Home Page  

  • 1.33:1 Standard
  • English Dolby Digital 1.0 Mono
  • English subtitles
  • 2 Discs
  • Audio commentary by noted western authority Jim Kitses
  • Bucking Broadway (1917), a fifty-four-minute silent western by John Ford, with new music by Donald Sosin
  • Extensive video interview with Ford from 1968
  • New video interview with Dan Ford, biographer and grandson of the director, about Ford's home movies
  • New video interview with filmmaker Peter Bogdanovich
  • New video essay by writer Tag Gallagher
  • New video feature about Monument Valley
  • New video interview with stunt coordinator Vic Armstrong about Stagecoach's stuntman Yakima Canutt
  • Radio dramatization of Stagecoach from 1949
  • Theatrical trailer


Reviewed by: Chris Galloway

Directed By: John Ford
Starring: Claire Trevor, John Wayne, Andy Devine, John Carradine, Thomas Mitchell
1939 | 96 Minutes | Licensor: Westchester Films

Release Information
DVD | MSRP: $39.95 | Series: The Criterion Collection | Edition: #516
RLJ Entertainment

Release Date: May 25, 2010
Review Date: May 6, 2010

Purchase From:
amazon.com  amazon.ca



This is where it all started. John Ford's smash hit and enduring masterpiece Stagecoach revolutionized the western, elevating it from B movie to the A-list. The quintessential tale of a group of strangers thrown together into extraordinary circumstances-traveling a dangerous route from Arizona to New Mexico-Stagecoach features outstanding performances from Hollywood stalwarts Claire Trevor, John Carradine, Thomas Mitchell, and, of course, John Wayne, in his first starring role for Ford, as the daredevil outlaw the Ringo Kid. Superbly shot and tightly edited, Stagecoach (Ford's first trip to Monument Valley) is Hollywood storytelling at its finest.

Forum members rate this film 8.9/10


Discuss the film and DVD here   


The Criterion Collection, in one of the more surprising announcements from the company, is releasing John Fordís classic Hollywood western on DVD in a brand new 2-disc special edition, replacing Warnerís previous DVD editions of the film, which are now out of print. The film is presented in its original aspect ratio of 1.37:1 on the first dual-layer disc. The picture has unfortunately been slightly window-boxed.

This is a sharp improvement over Warnerís previous DVDs, which I thought looked fairly fuzzy. Warnerís 2-disc special edition also suffered from severe contrast boosting and I felt it had a bit of a yellow tinge to it. Gray levels are improved here, and contrast is more acceptable. The image is also far sharper with more detail and definition.

The print is still in rough shape despite having been extensively cleaned up. Criterion used a different source for this than what Warner Bros. used, so the damage that remains differs between the two. Criterion notes that they did digitally remove thousands of instances dirt and debris but left certain aspects untouched because they feared it would hurt the image. It was a smart move on their part, and the transfer looks all the better for it, though I feel some may be disappointed by this. The DVD does have some issues handling the filmís grain and some of the damage, and it can look more like noise and artifacts at times, but overall this DVD does look better than previous DVD editions, and is worth the upgrade in this regard.


All DVD screen captures are presented in their original size from the source disc. Images have been compressed slightly to conserve space. While they are not exact representations they should offer a general idea of overall video quality.

Screen Capture

Screen Capture

Screen Capture

Screen Capture

Screen Capture

Screen Capture

Screen Capture

Screen Capture

Screen Capture

Screen Capture

Screen Capture

Screen Capture

Screen Capture


The filmís soundtrack has always been a bit rough and itís no different here in the discís Dolby Digital 1.0 mono track. Volume levels vary and I caught myself having to turn the volume up and down while watching the film. Music can sound a touch harsh and tinny, while voice levels can fluctuate from scene to scene, also sounding a bit hollow and tinny at times. There is also a slight hiss audible throughout most of the film. Itís fine, but other than the Blu-rayís lossless track I donít see it getting much better.



None of the supplements from the now discontinued 2-disc special edition from Warner Bros. have made it onto this edition, which is unfortunate because they were decent, but Criterion has managed to load quite a bit of new material on here, making up for that fact. The two-disc DVD edition presents the film on the first disc along with a couple of features.

