La Diligencia Pelicula Analysis Essay


Stagecoach (1939) is a classic Western from film auteur John Ford. This film - his first sound Western - was a return to his most-acclaimed film genre after a thirteen year absence following Fox's Three Bad Men (1926) (and The Iron Horse (1924)). In the meantime, he had produced the superb, Oscar-winning drama about Irish republicanism, RKO's The Informer (1935).

This film debuted John Ford's favorite setting - the majestic Monument Valley of the Southwest - the first of seven films he made in the famed western valley, followed by My Darling Clementine (1946), Fort Apache (1948), She Wore a Yellow Ribbon (1949), The Searchers (1956), Sergeant Rutledge (1960), and Cheyenne Autumn (1964).

Ford's reputation was elevated considerably by this film - it was nominated for seven Academy Awards, including Best Picture, Best Director, Best Black and White Cinematography, Best Interior Decoration, and Best Film Editing, and won two awards for Best Supporting Actor (Thomas Mitchell) and Best Score (for its compilation of 17 American folk tunes of the 1880s).

This Ford Western paved the way for all his other memorable Westerns, including My Darling Clementine (1946), his "Cavalry" trilogy, The Searchers (1956), and The Man Who Shot Liberty Valance (1962). An inferior, Technicolor remake was attempted by Gordon Douglas in the 60s, Stagecoach (1966) with Bing Crosby, Ann-Margret, Robert Cummings, Stefanie Powers, and Red Buttons.

This revolutionary, influential film - a story of redemption - is considered a landmark quintessential film that elevated westerns from cheaply-made, low-grade, Saturday matinee "B" films to a serious adult genre - one with greater sophistication, richer Western archetypes and themes, in-depth and complex characterizations, and greater profitability and popularity as well.

[Note: By 1939, the Western genre had fallen out of favor, but Stagecoach helped reinvent the genre, providing for its rebirth. It must be remembered however, that 1939 also saw the release of other blockbuster Westerns including Union Pacific, Dodge City, The Oklahoma Kid, Ford's own Technicolor Drums Along the Mohawk, Destry Rides Again and Jesse James.]

The film's sophisticated screenplay by Dudley Nichols (who won the Best Screenplay Oscar for Ford's The Informer (1935) and was a frequent collaborator with Ford), about the perilous adventures of a group aboard a stagecoach across Indian country between two frontier settlements during a sudden Apache uprising, was based on Ernest Haycox's Collier's Magazine short story "The Stage to Lordsburg," (appearing in April, 1937). But it also bears a slight resemblance and was inspired by Guy de Maupassant's Boule de Suif (literally 'Tub of Lard'), the story of a prostitute (Boule de Suif) traveling in a carriage through Prussian-occupied, war-torn France during the Franco-Prussian War with refugees who are prominent members of the French bourgeoisie. Director Ford also wove into the story colorful Western characters from Bret Harte's The Outcasts of Poker Flat.

As in other films of the 1930s including Grand Hotel (1932), Shanghai Express (1932), and Lost Horizon (1937), colorful, vividly-portrayed, widely-varied characters ("nine strange people") of clashing social classes/values are thrown together by fate and closely confined for a period of time as a group:

Nine Characters
Dallas (Claire Trevor) a prostitute (or dance hall gal) forced to leave town
Ellsworth Henry Gatewood (Berton Churchill) an embezzling banker
Hatfield (John Carradine) a former Confederate, a card-shark gambler
Samuel Peacock (Donald Meek) a whiskey salesman
Doc Josiah Boone (Thomas Mitchell) an alcoholic, disgraced frontier doctor (surgeon)
Mrs. Lucy Mallory (Louise Platt) a pregnant young bride, the wife of an Army cavalry officer en route to his post
Buck Rickabaugh (Andy Devine) a stage driver
Marshal Curley Wilcox (George Bancroft) a Marshal riding shotgun
the Ringo Kid (John Wayne in a breakthrough rolea rugged, escaped outlaw, who is picked up on the road shortly after the coach's departure

They act out in their relationships their representative social types. In Stagecoach, nine passengers during a stagecoach journey are placed together in a position of danger, one in which their true characters are tested and revealed. Major social issues and themes (sexual and social prejudice, alcoholism, childbirth, greed, shame, redemption and revenge) are closely mixed together into an exciting adventure story.

