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DrameAnnée1936Durée1h 21mIMDb7.3

Le Fils du désert

DrameWestern

Three fugitives risk their lives to bring a newborn baby out of the desert to safety.

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Bande-annonce

Casting

Richard Boleslawski

Director

Chester Morris

Bob Sangster

Lewis Stone

James Underwood - aka 'Doc'

Walter Brennan

Sam Barton - aka Gus

Irene Hervey

Molly

Sidney Toler

Prof. Snape

Dorothy Tree

Blackie Winters

Roger Imhof

Sheriff

Willard Robertson

Rev. McLane

Robert Livingston

Frank Benson

John Sheehan

Ed Barrow

JM

Joseph Marievsky

Pedro

Victor Potel

'Buck Tooth'

HB

Helen Brown

Mrs. George Marshall

Harvey Clark

Marcus Treen

Virginia Brissac

Mrs. McLane

JK

Jean Kircher

Baby

BC

Bernard Carr

Ralph

Richard Cramer

Prospector Dancing with Blackie

EE

Edward E. Paramore Jr.

Writer

MS

Manuel Seff

Writer

PB

Peter B. Kyne

Writer

Joseph L. Mankiewicz

Writer

AM

Ainsworth Morgan

Writer

Commentaires

10 commentaires

i_am_lawsMay 29, 2023

source: Three Godfathers

MrseedofficialMay 23, 2023

Chester Morris (Bob Sangster), Lewis Stone ("Doc"), Walter Brennan (Gus), Sidney Toler (dentist), Robert Livingston (Frank), Dorothy Tree (Blackie), Irene Hervey (Molly), Jean Kirchner (baby), Joseph Marievsky (Pedro), Willard Robertson (Rev. McLane), Roger Imhof (sheriff), John Sheehan (Ed), Victor Potel (Buck), Helen Brown (Mrs Marshall), Virginia Brissac (Mrs McLane), Harvey Clark (Marcus Treen). Director: RICHARD BOLESLAWSKI. Screenplay: Edward E. Paramore Jr, Manuel Seff, Joseph L. Mankiewicz. Based on the 1913 novel by Peter B. Kyne. Photography: Joseph Ruttenberg. Editor: Frank Sullivan. Music: Dr William Axt. Costumes: Dolly Tree. Producer: Joseph L. Mankiewicz. Copyright 4 March 1936 by Metro-Goldwyn-Mayer Corp. New York opening at the Rialto: 8 March 1936. U.S. release: 7 March 1936. Australian release: 10 June 1936. 82 minutes. TV title: MIRACLE IN THE SAND. NOTES: An "A" production, shooting from 27 November 1935 to 3 January 1936. Mankiewicz's debut as a producer. Other versions of the popular Kyne novel are: Broncho Billy and the Baby (1909), Marked Men (1919), Hell's Heroes (1929), 3 Godfathers (1948), and The Godchild (1974). COMMENT: Every version has its admirers, but this well-produced enactment of Kyne's parable-like novel, with its witty script, stylish direction, atmospheric music score, superb photography and excellent acting, is a credit to all concerned.

Kaylle_KeysMay 23, 2023

In 1929 actor Chester Morris was nominated for an Oscar for his strong performance as an ex-con in Alibi; he spent a good deal of his life playing tough-guy roles, too often typecast in second-tier "B" roles; here, some six years later, he gives a dynamic, believable turn as the bad boy of the town, the man in black who revels in his nastiness, unredeemed by the love of a good woman or anyone else. He and two others pal up together to rob a bank during a church social, and run for the hills, there discovering a dying woman with a child; this could be a really silly melodramatic set-up, but director Richard Boleslawski knows what he is doing, knows how much melodrama to inject into a situation, is able to focus two of the best scene stealers in the business, Walter Brennan and Lewis Stone into producing distinctively compelling characters. This film is a remake of several silent versions, the most notable starring Charles Bickford in the Chester Morris role (and later, more sentimentally, by John Wayne in a color version from John Ford), but the sense of authenticity in the town scenes and the visually arresting desert scenery give the actors a canvas which they do not fail to brilliantly fill in. How often does a character in a Western film recite Macbeth's "Tomorrow" soliloquy from memory, or discuss the intricacies of Schopenhauer with a friendly but uncomprehending cowpoke? Lewis Stone manages a nice turn in his interchanges with Walter Brennan, himself putting the brakes on his usual cornball rustic. The transformation for Chester Morris from unregenerate bum to something admirable is powerfully done, and the intrusion of some 1930's sentiment not entirely unwelcome. In 1936, the Best Oscar nominees were Paul Muni, Spencer Tracy, Gary Cooper, William Powell and Walter Huston; with a better agent, Chester Morris might have been among them.

