In the first place, seeing Mildred Natwick as the 'young' mother was a little hard to take. She had already played older parts, and she just looked out of place in this role.
I liked the color version with the Duke, and I preferred him to Chester Morris, but in the beginning I had to take clothes out of the washer and put them in the dryer. I didn't think I was gone that long, but at the end, suddenly the Duke has a lady friend and I'm sitting there thinking 'Where did she come from?'
If that was Harry Carey Jr. singing, I wonder why he didn't do more. I also liked the tribute to Harry Carey Sr. in the beginning.
I couldn't figure Ward Bond's role at all. He seems to hate the Duke, yet he speaks fondly of playing chess with him, and his skill at guns.
Was this one of those films where the script was written on a day by day basis? The whole movie seems confusing and as if it couldn't wait to be over.
Anne
Three Godfathers
Three Godfathers
Anne
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Anne
I actually liked to see Mildred play younger women, as she wasn't that old at the time of TTG. In The Long Voyege Home, she had to turn her feminine charms on to sailor John Wayne in an attempt for others to kidnap him for another ship. In The Quiet Man, I think of her as a young widow, who John Wayne could have settled for if things with Maureen O'Hara hadn't have worked out. I think Mildred would have been a great Kathleen in Rio Grande, though having said that Maureen was terrific in the role.
Harry Carey Jnr also sang in Red River
The Three Godfathers was filmed 4 times, at least once with Harry Carey snr in the Wayne role
I actually liked to see Mildred play younger women, as she wasn't that old at the time of TTG. In The Long Voyege Home, she had to turn her feminine charms on to sailor John Wayne in an attempt for others to kidnap him for another ship. In The Quiet Man, I think of her as a young widow, who John Wayne could have settled for if things with Maureen O'Hara hadn't have worked out. I think Mildred would have been a great Kathleen in Rio Grande, though having said that Maureen was terrific in the role.
Harry Carey Jnr also sang in Red River
The Three Godfathers was filmed 4 times, at least once with Harry Carey snr in the Wayne role
Re: Three Godfathers
mrsl,
While Godfathers is far from my favorite Western, and its not very high on my list of Ford favorites, it is always a pleasue to see so many of the " Ford Stock Company " in any film.
While Godfathers is far from my favorite Western, and its not very high on my list of Ford favorites, it is always a pleasue to see so many of the " Ford Stock Company " in any film.
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movieman1957
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Re: Three Godfathers
We've been having a pretty good chat at TCM about this one and since MissG and Miss Jackie were so kind about my comments I thought I'd copy them here.
Robert, William and Pedro are men of contradictions and a sense of desperation. They come off as sarcastic and criminal but that doesn't hint at their real hearts. They have a deep affection for one another. They are more than partners. That relationship would be easy enough to dissolve. Yet through their darkest hours they are loyal beyond any expectation.
They may be outlaws but they are men of their word. They are driven by their desperation to get away, for water and to fulfill their promise. They are men of some education. They are mannerly, respectful and even reverent.
SPOILERS
Before they know what they are called into Pedro comes to help the woman and he removes his hat and somehow feels that he is coming someplace holy. Even when Robert and William come to the wagon they not only remove their hats but their guns. At the funeral there is prayer and the singing of a hymn. These are not the same men we met at the credits. Only once are we reminded blatantly of their past and that is when they argue in the wagon and guns are drawn. We see Pedro shake a rattle to quiet the baby in the left hand with his gun in the right. At that point though William has his revelation that there is more to this than just a rescue. Here then the Christmas story comes to the front in all force. At the wagon is also where the film comes to a stop.
They are no longer men on the run. They are men on a mission. Not only is their trek slowed by the child, their lack of water, also for their pursuers, slows them more. Only at the end does Robert have the revelation that was so obvious, at least in their minds, to William and Pedro.
I don't know if there is a relation to the deaths of the mother and William but they are shown oppositely, at least in my mind. When the mother dies it is represented by the candle being blown out. When William dies he is in the shade of Robert's hat but his death is represented by removal of the "darkness" and his face into the light. (How's that for reading something into nothing.)
I don't find the shots of the baby, frequent though they are, to be overly cute. Robert's telling of the mother's story at the wagon is quite moving and well done. The choir singing Robert off to jail is a bit much but that is Ford for you.
I really like the first 45 minutes but for me the film, as I said before, runs out of steam. The religious aspect may be somewhat too obvious in the last 20 minutes compared to what has come before but i guess for Robert to complete his promise he, at least, must have it.
Robert, William and Pedro are men of contradictions and a sense of desperation. They come off as sarcastic and criminal but that doesn't hint at their real hearts. They have a deep affection for one another. They are more than partners. That relationship would be easy enough to dissolve. Yet through their darkest hours they are loyal beyond any expectation.