The structure of the film is very formal, divided neatly into eight episodes (four scenes of action alternating with four scenes of character interaction).

  • The short prologue regarding the cavalry and the telegraph wires
  • The 12-minute expository sequence in the town of Tonto, including the introduction of most of the characters and the establishment of their class distinctions
  • The first leg of the trip on the stagecoach to Lordsburg
  • The Dry Fork way station where the coach stops for food - includes the memorable dinner table scene
  • The second leg of the trip toward Apache Wells in the snow
  • The Apache Wells (Mexican) outpost, where Lucy's baby is born
  • The final leg of the trip to Lordsburg, including the exciting Indian attack and the cavalry rescue
  • The town of Lordsburg, where Ringo Kid faces the Plummers in a shoot-out
The Story

The credit titles are presented with a woodblock style typeface. Following the credits but before the main story, a short prologue presents the perilous atmosphere. Two couriers (one a Cheyenne Indian) gallop on horseback to a military/cavalry outpost, going past where a flag is being raised. Faintly in the background, "I Dream of Jeannie With the Light Brown Hair" is heard on the soundtrack. They report to a captain and lieutenant (Tim Holt) that Apaches "have burnt every ranch building in sight" and "are being stirred up by Geronimo." The captain is assured that the passive-faced Indian scout (Chief Big Tree) isn't lying: "Naw, he's a Cheyenne. They hate Apaches worse than we do."

A telegraph message is transmitted from nearby Lordsburg, but then the line goes dead - the wires have been cut. The only word in the message that is received is "Geronimo." There is evidence of Indian trouble near Lordsburg - Apache warriors are on the warpath against white pioneers near the Arizona border with Mexico.

The main locale is the Southwest of the 1880s in the little town of Tonto, Arizona, where the characters are carefully introduced. (Eventually, there will be six stagecoach passengers accompanied by three others - the driver, the shotgun assistant, and an escaped prisoner who joins the group on the trail.)

The town is introduced to the lively tune of "Bury Me Not on the Lone Prairie." [Note: The tune becomes the theme music played when the stagecoach crosses the desert on its two day trip to Lordsburg in New Mexico.] The dusty Overland Stage Lines stagecoach pulls up on the other side of the street from the Tonto Hotel. Passengers are helped off the coach by the bulky, skittish stage driver Buck Rickabaugh (Andy Devine) during a rest stop. One of the passengers who will continue on toward Lordsburg is Lucy Mallory (Louise Platt), a pregnant lady on her way west (from the South) to meet her husband - a Cavalry lieutenant. The genteel Lucy gasps about one of the men, named Hatfield (John Carradine), that she notices outside the hotel - he's a white-hatted, shady, former Confederate officer turned cardsharp gambler: "Who is that gentleman?" The raffish, imperial-looking Hatfield appears as if he recognizes her. Town friends, the Whitneys, describe Hatfield: "Hardly a gentleman Mrs. Mallory. I should think not. He's a notorious gambler."

Buck inquires about his regular "shotgun guard" in the Sheriff's office, learning that he is "out with a posse...trying to catch the Ringo Kid" who probably "busted out" of the penitentiary and is "aimin' to get even with them Plummer boys" whose testimony sent him there. [To be introduced later in the film, Ringo Kid was jailed for defending his family - father and brother - against the Plummers. He escaped with intentions to avenge their deaths by killing the no-good Plummers.] Interested in pursuing both Ringo and Luke Plummer in Lordsburg, Tonto's Marshal, burly Curley Wilcox (George Bancroft) volunteers to "ride shotgun" with Buck and prevent an expected confrontation with the Ringo Kid.

