I Kinda Liked It
I know, I know, remaking a John Ford classic that starred John Wayne is some kind of crazy and disrespectful, but the fact of the matter is that what Ford did in 1939 was stately and formal, in his manner, and the 1966 remake was constructed rather differently as a Technicolor action movie and showcase for a nice mix of old and new stars.
I saw this in theaters, as a kid, BEFORE I saw the original, and frankly, the b/w original looked rather skimpy in comparison. The gunfight in the original is pretty much unseen (though Wayne's great leap to the ground with his rifle is a classic bit of Fordian direction and Wayne physicality); in the new movie, it is an extended sequence with some plot points added in to make things interesting (sheriff Van Heflin and embezzler Bob Cummings have important roles to play in the lead-up to the gunfight.)
Two people ensured that '66's "Stagecoach" would at least be entertaining: director Gordon Douglas and musical composer Jerry Goldsmith.
The veteran Douglas knew how to film action and suspense in a B-manner (the classic giant ant movie "Them" was directed by him), and used helicopter shots and exciting side-truck angles to give the Indians-vs-stagecoach chase sequence a modern sense of excitement that John Ford could not in 1939.
Jerry Goldsmith provided one of his trademark muscular, exciting Western scores for "Stagecoach." Two years earlier, director Gordon Douglas and musician Goldsmith had combined on the exciting action Western "Rio Conchos," and they combined again to give "Stagecoach" a modern-day lift.
The cast? Well, Alex Cord was no John Wayne, of course, but Bing Crosby had fun as the drunk doctor who develops a beautiful friendship with liquor salesman Red Buttons (Crosby puts his usual deep-voiced, buh-buh-buh spin into his suggestion that Buttons join him in a "little toddy for the body" and it is funny to hear.) Van Heflin was a believable and respected actor who gave depth to the sheriff. Slim Pickens was a delightful match for Andy Devine in terms of providing vocal and physical "character" to his stage driver character.
Ann-Margret was sexy as always (if limited as always) as the star-by-default of the picture; Stephanie Powers her early lovely self in the other female role. Mike Connors lacked John Carradine's intensity as the gallant gambler, but it is kind of a kick to see Mannix on board an old stagecoach. Bob Cummings had been around a long time in movies and it was amusing to see him playing a weak rotter.
The combination of Norman Rockwell's paintings of the cast (note the Old Style realism of the mug shot of Keenan Wynn's villain) and Wayne freakin' Newton! singing the title song at the end finishes off this hip programmer version of "Stagecoach" with verve and style.
Ford's "Stagecoach" is a minimalist, artful black-and-white classic. Douglas' "Stagecoach" is a fun, lightweight, but entertaining re-do. Unlike other remakes ("Psycho", anyone?) I bear the '66 "Stagecoach" no ill will.
(And the OTHER remake with Cash, Nelson, Kristofferson and Waylon leading the all-star cast was certainly delightfully cast, but lacked the theatrical-film polish and budget of the '66 version.0