The following essay will compare the cinematic language of the two Western classics Stagecoach (John Ford, 1939) and The Good, the Bad and the Ugly (Sergio Leone, 1966) while analyzing the claim that both film respectably are pioneers of the Western genre during their times proven on the basis of their original work in editing and narrative, and its influence on other filmmakers. After a brief summary of both movies, I will continue with the analysis of both, in particular with the formal patterns narrative, shot, editing, and visual in mind.
While the Western is not as popular now as it used to be, it sure is “not dead” as some would debate. Instead, although not fully classified as the genre itself, many popular movies and television shows …show more content…
He claims that Stagecoach ultimately finds an outstanding balance of its themes, in particular what he describes as “[…] social myth, historical reconstruction, psychological truth and the traditional theme of the western mise-en-scène” without eventually dominating each other. (Bazin, 1967) Said balance cannot only been seen during the narrative of Stagecoach but also are mirrored in visual aspects, as well as editing, and shot. The beginning and end short scenes reflect each other, firstly the cavalry riding to bring the bad news, later Ringo and Dallas riding into the sunset. (Bordwell and Thompson 1997) So do the characters boarding of the coach when their goals get established, and finally their dismount at their destination where all their problems eventually clear up one way or another. With three similar stops in between those, the traveling pattern only alternates during the eighth traveling phase when the ensemble gets disrupted by the attacking Indians, leading to a major chase scene, and ending with a prompt jump directly to their destination Lordsburg. Most short scenes, such as the traveling through Monument Valley, are similar to each other. While each scene begins with a long or extreme long shot of the stagecoach, it is then followed by a medium shot of Curly and Buck talking in …show more content…
While in Stagecoach only characters of questionable background (such as Doc, Dallas, and Hatfield) have to “prove their worth” by the end of the movie to deserve redemption, The Good, the Bad, and the Ugly is a constant back and forth of Blondie’s and Tuco’s relationship and motives until the last minute. Their difference lies in the fact that the stagecoach’s passengers are from different places in society and genders, while the only time a woman is relevant to the story shown on screen in The Good, the Bad, and the Ugly is when Angel Eyes threatens and abuses her to get to his target. The men on screen all “work” in questionable background to make money and therefore each have motivation to find the fortune hidden in the cemetery. In Stagecoach strangers become familiar during the story as being shown in scenes while inside the stage through for example their seating pattern, initially symbolizing social relationships, being mixed up. Blondie and Tuco on the other hand have been acquainted long before the start of the film’s story, however the audience actually sees the reason why they are “frenemies” in the
While the Western is not as popular now as it used to be, it sure is “not dead” as some would debate. Instead, although not fully classified as the genre itself, many popular movies and television shows …show more content…
He claims that Stagecoach ultimately finds an outstanding balance of its themes, in particular what he describes as “[…] social myth, historical reconstruction, psychological truth and the traditional theme of the western mise-en-scène” without eventually dominating each other. (Bazin, 1967) Said balance cannot only been seen during the narrative of Stagecoach but also are mirrored in visual aspects, as well as editing, and shot. The beginning and end short scenes reflect each other, firstly the cavalry riding to bring the bad news, later Ringo and Dallas riding into the sunset. (Bordwell and Thompson 1997) So do the characters boarding of the coach when their goals get established, and finally their dismount at their destination where all their problems eventually clear up one way or another. With three similar stops in between those, the traveling pattern only alternates during the eighth traveling phase when the ensemble gets disrupted by the attacking Indians, leading to a major chase scene, and ending with a prompt jump directly to their destination Lordsburg. Most short scenes, such as the traveling through Monument Valley, are similar to each other. While each scene begins with a long or extreme long shot of the stagecoach, it is then followed by a medium shot of Curly and Buck talking in …show more content…
While in Stagecoach only characters of questionable background (such as Doc, Dallas, and Hatfield) have to “prove their worth” by the end of the movie to deserve redemption, The Good, the Bad, and the Ugly is a constant back and forth of Blondie’s and Tuco’s relationship and motives until the last minute. Their difference lies in the fact that the stagecoach’s passengers are from different places in society and genders, while the only time a woman is relevant to the story shown on screen in The Good, the Bad, and the Ugly is when Angel Eyes threatens and abuses her to get to his target. The men on screen all “work” in questionable background to make money and therefore each have motivation to find the fortune hidden in the cemetery. In Stagecoach strangers become familiar during the story as being shown in scenes while inside the stage through for example their seating pattern, initially symbolizing social relationships, being mixed up. Blondie and Tuco on the other hand have been acquainted long before the start of the film’s story, however the audience actually sees the reason why they are “frenemies” in the