In the town's Miners' & Cattlemens' Bank (with capital of $50,000 and assets of $250,000 proudly displayed on the front door window), pompous, self-important banker Henry Gatewood (Berton Churchill) accepts the $50,000 Wells Fargo payroll delivery from the coach lines, declaring: "What's good for the banks is good for the country." A closeup of Gatewood's snarling face is seen with the shadow of a cross behind him like a curse.

Down the street, a saloon dance-hall girl (prostitute/whore dressed in bright tones) named Dallas (Claire Trevor) is resentful for being shunned and ostracized as a scarlet woman from town, hustled along by the virtuous, plump, moralistic, matronly women of the Ladies Law and Order League and a sheriff's deputy. [Their walk is accompanied by the marching version of director Ford's favorite hymn, 'Shall We Gather at the River?'] In front of the priggish ladies, a drunken, tipsy Dr. Josiah Boone M. D. (Thomas Mitchell) is also evicted by his English-accented, stern-faced landlady (a member of the Ladies League) for not paying his rent. As he is put out on the street, the educated doctor quotes (mis-quotes) from Marlowe's Dr. Faustus:

Is this the face that wrecked a thousand ships
And burnt the towerless tops of Ilium? (He gestures with a farewell kiss) Farewell.

Dallas complains to the bibulous and disreputable Doc about their shared predicament of being victims of a disease called "social prejudice." They are escorted/railroaded out of town by decent, self-righteous citizens:

Dallas: Haven't I any right to live? What have I done?
Boone: We're the victims of a foul disease called social prejudice, my child. These dear ladies of the Law and Order League are scouring out the dregs of the town. Come on. Be a proud, glorified dreg like me.

Boone offers his arm to his banished companion Dallas, invoking thoughts of the French Revolution: "Take my arm, Madame la Comtesse. The tumbril awaits. To the guillotine!" They walk arm in arm to the local saloon where Dr. Boone enters and asks Jerry (Jack Pennick) the bartender for one last drink:

Boone: Jerry, I'll admit as one man to another that economically, I haven't been of much value to you. Suppose you could put one on credit?
Jerry: If talk was money Doc, you'd be the best customer I've got.

When Doc explains that he is leaving town permanently, the bartender acquiesces and provides him with a free drink: "Just this one." The only other person in the bar is another passenger from the coach, Mr. Samuel Peacock (Donald Meek), a timid, solemn whiskey drummer (salesman). [Peacock is continually mistaken for a clergyman, and called by incorrect names throughout the film - Hancock and Haycock.] The three characters - the bartender, Doc, and Peacock - form a triangle, with Peacock at its apex in the background.

The intoxicated doctor moves over to the salesman after learning his profession, falsely pretending friendship by putting his arm on his shoulder. He is keenly interested in the ample supply of whiskey samples from the man's small case. In the bank, Gatewood speaks to his shrewish, domineering wife (Brenda Fowler) who demands five dollars to pay the butcher - she informs him of her invitation for lunch with the ladies of the Law and Order League. Presumably, this is the last straw - Mr. Gatewood places the Wells Fargo payroll in a leather bag and prepares to take flight with the embezzled funds.

In this film - actually a morality play, each of the characters are representative, archetypal character types, divided initially between respectable and disrespectable social outcasts. However by film's end, the disreputable members of society prove to be the most noble, virtuous, and selfless.

