjured from B westerns that preceded this films time. Each case is introduced to the audience in a stereotypical genre, as the film progresses, these stereotypes are broken down(a) and the characters become more humanized. This is apparent with a handful of characters world pictured better than others. One can investigate each individual character to correlate such a pattern. The characters are, in no rangeicular consecrate Curly, Hatfield, Gatewood, Peacock, the stagecoach driver, Dallas, bird 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 military force would increasingly be concentrated in the hands of relatively a couple of(prenominal) men . . . (p 31). It was this social order that influenced iconography of many B westerns. Such iconography would create the standard of the corrupted banker, or the shoot em up outlaw and tied(p) a brothel prostitute, all of which are found in Fords Stagecoach. The social classes that each character can generally be categorized as an upper, bosom 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 guidance was bag full of money, nothing else. Even as the stagecoach was low siege by the savage Indians, the audience could catch a glance of Gatewood clasping his bag rather than brandishing a firearm. Gatewoods character is one of those that does not move from the B side icon. He is clearly plays the stereotype of the financia... ...le and by Curly. On the opposite 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 disconsolate man, as one may have noticed in his actions toward Dallas even after finding what her line of work was. He is not seriously mannered nor tempermental. He is on a mission to seek vindicate as any man rightfully would. He is a removed 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 wrap upensive. Despite his crackled voice and foolish nature, the stagecoach driver was anything solely these descriptions. Granted, at times he may not have verbalise 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 Fords 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 moult new light on stereotypes that are not commonly broken. It in truth was one of the many factors that made this film unique.