Appearing on the first disc is an audio commentary by Jim Kitses, analyzing the layered social aspects present, Fordís visual sense, and even offering some historical context like the importance of the stagecoach during the time period presented in the film. Kitses is a bit of a character with a booming voice, and he appears to be reading from some sort of script or notes, but he keeps it engaging while he breaks down sequences, comments on the actors and their respective characters, Fordís career, criticizes critics and some of their interpretations, the filmís strong female characters, and confronts accusations of what many see is Fordís racist depiction of the Indians that appear in his films. Even if he might ramble on at times itís a fairly engaging track and moves by briskly.

The filmís 3-minute theatrical trailer, the same one found on the Warnerís 2-disc release, closes off the supplements on this disc.

The remaining supplements are found on the second dual-layer disc.

The first supplement found on this disc is a rather cool one, an early silent short film by John Ford from 1917, thought to be lost but found a few years ago, called Bucking Broadway starring Harry Carey. Running 54-minutes and divided into 7-chapters, itís a fairly simple ďfish out of waterĒ tale where cowboy Carey has to go to the big city to get his girl back from the city man who has seduced her. Itís a charming piece if not a great one, but itís interesting to view if just to see all early signs of Fordís techniques, most notably his ability to introduce a character and tell you all you need to know about them in a second or two, even if it is based on stereotypes like the introduction of the smarmy city man. The editing is also fairly seamless and unnoticeable. The restoration, which was done by Archives franÁaises du film, looks surprisingly good, with very little damage. The picture has different tints throughout, though primarily yellow, but I am not sure if this is actually present in the film elements or was added in during restoration, replicating how it was supposed to be shown. It also comes with a rather playful score by Donald Sosin that suits the nature of the film. A rather fun inclusion on Criterionís part.

Next is easily the best feature on here, possibly one of the best interviews Iíve come across, a 73-minute interview with director John Ford, conducted for the BBC by Philip Jenkinson in 1968. What I believe we have here is raw footage and not a finished product; it has some cuts but is incredibly rough around the edges as theyíre constantly running out of film, the cameras are moving every which way, and the segment has odd, inexplicable cuts and repeated segments, though itís possible it could be a stylistic choice, albeit not a very good one. But whatever the case may be, what we have here is gold! Ford, as mentioned by director Peter Bogdanovich in another supplement on this disc, was a difficult interviewee and thatís best evidenced here as Jenkinson attempts to pry answers from the man. Ford has no interest in political questions and gets aggravated when the interviewer keeps asking him political questions, replying something in the vein of ďthatís not a question about film!Ē I think you can sense a frustration in Jenkinson as well when he wants to ask about deeper meanings in Fordís films or his photography or how he was able to shoot complicated sequences, to which Ford usually replies that the film was ďjust a job.Ē But he does get some great material out of him, including some funny anecdotes about the business, his favourite film of his at the time (1953ís The Sun Shines Bright,) thoughts about John Wayne, Will Rogers, and others in the business, his distaste for producers, and even some things about Winston Churchill. Thereís also some great insight from the man on courage and violence, and some interesting thoughts on racism, focusing on the civil rights movement going on, about the only political topic Jenkinson manages to get out of him. I was also amused by his constant ďWhaís!?Ē to Jenkinsonís questions, either because he didnít hear it or didnít understand, even asking for a translator at one point. He also offers some hilarious interruptions, like a moment where he looks to the side and asks a crew member if heís trying to grow a moustache. Itís all over the place and Ford can be difficult, but thereís some great stuff in here, presenting what I feel is a very unpretentious man just talking about movies and his work. Easily my favourite feature on here.

The next interview is with Peter Bogdanovich, who talks about Stagecoach and Ford in general. He notes some of the influences the film has had on the Western genre, as well as its influence it had on Orson Welles, and talks a bit about Wayne, who he met on the set of one of Fordís films. He then moves on to John Ford, and talks about being around him on the set of Cheyenne Autumn, giving a clearer idea of the man and how he could treat Bogdanovich. Short and brief but still rather fascinating and worth watching.