Banker GatewoodProstitute Dallas
Confederate HatfieldOutlaw Ringo Kid
Pregnant Mrs. Lucy MalloryAlcoholic drunk Doc Boone

Buck calls for all passengers to board the stagecoach for "Dry Fork, Apache Wells, Lee's Ferry and Lordsburg." The first four passengers include Dallas, Peacock, Boone, and Lucy Mallory. Before Lucy boards, her snobbish friends caution her about traveling with "that creature" Dallas and the malpracticing doctor: "Doc Boone? Why he couldn't doctor a horse?" Playing cards in a nearby gambling hall, Hatfield notices the odd grouping of passengers traveling with Lucy: "Like an angel in a jungle. A very wild jungle." The overland coach is to be escorted by a cavalry detachment of troops and the passengers are warned by handsome Lieutenant Blanchard (Tim Holt) of the impending trouble caused by Geronimo's Apache warriors. Nevertheless, all of the passengers decide to travel from Tonto to Lordsburg through dangerous and hostile Apache Indian land:

Curley: Well, me and Buck are taking this coach through, passengers or not. Now whoever wants to get out can get out. (Peacock starts to exit but is restrained and urged by Doc Boone to remain - mostly for his whiskey samples.)
Boone (to Peacock): Courage, courage Reverend. Ladies first.
Curley: How 'bout you Dallas?
Dallas: What are ya tryin' to do? Scare somebody! They got me in here. Now let 'em try to put me out. There are worse things than Apaches. (Dallas looks at the stern-faced ladies from the League.)
Curley (to Lucy): If you'll take my advice ma'am, you won't take this trip.
Lucy: My husband is with his troops in Dry Fork. If he's in danger, I want to be with him.
Peacock (nervously to Boone): You see brother, I have a wife and five children...
Boone: Then you're a man. By all the powers that be Reverend, you're a man.
Curley: All right folks.
Hatfield: Marshal. Make room for one more. (Removing his hat) I'm offering my protection to this lady (referring to Lucy Mallory). I can shoot fairly straight if there's need for it.
Curley (gruffly): That's been proved too many times Hatfield. All right, get in. We're late.

A Southern gambler with superficial Eastern sensibilities, Hatfield's main purpose is to strictly guard Mrs. Mallory's virtue. Soon after, when they are close to the outskirts of town, a sixth passenger - banker Mr. Gatewood flags down the coach and boards, carrying a small bag in which he absconds the funds. As he boards, he makes a questionable statement:

Buck: Goin' to Lordsburg?
Gatewood: That's right. Just got a telegram. I stopped to pack this bag.

Through the majestic rock formations of Monument Valley, the stagecoach is followed by the Cavalry troops riding guard, while Curley and Buck converse in a two-shot on the driver's seat (as they often do in the film). Dense and poor, Buck comically complains about his domestic situation with his distinctively squeaky voice:

I just took this job ten years ago so I can make enough money to marry my Mexican girl Julietta. I've been workin' hard at it ever since...My wife's got more relatives than anyone you ever did see. I bet I'm feedin' half the state of Chihuahua...And what do I get to eat when I get home in Lordsburg. Nothing but frijoles beans. That's all. Nothin' but beans, beans, beans.

Inside the coach, Doc Boone takes advantage of more of Peacock's samples. Boone also explains to Gatewood why they are being escorted by troops:

Boone: We're all gonna be scalped, Gatewood. Massacred in one fell swoop. That's why the soldiers are with us.
Gatewood: (To Lucy) He's joking, of course.
Peacock: Oh no he's not. Oh dear no. I wish he were.
Boone: It's that old Apache butcher Geronimo. Geronimo - nice name for a butcher. He's jumped the reservation - on the warpath.
Gatewood (distressed): Geronimo? Well why weren't the passengers notified? Why wasn't I told?
Boone: We were told, Gatewood. Weren't you told when you got that message from Lordsburg?
Gatewood (covering up): Oh yes, yes, yes. Of course. I forgot.

Both Doc Boone and Curley are suspicious and mystified by Gatewood's assertion that he had received a telegraph message from Lordsburg, knowing that the lines have been cut: "I can't figure out how he got that message...He said he got a message. The telegraph line ain't workin'."

