By Lee Pfeiffer
Twilight Time, the DVD label that specializes in releasing worthy films as limited editions of only 3,000 units, has brought out another long-neglected gem: the 1966 Fox version of John Ford's 1939 classic Stagecoach. The film was roundly blasted by critics in its day, perhaps out of reverence for Ford and John Wayne, who were still very much alive. There is no doubt that the original Stagecoach remains a milestone in cinematic history- the first "adult" Western, if you don't count Raoul Walsh's ambitious The Big Trail from a decade earlier.The film not only rescued Wayne from "B" Western hell but also encouraged other studios to revitalize the genre. Fox took the brunt of criticism from movie fans at the time of the remake's release for allegedly taking the original film off the art house and TV syndication markets for a period of years. The claim may not be true since the original movie was released by a different studio, United Artists, but whether it is an urban legend or not, the knives were out for the remake long before it opened. Audiences today are quite tolerant of remakes. They have to be since virtually every other movie in current release seems to be a remake. However, in 1966 the notion of remakes of classic movies seemed to rub audiences and critics the wrong way. There are those who still denounce the big budget re-dos of Mutiny on the Bounty and Cleopatra even though many film scholars now concede they are better than the originals. At the risk of being accused of being accused of blasphemy, I'd like to state categorically that if the remake of Stagecoach isn't as important or influential as its predecessor, it's every bit as entertaining.
The storyline concerns a group of disparate individuals who, for various reasons, find themselves making a perilous stagecoach journey through hostile Indian territory. The well-defined characters include a disgraced prostitute (Ann-Margret), a tough sheriff (Van Heflin), a crooked banker who is fleeing town after looting the company safe (Bob Cummings), an alcoholic doctor (Bing Crosby), a meek liquor salesman (Red Buttons), a professional gambler (Michael Connors), a young pregnant woman (Stefanie Powers) and the coach driver (Slim Pickens). En route, they encounter a stranded desperado: the Ringo Kidd (Alex Cord), who is promptly handcuffed by the sheriff. The Kid is all too willing to go along as he is also going to the stagecoach's destination to extract personal revenge on a family of killers. The film follows the original fairly closely but differs in the sense that there is far more violence and some of it is very brutal. In fact, the first sequence of the movie begins with a shocking massacre of a U.S. Cavalry patrol.This version also expands the climactic showdown between the Ringo Kidd and his adversaries: a crazed father (Keenan Wynn in a truly terrifying performance) and his equally crazed sons. The shootout was only glimpsed fleetingly in the original film and this full-blown action sequence in the remake plays out much more satisfactorily.
The cast is terrific, one and all, with Crosby (in his last dramatic film role) stealing the show as the tipsy but heroic doctor immortalized by Thomas Mitchell in the original movie. It must be said that Alex Cord acquits himself very well indeed, given his thankless task of taking on the role that made John Wayne a star. It's a very difficult position for a relatively unknown actor to be in (just ask George Lazenby), but Cord gives a fine performance and is especially excellent in the action sequences, performing many stunts himself. Whereas Ford shot the original movie in B&W in Monument Valley, but director Gordon Douglas,whose work on this film is among his most impressive achievements, sets the main chase through the Colorado wilderness. It's an inspired decision, as the lush scenery is truly stunning- and it's magnificently photographed by the legendary William H. Clothier. Added to the delights of the film is an inspired score by Jerry Goldsmith and the wonderful paintings by Norman Rockwell which feature prominently in the closing credits. The only unintended laugh in the production comes during those closing credits when we are treated to an original song that you might think was warbled by Ann-Margret until the singer is identified as Wayne Newton!
Twilight Time's release is truly exceptional. The transfer to DVD is sheer perfection and does justice to the film's superb visual aspects. There is also an isolated score for Goldsmith's music tracks. We also want to compliment Twilight Time for reverting to an aspect of DVD releases that is long gone: the inclusion of an informative booklet that presents interesting facts about the film as well as a variety of great still photos and poster art.
Book a trip on this Stagecoach and relish one of the most under-rated films of the 60s.
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