Os Três Padrinhos

4 outlaws turn up in a small town to rob the bank and 3 of them get away after shooting the cashier Frank Edwards (Edward Hearn) dead. We follow Bob (Charles Bickford), Bill (Fred Kohler) and Tom (Raymond Hatton) as they make their getaway and encounter a woman in labour. She gives birth and dies but not before asking the 3 men to look after her baby whose father is the cashier that they have just killed. The bad guys decide to return to the town that they have just robbed and the baby gets even with the killers....

This film has many good scenes, eg, the robbery and the final scene at the town's church. The episode where the 3 men encounter the woman is gripping (will they rape her?) and the dialogue tense, intercut with poignant moments, for instance while Bill and Tom humorously discuss cleaning the baby, we cut to a shot of Bob burying the woman. Another example is an upsetting scene where Bob and Bill leave Tom by a tree. The whole story moves along at a good pace.

The cast are excellent. Bickford is a real bad guy and very dislikeable at the beginning. Kohler and Hatton are more likable characters and I enjoyed the journey that the film takes you on as we warm to the 3 bad guys who keep their promise to look after the baby. There are moments of humour, eg, when they first hold the baby and are unsure as to what to do and Bill says "how far do you think you can throw it?" and moments of harshness.

Definitely a film to watch again.

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.

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.

I've only seen this once but found it to be a remarkable and compelling early film from the dawn of the "talkies." It's title is misleading as a Christmas movie but this is a great film for Christmas with wonderful symbolism throughout the movie. Peter B. Kyne wrote the story about three desperate villainous outlaw bank robbers who are ironically confronted with the wife and newborn son of a man they had just killed and must now risk their own lives to try to save the child. Screenwriter Tom Reed adapts the novel in this William Wyler directed film. Wyler who had an illustrious 45 year career directing movies had been a silent film director and had just made the transition from silents to talkies the year before this film in 1929's Love Trap, his first full talkie feature. Wyler would go on to direct such classics as Jezebel, Mrs. Miniver, The Best Years of Our Lives, Ben Hur and Funny Girl among many, many more fine films so it's interesting to see a film by him here at the dawn of his greatness. This film had been done once before as a silent in 1916 titled Three Godfathers starring Harry Carey and would be done again in 1936 as Three Godfathers with Chester Morris and again as Three Godfathers in 1948 with John Wayne and Carey's son Harry Carey Jr. This is so stark and gritty and imaginative that it is my favorite of the two remakes that would follow. Charles Bickford stars along with Fred Kohler and Raymond Hatton. Bickford enjoyed a long career in films and television but Hattaon was a screen actor for almost 50 years in a career that began in early silents in 1909 and continued through a small role 1967's In Cold Blood. Considering this was 1930 and what was accomplished here in story, dialog, sound and photography I have to knock this up a notch and give it a 10.

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.