Fuego del infierno

Billy Graham proudly declared 'Mr.Texas' (1951), the maiden production of his company World Wide Films, "the first Christian Western". He probably didn't go to the movies much, otherwise he might have known about John Ford's '3 Godfathers' and 'WagonMaster', sandwiched between which came this rollicking candidate for cult status alongside 'Johnny Guitar'; although it's unlikely that the Reverend Graham would have approved of it bearing a title suggesting damnation rather than salvation.

Immaculately directed by R.G.Springsteen and atmospherically photographed by Jack Marta in Trucolor (like 'Johnny Guitar'), Dorrell & Stuart McGowan's tremendous script bears a passing resemblance to both 'Destry Rides Again' and to Ralph Nelson's 'Lilies of the Field' (1963), in which Sydney Poitier helped build a chapel for a group of nuns. Here the wonderfully laconic Wild Bill Elliott (billed as 'William') as former gambler Zeb Smith dedicates himself to honouring the dying wish of preacher H.B.Warner (who over twenty years earlier had played The Messiah himself in DeMille's 'The King of Kings') by raising the money to build a church in his memory.

Although from now on never without his Bible (which he calls 'The Rule Book'), unlike Destry Smith still relies upon his fists and his six-shooter to resolve tricky situations, on the grounds that it "Seems to be the only kind of sermon I can make folks listen to". The fun really starts with the entrance of the always awesome Marie Windsor as sloe-eyed female outlaw Doll Brown - "Fast on the draw and fast on the jaw" - who recoils from Smith's Bible like a vampire from a crucifix.

Without the film's religious content it's interesting to speculate on how some of the film's heady brew of sex and violence would otherwise have fared with the Breen Office - there's a torture sequence when Smith is strung up like Christ and a lit lamp held against his bared back; and it has a fascinatingly ambiguous ending probably dictated by just how far a criminal past was then permitted to go unpunished.

You can't ask for more in a western than Wild Bill Elliott and Marie Windsor. Elliott was one of the manliest and most genuine western stars of the '40's, and no woman had more strong charactered parts in B westerns and film noirs than Marie Windsor.

This is a rousing movie about redemption and the hard road to reach it. Things don't come easy for the two stars, but they both just keep on a pluggin' away in true western style. What makes this movie more than just another formulaic oater is the fact that Doll Brown (Marie) is not your average swooning damsel in distress. One gets the feeling that the two stars had genuine affection for each other (notice that I said affection, not lust) and this shows through in the film.

Changes in the characters that take place during Hellfire seem like changes that would really happen if two people liked each other- it is not the usual surrender of one star (almost always the female lead) to the strength of the dominant one (almost always the male lead).

If you like Westerns (and here I mean not just Howard Hawkes or John Ford films and not just any weak programmer destined for a Saturday matinée second feature), you should enjoy this one.

The writers and producers of "Hellfire" seem to have wanted to throw away the formulas and cliché's usually found in Westerns. They put an emphasis on character development to bring us vivid characters, performed very well by superior b-movie actors.

This movie marked the beginning of my long-time infatuation with Marie Windsor. View it and your own Marie love affair will begin. She brings us a rare combination of strength and beauty and her performance is to be admired by both men and women. About 15 years before Jane Fonda saddled up, Marie gives us a precursor to Fonda's "Cat Ballou" but in a more serious acting style with less emphasis on comedy.

Bill Elliott underplays as usual but his role calls for it, and this is probably his best film performance. His performance beautifully compliments the dynamic Windsor. Elliott is known for underplaying, but underplaying is not always a bad thing. Elliott proves that here.

Elliott, Windsor and a restrained Forrest Tucker form an effective 3-way acting ensemble that is fascinating to watch, as aided by some great screen writing.

In the 1940's or today you don't always need big names or budget to make a successful film. Just watch "Hellfire" straight through and let the characters and unusual plot twists grab your attention. You will be entertained.

The color filming is good and all the supporting actors are first-rate. Look for the great Harry Woods in a small part- I wish he could have had a bigger role because every performance by Woods is essentially a screen acting clinic.

HELLFIRE stands out by virtue of its unusual religious angle, which is carefully integrated into the standard Republic Pictures B-western framework in a way that strikes me as much more dramatically sound and emotionally honest than if such a plot had been treated in an A-western. Just imagine how sanctimonious THE GUNFIGHTER or SHANE would have been if the title characters, played by Gregory Peck and Alan Ladd, respectively, had suddenly gotten religion. The strength of HELLFIRE is its acknowledgment of the difficulty of grappling with a new-found faith in the violent hard-boiled landscape of the Republic Pictures western. The hero is only slowly finding his way and is still bound by such old habits as using his fists and firing his gun when trouble rears its head. His efforts to follow the "rule book" (the bible) are generally met with scorn and hostility by the people he encounters.

William (Wild Bill) Elliott stars as Zeb Smith, a dishonest gambler who takes the high road after an old preacher takes a bullet for him. (The preacher is played by H.B. Warner, who'd played Christ in De Mille's 1927 silent version of KING OF KINGS.) Femme fatale extraordinaire Marie Windsor plays Doll Brown, a bitter, unrepentant female outlaw in men's clothes who hooks up with Zeb as she tries to outrun Marshal Bucky McLean (Forrest Tucker) and the vengeful Stoner brothers, a motley trio that includes western regulars Jim Davis and Paul Fix. The plot follows the efforts of Zeb to get Doll to change her ways as he joins her on her mission to locate her long-lost sister. He even admits to her that his initial goal was to turn her in for the reward so he can fulfill the late preacher's dream of building a church. He puts himself in a difficult position in trying to gain her trust, but also risks becoming a wanted man himself as he aids Doll in her flight from justice.

Elliott was pretty wooden as an actor, although he looks and sounds the part just perfectly, but his low-key performance plays well off the standard Republic western histrionics of the rest of the cast (Tucker, Davis, Fix, Grant Withers, Denver Pyle, etc.). But as an acting showcase, it's clearly Marie Windsor's show all the way as she propels the action and provides the emotional core (and heart-wrenching finale).

The film is shot in that beautifully harsh palette of Trucolor that turns everything blue-green or orange-brown, giving the proceedings an otherworldly alternate-pulp western-dimension look.

Real western addicts acknowledge that Republic Studios, despite their cost-cutting measures, turned out the absolute best horse operas in history. This fine and little known movie is exceptional even by Republic standards. No subtle stuff here....just an unusually tight and suspenseful script, committed performances from seasoned western stars and, of course, plenty of the usual gunfight action.