QuinNellowMay 23, 2023

Three Godfathers (1936) *** (out of 4) Extremely warm Western has three ruthless outlaws (Chester Morris, Lewis Stone, Walter Brennan) robbing a bank at Christmas time and then heading off into the desert. While on their getaway they come across a dying mother and her young child so the men take the child to try and get it to some place safe. After a bit of bad luck the three find themselves nearing death themselves and to get the baby home it might cost them their lives. I'm sure most people are familiar with the John Ford vehicle with John Wayne but this version is so much better for numerous reasons. The biggest reason is that this version is a lot darker and more grittier than the Ford film, which always seemed a tad bit too cute to me. This film has a lot of dark moments and depends on religion a lot more as well. There's also some nice humor scattered through this film including a great bit with a Santa Clause. Both Morris and Brennan are very good in their roles with Morris giving a very good turn as a really mean guy. Stone steals the film as the older man who tries to talk the other two into having some good in their hearts. Sidney Toler has a small supporting role.

user2318973254070May 23, 2023

I stumbled across this movie in the wee hours of the morning and was riveted by the story and acting. Chester Morris whom I had never heard of was excellent as the cold blooded gunman and of course Walter Brennan put in his usual excellent work. I had a hard time believing it was made in 1936 it has aged well in comparison to most westerns made before the fifties. All three main characters were excellent and the story moved at a good pace with a good twist at the end. I would recommend this movie to any fan of westerns and hope to catch it again so I can tape it................9 out of 10. I hope I can find this on a decent DVD print as it would be a most welcome addition to any western fans collection.

Puja karki 😊May 23, 2023

Not as well known as the 1948 John Ford version, this one does not spoon feed the issues to the viewer. Harsh, uncompromising and utterly devoid of false bonhomie, Boleslawski made this at almost the same time as the screwball classic, THEODORA GOES WILD.

Monika wadhwaniaMay 23, 2023

I've seen this version and the earlier 1929 version called "Hell's Heroes". The earlier film is better. I understand that there is also a John Wayne version from 1948 which I will steer well clear of after reading reviews of it being overly sentimental and ending differently. Of course, if it has John Wayne, there is no way he is gonna die! This film is ok as it stands. There are 4 outlaws who ride into a goody two-shoes God-fearing town called New Jerusalem and one gets shot fleeing the bank robbery that they carry out. The remaining 3 get saddled with a baby whilst on the run and decide to take it back to the town they have just robbed. Things don't go to plan in this story of redemption. Chester Morris (Bob) is good as the mean guy whilst Lewis Stone (Doc) is likable as the educated, wise older man of the trio. However, Walter Brennan (Gus) is warm as he usually is but annoying as he also usually is. He plays the comedy character with a grating voice. The film is a bit too over-the-top with its theme and too obvious and has a few scenes at the beginning that string things out a little unnecessarily. The earlier version bonds the 3 lead characters more tightly together as they witness the death of the mother of the baby who makes them all agree to be the godfathers, hence the three godfathers. There is no such scene in this version. It's still an ok film, though.

Mohamed GnégnéMay 23, 2023

Warning: Spoilers for two versions below: This film was a revelation. Ford's 1948 Technicolor version, scripted by Laurence Stallings and Frank S. Nugent, while action-filled and pretty, is a lesser film which pulls its punches, pushes its performances, and is shot through with sentimentality. Ford's mellower mood is certainly understandable, as he opens his film with a visual dedication to his recently-deceased friend Harry Carey, Sr., a veteran of Ford's films who had starred in a silent version of this tale; and the film is Harry Jr.'s first role for Ford. Edward E. Paramore Jr. and Manuel Seff's 1936 script, directed by Richard Boleslawski, is tougher minded, which makes its antihero's change of heart truly moving. Unlike John Wayne's likable, harmless Bob Hightower, Chester Morris's Bob Sangster is a cold, dangerous brute who still manages to redeem himself, giving up his life to save a stranger's baby. Wayne's character, by contrast, gives up only a year of his life, in jail. There's the remarkably dark, unnerving moment after Stone and Brennan depart the story, when Morris prepares to abandon the squalling infant on the desert. He yells for the kid to shut up. The baby keeps wailing offscreen, so Morris turns back, aims his pistol and fires. The crying immediately stops. Then the camera reveals that Morris has just shot a rattlesnake that was endangering the child. An unforgettable scene for any era, especially the heavily censored 1930s. This, and Morris's wrenching sacrifice at the climax, are far more powerful than anything Ford attempts in his "3 Godfathers."

"الخال"May 23, 2023

This is the best of the 3 sound versions. There is another version called Hells Heroes with Charles Bickford, Raymond Hatten and Fred Kohler. Tough movie like the Chester Morris version. I thought that the popular John Wayne version was weak after watching the first two movies

KobbyMay 23, 2023

There is a lot good stuff in "Three Godfathers". The movie has a good look to it and it has a strong cast but the storytelling does take a few dips at times. The movie feels a little longer than its short running time (81 mins). None of the negatives are deal breakers. It's just that "Three Godfathers" has the making of a really good movie. It hits the target but just misses the bullseye.

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