john ford's stagecoach

In the end , personal growth occurs for the film heroes as they exit society 's mouth in the canyon mouth metaphor . When the heroic couple walks through the pueblo hall into the moonlight later on , it depicts the notion of their being accepted with something holy . The audience perceives this within a context of the hero of stagecoach being only a simple he-man travelling in company of sophistication than Tom Mix , Roy Rogers or gene Autry (Frayne , 22 . Ford here is contending that the minorities that have been negatively stereotyped hold goodness and

br virtue , elements society has vehemently denied assigning these minorities , restricting them to be objects of high society characterized with its gentilities . This creates a new outlook for the story 's cast .At the end of the film all is redeemed and the anti heroes win the day with a ride into the rising sun suggesting a fresh start for the criminal gunman as well as the prostitute . Stagecoach is an assembly of a colorful cast of characters directly derived from pulp fiction and dime novels . This includes a gun-man after revenge as well as a prostitute with the heart of gold in addition to venal banker , a respectable army wife , an alcoholic doctor and an aristocratic Southerner . There is a brilliant stunt sequence in which renegade Apaches pursue the stage coach through the dessert up to the moment when the day is lastly saved by the cavalry . In these sense , Ford is skillfully , depicting the civilized party members not only as snobs but also as crooks whereupon he recruits the sympathy of the audience for the outcast . Ultimately , the outcasts are fore-grounded as the melodrama 's heroes Work Cited Page

Price , A . John , The Stereotyping of North-American Indians in Motion Pictures , Ethno history . Vol . 20 . Iss (2...