dougdoepke An overlooked gem from 1929. The premise has been remade a number of times, but I can't imagine any being better than this. I hope the three godfathers, actors Hatton, Bickford & Kohler, got big bonuses. They clearly deserve hazard pay for filming in the middle of nowhere. Looking like a parched pancake, it's a nowhere desert the three fugitives must limp across. Worse, there's no sign of relief in any direction. Yeah, they're tough guys, but this is a battle with nature in the raw, a desolate face that's both unyielding and waterless. And catch the rags the guys are wearing. The tatters get even holier as they trudge along. Wardrobe must have shopped on skid row, while I doubt that a grubbier threesome has appeared in Hollywood annals.Speaking of holy, there's a subtext of Christian symbolism to the story, without rubbing our nose in it. Note, for example, the brief cross-shaped cactus providing comfort to the martyred Barbed-Wire as his two buddies depart. Good subtle detail. Then again, the results suggest something of the Three Wise Men, western style. After all, when Mom dies, the three bank robbers are gradually redeemed by their care for the infant boy under what amounts to self-sacrificing circumstances. Their desert trek then becomes a moral proving ground the outlaws must cross in order for symbolic redemption to occur. At the same time, delivering the infant to the altar on Christmas day closes the Three Wise Men loop. By that time, each has shown a higher regard for the infant than himself. Nonetheless, I like the brief moments when the guys show their masculine libido. For example, Bob enjoys biting saloon girls in erotic fashion, while he and Bill jockey over who gets firsties with the girl in the covered wagon. Thankfully, filming was prior to the dead hand of Hollywood's censorship code. Anyway, it's legendary William Wyler's first talky and he hits a homerun, with both staging and performances. In fact, some of those desolate shots against the sky are downright iconic, proving again that artistry surpasses time. Also, the acting's first-rate. Seldom has a trio of tough guys interacted with such unforced naturalness, conveying a rare level of male bonding.. Too bad grubby Oscars aren't awarded for best shabby characters, because these three rank right up there with Sierra Madre's Bogart and Huston. So, don't pass this one up despite its obscurity. I'm really glad an old movie fan put me on to it, and I think you will be too.

Brandin Lindsey Hell's Heroes is a 1930 western drama film. The story follows a group of bandits who find themselves in dire straits after a botched robbery. In an unforgiving desert, the men face a series of events that changes their lives.Entertaining and moving, Hell's Heroes is a heartfelt movie. The story is fantastic and unexpected events keep the picture fun. This film is a true emotional roller coaster.There are a few faults with the film, such as bad acting at times and some faulty premises. The way two beautiful women are fighting over a poor and gross ruffian is hard to believe. Parson Jone's 100-yard shot with a revolver is also a stretch, not to mention some parts toward the end that I don't want to give away. The movie also gets a bit boring and slow during the last act.Overall, I recommend Hell's Heroes. Entertaining and unexpected, this film has a short running time and is well worth a viewing. Definitely a must for any fans of older western movies.

itsmits In childhood, my interest in cowboys centered around Fred Thomson and his horse Silver King. I did not pay much attention to the villains but I remembered that Fred Kohler was usually the leader of the 'black hats'. Raymond Hatton was only known then as the erstwhile partner of the popular comedy team of Raymond Hatton and Wallace Beery. Some time within the last five years or so, my constant monitoring of old time movies presented on TV resulted in my capturing 'Hell's Heroes'. What a discovery it was for me!I had always remembered "The Three Godfathers" with Chester Morris, Lewis Stone and Walter Brennan from my teenage years. In fact, it had driven me to the local library to read the original story by Peter B. Kyne.One would never have guessed that Charles Bickford would be the hero of this 1930 movie but he filled the role admirably. With the aforementioned Fred Kohler and Raymond Hatton in the supporting roles, the 'three godfathers' were a formidable thespian trio. This film, produced when it was without today's modern advantages, is an excellent model of fine early movie-making. And it should certainly be seen to get insight into the technological advances that subsequently resulted in the 1936 version with Chester Morris, Lewis Stone and Walter Brennan, as well as the Technicolor version in 1948 with John Wayne, Harry Carey, Jr. and Pedro Armendariz.The strength of the novella by P.B. Kyne is evident through all three versions. If this title appears on your TV schedule, don't let the date of 1930 scare you away. The writing of screenplays by different persons may alter the end result but a strong well written story with excellent acting will always produce an enjoyable film. You might be surprised how dry your throat is at the end of this picture but you will also be strangely satisfied with the ending.

rsyung 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.