Spuren im Sand

Three outlaws (John Wayne, Pedro Armendariz, Harry Carey Jr.) rob a bank and are chased into the desert by the local sheriff (the always great Ward Bond). In the desert they come upon a wagon and inside is a pregnant woman, who happens to be the sheriff's niece. Helped by the three outlaws, she gives birth. Before she dies, she names the three men the baby's godfathers and makes them promise to take care of him.

This is a story that has been made many times before, although this version is the best in my opinion. This is the first version I saw so perhaps that colors my opinion somewhat. But I feel this is the most accessible telling of the story. The cast is great and the director is John Ford so that's all I need to say there. It's a different kind of holiday film but a very nice one. John Wayne fans will appreciate it most.

I'm surprised this one doesn't get more accolades. To me it's really one of the best westerns ever made. This is one of those films that proves that the western genre can produce true art. The filming, the performances -- this is one of Wayne's best … it's quite overlooked that this guy could act: The desperation, the confusion, the exhaustion, it's all just amazing.

It's more of a character study than anything else, with the characters facing desperate thirst, an aching empty land, relentless sun, and the movie shows how these men deal with it, all the while they are attempting to care for a child. Something they are ill equipped to do.

There are clear religious elements to the movie, and they make this all the more compelling -- these are not good men, but they have a sense of honor and faith, in their own way. They can't break their word to a dying woman, to care for her child. Their faith in each other is touching.

It's gritty, yet very tender, a strange juxtaposition, like the beauty and cruelty of the desert.

See the movie if you can.

Redemption is the keyword to many a Ford work:this is perhaps the most convincing effort in a remarkable career for that matter.Like all the great auteurs,western is only an alibi for Ford to convey a message:God is the only way,the Bible is the only book for Man's education (as Dr Whatsisname's infant care manual for the new human being).

If you do not know anything about the screenplay and you expect a traditional western ,you may be disappointed:actually it might as well be a Xmas tale.Actually ,only the beginning and the ending are what you expect from a western.The central part is Robert's (Wayne) road to Damascus.His two pals do believe in God,he doesn't.The desert and the quest of water are a metaphor for the emptiness of his heart.In the second part of the movie,he's like the baby,busy being born.

Ford's movie is a visual splendor:the three men filmed against the sunlight near the mother's grave;the grave shot in close-up as the three men go away.The desert itself becomes an almost alive entity,filmed with a unique sense of space .Narration avoids readiness:when Wayne meets the mother,Ford does not show the scene:he lets his character tell it to his friends.The mother briefly appears for one short scene but she makes all her words count.

Singing is very important:when the mother is buried ,William sings over his grave but he cannot finish his canticle because he cannot remember the end:thus Ford avoids pathos and melodrama;when he rocks the baby,he sings "streets of Laredo",an ominous choice(but lullabies are sometimes strange and even cruel,aren't they?);the final choir "bringing in the sheaves" signals a brand new life for Robert. Towards the end ,the movie verges on fantastic ,which is extremely rare in the western genre.

Biblical quotations abound,but anyway,they are everywhere in Ford's work from the earlier works (the informer) to the later ones (seven women).

In the eighties,Coline Serreau made a shameless rip -off "trois hommes et un couffin".It wasn't a western ,the action taking place in Paris 1985,but a lot of ideas were taken from Ford .Besides,her three characters were despicable machos:One wishes it had not come from a woman .The movie was such a huge success that the American felt compelled to redo it (three men and a baby).Forget these mediocrities and do watch the Master 's tale of redemption.

`Three Godfathers' is cinematographically one of John Ford's finest looking Westerns. The location filming is breathtaking and comes as close as can be found in capturing the beauty of Death Valley. That the story is relatively straightforward, pretty fairly untenable and in Ford fashion highly sentimental is rather inconsequential. This is a great looking movie shot primarily in one of the most starkly striking places on Earth.

John Wayne, Pedro Armendáriz and Harry Carey Jr. (one of his first roles) are bank robbers on the run, saddled with an infant they have promised to care for to its dying mother. They plunge into desperate straights as they flee across the desert. That no part of Death Valley lies close to Arizona (the story is set there) is of no account but again as in all Ford movies his vision of the American West ignores the hundreds of thousand square miles that is not Utah, Monument Valley, or as in this case, Death Valley. And that he pioneered an American View Of The West is undeniable.

Winton C. Hoch was responsible for the cinematography; he later demonstrated his art in `The Searchers' (most famous) and actually won an Oscar for `She Wore A Yellow Ribbon'. His use of color film was extraordinary and any movie he made is best viewed on the big screen.

There are numerous references to Christian views of morality sprinkled throughout the movie; Christmas is revered as the traditional American celebration, a Bible figures in Wayne's worst moments as he struggles against the wilderness and the songs we hear are primarily religious hymns. That some good comes of the efforts of the trio is redemptive enough to raise this effort above the average Western.

It is doubtful this movie could be shot again. It is exceedingly unlikely the disturbance a film crew would make while filming in a national park would be permitted. Try to imagine the rails required for the cameras being laid today.

Score: Three Stars

Having already made a version of the story in 1919 as Marked Men with Harry Carey, John Ford clearly had a kink for this delightful redemption parable. Opening with a touching tribute to his friend and mentor Carey, who had sadly passed away the previous year (and who also starred in the 1916 version of The Three Godfathers), it was also the first out and out Ford Western to be made in colour.

The story tells of three outlaws - Robert Hightower (John Wayne), Pedro "Pete" Fuerte (Pedro Armendariz) and The Abilene Kid (Harry Carey Junior) - who after robbing a bank in the town of Welcome, are on the run from the law led posse. After hitting problems in a desert sandstorm, the men struggle on to Terrapin Tanks, where they happen across a woman in labour. Giving birth to her child, but sadly on her death bed, the woman begs the men to take care of her baby. They agree and embark on a perilous journey to get the child safely to "New Jerusalem"...

It's an odd sort of Western, but in a good way. Backed up by the usual high standard of location work from Ford and the irrepressible Winton Hoch. And with customary staunch support work from Ward Bond as the Sheriff, 3 Godfathers is a must see in relation to the careers of John Ford and John Wayne. It has a mixed reputation from fans of the two Johns, which is understandable given the flighty nature of the picture, but one thing that is true about the piece is that once viewed, it's unlikely to be forgotten. 7/10