Stagecoach is a 1966 American film, directed by Gordon Douglas between July and September 1965, as a color remake of the Academy Award-winning John Ford 1939 classic black-and-white western Stagecoach.[3] Unlike the original version which listed its ten leading players in order of importance, the major stars are billed in alphabetical order.[4]


In 1880, a group of strangers in Wyoming Territory boards the east-bound stagecoach from Dry Fork to Cheyenne. The travellers seem ordinary, but many have secrets that they are running from. Among them are Dallas, a prostitute who is being driven out of town; an alcoholic doctor, Doc Boone; pregnant Lucy Mallory who is meeting her cavalry officer husband; and whiskey salesman Samuel Peacock. As the stage sets out, U.S. Cavalry Lieutenant Blanchard announces that Crazy Horse and his Siouxs are on the warpath; his small troop will provide an escort part of the way.


ActorRole (as indicated on the poster — character names are not specified in on-screen cast credits)
Ann-MargretDallas, The Dancehall Hostess
Red ButtonsMr. Peacock, The Whiskey Salesman
Michael ConnorsHatfield, The Card Shark
Alex CordThe Ringo Kid
Bing CrosbyJosiah Boone, The Alcoholic Doctor
Bob CummingsHenry Gatewood, The Embezzler
Van HeflinCurley Wilcox, The Marshall
Slim PickensBuck, The Stage Driver
Stefanie PowersMrs. Lucy Mallory, The Expectant Mother
Keenan WynnLuke Plummer, The Killer
Ned WynnIke Plummer
Norman RockwellBusted Flush the Poker Player
Edwin MillsSergeant Major
Hal LynchJerry the Bartender
The Westernaires[5]
US Army Cavalry

David Humphreys Miller and Norman Rockwell[edit]

Also in the cast, playing their sole credited film roles, were two artists, 15th-billed David Humphreys Miller, a 47-year-old western historian who specialized in the culture of the northern Plains Indians and created, among his works, 72 portraits of the survivors of the Battle of the Little Bighorn, and 20th-billed Norman Rockwell, 71 years old, who was engaged to be on the set in order to paint the portraits of the stars and assigned the small role of a town poker player nicknamed Busted Flush.[6] The film's closing-credits sequence features the full-screen inscription, THE CAST AS PAINTED BY NORMAN ROCKWELL, followed by images of each of the ten leading players in the same order as in the opening credits. The portraits were also used in the poster for the film.[7][8]



A statement in end credits reads: "The Producers express their appreciation to the owners of the Caribou Country Club Ranch at Nederland, Colorado, and to the Park Department of that state, for their cooperation in the making of this film."[4]

Comparison to 1939 film[edit]

In parallel with the 1939 version, Ann-Margret, who is listed first, replaces first-billed Claire Trevor as the dancehall hostess/prostitute Dallas. Red Buttons, in second place, takes the role of Mr. Peacock, the alcohol peddler in a minister's garb, played in 1939 by 8th-billed Donald Meek. Third-placed Michael Connors portrays the tough gambler, Hatfield, originated by fourth-listed John Carradine.

Alphabetically-fourth Alex Cord[9] is the Ringo Kid, the role that made second-billed John Wayne into a star beyond the quickly made low-budget B-western series which had primarily represented his screen appearances during the 1930s.[10] In fifth place is Bing Crosby,[11] making his final major acting appearance in a theatrical feature, playing the alcoholic Doc Boone, bringing his own interpretation to the character portrayal which won fifth-billed Thomas Mitchell the 1939 Academy Award for Best Supporting Actor.[12]

Sixth-placed Bob Cummings plays the embezzling banker Gatewood, a role assigned in 1939 to 9th-billed Berton Churchill, while seventh in line Van Heflin is the marshal, Curley, played in the original by 7th-billed George Bancroft. The eighth alphabetical position is taken by Slim Pickens as the coach driver, Buck, initially portrayed by third-billed Andy Devine, while ninth place falls to Stefanie Powers as the pregnant Army wife, Lucy Mallory, played in 1939 by the 6th-billed Louise Platt.[13]

