He is an outlaw, but also a brave and noble fighter who becomes an asset to the stagecoach when they encounter danger. While he is not a particularly respectable individual in society's eyes, he has a strong sense of what is right, and is loyal to his father and brother's memory, vowing to avenge their deaths.
Either way, over the course of a story the protagonist will change because events and actions force them to make decisions. They become dynamic characters because even doing nothing means that the characters will suffer consequences in some way.
Stagecoach: The Revolutionary Western John Ford built a standard that many future directors would follow with his classic 1939 film “Stagecoach”. Although there were a plethora of western films made before 1939, the film “Stagecoach” revolutionized the western genre by elevating the genre from a “B” film into a more serious genre.
A stagecoach trip pulls into town to take a short break on their journey. As the driver lets people out of the stagecoach, a woman asks if there’s somewhere she can go for a cup of tea.
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.
Though several of Ford's other westerns may have had a more direct influence, none were more important than Stagecoach. Ford's first sound western was revolutionary in every way it could be: it challenged stereotypes and clichés while rejecting genre conventions.
Claire TrevorStagecoach is a 1939 American Western film directed by John Ford and starring Claire Trevor and John Wayne in his breakthrough role. The screenplay by Dudley Nichols is an adaptation of "The Stage to Lordsburg", a 1937 short story by Ernest Haycox....Stagecoach (1939 film)StagecoachProduced byWalter Wanger16 more rows
By the time he returned to the Old West, in 1939, he had a couple dozen talkies under his belt, and all that practice paid off. Stagecoach was a huge hit that brought realism and respectability back to the genre. It was the first "modern" Western.
John Ford's landmark Western revolves around an assorted group of colorful passengers aboard the Overland stagecoach bound for Lordsburg, New Mexico, in the 1880s. An alcoholic philosophizer (Thomas Mitchell), a lady of ill repute (Claire Trevor) and a timid liquor salesman (Donald Meek) are among the motley crew of travelers who must contend with an escaped outlaw, the Ringo Kid (John Wayne), and the ever-present threat of an Apache attack as they make their way across the Wild West.Stagecoach / Film synopsis
More Stories by Frank Scheck The country music singer turned actor plays the central role of Nathaniel Reed, based on a real-life outlaw who committed numerous stagecoach, train and bank robberies in the late 1800s. (Fun fact: He lived until 1950 and even published an autobiography in 1936.)
Not so the film's real villain, the banker Gatewood (portrayed by Berton Churchill) who is the closest thing we see in the film to pure, unnuanced evil.
The Ringo Kid, Wayne's character, is a wanted murderer being taken to prison by a U. S. Marshall (George Bancroft). As the others pointedly shun the prostitute Dallas, he insists on her being given a drink of water and a place at the table, and his courtliness is manly and good-hearted.
A stagecoach is so called because it travels in segments or “stages” of 10 to 15 miles. At a stage stop, usually a coaching inn, horses would be changed and travellers would have a meal or a drink, or stay overnight.
STAGECOACH is a “progressive” film.
“Stagecoach.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/stagecoach.
Andy DevineStagecoach (1939) - Andy Devine as Buck - IMDb.
Part of the adventure of the film comes from such a mixed crowd embarking into the unknown. Even apart from the fact that their travel route is a high risk area, all of the characters on the stagecoach are putting themselves into unusual circumstances, save perhaps Peacock, who is a traveler by trade.
Buck calls out that the stagecoach is leaving town, and the group assembles to get on board. A group of men leer at Dallas as she gets onto the stagecoach, exposing her ankle seductively to a group of cowboys. Boone climbs on after her, as well as Mr. Peacock.
The trip begins, and on the way out of town, Gatewood the banker flags down the stagecoach and climbs aboard, carrying his bag of embezzled money . The stagecoach makes its way through Monument Valley. Buck tells Curley he doesn’t feel good about driving a stagecoach through Apache country.
The lieutenant tells Curley and Buck that they have to notify the passengers of the risk, and let them decide if they still want to travel.
They silently walk past him and into the hotel. Inside, Lucy asks Mary and Captain Whitney who the man outside was, and they tell her that he’s a “notorious gambler. ”.
We see a caravan of horses and stagecoaches moving down a dirt road in the middle of the plains. We then see a group of American Indians on horseback as the credits roll.
Hearing that Peacock sells whiskey, Boone gets excited and walks over to introduce himself, taking a swig from the bottle that Peacock is carrying. At the bank, Gatewood’s wife asks for $5 to pay the butcher and that she’s invited the Ladies of the Law and Order League over for dinner.
The thing that makes change in stories so fascinating for people is that, despite loathing change, humans want to believe we’re capable of changing, preferably for the better.
This is also why readers learn and grow from stories—the y teach us how to overcome our own conflicts vicariously through character development. And different characters, like people in real life, change in different ways.
In fact, some of his character traits that are fan favorites remain constant, like his snarky personality and sense of recklessness. However, some of Hans’s negative character traits are smoothed out a bit, like his greediness and cynical outlook on life .
It’s possible . But remember, the more massive the change in your character, the more important and life-altering the triggering event must be to them. You should know your character better than anyone, so make sure their change happens in a way that’s realistic for them and proportional to the size of the trigger.
No One Likes Change. In real life, people change in small ways, but they’re resistant to that change. Change happens slowly, in a sort of cocooned metamorphosis, like a caterpillar to a butterfly.
Writers think that great characters need drastic changes, but this isn’t always the case.
You can still have a story with a static character, although it’s more common that these characters are supporting characters.
o Protagonist: Hero. The primary character whose pursuit of the goal provides structural foundation of a movie's story.
o The time it took for the events in the story to happen.
The specific actions and events that the filmmakers select and the order in which they arrange those events and actions to effectively convey the movie's narrative to viewers.