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WHY OUT WEST? -- When John Ford directed "Stagecoach" (1939), he launched the modern Western and made John Wayne a star. If Ford's name is synonymous with the Western, two colossal new boxed sets, "The John Ford Film Collection" and "The John Wayne–John Ford Film Collection" (both from Warner Home Video), show why: because the Western was Hollywood's political genre par excellence, and Ford was America's greatest political filmmaker.
Ford took the newly settled West as a vast historical stage on which to dramatize the rise of democracy. In Westerns, he brought to life the abstract functions of government, from defense and diplomacy to trade and infrastructure, placing on his characters a constant civic responsibility.
In "Stagecoach," which is set in Arizona in the eighteen-eighties, Ford presents a West that is already becoming Easternized, with temperance leagues, meddling church ladies, and plutocratic bankers. The nine travellers who head for the aptly named outpost of Lordsburg are a microcosm of the westward expansion: a mistrustful bunch of outcasts and opportunists who must confront the menace of hostile Apaches and take their common fate into their own hands. First among them is the Ringo Kid (John Wayne), a renowned and unjustly convicted gunslinger who has escaped from jail and is out for revenge. Ringo's romance with a prostitute (Claire Trevor), which unfolds under the benevolent eye of a ...