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Hell's Heroes (1930) Charles Bickford (Pre-code) William Wyler

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Hell's Heroes 





Year: 1930 

Runtime: 68 minutes 

IMDB Rating: 7.2 

Film Language(s):  English 

Film Country(s):  USA 

Main Genre: Drama 

Other Genre(s): Drama,  Western 

Filmed in:  Black and White 

Sound:  Mono 

More: 

When four men rob a bank, one is killed and the other three escape into the desert where they lose their horses in a
storm. Finding a woman who gives birth, they are made godfathers only to learn that the baby's father was the man they
killed in the holdup. When the woman dies they head back, but they have little water and it is 40 miles.





Director(s): William Wyler  



Writer(s): Tom Reed (adaptation and dialogue)C. Gardner Sullivan (chief story supervisor)Peter B. Kyne  novel "The
Three Godfathers" (uncredited) 

Producer(s): Carl Laemmle Jr. producer (uncredited)  



Composer(s): David Broekman

Sam Perry

Heinz Roemheld



Cast:

Charles Bickford - Robert 'Bob' Sangster

Raymond Hatton - Thomas 'Barbwire' / 'Tom' Gibbons

Fred Kohler - William 'Wild Bill' Kearney

Fritzi Ridgeway - Mrs. Frank Edwards, the mother

Joe De La Cruz - José (as Jo de la Cruz)

Walter James - Sheriff

Maria Alba - Carmelita

Buck Connors - Parson Jones (as 'Buck' Conners)

Jim Corey - Barfly (uncredited)

Mary Gordon - Choir member (uncredited)

Edward Hearn - Frank Edwards (uncredited)

John Huston - Bit part (uncredited)

Bert Lindley - Gambler (uncredited)

Tom London - Croupier (uncredited)

Bill Nestell - Barfly (uncredited)



IMDB Link http://www.imdb.com/title/tt0019976



User Comments   (Comment on this title) 

4 out of 5 people found the following comment useful. 

Dated, but powerful, 12 October 2000 



Author: jk



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. 



14 out of 15 people found the following comment useful :-

This will etch Charles Bickford into your brain!, 15 November 2002



Author: as from Easley, SC



There is a production still photo (reprinted recently in Scott Eyeman's 'The Speed Of Sound') that has haunted me ever
since I first came across it in 1968. It was in a humanities class text. We had studied von Stroheim's "Greed"
and upturned the story of how. while shooting on location in the Mojave Desert, the cameras had to be iced against the
heat while the crew's cook died from the solar furnace. And here, four years later in the Panamint Hills, is a black and
white of a sound film crew out in the desert. A long black cable in the sand leading up to an airtight meat locker
housing the camera and its operator. The sun blazing down, I wondered, what kind of a film could get done under these
conditions? Further research heightened my frustration as William Wyler was listed as the director (must be a good
film), but it was for Universal, already notorious for keeping their early talkies tightly vaulted.



Flash forward 34 years (and a big Thank You Ted Turner and TCM). It is 2:30 AM and I can't sleep. In the next room, a
VCR awaits its task of making sure I don't miss this. But I'm pacing the floor for an hour and a half, heart pounding
with anticipation. "I can't be very good", I tell myself, "Bickford isn't Gable". Fade up, dozens of
bat-wing parchments of nitrate flap before some lamp and credits roll, I'M FINALLY SEEING IT! The camera's lens prowls
back and forth across barren landscape, as though it was looking for something. Three riders appear on horseback. The
dialogue begins and it's good, the camera moves right along with the riders. The lighting is remarkable as the faces
well-saturate the negative [something anyone who has attempted photography in bright sunlight will appreciate]. In town,
this gang's leader is in the saloon making time with the ladies. Bickford establishes his character in this sequence as
one who is harder and more heartless than anyone else in westerns. He'll tell the sheriff he's going to rob the bank
(across the street). A high establishing shot shows the whole town, then a shot tracks with Bickford approaching the
bank as his gang rides up. This is cinema, a montage of perceptions that completely fill the viewer's consciousness.
This film is very, very good.



George Robinson's photography is extraordinary, with fine compositions and contrasts. His vistas are jam packed and
firmly place the viewer into this nothingness. The actors' beards progress with the time frame, and the place is so
dirty you'll run for the Pledge.



It's filled with those two second throwaways that tell so much about the characters but do nothing to advance the plot.
Such as when the gang leans on the teller's counter, one cowboy's boot scuffs at the bottom for a bar rail. At the
saloon, a short skirted woman dances for the patrons, a low angle shot gives a glimpse of garter. The sheriff, seated
nearby, drops something and pretends to pick it up. He stares lecherously at the dancing knees. Yet, a moment later,
when Bickford invites him to drink, the sheriff's back on his moral high horse. Bickford bites and slaps the girl, after
all this is pre-code.



The characters are complex and juxtaposed images abound. Charles Bickford's portrayal is unforgettable. Here is a
picture that deserves recognition as one of the classics, a film that transcends its primitive equipment. Makes one
wonder what else is locked up in the vaults of the Big U. 



9 out of 9 people found the following comment useful :-

Three Ugly Men And A Little Baby, Wyler's Style, 27 December 2005



Author: H from WA, USA



As expected with an early talkie, "Hell's Heroes" is a little too primitive by today's standards, but Wyler's
"no-holds-barred" approach makes this film very interesting to watch. Unlike later versions of the story, the
film stays focused, wasting no time on peripheral characters or subplots. It is also a very gritty western that relies
mostly on realism in order to tell the story. There are no beautiful shots of the landscape here; everything about the
film is mean and harsh. Wyler does not make excuses for his characters either, and this is why the main characters'
redemption is very powerful, even moving. Charles Bickord is superb as one heartless bandido; a true anti-hero in every
sense of the word. He remains bad to the very end and his ultimate selfless sacrifice seems like a rose in a muddy pond,
proving the most important point the movie is trying to make; the same way good people are capable of doing bad things,
bad people have the potential of doing good. And Wyler makes that point without compromising the devilish microcosm he
has created. Terrific. 







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Recorded from TV to DVD, ripped to AVI





{classics are my life)

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