Hellfire

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.

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.

On the scale of classic westerns this would be a 6 but as far as Republic "B" westerns goes, this is a 9. An unusual script that could have been a disaster is smartly handled by veteran action director R.G. Springsteen and the solid casting of Wild Bill Elliott, Marie Windsor and Forrest Tucker. With characters like a reformed gambler turned preacher and a female outlaw, this oater had Worst 100 potential. But the tension is built by the credibility of the actors who make the whole thing seem feasible. The musical number (why did every western have to have one)is mercifully brief and the TRUCOLOR always makes a film look richer than its low budget production. It's currently in the WESTERNS Channel rotation, catch it for an entertaining 90 minutes.

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.

This is one of the best "B" westerns ever made. It stars the queen of the "B"s herself -- Marie Windsor, along with those two other great "B" stars, "Wild Bill" Elliott and Forrest Tucker.

It has an unusual twist which sets it apart from other westerns; Bill Elliot plays a card sharp and all-around bad dude whose life is saved by a preacher who takes a bullet meant for Wild Bill (all this takes place in the first five minutes of the movie so the plot is not ruined for you).

Bill promises the dying preacher that he will complete the preacher's mission and collect the money needed to build a church. He also promised to "follow the rules" i.e., raise the money without resorting to crime.

Bill Elliott's efforts to change his ways and avoid temptation make for a great movie.