[])). As the camerawork is quick cuts, the viewer doesn’t know if the action is resolved or not, leading to stressful editing. movie theaters are playing Stagecoach: The Texas Jack Story near you. THe others are flat characters because they are more one dimensional. Although Ford utilized many different aspects of film to describe and make the narrative so elaborate, the two that seemed most important were setting and suspense. In your response, pick TWO aspects of narrative that Barsam talks about that you think were particularly effective in the film and discuss cinematically how they worked to make Stagecoach such a successful film. These characters all have something about them that makes them slightly undesirable and they have all been put into this stagecoach together and it creates an interesting ongoing exchange. Marshal out for vengeance. In reality, the “polite” folk are of worse character than them, the fraudulent banker and the cowardly cab driver for example. All in all, the suspense and setting leads to an extremely powerful and strong narration. He instead uses the camera as the narrator’s perspective. This style is something that he carries through his films and interacts with the dramatic script to produce an eye catching effect. Stagecoach adalah sebuah film Barat Amerika 1939 yang disutradarai oleh John Ford, dibintangi oleh Claire Trevor dan John Wayne dalam peran puncaknya. We see them solely from the perspective of the white men, as threatening savages on the warpath, who, we get the vague sense, are going to attack the stagecoach only because they are violent and spiteful people. Sign up for a FANALERT® and be the first to know when tickets and other exclusives are available in your area. The difference between some of them is that some are round characters, and some are flat characters. Collect bonus rewards from our many partners, including AMC, Stubs, Cinemark Connections, Regal Crown Club when you link accounts. Without the suspense of their decision weighing on all of them, the characters would be less developed and the story would be significantly less entertaining.The setting is also very important. The always use of diegetic sound is important for the plot of Stagecoach. An important instance where diegetic sound is heard is in the grand battle sequence when the sound of a bugle horn is heard, signifying the end of the battle. Description. As the movie was created in 1939, the brink of the second World War, the one-dimensional depiction of Geronimo and the Indians allows for insight into the American exceptionalist perception of war and conflict. One of the things that happens in Stagecoach’s narrative if the Stereotypical characters. The scene where they’re stopped at the town the army won’t go past with them, all trying to decide what they’re going to do is a very good example of this. Stagecoach is essentially the Western Movie Bible. Rack up 500 points and you'll score a $5 reward for more movies. Please enable Cookies and reload the page. Mirroring the patriotic gusto with which the people condemned the Japanese and Germans (I don't intend to sympathize with the Nazi party, obviously), the good guys beat the Indians and make it home safe because, well, they're Americans.Stagecoach is such an effective film because it is an immortal archetype for Westerns and many more "ship of fools" stories and a blueprint for a well-constructed narrative. ).The setting is also important, because, not only does it establish generic convention by taking place in Monument Valley, Ford's favorite spot, but laying the thematic groundwork for all Westerns to come. The conventions displayed in the film are so archetypal and so ingrained in the genre that it could act as a guidebook for any other Western. Nat Wolff can shoot lightning in this exclusive clip from 'Mortal', What to Watch on FandangoNOW: ‘Come Away’ with Angelina Jolie, Charlie Hunnam in ‘Jungleland’ and More, This Week in Movie News: ‘The People Under the Stairs’ and ‘The Painter and the Thief’ Set for Remakes and More. In the final showdown scene of this film where Ringo is left to fight two men is the most revealing of John Ford’s pacing technique. The camera is always close to the subject capturing the cramped feeling of the coach’s compartment and when we’re shown the driver and sherif everything is shaking and around them is only desert. When they’re sitting at the table and no one wants to sit near the duke, we see a connection made between him and the prostitute and a clear divide between those two and the “polite” folk. In creating Stagecoach’s strong narrative, John Ford is sure to stick to the main focal point of the Western genre; suspension of disbelief. Almost everything in the movie is made up of diegetic elements except for the little nondiegetic elements such as opening and closing titles, credits, and the background music. This process is automatic. The setting, of course, is the old west, with extremely stereotypical cowboys and “Indians” running all over the place. If Ford had made the decision to shoot in a studio, the stagecoach wouldn’t have had as much leeway while getting attacked by the Indians, and in addition to that, having it shot in the actual west gave it extremely strong verisimilitude. Another dimension of narrative that Ford utilizes is the setting. Barsam talks about one song in particular that is usually heard in connection to Buck (Bury Me Not on the Lone Prairie) that symbolizes his fear of dying “on the range”. It is the same area that has been used for a ton of Western Films and it is the very stereotypical Cowboy, Great Plains, Hot Desert space. The stagecoach was a closed four-wheeled vehicle drawn by horses or hard-going mules.It was used as a public conveyance on an established route usually to a regular schedule. This scene is drawn out with editing techniques similar to those seen in in the Russian expressionist movement. Romanticizing rugged individualism and distinctive personalities, Ford created an idol of John Wayne in the minds of the American people. In order to create such a strong narrative, Ford needed to have really strong verisimilitude, especially because of the necessity to make the viewer feel as though they were there, in the stagecoach, with the characters. In the ending battle scene, where they are attacked on the road, the setting plays a huge role. Richard Barsam speaks of how the only non-diegetic moments of this film are the opening and coming credits, and few instances with background music, this draws the viewer into the film as it most wholistically consist of purely diegetic elements. All of the characters inside the stagecoach are considered major characters because the focus is on all of their lives as they try to get to Lordsburg. Westernaires appear in the movie "Stagecoach" (1966) The 1966 production of Stagecoach is packed with star-power, wit, and action. It adds to the suspense, by making the threat more real and separating all of the character’s (except maybe the duke) from their comfortable zones. Enter your location to see which Each character’s individual concerns, stories, personality, etc. In addition to the setting, the suspense that Ford holds over the viewer is very important to the narration. People are beginning the judge others on their action and social outcasting people from society, essentially creating the cowboy hero loner Ringo. Suspense primarily is created in two scenes through a use of long drawn out shots to keep the audience fully enthralled in the movie. Stagecoach (1939) portrays Indians in a wholly negative light. During the scenes of battle, we see many different ways that people deal with the hand they are dealt. When there is silence within the cabin, the fear rings stronger than any score could do. The screenplay by Dudley Nichols is an adaptation of "The Stage to Lordsburg", a 1937 short story by Ernest Haycox.The film follows a group of strangers riding on a stagecoach through dangerous Apache territory. The conventions displayed in the film are so archetypal and so ingrained in the genre that it could act as a guidebook for any other Western. In fact, we are sure they won’t survive when they run out of bullets. They are forced to be with each other and silently judge each other's flaws. Making suspense throughout the film is done simply, but highly effectively by the Western heavyweight.The cast of characters creates a believable and relatable tale for viewers. The Westernaires Cavalry riders were invited to play members of an 1880 U.S. Cavalry troop escorting an Overland Stagecoach full of … You have the Geronimo the Savage Indian, Peacock as the Frontier Doctor, RIngo the Drifter, Doc Boone as the Morally Bankrupt Banker, Lucy as the Determined Homesteader’s Wife and finally Dallas as the Hooker with a Heart of Gold. Stagecoach, with its diverse cast of characters, establishes generic stereotypes that would endure for decades (i.e. Directed by (1) Writing credits (3) Cast (67) Produced by (1) Music by (1) Cinematography by (1) Film Editing by (3) Art Direction by (1) Costume Design by (1) Makeup Department (1) Production Management (2) Second Unit Director or Assistant Director (3)

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