Here's a true diamond in the rough - consider all the John Wayne westerns made for Lone Star Pictures from 1933 to 1935 and not one of them matches "Three Godfathers" for story quality, character development and the strength of it's acting. Each of the outlaws who earn 'godfather' status by virtue of their roles in the story do an exceptional job in portraying their characters. For most viewers, it's easy enough to identify with Doc Underwood (Lewis Stone) as the well read and philosophical bank robber, along with Walter Brennan's Gus Barton, a codger with a heart of gold underneath a veneer of dust. The real low down no account skunk of the bunch though is Bob Sangster, ably portrayed by Chester Morris. It would be easy enough to dislike Sangster based simply on his role as the lead villain, and that's even before you see how he manhandles the baby in a couple of scenes. You know, that had to be a tough little toddler; kind of makes you feel like he could have taken on the old rattler himself.
You don't really need the Christmas connection in the story to make the whole thing work, but that was kind of a neat touch as it all plays out. I was impressed that the film makers thought enough about the theme to hang a 'Merry Christmas' sign in the New Jerusalem saloon, and have Sangster deny Santa Claus as he shoots banker Frank Benson (Robert Livingston) during the bank robbery.
Say, was Walter Brennan ever young? This might be the earliest film I've ever seen him in, and he looked like he could have been Grandpa McCoy here if he had to. I got a kick out of the way he handled the asparagus after playing out the gimmick of using a different name with everyone he met. His best exchanges occurred during his conversations with Doc Underwood, and I was surprised to hear him call Doc a 'lunger' due to the fact that he coughed a lot. Speaking of which, this might be the earliest film in which a link between smoking too many cigarettes and poor health might actually have been made. Just another curiosity the film has to offer.
You know what scene really hooked me? You have Doc going through the motions of writing a proper will for Gus in case he doesn't make it, but later in the story it actually turns out to be a message for Bob. I've never seen as good a hook in a picture from the Thirties, and it really made me appreciate the way the writers handled the characters.
I know John Wayne played the lead role in the 1948 re-make of this story, one I haven't seen yet but intend to. I see most reviewers in this forum prefer this earlier version, and based on what I've read, I probably will too. The film offers real characters in intense situations and allows its principles to wax philosophical about life and death and other matters in between. Rare even today, but considering the era, this film is a genuine treat.
Say, how about this for an odd coincidence. Villain Bob's floozie bar fly girlfriend was named Blackie, and beginning in 1941, Chester Morris gained prominence for a character he began to portray in more than a dozen films - as detective Boston Blackie!
You don't really need the Christmas connection in the story to make the whole thing work, but that was kind of a neat touch as it all plays out. I was impressed that the film makers thought enough about the theme to hang a 'Merry Christmas' sign in the New Jerusalem saloon, and have Sangster deny Santa Claus as he shoots banker Frank Benson (Robert Livingston) during the bank robbery.
Say, was Walter Brennan ever young? This might be the earliest film I've ever seen him in, and he looked like he could have been Grandpa McCoy here if he had to. I got a kick out of the way he handled the asparagus after playing out the gimmick of using a different name with everyone he met. His best exchanges occurred during his conversations with Doc Underwood, and I was surprised to hear him call Doc a 'lunger' due to the fact that he coughed a lot. Speaking of which, this might be the earliest film in which a link between smoking too many cigarettes and poor health might actually have been made. Just another curiosity the film has to offer.
You know what scene really hooked me? You have Doc going through the motions of writing a proper will for Gus in case he doesn't make it, but later in the story it actually turns out to be a message for Bob. I've never seen as good a hook in a picture from the Thirties, and it really made me appreciate the way the writers handled the characters.
I know John Wayne played the lead role in the 1948 re-make of this story, one I haven't seen yet but intend to. I see most reviewers in this forum prefer this earlier version, and based on what I've read, I probably will too. The film offers real characters in intense situations and allows its principles to wax philosophical about life and death and other matters in between. Rare even today, but considering the era, this film is a genuine treat.
Say, how about this for an odd coincidence. Villain Bob's floozie bar fly girlfriend was named Blackie, and beginning in 1941, Chester Morris gained prominence for a character he began to portray in more than a dozen films - as detective Boston Blackie!