3 Godfathers

3 Godfathers

3 Godfathers

... I just prefer the 1929 version - "Hell's Heroes" - to any of the other sound versions. Compared to the 1948 John Ford version it is not as slick, not as sentimental, and of course it is working with early sound technology and actors, but it captures the kind of grubby old west atmosphere which fell out of fashion in the early 1930s and didn't really come back till the days of Peckinpah and McCabe and Mrs Miller. Being made almost twenty years later than "Hell's Heroes", naturally Ford's version is going to be more technologically slick. In fact it is visual poetry from beginning to end. Ford, with his cinematographer Winton Hoch, captures the harsh beauty of the desert in every frame. In addition, Ford's version is funny, sad, tender - ALL of the elements of a Ford film. The Ford stock Company of John Wayne, Ward Bond, Harry Carey Jr., Mildred Natwick ,Mae Marsh, etc. were all exceptional, with a fantastic score by Richard Hageman that hits all of the right notes in every scene. The problem that I have with the Ford version, however, is with the sentimentality that is just poured on during some but not all of the segments. I also think that the ending of Ford's version is much less satisfying and geared more toward fulfilling that happy-ending impulse. Plus the religious imagery at points just gets ham fisted. And one particular scene that almost seems like a Wayne delusion is when his character gets back to civilization with the baby. He lands in a saloon that seems to be exclusively employing senior citizens - bartender, saloon girls (????), everybody! And then the sheriff of the town (Ward Bond) that Wayne's trio robbed corners him there and says "Draw!"??? Uh, you are law enforcement, you are supposed to bring him in, not shoot him down! I don't know HOW that scene got in there and stayed there through editting! I'd recommend it primarily for the fine John Wayne performance - he has to carry this film alone for a good portion of time and shows the big guy really could act not just posture.

John Ford's biblical western is certainly beautiful to look at and has a lot of comedy elements but it is overlong and takes an age to get going. Three bank robbers are fugitive from a chasing pack led by Sheriff Perley Sweet who they met earlier as they rode into town. As they make their escape from the desert, Robert (John Wayne) William (Harry Carey Jr) and Pedro (Pedro Armendariz) come across a dying woman with a newborn baby. The three men agree to care for the baby but it also means ruining any meaningful chance of escape. The men do their best to take care of the baby, only Pedro seems to have experience in rearing a child but without water, they need to save themselves in order to keep the baby safe. The uneven tone between comedy and drama does not mesh well nor does the religious parallels. It really is a mawkish film and a dull one.

This is a great piece of storytelling. I first saw this film when I was eight years old and it stuck with me. It was another thirty years before I saw it again and I was amazed at how good a film it was. My seven year old daughter recently saw this film and loved it. I hope it will stick with her as well. All the acting is terrific but Ward Bond's performance as the Sheriff is particularly striking. He is so cordial and professional at first but when Pearly Sweet goes out for blood, he is a study in coldly controlled rage. The ending scene of the film is one of my all-time favorites. Hightower has been redeemed, all is well except the baby still has no mother. The screenwriter's did themselves's proud when they took pen in hand to resolve that problem. Wayne's delivery of the line and Ford's staging of the shot are heart-warming.

A really touching, naive, heart-warming Christmas movie, even if it may be quite a tear-jerker, especially at it's end: great cinematography - watch out for the wonderful impressions of the desert (the director of cinematography started with documentaries) -, great direction and one of John Wayne's best performances - this man was not only a big star, he was a wonderful actor, too!!! Between the end of the forties and the end of the fifties Ford knew how to lead Wayne to an artistic peak. And, not to forget of course: Hank Worden, Ben Johnson, Ward Bond, Pedro Armendariz, Harry Carey jr, ... what an ensemble did Ford build up around himself!!! Highly recommended to all those who want their hearts to be touched in rough times during a cold winter evening ...

I had not seen this film for some time and I had forgotten what a lovely film it is. I feel this one should be up there with John Ford's masterpieces for the photography and the wonderful performances by the actors. Especially Pedro Armendiaz and John Wayne. This is another film that goes in the category of why do people think John Wayne can't act because when you see him in something like this you just know he is a wonderful actor. When he screams "Steal a man's burro in this county. They string ya." You feel all the agony of that walk. And that long scene Wayne does almost without a break "That ain't the worst of it." It takes a real actor to be able to do that without even a cut away and to show how much frustration. And when Bob and Pete walk away from the kid's unburied body, it just hurts. The pain almost comes off the screen like the sun. Wonderful moments in this film. Harry Carey singing. The whole caring for the baby scenes. The expression on John Wayne's face when Pete and the kid read from the book that the NURSE should grease the baby and they both look at Wayne. John Wayne sitting uncomfortably on a chair to small for him, trying not to cross his legs as he holds the baby. Pete sitting on the edge of the wagon after he delivers the baby, just dying inside because he cannot save the mother. The argument between Bob and Pete over not breaking their promise to a dying woman. Lots of nice foreshadowing there when they both talk about growing long white beards in Yuma penitentiary and then later Bob's confident belief he can do twenty years standing on his head. And more foreshadowing when they find the woman and Bob declares it can rain "until I get religion", meaning forever and of course he gets religion. There are some great tributes to Harry Carey and in not jokes exactly but moments. Ward Bond blows the smoke away from the rifle he fires at the water bag, just like Harry Carey did. In the scene where the ghosts of Pete and the Kid walk with Bob, Pedro calls Bob a saddle tramp which is the role Harry Carey most played. And the way Wayne asks for a cool cool beer "for me" is almost a mimic of Harry Carey. Also the names of towns, clearly biblical Damascus, Jerusalem and Cairo. Also the Marhall mentions Dobe ( Harry Carey Jr's nickname) and (I think) Tres Hermanos ( three brothers). Its also pretty clear where MarmaDUKE comes from. I would bet that Pearly is an in joke too but don't know that one. It also rather fun to try and see when it really is John Wayne's hands with the baby. The baby is not much bigger than his enormous hand. (Check the size of them when he hold's Mildred Natwick's hand in his) Pretty sure its him greasing it. Sounds like the sort of thing Ford would make him do. And also him in the barroom at the end where the baby holds his finger.

My best buddy & I saw this when it first came out & we both agreed that it was one of the worst movies of all time, That was way back in 1948 or so.I re-saw it the other night & my opinion still stands. The above was written in about 2002,when they did not have the 10 line requirement. I only corrected the date. Let me add a few more. Yes this was Harry Carey's first film, it was a good debut role,for some reason he lasted a few decades in film, but only in small or minor somewhat comic roles. His father was the major talent in the family. Pedro Armandariz a Noted Mexican actor, only made a few more films on this side of the border. John Wayne was not the fine actor that he became a few years later. He did have talent even then.

One of Wayne's most boring films, it completely loses interest in the middle section.