They may be outlaws but they are men of their word. They are driven by their desperation to get away, for water and to fulfill their promise. They are men of some education. They are mannerly, respectful and even reverent.
SPOILERS
Before they know what they are called into Pedro comes to help the woman and he removes his hat and somehow feels that he is coming someplace holy. Even when Robert and William come to the wagon they not only remove their hats but their guns. At the funeral there is prayer and the singing of a hymn. These are not the same men we met at the credits. Only once are we reminded blatantly of their past and that is when they argue in the wagon and guns are drawn. We see Pedro shake a rattle to quiet the baby in the left hand with his gun in the right. At that point though William has his revelation that there is more to this than just a rescue. Here then the Christmas story comes to the front in all force. At the wagon is also where the film comes to a stop.
They are no longer men on the run. They are men on a mission. Not only is their trek slowed by the child, their lack of water, also for their pursuers, slows them more. Only at the end does Robert have the revelation that was so obvious, at least in their minds, to William and Pedro.
I don't know if there is a relation to the deaths of the mother and William but they are shown oppositely, at least in my mind. When the mother dies it is represented by the candle being blown out. When William dies he is in the shade of Robert's hat but his death is represented by removal of the "darkness" and his face into the light. (How's that for reading something into nothing.)
I don't find the shots of the baby, frequent though they are, to be overly cute. Robert's telling of the mother's story at the wagon is quite moving and well done. The choir singing Robert off to jail is a bit much but that is Ford for you.
I really like the first 45 minutes but for me the film, as I said before, runs out of steam. The religious aspect may be somewhat too obvious in the last 20 minutes compared to what has come before but i guess for Robert to complete his promise he, at least, must have it.
Chris
"Time flies like an arrow, fruit flies like a banana."
"Time flies like an arrow, fruit flies like a banana."
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JackFavell
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Re: Three Godfathers
I really love what you wrote, Chris, it's just beautifully expressed. Even though the film runs out of steam, I definitely think it's worth seeing, just for the color and the beautiful desert landscapes. Even though people say that Ford used the same settings over and over, I don't think this is quite true - each movie has it's own look, and this one is very different - almost Arabian looking, with the desert prominent. I imagine it was difficult to get each scene to look interesting, but Ford did it. I love that Harry Carey Jr, and Pedro Armendariz got such major roles for once!
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movieman1957
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Re: Three Godfathers
I think the landscape fits the story. At one point they try and figure where to go and the three closest places are Cairo, Damascus and New Jerusalem. I agree that the landscape looks Middle Eastern.
I agree it is worth seeing and my thought doesn't mean I didn't enjoy it. I think there are fine performances. It certainly is a good looking film.
By all means, watch it.
I agree it is worth seeing and my thought doesn't mean I didn't enjoy it. I think there are fine performances. It certainly is a good looking film.
By all means, watch it.
Chris
"Time flies like an arrow, fruit flies like a banana."
"Time flies like an arrow, fruit flies like a banana."
Re: Three Godfathers
.
I couldn't get out of the western mode today, so I watched The Three Godfathers again, to check out some of the remarks made here. As for where they should go (or which city that is), The Kid reads it out of the book (the Bible), where it says the travelers should head for Jerusalem.
The movie is exactly 2 hours long and that is the problem. Some of the wandering scenes should have been cut to shorten the movie.
Pedro did feel as if he was entering some kind of holy place, especially if you recall the shot was taken from inside the wagon forming a kind of dome under which he would pass.
Again I was stymied by Pearly Sweet and his affection/dislike for Robert. Yes he talks about the chess, and shooting, but he's smiling when he's saying it - giving the impression that he likes the guy.
Since the whole movie has overtones of a Christmas story of the three kings, I think even more nods could have been made. e.g. One of them could have been a pack rat of sorts who kept picking up things as they walked which later came in handy for the baby (the gifts). A night scene would have been good to light their way by the light of the star, and even handkerchiefs hanging down from their hats would have been typical of Arabian desert dwellers. I'm really not trying to re-write the plot, but if it was to be a modern day take on the story, a few more similarities would have fit in quite well.
I watched closely for introduction to the young lady, but nothing in the beginning, and only the shot of her crying at the trial. Finally, the choir singing as Robert caught the train was just an example of how the town was now on his side, since he proved the baby and his promise were both bigger than he was.
.
I couldn't get out of the western mode today, so I watched The Three Godfathers again, to check out some of the remarks made here. As for where they should go (or which city that is), The Kid reads it out of the book (the Bible), where it says the travelers should head for Jerusalem.
The movie is exactly 2 hours long and that is the problem. Some of the wandering scenes should have been cut to shorten the movie.