At the end of the alphabetical cast, Keenan Wynn, in tenth place, is Luke Plummer, the patriarch of a family of killers, portrayed in 1939 by western star Tom Tyler, billed 11th in the end credits. Finally, 12th-billed supporting player Joseph Hoover portrays the Lieutenant, a character originated by Tim Holt, who was listed 10th in the 1939 credits.[14]


Opening credits
sings "Stagecoach to Cheyenne"
Words and music by
Lee Pockriss and Paul Vance
  • "Stagecoach Theme (I Will Follow)"
Music by Jerry Goldsmith
Lyrics by Ruth Batchelor
Orchestrated by Harry Betts
Vocal arrangement by Bill Brown
Performed by the Bill Brown Singers
by Lee Pockriss and Paul Vance
Orchestrated by Shorty Rogers
Vocal arrangement by Bill Brown
Performed by the Bill Brown Singers


Variety summed it up as: "New version of “Stagecoach” is loaded with b.o. appeal. Ten stars repping a wide spectrum of audience interest, an absorbing script about diverse characters thrown together by fate, plus fine direction and performances are all wrapped up in a handsomely mounted Martin Rackin production...Crosby projects eloquently the jaded worldliness of a down-and-outer who still has not lost all self-respect. Much humor evolves from his running gag with Red Buttons, the preacher-dressed and mannered liquor salesman played earlier by the late Donald Meek."[15]

The New York Times review included: "...The action fans may not be short-changed, but only a few of the principals achieve more than surface effects. In a decided departure from the norm, Bing Crosby, as the unshaven, sodden surgeon, is casual, natural, glib and mildly funny. Mr. Heflin is authoritative and taciturn as the marshal intent on keeping his prisoner, the Ringo Kid, from being shot down by the savage Plummers, and Mr. Cord is properly hard, sinewy and determined as that vengeful lone cowhand...But “Stagecoach,” after all, is a horse opera, and the horses, the eye-catching scenery, those dependable hands, and superb sound and fury make it an enjoyable trip most of the way."[16]

Film guide reviews[edit]

Leonard Maltin's Movie Guide (2014 edition) gave Stagecoach 2½ stars (out of 4), describing it as a "[C]olorful, star-studded Western" which "is OK, but can't hold a candle to the 1939 masterpiece". Maltin also calls it "[O]verlong" and notes that "Wayne Newton sings the title song!".[17]Steven H. Scheuer's Movies on TV (1972–73 edition) also granted 2½ stars (out of 4), characterizing it "[A]n all-star remake of the classic" and evaluating that "[T]he Ford version was better, but the action is still pretty good the second time around". A later edition (1986–87) shortened the capsule review to "[A]n all-star…" and "[A]ction is still pretty good…". A still later edition (1993–1994) retained "[A]n all-star", but revised the second sentence to "[D]oesn't live up to its predecessor, but OK on its own terms".

Assigning 2 stars (out of 5), The Motion Picture Guide (1987) posited that "[W]hy Hollywood insists on remaking classics will always be a puzzle. John Ford's 1939 version of the Haycox story was a genuine western classic and this is a genuine western omelette. The presence of Crosby, in his last acting job in movies, saves the movie from being a total mess. In 1986, a TV version of the picture was done with several country music stars in the leads, as well as Liz Ashley and Anthony Newley. It was so awful, it made this movie look good by comparison". Later in its write-up, The Guide opines that "[W]hereas the original had engaging characters and not all that much violence, this one concentrates on bloodletting, the dialog is a failed attempt to be 'adult', and the performances are generally substandard. Norman Rockwell appears briefly. He'd done the excellent portraits of the actors used with the end credit and they rewarded him with a role in the picture, his first and only. Wayne Newton sings 'Stagecoach to Cheyenne' (Lee Pockriss and Paul Vance). It's the kind of song one dislikes upon first hearing and hates upon the second".[18]

VideoHound's Golden Movie Retriever (2011 edition) does not have a separate entry for the 1966 version but, at the end of its write-up for the 1939 classic is the sentence, "Remade miserably with [sic] in 1966 and again—why?—as a TV movie in 1986".

