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analysis of these films and draw conclusions about the directors’ motive when choosing how to tell
the stories in the movie.
John Ford and Elia Kazan show their qualities in directing by selecting the most suitable
filming location for their films and including elements that enhance the grit in the movies.
Stagecoach has been shot in the Monument Valley, between Arizona and New Mexico, a diverse
landscape with desert-like terrain. The stagecoach parked with passengers appears as a fine-drawn
element in this vast landscape filled with the unknown. This aspect of the film makes it entertaining
as it creates some sense of tension in the viewers who anticipate the stagecoach’s attack from any
angle. In choosing the location, John Ford enhances the film’s drama, making it compelling. On
the Waterfront was shot at the docks of Hoboken in New Jersey. The plot location shows great
authenticity concerning the occurrences in the film. The continuous ship whistles, cargo
backdrops, and smoky saloons give a realistic touch to the environment. In relation to the distress
that characters such as Terry Malloy were going through, this environment, if anything, stressed
their struggle and emotions. From the rooftop, Terry can see New York City, a place with less
struggles that he was going through at the waterfront. Hence, in either film, both directors relied
upon their shooting locations to enhance the story’s drama and evoke emotions that sparked the
viewers’ interest in the movies.
The filming locations’ impact in either of the films was complemented by excellent
photography and cinematography from both John Ford and Elia Kazan. In John Ford’s film, the
cameras seem to be placed in many outstanding angles. This aspect is evident in the scene where
the stagecoach crosses the river. The camera points the viewer to a distant view of the crossing
which highlights the technicality involved in making the maneuver while in subsequent instances,
the camera gives the aerial view of the coach, the horses and its stewards, Buck and Curley. Thi
