Três Homens Maus

I like George O'Brien and when I saw the opportunity to own an early silent he made I took it and it was worth it, although, while he is the named star, he has a relatively small role in it and the movie really belongs to Tom Santschi who plays Bull, he is exceptional in his role. I'm not a huge fan of westerns, but, I enjoy all of John Ford's as he approaches his movies with a love of the West as it was being settled rather than the "Cowboys 'n' Injuns" take on things. This is the story of a girl who loses her father and is taken under the wing of the three bad men in the title, not that they are really all bad, just a bit naughty really. The real bad guy is the Sheriff who is really creepy. I don't like to give long detailed synopsises of movies, if I think a movie is good I just like to let people know that it is worth seeing and this one is. The Land rush sequence is particularly impressive and there is some very good humour, the inter titling is very well thought out. The acting is very good by all. The only downer is the quality of the available print, mine was a video from the Killiam collection and could do with a little TLC to restore it to it's former glory. This movie has absolutely everything and I cannot recommend it highly enough. It's about time more money was put into the restoration and cleaning up of the silents that were not lost or destroyed, it's a crying shame when you see movies like this and many others that end up forgotten and unloved through neglect.

This is a great find - some excellent performances here (Olive Borden as the plucky little heroine, Priscilla Bonner as poor little misguided Millie, Lou Tellegen as the corrupt sheriff in rather silly hat) and an excellent story which has a lot to say and keeps you watching. If only someone out there would restore it to its former glory ... wouldn't it look wonderful?

3 Bad Men (as the title card shows it) is an outstanding example of the silent western and one of John Ford's earliest triumphs. The photography is stunning and the land rush sequences truly impressive, and while the story of redemption and sacrifice is predictable it is nonetheless still moving.

It seems John Ford made his best films when a great story happened to coincide with his own sensibilities. For a director who filmed masculine camaraderie with more tenderness than male-female romance, and almost gave more weight to the comic asides than the actual plot, 3 Bad Men seems tailor-made – a Western in which the eponymous outlaws are the heroes, and the love story between Olive Borden and the more typically heroic George O'Brien becomes a subplot.

Ford's tendency to improvise gags, and expand comic relief to entire scenes is often a bit excessive, but in 3 Bad Men it does not matter so much because the comedy characters are protagonists rather than supporting players threatening to steal the show. In fact the laughs we have had throughout the film make the poignant finale really pay off. You get a similar effect in Charlie Chaplin's features. What's more, Tom Santschi, J. Farrell MacDonald and Frank Campeau, big ugly supporting players that they were, were nevertheless great actors who here prove themselves fully capable of emotional depth.

Ford, meanwhile, can be seen gradually developing into a confident craftsman, especially as regards his shot composition. While his earliest pictures featured framing that was pretty yet distracting, he now achieves the same aesthetics with far more subtlety. A major difference is that whereas before the framing devices were "fixed" items – for example a tree or a canopy – he now achieves a more natural look – a figure leaning against a post in the foreground here, the end of a wagon there. He still occasionally makes use of the old-fashioned "heavier" framing, but only to highlight a key moment, for example enclosing Olive Borden and Tom Santschi between two cavern walls towards the end.

This is of course also an epic pioneer Western and, although the historical context is not paramount as it is in The Iron Horse, Ford constantly reminds us that a civilization is being built in the background – literally. As in many of his pictures, he balances the story of individuals with the story of masses, often in the same frame, so a dialogue scene might take place with a few horses or wagons trailing past in the distance – always done with so much control so as not to let the one outbalance the other. Perhaps the best example is in an emotional little vignette at the end of the land rush scene – a wagon fills most of the screen, but Ford allows a tiny gap on the left to show the settlers carrying on in the background – just keeping that part of the story going without allowing it to dominate.

By the way, the new Dana Kaproff score that accompanies the recent "Ford at Fox" restoration of 3 Bad Men is also very good. This is as far as I can tell the only silent score Kaproff (normally a TV composer) has done, but he handles the form with skill. It's full of little touches that I like – for example, about twenty minutes in there is a brief scene of George O'Brien's character carrying on his way, singing his song, silhouetted against the sun. Kaproff, rather than giving us the same tune, uses a minor key variation. We recognise it as O'Malley's signature tune, but it just has that little difference that stops it becoming samey, while at the same time corresponding to the sombre tone of the shot.

3 Bad Men is probably Ford's best silent picture. Here at last he has been given a story in which the silhouettes of men on horseback riding across the plains can be tinged with both excitement and poignancy. That was where romance truly lay for old Jack Ford.

This film convinces me that John Ford deserves his legendary status. He seems to have had his unique gift for cinema story telling from his beginnings. This is a starkly realistic tale depicting , unromantically , some of the brutal hardship of the late 19th century west.

There is great poignancy in the loyalty and ethos which surface in even the most "bad" of men. To convey this in a silent film , with fairly minimal use of dialogue screens , required some pretty good acting and good camera work. There are several protracted facial studies which convey the critical messages very eloquently. Through most of the film I forgot that there was no "talking" dialogue. There are some surprisingly "contemporary" humor lines on the dialogue screens , not typical of westerns but quite typical of Fords evolving love of pathos.