Tres hijos del diablo

I can't say much for the storyline of 3 Godfathers as much as I can say for its visuals and imagery. For many, it is an allegorical tale with its heavy use of the Bible and other symbols throughout. However, I had a problem with the realism of the story, something this kind of plot needs to rely heavily on. Here we have three rough and tough men, by no means weak or unable to take care of themselves. Still, what they go through in this film along with trying to take care of a newly born infant, it boggles my mind as to how it is possible and perhaps it isn't.

I think I am reading too much into this and am missing the point John Ford was trying to make. So, I will try to understand the movie in its simplest terms. That would be that Ford was a master of imagery and using it to further the story. Here, every shot of the desert and swirling winds captures perfectly the atmosphere and mood, making the audience feel as if they are in the desert. It is most effective and does pick up some of the slack such as when the three men are first taking care of the infant or the final ten minutes in deciding Wayne's fate. All in all, this is not one of the great Ford Westerns. But, it shows once again his ability to control the mood and tone of his films and that can go a long way in providing leverage to an audience.

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 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.

Like The Maltese Falcon, 3 Godfathers had to be made three times before we got the definitive version. This one has to rank at the top of John Wayne's films.

Wayne and fellow outlaws Pedro Armendariz and Harry Carey, Jr. arrive at the town of Welcome, Arizona and after a brief chance meeting with the marshal, Ward Bond, proceed to rob the Welcome bank.

In pursuit of the robbers, Bond shoots the waterbag draped across Wayne's saddle. And then he cleverly stations men at the few sources of water. Nevertheless the three outlaws decide to chance it across the desert.

Life takes a peculiar turn for them as they come across a dying Mildred Natwick who has just delivered an infant. Before she goes she exacts a promise from them to rescue her baby.

Even though their own freedom is at stake, Wayne, Armendariz, and Carey subordinate it to the care and rescue of the infant. At this point the Christmas parable takes over. The three wise men setting out with the infant in their charge to the nearest town which happens to be New Jerusalem, Arizona.

I said on another review of a Wayne film that John Wayne had one of the greatest faces for movie closeups ever. Check some of them here, especially during the desert trek. They say more than 10 pages of dialog. Ford, Hawks, Wellman all the great directors who worked with the Duke knew that and took advantage.

Pedro Armendariz and John Ford came to blow up on the set of 3 Godfathers according to Harry Carey, Jr.'s memoirs. Armendariz almost walked off the film. He finished it though and was great as the fatalistic Mexican outlaw. But he never worked for Ford again.

Although he'd done a few films before this, John Ford had in the credits, introducing Harry Carey, Jr. Of course the film is dedicated to his father who in fact had starred in the original silent Three Godfathers. Maybe this should have really been his debut film, Dobe Carey is just fine as the callow youth, The Abilene Kid.

This also marked the last film of veteran actor Guy Kibbee. As the practical and perceptive judge who tries Wayne, Kibbee is given a fitting swan song to a great career as a player.

This is certainly a more religious work than John Wayne is used to doing. Wayne, although he was baptized Catholic at the end of his life was not a particularly religious man. I do wonder if he had lived another decade what he would have made of the religious right.

Ford of course got in his obligatory Shall We Gather At the River, but also Bringing in the Sheaves was sung. And in the scene where a dehydrated John Wayne arrives at a saloon in New Jerusalem, the piano player is first playing The Holy City and then Silent Night. All to great effect by the way.

I think people that are not necessarily fans of the Duke will be amazed at the heights he rose to as a player in 3 Godfathers.

Nice to watch this hoary old (Christmas) chestnut at Yuletide, almost exactly 60 years after its original release. And yes, while it is guilty of a number of sins by way of corniness, improbability and sentimentality, it still works for me and proves you don't need tinsel and snow to evoke the Christmas spirit. Here old Papa Ford relates his Christmas parable against the background of the searing heat of the Arizona desert as Duke Wayne struggles against the odds to deliver orphan child Robert William Pedro to safety, bang on, wouldn't you know it, Christmas Day. All the usual Ford staples are here, the panoramic scenery, male camaraderie, bawdy humour and of course big John Wayne himself in yet another barnstorming lead role. I'm not the biggest Wayne fan going, but Ford invariably got the best out of the big lunk and he certainly carries the film (and the baby!) manfully. His two confederates, the youthful Harry Carey Jr and TexMex Pedro Armendariz both of whom sadly expire along the way, offer effective and humorous counterpoint to big John's proselytising. Ford cleverly doesn't reveal his hand too quickly with only the odd Biblical reference alluded to early on but by the time the three amigos are spotlit gazing out at the camera having just accepted the dying mother's infant child into their care, it piles on from there. Along the way the humour and sentimentality are mixed up lightly with a little (not too much) dramatic tension as Wayne completes his epic journey (like he was ever going to fail!), spurred on by the ghosts of his fallen colleagues and completes his own spiritual regeneration in accepting with good grace his jail sentence at the end in exchange for a guarantee that he'll be reunited with his infant charge once his sentence is complete. Noting that the film is Ford's own remake of his earlier silent movie production of the same story would help explain why some of the scenes are somewhat static and staged tableau-style. Wayne gets to walk more than he talks, no bad thing, and the rest of the cast are all at home under the director's loving eye. All told, then a colourful (check the blue filter shot Ford employs to evoke the desert at night) and festive treat. But surely this child wasn't the Son of God...?!