Among British references, TimeOut Film Guide critic Paul Taylor advised to "[L]ook again at the credits before you're tempted: this is the witless remake of Ford's classic, with neither colour nor Cord anything like adequate recompense for Bert Glennon's dusty monochrome or Wayne's early strut as the Ringo Kid" (from 2009 edition).[19]Leslie Halliwell in his Film Guide (5th edition, 1985) felt even less charitable, denigrating it as an [A]bsolutely awful remake of the above; costly but totally spiritless, miscast and uninteresting". Finally, David Shipman in his 1984 Good Film and Video Guide, does not grant it any stars (Shipman's top number is 4), questioning "[Y]ou wonder why they dared – or bothered. In Ford's film (see previous entry), everything works but here almost nothing does". He concludes with "Keenan Wynn plays a bad man waiting for the stage to arrive. His professionalism, and that of Heflin and Crosby, are some consolation".

See also[edit]


  1. ^Aubrey Solomon, Twentieth Century Fox: A Corporate and Financial History, Scarecrow Press, 1989 p254
  2. ^Solomon p 230. See also "Big Rental Pictures of 1966", Variety, 4 January 1967 p 8. Please note figures are rentals not total gross.
  3. ^Stagecoach at RareFilm
  4. ^ abKleiner, Dick [syndicated Hollywood columnist for Newspaper Enterprise Association describes his visit to Stagecoach's picturesque filming location in Nederland, Colorado] (August 5, 1965). "SHOW BEAT: Rains Swamp Stagecoach". The Florence Times. Retrieved February 13, 2015. 
  5. ^"Westernaires appear in the movie "Stagecoach" (1966)" (Westernaires Alumni Association website)
  6. ^"Norman Rockwell Goes Hollywood" (Norman Rockwell Museum of Vermont website)
  7. ^Stagecoach poster at the Norman Rockwell Museum
  8. ^Curry, Adrian. "Movie Poster of the Week: The Movie Posters of Norman Rockwell" (MUBI, 09 July 2010)
  9. ^Austin, Guy in Hollywood. "Show Business / Rodeo rider turns film star… / Will this new Ringo succeed John Wayne?" (The Sun-Herald {Sydney}, June 19, 1966, page 93)
  10. ^Kehr, Dave [film writer for The Times reports on the long-delayed DVD release of the 1966 version] (October 14, 2011). "The Man Who Dared to Fill John Wayne's Boots". The New York Times. Retrieved February 13, 2015. 
  11. ^Wilson, Earl. "Bing Says Sinatra Is Hard To Coop Up" (The Herald Trubune {Sarasota}, August 21, 1965, page 19)
  12. ^Bastardo, Luigi. "Stagecoach (1966) DVD Review: The Version Everyone Forgot About / Twilight Time brings us a beautiful transfer for a rather underrated remake of the John Ford classic." (Cinema Sentries, November 22, 2011)
  13. ^"Stagecoack" at Bing Crosby Internet Museum (April 2004)
  14. ^Erickson, Glenn (October 5, 2011). "Stagecoach (1966)". DVD Savant. Retrieved March 1, 2017. 
  15. ^"Variety". May 25, 1966. 
  16. ^Weiler, A. H. (June 16, 1966). "The New York Times". 
  17. ^Maltin, Leonard (September 4, 2012). "Stagecoach". Leonard Maltin's 2013 Movie Guide: The Modern Era. Retrieved March 1, 2017. ISBN 1101604638
  18. ^The Motion Picture Guide (Chicago, 1987), volume VII, pp. 3094–95
  19. ^PT. Stagecoach (TimeOut)

External links[edit]

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