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Author Topic: Stagecoach (1966)  (Read 96 times)
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« on: April 22, 2017, 03:45:21 PM »

So the horse was killed at last (though just after the coach broke a wheel)! Many things to say about this one. Still back projections and night open air scene shot in the studio. Goldsmith of course apes Morricone, introducing (I presume) the jew harp in a OST of a american western. But his music is forgettable. The cast  is the problem, I think. I pick only Heflin over his predecessor of 1939. For the rest, there's just no match. Garfield says that Cord's got the same "thespian" capacities of Wayne, though lacking his "warmth". He was probably under acid when he wrote it. Wayne is Wayne: if you remake a movie starring Wayne you know you're gonna run against the template of the genre (see Bridges, an infinitely better actor than Cord). But then, Crosby for Mitchell? Did Mitchell ever try to sing? His achievement would have been the same as Crosby here. Buttons for Meek is a lost battle starting from the surname: Meek is meek as he enters the screen: no need to do anything, he's the character already. And Carradine? Anybody would pick Connors over him? And then, the girls. Ann-Margret is unconvincing as a saloon-whore: she looks Sixties from head to foot and I expect her to start doing the Monkey any minute. Strangely, she was much more convincing the year before as the bitch wife of Malden in Cincinnati Kid.   Stephanie Powers is beautiful, much more than her 1939 counterpart. But probably too beautiful for her part of a cavalry captain.  So the reason why some prefer this one to the Ford must be in much more developed story, especially the chase and the finale, with a very good villain played by Keenan Wynn. But the redeemed whore storyline doesn't work here because it's 1966; because, as said, Ann-Margret doesn't look like a whore; and, anyway, nobody believed anymore, at that time, that whores needed redemption. They should have found something different to justify the love story. And I guess they  must have tried something, as Dallas is not leaving Dryfork for morality issues like in 1939 but after the ridiculous double death of the soldiers in the saloon.  7/10 

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Spikeopath
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« Reply #1 on: April 25, 2017, 03:02:44 AM »

One I have had recorded for a long time but have steered away from it...

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Out you get Hooky, you done your bit.
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