Stagecoach (1966)

poster_of_the_movie_stagecoachOh, no. Here we are again. The unnecessary….remake!!! Considered by most to be one of the best westerns ever made, 1939’s Stagecoach is a key film that helped lay out a foundation for a whole type of western, not to mention helping skyrocket John Wayne to stardom. It’s one of those movies that doesn’t really need to be remade, retouched, reboot and re-anything. There just isn’t much to improve on. That said, Hollywood seems to take that as a challenge. A TV remake was released in 1986, but that’s looking ahead too much. Today’s flick is 1966’s Stagecoach.

In the town of Dry Rock, several undesirables are being booted out of town for different reasons, including Dallas (Ann-Margret), a dance hall girl, and Doc Boone (Bing Crosby), an alcoholic doctor with some debts. Sioux warriors have been reported on the warpath — including a massacre of a small company of cavalry fixing the telegraph line — so travel isn’t encouraged, but Dallas, Doc Boone and several other passengers desperately need to get up the trail to Cheyenne. Hoping to thread the needle, eight desperate people board a stagecoach. They’re in for a surprise on the trail, meeting the Ringo Kid (Alex Cord), an escaped convict looking for revenge. Ringo has his reasons though, and another gun on-board couldn’t hurt. Can the coach make it through unscathed?

So let’s get this out of the way. There’s no need to remake the original Stagecoach. Can you tweak some things? Update story devices to be more current, more modern? Throw an interesting ensemble together? Sure to all three questions. But do you need to? No, not really. From director Gordon Douglas, this 1966 version is a pretty decent movie. The cast is solid, the filming locations gorgeous, and the story itself works. There’s a reason the basic premise worked so well in the original. We’re talking life and death in the wild west. It’s hard to mess that up. This remake is good because the script/story is good, and little else. It will feel familiar and comfortable but not necessary in the least.

The biggest changes? The story breathes a little bit more, clocking in at 115 minutes to the original’s 99 minutes. The additional 16 minutes doesn’t add much unfortunately. More talking, more repetitive scenes, but not much more character development. Dallas’ personal life is explored more and more obviously — she’s a GASP prostitute! — and we actually meet the evil Plummers here which is a positive. Filmed on location in Colorado, the visual appeal is evident with snow and tree-capped mountains filling in for the dusty desert and massive rock formations. As well, composer Jerry Goldsmith‘s score is good, a precursor to his score two years later with 1968’s Bandolero! Some positives, some negatives, a mixed bag of changes.

An ensemble cast with a story full of misfits and flawed characters is a gimme. The cast is what pulled me in here more than the story. Like I said, how much can you change? Some good star power though here for sure. Ann-Margret is a more mean-spirited, angry Dallas. Cord is okay but not flashy as Ringo. John Wayne’s original entrance is an all-timer, but here, it’s an afterthought. The chemistry feels a tad forced between Margret and Cord even though the love between two outsiders should have been a gimme. The high point is Crosby as the hard-drinking, fun-loving, accepting life as it is Doc Boone. Steals the show with a fun performance.

Who else to look for on our stagecoach? The always reliable Van Heflin plays Curly, the marshal riding shotgun on the coach while keeping an eye on Ringo. It’s not a flashy part but Heflin is a pro and fits in nicely. Slim Pickens plays Slim Pickens, um, Buck, the worrisome coach driver and has some good chemistry with Heflin. Also look for Stefanie Powers as Lucy Mallory, a young pregnant wife on the way to meeting her husband, Red Buttons as Peacock, a whiskey drummer, Mike Connors as Hatfield, a gentleman gambler looking out for Lucy, and Robert Cummings as Gatewood, a robbing banker. Also look for Keenan Wynn as Luke Plummer, a killer and an outlaw who crossed Ringo and his family in the past.

Things are pretty slow for the first hour as everyone is introduced and things are laid out. The highlight of the film though is the Sioux attack on the stagecoach in the last 45 minutes. It’s an underrated action gem. Some great stunt work, even cooler camera angles and shots (thinking some helicopters were used of some sort) and a whole lot of carnage. I think Ringo, Curly and Co. may have wiped out half the Sioux nation in the process. A final showdown between Ringo and the Plummers is also expanded where in the original, the entire gunfight happened off-screen. A little slow early, but the action late is worth it.

Flawed but entertaining in the end. Still stick with the John Ford original from 1939, but western fans will get a kick out of this 1966 remake. Also worth sticking around in the credits as famous American painter Norman Rockwell painted portraits of the 10 main cast members. They look great and are a cool, unique addition to the credit sequence.

Stagecoach (1966): ** 1/2 /****