Pedro did feel as if he was entering some kind of holy place, especially if you recall the shot was taken from inside the wagon forming a kind of dome under which he would pass.
Again I was stymied by Pearly Sweet and his affection/dislike for Robert. Yes he talks about the chess, and shooting, but he's smiling when he's saying it - giving the impression that he likes the guy.
Since the whole movie has overtones of a Christmas story of the three kings, I think even more nods could have been made. e.g. One of them could have been a pack rat of sorts who kept picking up things as they walked which later came in handy for the baby (the gifts). A night scene would have been good to light their way by the light of the star, and even handkerchiefs hanging down from their hats would have been typical of Arabian desert dwellers. I'm really not trying to re-write the plot, but if it was to be a modern day take on the story, a few more similarities would have fit in quite well.
I watched closely for introduction to the young lady, but nothing in the beginning, and only the shot of her crying at the trial. Finally, the choir singing as Robert caught the train was just an example of how the town was now on his side, since he proved the baby and his promise were both bigger than he was.
.
Anne
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* * * * * * * * What is past is prologue. * * * * * * * *
]***********************************************************************
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* * * * * * * * What is past is prologue. * * * * * * * *
]***********************************************************************
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Ann Harding
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Re: Three Godfathers
I recently discovered the two previous talkie versions of the Peter B. Kyne novel.
I watched Hell's Heroes (1930, Wm Wyler), the first version of Three Godfathers. It proved a really interesting western and early talkie. Shot entirely on locations, it avoids completely the static camera. On top, the story (adapted by C. Gardner Sullivan) is devoided of the soapy sentimentality given to the 1948 Ford version. Instead we are following three bankrobbers without any redeeming features. Those three unglamorous outlaws save the baby after wondering if the canned milk wouldn't better divided between them rather than given to him. We are far away from the Christmas fairy tale of 1948. It's a western smelling of dust and sweat very well played by Charles Bickford, Raymond Hatton and Fred Kohler. Recommended.
Three Godfathers (1936, R. Boleslawski) is the second with Chester Morris, Walter Brennan and Lewis Stone. The storyline is more developed with each characters revealing his past as they spend the day in New Jerusalem. Morris is back to his home town and we discover he turned a bad boy. Lewis Stone is the intellectual amond them, the doctor in philosophy who quotes Schopenhauer. He gives a detached and moving performance. Brennan is the comical sidekick. After a slow start with long scenes in studios, the second part takes off with their treck across the desert. Unlike the previous version, the baby is already born when they arrive. It's actually quite astonishing how healthy that baby looks all though the travel! The film contains far more close-ups than the previous one. We are at MGM studios, the studio of the stars. Funnily, the film was produced by Joseph L. Mankiewicz who was then just starting his career as a MGM producer. Boleslawski and Mankiewicz sound far too intellectual for the western genre. But, overall the film is well done. Though, I still prefer the gutsy Wyler version. I took note that both films end tragically with the outlaw dying on arrival with the baby in his arms after drinking poisoned water on purpose. So, it's only the 1948 version that contains this mawkish happy end.
I watched Hell's Heroes (1930, Wm Wyler), the first version of Three Godfathers. It proved a really interesting western and early talkie. Shot entirely on locations, it avoids completely the static camera. On top, the story (adapted by C. Gardner Sullivan) is devoided of the soapy sentimentality given to the 1948 Ford version. Instead we are following three bankrobbers without any redeeming features. Those three unglamorous outlaws save the baby after wondering if the canned milk wouldn't better divided between them rather than given to him. We are far away from the Christmas fairy tale of 1948. It's a western smelling of dust and sweat very well played by Charles Bickford, Raymond Hatton and Fred Kohler. Recommended.
Three Godfathers (1936, R. Boleslawski) is the second with Chester Morris, Walter Brennan and Lewis Stone. The storyline is more developed with each characters revealing his past as they spend the day in New Jerusalem. Morris is back to his home town and we discover he turned a bad boy. Lewis Stone is the intellectual amond them, the doctor in philosophy who quotes Schopenhauer. He gives a detached and moving performance. Brennan is the comical sidekick. After a slow start with long scenes in studios, the second part takes off with their treck across the desert. Unlike the previous version, the baby is already born when they arrive. It's actually quite astonishing how healthy that baby looks all though the travel! The film contains far more close-ups than the previous one. We are at MGM studios, the studio of the stars. Funnily, the film was produced by Joseph L. Mankiewicz who was then just starting his career as a MGM producer. Boleslawski and Mankiewicz sound far too intellectual for the western genre. But, overall the film is well done. Though, I still prefer the gutsy Wyler version. I took note that both films end tragically with the outlaw dying on arrival with the baby in his arms after drinking poisoned water on purpose. So, it's only the 1948 version that contains this mawkish happy end.