. . . in another of his Paeans to Paganism, titled HANGMAN'S HOUSE. Educated people know that Democracy was invented centuries ago in a small island chain called Great Britain, when the Magna Carta was signed. The British had to enlighten the inhabitants of their outer islands that such practices as Cannibalism and Soccer were Bad Heathen Habits, but some of their more backward atolls remain subject to backsliding even in Today's 21st Century, as evidenced by the recent Brexit vote. Mr. Ford comes down hard on the side of the Satanic Idolators, portraying the few Civilized Brits appearing on-screen here as Cartoonish Snidely Whiplashes. This is especially grating upon informed movie watchers' sensibilities, as they're aware that in Real Life Mr. Ford and his notorious "Road Company" featuring miscreants such as Victor McLaglen (seen here), Ward Bond, and the infamous (and justly hung here) Marion Mitchell Morrison not only engineered and pulled the strings for the murderous McCarthy Witch Hunt Punch & Judy Show, but they also sang like canaries, back-stabbing unsuspecting colleagues over petty jealousies, coveted Floozies, or professional opportunities as the Super Duper Snitch Squad. This makes Ford's "snitches get stitches" pretense during HANGMAN'S HOUSE particularly galling. The only comforting thought to be found here is that Mr. Ford no doubt is Roasting For Real right now, like his Snidely Whiplash character in HANGMAN.

On the opposite side of the disc for 3 Bad Men, I figured it was short and I might as well cross it off my John Ford list. Not worth the time. The story here is just boring, and, though it's interesting to see Victor McLaglen in a silent role and John Wayne as an extra (this was his first film appearance, and that's probably what the film is best known for), it's one of Ford's worst. McLaglen is supposedly the star, but he's mostly a side character. The main story revolves around a love triangle. June Collyer is the daughter of a notorious judge who sentenced many people to the gallows. Her father insists she marry a rich man (Earle Foxe) to ward off his bad reputation, but she's in love with Larry Kent. McLaglen plays a mysterious figure from Foxe's past who shows up to expose his own evil history. Wayne appears as a spectator at a horse race who gets so excited he breaks the fence in front of him. I admit I fell asleep about ten minutes before the end of this one but wasn't interested enough to go back and finish it.

Hangman's House (1928) *** (out of 4) John Ford directed this melodrama about an infamous hangman judge who's on his death bed when he asks his daughter (June Collyer) not to marry the man she loves (Larry Kent) but instead marry a man (Earle Foxe) who isn't any good but carries a certain social flame. As it turns out, this man is responsible for the suicide of a woman who just happens to have a brother (Victor McLaglen) who sets out for revenge. Once again Ford perfectly captures the mood, feel and atmosphere of the Ireland settings and makes a very fast paced film. The movie is mainly melodrama but there's an added touch of what would eventually become known as Gothic Horror. The creepy house used in the film is something you'd expect to see in a Euro Horror film as it really becomes its own vital character. The visuals are great throughout and really add to the dread of the situations and the entire cast shines in their roles. Foxe makes for a great villain with Kent a likable and sympathetic character. McLaglen steals the show as the brother who will stop at nothing to get vengeance. The finale contains some great stunts with the climax clearly being the highlight of the film. There's a scene here, which Ford would later use in The Quiet Man and we also get a clear view of a young John Wayne during one scene.

Having worked as a 'grip' during his summer holidays between terms at the University of Southern California, John Wayne was given the opportunity to rub shoulders with John Ford in this film as an extra. When Wayne sustained an injury to his shoulder, Ford suggested to him to work full-time in films.