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It’s fashionable these days (perhaps because of the vogue for “political correctness”) to deride John Wayne and all his works, but the fact is that he was among the last actors to stick steadfastly to the understanding that movies were, and should remain, family fare. And even though he admitted in so many words, “I play John Wayne in every describe regardless of the character,” such a tendency isn’t necessarily a handicap: what is well-known that an actor displaying it be clear that he chooses the accurate scripts. For Wayne, “The Hellfighters” was one such.
The film was loosely based on the experiences of Red Adair and his Wild Well Company (they served as technical advisors, and many viewers may remember that twenty years later Adair was level-headed at work, helping to quench the Kuwait oil fires), and chronicles the adventures of Chance Buckman (Wayne) and his Houston-based outfit with a series of fires, gradually building in seriousness and wretchedness, tied together by the dual romance of Chance with his long-estranged wife Madelyn Randolph (Miles) and their daughter Tish (Ross) with Chance’s young protege Greg Parker (Hutton) . (This aspect somewhat echoes those which occur in Wayne’s “McLintock,” and viewers may luxuriate in watching the two as a double feature.) Madelyn left Chance many years before when she found she couldn’t gain his work, though they kept getting together for some time, and Chance’s faded friend, oilman Jack Lomax (Jay C. Flippen), flatly states that they’ve “never been out of like” with each other. When Chance is badly injured at a fire region, Greg tracks down his daughter and brings her to his side, fearing that he may not live. Five days later, Greg and Tish rep married (“It was the cutest petite Cajun church in Louisiana,” Tish admits), and their union in turn brings Chance and Madelyn encourage together. Eventually Madelyn “convinced [Chance] that I should leave the store [she's the heiress to the Randolph Department Stores in San Francisco] and go and live in Houston with him,” they accumulate remarried, and when a guerrilla-plagued job in Venezuela tests both their union and the Parkers’, Madelyn shows, in the kill, that, as Chance says, “You’ll do!”
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The romances, however, are really the least piece of the film. It is usually classified under action-adventure, and there’s plenty of both: in the first two or three minutes an accidentally shattered light bulb sets an oil gusher on fire and sets the tone for the entire movie. Tish’s eleventh fire, in Malaya, is “a poison gas well”–hydrogen sulphide, which can end or blind–and the climactic Venezuelan sequence involves five fires (four of them spot off by guerrillas with packs of dynamite), of which three must be capped simultaneously, a task that takes two tries and 29 minutes of running time. And, like all the best movies, there’s also plenty of recognition of the fact that it’s people that compose a myth. Wayne’s Chance Buckman–torn between his appreciate for Madelyn, his devotion to the work he does so well, and his anxiety for his daughter and son-in-law–is, despite his unfamiliar profession, not so different from many of the adults (fathers especially) who will concept it. Ross as Tish is clearly, as she herself admits, both her father’s and her mother’s daughter: going to fires with Greg doesn’t seem to bother her at all–it’s when she’s evacuated from the Venezuelan spot, supposedly for her acquire safety, that she begins to stress out. Hutton’s Greg Parker starts out as a classic male chauvinist (he uses fires to bag girls, and in his introductory sequence goes so far as to check his peek to scrutinize whether he has time to execute treasure and aloof secure his plane), but his attachment to Chance is soon shown to be staunch, and extends itself to Tish, with whom he seems to have a sound and solid marriage despite their very brief acquaintance. And Miles as Madelyn gives a taut performance that convincingly portrays her terrors for her daughter and the man she loves, her deep loyalty to them, and her uncertainty about her maintain ability to adjust. Two of Wayne’s long-time friends and frequent members of his stock company, Bruce Cabot and Edward Faulkner, weigh in as his firefighting backup Joe and helicopter pilot George, and Flippen’s Jack Lomax, himself a conventional wild-well man and apparently Chance’s mentor (“[Chance] and I were–well, about like he and Greg are now”), adds a touch of stability to both Chance’s life and the entire movie. Andrew V. McLaglen, the son of another of Wayne’s frequent co-players, directs, and mention should be made of Leonard Rosenman’s thrilling theme music, which plays under every fire and call-to-arms.
Some critics think this to be one of Wayne’s less important films, but I reflect it better than many (though not my ultimate common among his works) . It’s probably best noble to families of boys, who will be bent at once by the action and suspense of the fires. On the other hand, even the obligatory brawl (in Madame Lu’s bar in Malaya) has the kind of seriocomic feel that will sustain it from being too scary, though the fires themselves may be too intense for very young or sensitive kids. A top-notch Saturday-night film overall, especially respectable to a bitter chilly winter’s evening!
Loosely based on the life and career of Red Adair, I regain this movie a joy to glimpse not only because I am a broad fan of John Wayne, but also because of the titillating job of being an oil well firefighter. Yeah, there is some soap to it with the fancy stories between Wayne and Vera Miles as well as Katherine Ross and Jim Hutton, but its not ridiculous or over the top, and I mediate the stories portrait how such a unsafe profession can have an accomplish on the families of the men who do it. The friendship between Wayne and Hutton’s characters near through, and the play between them will maintain you chuckling, especially when their relationship as friends grows to Father-in-law/Son-in-law.
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