20th Century Fox's STAGECOACH (1966) is of course a remake of the classic 1939 John Ford production of the same name. But this later version, and because of its over cherished antecedents, has at times been rather unfairly pilloried by both critics and public alike. I have to admit myself to being never too fond of Ford's much vaunted western. While admittedly there are some great things in it I always found it quite dull in parts and a number of the supporting players not wholly conducive to their respective roles. Also the Ringo Kid's shootout with the Plummers towards the end is little more than alluded to and merely consists of John Wayne hitting the dirt and letting go with a Winchester. It is a cop-out really and is the movie's most disappointing aspect. On the other hand the later remake has none of these failings. All ablaze in awesome Cinemascope and DeLux color it is a sturdier more strident version of Ernest Haycox's story with a well chosen cast. And here Ringo's showdown gets the full treatment in a brilliantly staged and exciting confrontation which has about 15 minutes screen time. The picture is also graced with a terrific score by the great Jerry Goldsmith. Streets ahead of the creaky Acadamy Award winning music by Richard Hageman from the earlier film. Written for the screen by Joseph Landon from Dudley Nichol's original screenplay it was stylishly and excitingly photographed by William Clothier. His opening aerial shot panning across the lovely Colorado locations is breathtaking as it swoops down to track the speeding Stagecoach on its way to Dry Fork. A wonderful spine tingling few moments! Produced by Martin Rackin for Fox STAGECOACH'66 was perfectly directed by the estimable Gordan Douglas.
Of course we all know the story which concerns a mixed bag of passengers who are thrown together on an arduous Stagecoach journey to Cheyeanne and fearing, among other things, an Indian attack along the way. There is the banished dance hall girl Dallas (Ann Margret giving the performance of her career), Gatewood the wily and mean spirited embezzler (an excellent Robert Cummings), a surprisingly good Bing Crosby as the whiskey sodden MD, a terrific Van Heflin as Curly the Marshal and shotgun guard, the wonderful Slim Pickins as Buck the stage driver (Pickins - an ex wrangler - was the only actor capable of handling a six team of horses) and Alex Cord making an impressive Ringo. The picture does however get a little bogged down in the middle but there is splendid character development in these scenes and once the Indians begin their pursuit of the stagecoach the action never lets up. Unlike the earlier film and the famous chase across the salt flats - here there is much more vegetation as the Stagecoach is pursued over mountains and through wooded areas and streams before a wheel collapses and the hapless travellers must now make a stand against the Indian horde who they eventually manage to beat off. (This whole chase sequence is quite riveting as the brilliant camera shoots from the air one minute and then from under the speeding coach). The stagecoach finally struggles into Cheyeanne and Ringo must now take on Luke Plummer (Keenan Wynn) and his two murderous sons in a blistering action packed shootout in the best tradition of the revenge western. The picture ends, just like the original, with Ringo and Dallas riding off side by side to begin a new life together.
One of the great aspects of STAGECOACH'66 is Jerry Goldsmith's stunning score. The instrumentation is extraordinary! The main title is heard over that amazing aerial shot at the opening and distinctly discerned are jew's-harp, banjo, guitar, a lovely jazzy button accordion, solo trumpet, harmonica and pizzicato strings all lending an authentic and inspired western feel to the picture. Then there is an attractive love theme "I Will Follow" heard in the film's softer moments with Ringo and Dallas which gives their scenes together a tender and persuasive charm. STAGECOACH'66 is one of Jerry Goldsmith's finest scores for a western.
STAGECOACH'66 is a good and exciting western and should not be judged as simply a remake of a classic. It should be enjoyed for its own intrinsic value plus the added quality that was brought to an old story with some fresh innovations and new techniques. And, who knows, perhaps in that way this STAGECOACH could itself become a classic too?
Of course we all know the story which concerns a mixed bag of passengers who are thrown together on an arduous Stagecoach journey to Cheyeanne and fearing, among other things, an Indian attack along the way. There is the banished dance hall girl Dallas (Ann Margret giving the performance of her career), Gatewood the wily and mean spirited embezzler (an excellent Robert Cummings), a surprisingly good Bing Crosby as the whiskey sodden MD, a terrific Van Heflin as Curly the Marshal and shotgun guard, the wonderful Slim Pickins as Buck the stage driver (Pickins - an ex wrangler - was the only actor capable of handling a six team of horses) and Alex Cord making an impressive Ringo. The picture does however get a little bogged down in the middle but there is splendid character development in these scenes and once the Indians begin their pursuit of the stagecoach the action never lets up. Unlike the earlier film and the famous chase across the salt flats - here there is much more vegetation as the Stagecoach is pursued over mountains and through wooded areas and streams before a wheel collapses and the hapless travellers must now make a stand against the Indian horde who they eventually manage to beat off. (This whole chase sequence is quite riveting as the brilliant camera shoots from the air one minute and then from under the speeding coach). The stagecoach finally struggles into Cheyeanne and Ringo must now take on Luke Plummer (Keenan Wynn) and his two murderous sons in a blistering action packed shootout in the best tradition of the revenge western. The picture ends, just like the original, with Ringo and Dallas riding off side by side to begin a new life together.
One of the great aspects of STAGECOACH'66 is Jerry Goldsmith's stunning score. The instrumentation is extraordinary! The main title is heard over that amazing aerial shot at the opening and distinctly discerned are jew's-harp, banjo, guitar, a lovely jazzy button accordion, solo trumpet, harmonica and pizzicato strings all lending an authentic and inspired western feel to the picture. Then there is an attractive love theme "I Will Follow" heard in the film's softer moments with Ringo and Dallas which gives their scenes together a tender and persuasive charm. STAGECOACH'66 is one of Jerry Goldsmith's finest scores for a western.
STAGECOACH'66 is a good and exciting western and should not be judged as simply a remake of a classic. It should be enjoyed for its own intrinsic value plus the added quality that was brought to an old story with some fresh innovations and new techniques. And, who knows, perhaps in that way this STAGECOACH could itself become a classic too?