I don't have all the words right now but this film is a work of art.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

The film may be flawed, but its message is not.

. . . 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.

This early John Ford film is set in one of his favorite locales--Ireland. And, in so many ways, it looks like a Ford film--the dress, the scenery, the pacing and the loving and idyllic way it portrays the Old Country.Oddly enough, the film is highly reminiscent of the later award winning Ford film, THE INFORMER, though this time Victor McLaglen plays a brave hero and Earle Foxe plays the coward. And, also rather odd, is that there are really two male heroes in the film--as Victor is befriended by Larry Kent. Both men hate the man played by Foxe and the movie is a long buildup until the final ultimate showdown. The actual demise of this horrid man is handled very well, as it is now as you would normally expect! For a silent film, this is a well directed and acted film (without over-dramatics like some silents). Not great, but certainly one of the better examples of the era.By the way, thank you to the perceptive reviewers who noticed John Wayne as an extra at the race scene. He is clearly visible but you've really gotta look close and pay attention!

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.