Far West

Although the manner of film narration dates this picture badly, it can be appreciated for its considerable merits, not merely as an historical curiosity. The juxtaposition of figures and landscape (particularly desert) is powerful, accenting the isolation and desperation of the outlaws. Its final scene, like that of "The Informer" (which it pre-dates), may be highly melodramatic, but works effectively within its context. Charles Bickford, in the early portion of the picture, is terrifying as a human rattlesnake: mean, ruthless, just plain down and dirty nasty to whoever crosses his path.

This film starts off in a way that had me thinking the template for standard Westerns hadn't changed a whole lot over the years - three bad guys ride into a dusty town, meet up with another, act like general dickheads and then rob a bank before skedaddling, guns blazing. Where it diverges is out in the desert, when they come across a woman who has been abandoned in a covered wagon. When the leader (Charles Bickford) growls at the others "I saw her first," we feel real menace in what might come next. I won't say anything further about the plot, though the film was remade by John Ford a couple of decades later in '3 Godfathers', which true fans of the genre may know of. Anyway, what seems like a creaky old film with early sound technology gives way to a lean, unsentimental, and gritty story. William Wyler makes us feel the tension and the dirtiness of the setting, and the film zips by in a little over an hour. It's not completely fleshed out, but that's part of what I liked about it. It seems to me a raw little gem.

The Three Godfathers Story has been made seven, count them, seven times for the big and small screen including three silent versions. This one which was directed by William Wyler before he hit the big time is one no frills western, very much suggested by the work of gritty silent screen cowboy William S. Hart. In fact I'm surprised Hart never did a film version of this story himself.

If the three outlaws were bound for hell as suggested by the title Hell's Heroes, they certainly redeem themselves here. The only other versions of this story I've seen are the other two big screen sound films. Unlike those two, peripheral characters are reduced to ciphers and the story concentrates on the outlaws who after they robbed the bank in New Jerusalem, find a dying mother giving birth on the desert. As in the other versions the three promise to get the baby back to civilization and the nearest civilization is what they just left in New Jerusalem.

The three outlaws are Charles Bickford, Raymond Hatton, and Fred Kohler. All three have been screen villains so no heroic behavior is expected of them by the audience especially Kohler. Hatton was more known for rustic oldtimers though and he's the sentimental one who gets his friends to start thinking about doing the right thing by the infant.

There's an additional reason for them doing the right thing here that is not in either of the other versions which I won't reveal.

Certainly William Wyler's direction marked him as a man who would go on to bigger things than grind them out westerns. This is one of those, but Wyler and the material rise above it.

Hell's Heroes (1930)

*** 1/2 (out of 4)

This early talkie from Universal is the first sound version of "Three Godfathers", which would eventually be remade in 1936 with Chester Morris and again in 1948 by John Ford with John Wayne in this lead. The story here is the same as three ruthless outlaws (Charles Bickford, Raymond Hatton, Fred Kohler) rob a bank and then head out into the desert before losing their horses during a major wind storm. Soon afterwards they stumble onto a baby and the men must decide to let it die or try to walk it back to the town they were just running from. I've ended up watching these sound versions in reverse order as I started off with the Ford one many years ago and then just recently saw the Morris version, which was the better of the two. This one here is clearly the leader of the trio because of how raw it is. This movie is pretty mean spirited from the start up until the end and I really love that Wyler didn't pull any punches. Being the pre-code era we get a few things not available in future versions and that includes one sequence where the men argue about who's going to "take" the mother first. We also get a fairly violent scene involving a suicide, which is shown in a long shot. A lot of people bash American westerns saying they aren't ugly enough but that's not true here. The dirt, grease and ugliness of the characters are all over them and their unshaven faces make them look exactly like what their characters would look like. The three leads turn in wonderful performances but to me it was Hatton who steals the show as the big goon who quickly turns into a softy after finding the baby. Bickford is equally impressive and the final vision of him is quiet haunting and will certainly stay with you for a long time. The film runs a fairly short 68-minutes but there's enough heart and soul in this thing for two movies. Another impressive thing is that this was an early talkie yet you really can't tell as everything is recorded very well and it actually sounded a lot better than the same studio's Dracula and FRANKENSTEIN, which would follow the next year.

There is something captivating about this, the second film adaptation of Three Godfathers. For one, the settings bear the marks of reality.the dusty western town surrounded by vistas of nothingness.the gritty contrast thrown into stark relief by the desert sun. I kept wondering why this film's settings seemed like the real west(or at least my imaginings of it) so much more than today's westerns. Perhaps it was merely the fact that this film, from '29 was only that many years from the real thing. Another early talkie which benefits from the technological limitations of the time. No music scoring.just the plodding of boots, horse's hooves, and the spare dialogue of the three characters. It brought home the isolation of the main characters and the desolation of their surroundings. Yes, the ending was symbolically top-heavy and dialogue was stagy, but there was still that economy of story Hollywood so sadly lacks now. Point made, fade out.