Tag Gallagher offers another one of his excellent video essays for this release, running 22-minutes and entitled Dreaming of Jeanie. In it he concentrates on Fordís visual style and his ability of conveying so much information in the imagery using the introductions of the various characters as examples. He looks at the use of light and space but then breaks down one sequence giving an example as to how Ford keeps us at an ďempathetic distance,Ē even breaking out diagrams to demonstrate how camera placement achieves this, and then even going a step further by showing how a director like Alfred Hitchcock may have shot the scene, again using diagrams, giving us a clearer idea as to what Ford was aiming for. Itís a rather fascinating, scholarly piece, and I actually wish Criterion would include more pieces like this by Gallagher on their releases.

Still working our way through (thereís a lot on here) we now come to John Ford Home Movies, which is an interview with John Fordís grandson, Dan Ford, with some home movie footage playing over top. Dan Ford recalls his grandfather and how his limited schedule had him bring family and friends together for events so he could spend time with everyone as much as he could. He mentions being around the business, and fondly remembers some of the times he had on his grandfatherís boat. Most of the footage shown is on this boat, featuring gatherings and parties that happened on it. Thereís some footage of Wayne and Henry Fonda as well. Though the interview may not be an opener of the director, the home video footage is worth watching on its own.

True West is a short 11-minute interview with journalist Buzz Bissinger who talks about Harry Goulding, who is often considered the one who brought Monument Valley to Fordís attention. He talks about how Goulding came to actually own a piece of land there, setting up a trading post and becoming a trusted and respected man to the Navajo there. He then explains how Goulding eventually made his way to Hollywood to draw Fordís attention to the landscape, and then how Goulding ended up being a go-between for Ford and the Navajo. Filled with plenty of pictures itís a fascinating little glimpse into how Ford first discovered the area and how it would play a big part in his films to come.

The final video supplement in the set features stunt man Vic Armstrong talking about Yakima Canutt, who performed and rigged the stunts for Stagecoach. He talks of his admiration for the manís work, praising his ďriggingĒ ability, which included getting the stagecoach across the river for one sequence, and he even explains how Canutt was able to perform some of the horse stunts, even bringing up how a similar stunt hurt another stunt man on a different film. At 10-minutes itís short, but covers a lot of ground about the man, including his acting work in silent pictures, and his overall impact on the profession, Armstrong even pointing out a stunt from Raiders of the Lost Ark that was a homage to one of the stunts in Stagecoach.

The section for Screen Directorís Playhouse presents a 27-minute radio adaptation of Stagecoach from 1949, which actually stars both Claire Trevor and John Wayne. The Indian impersonations were a little much, but overall it was a fun little piece, with a few changes to the storyline to condense the film down from 96-minutes. Audio quality is also surprisingly good here, and it plays over the menu with 8-chapter stops. Itís not something I feel one has to listen to, though I usually like these radio plays and it is a bit of kick to get a taste of Wayneís ďradio acting.Ē The Warner Bros. special edition also came with a radio adaptation though itís different from this one and does not feature Wayne. The DVD edition also comes with separate downloadable MP3 files for this feature, found in the root directory of the second disc. The Blu-ray edition does not have these files separately for download, but does still contain the audio only feature.

The booklet the comes with an essay on the film by David Cairns, examining the film, itís visual style, and its influence. Also included is the short story Stage to Lordsburg by Ernest Haycox, which served as influence to the film. Though obviously the film expands and changes the story to fill 96-minutes, thereís still some similarities, specifically in the types of characters. Another cool inclusion.

In all this release is fairly loaded with some great material, though I have to admit some surprise Criterion didnít have more material on John Wayne. Itís a shame that Criterion more than likely couldnít include the same features found on Warnerís special edition, which presented a couple of good documentaries on the film and Ford, as well as an alternate radio adaptation and a decent commentary by Scott Eyman. But alas, one will have to hunt down that now out-of-print DVD if theyíre interested in the features. As it stands, though, what we get here is all top of the line material from Criterion, and one of their more thorough collection of supplements.



A sharp improvement over the previous Warner Bros. DVDs and worth the upgrade in my opinion (though again I would still steer everyone to the glorious Blu-ray edition if they have the capabilities.) Rather sharp looking, despite the problems still present in the source materials. Add in the extensive and incredibly informative supplements (that John Ford interview alone easily the best item on here) and you have a winner. One of Criterionís best DVD releases so far this year.

View packaging for this DVD


Purchase From:
amazon.com  amazon.ca  

Join our Facebook Group (requires Facebook account)

This site is not affiliated with The Criterion Collection