HELLFIRE and WAKE OF THE RED WITCH
The Film Foundation Restoration Screening Room Resource Guide for
HELLFIRE (dir. R.G. Springsteen, 1949) and
WAKE OF THE RED WITCH (dir. Edward Ludwig, 1948)
HELLFIRE and WAKE OF THE RED WITCH were presented in The Film Foundation Restoration Screening Room in June 2023 in partnership with Paramount Pictures.
Table of Contents
2) Special Features
-Republic Rediscovered Trailer
3) EXPLORE Page Materials
- The Film Foundation on Letterboxd
4) Live Screening Commentary Script
This month we are excited to present two films—R.G. Springsteen's HELLFIRE (1949) and Edward Ludwig's WAKE OF THE RED WITCH (1948)—from "Martin Scorsese Presents Republic Rediscovered: New Restorations from Paramount Pictures," which screened at The Museum of Modern Art in February and August of 2018. Organized by MoMA in association with The Film Foundation and Paramount Pictures, the films in the series provide a window into Scorsese's love for the famous B-movie studio and the ingenuity that he found in many of their pictures. Restored by Paramount, these overlooked and previously unavailable gems can finally be experienced in the best possible quality.
HELLFIRE was shot by Republic Pictures staff cinematographer Jack A. Marta in the studio's special two-color Trucolor process. The result is a dynamic orange and blue landscape, with the vibrant colors accentuating the violent but heartfelt story of a gunfighter (Republic regular Bill Elliott) who promises a dying preacher that he'll build a church. His quest to fulfill his promise leads to the infamous outlaw Doll Brown, played by "Queen of the B's" Marie Windsor, a role that she would later call her favorite of all time. Deftly directed by R.G. Springsteen, the film ebbs and flows between campy melodrama and earnest tear-jerking tragedy, resulting in one of the most unique Westerns of all time.
WAKE OF THE RED WITCH was one of "poverty row" studio Republic Pictures’ most expensive productions and also one of its most successful. The film stars John Wayne as the captain of a cargo ship in the South Pacific in 1860 who is seeking both revenge and the heart of Gail Russell's Angelique. A dreamlike movie that creatively makes use of flashbacks, director Edward Ludwig doesn't hold anything back as his characters navigate the search for sunken treasure and a giant octopus, among other adventurous things. The moody atmosphere builds to a terrifying crescendo and the film ends with an image of John Wayne that is impossible to forget.
HELLFIRE
Charlie Elliott talks about his father, Wild Bill Elliott via YouTube.
William Winckler talks about his father Robert Winckler, who starred in many Republic Westerns and worked with Wild Bill Elliott via YouTube.
Video Interview with Marie Windsor via YouTube.
WAKE OF THE RED WITCH
John Wayne Makes a Surprise Walk-On Appearance | Carson Tonight Show via YouTube
John Wayne Interview | Cinema Showcase (1976) via YouTube
HELLFIRE
Cowboys, Creatures, and Classics: The Story of Republic Pictures, Chris Enss & Howard Kazanjian, Lyons Press, 2018
Republic Confidential, Vol. 1 & Vol. 2: The Players, Jack Mathis, Jack Mathis Advertising, 1992
A Sheep in Wolf's Clothing: The Life of Marie Windsor, Denise Noe, BearManor Media, 2022
Wild Bill Elliott, Gene Blottner, McFarland & Company, 2011
THE HEROINE OR THE HORSE: Leading Ladies in Republic's Films, Thomas Burnett Swann, A. S. Barnes & Co, 1977
The Republic Chapterplays: A Complete Filmography of the Serials Released by Republic Pictures Corporation, 1934-1955, R.M. Hayes, McFarland Publishing, 1992
REPUBLIC STUDIOS: Between Poverty Row and the Majors, Richard Maurice Hurst, Scarecrow Press, 1979
WAKE OF THE RED WITCH
Cowboys, Creatures, and Classics: The Story of Republic Pictures, Chris Enss & Howard Kazanjian, Lyons Press, 2018
Republic Confidential, Vol. 1 & Vol. 2: The Players, Jack Mathis, Jack Mathis Advertising, 1992
Wake of the Red Witch, Garland Roark, Brown and Company, 1946
Duke in His Own Words: John Wayne's Life in Letters, Handwritten Notes and Never-Before-Seen Photos Curated from His Private Archive, Media Lab Books, 2015
Fallen Star: A biography of Gail Russell, Steven Glenn Ochoa, 2016
John Wayne: The Official Cocktail Book, Andre Darlington, Insight Editions, 2022
THE HEROINE OR THE HORSE: Leading Ladies in Republic's Films, Thomas Burnett Swann, A. S. Barnes & Co, 1977
The Republic Chapterplays: A Complete Filmography of the Serials Released by Republic Pictures Corporation, 1934-1955, R.M. Hayes, McFarland Publishing, 1992
REPUBLIC STUDIOS: Between Poverty Row and the Majors, Richard Maurice Hurst, Scarecrow Press, 1979
HELLFIRE
"Color Watch: Hellfire (1949)" for The Columbus Moving Picture Show
"WESTERNS IN THE CAMPER: MARIE WINDSOR IN HELLFIRE!" for Mentor's Camper
Archive of Republic Pictures Opening Logos for the Audiovisual Identity Database
"A Guide to Martin Scorsese Presents: Republic Rediscovered" for MUBI Notebook
"Interview: Gina Telaroli on Republic Rediscovered" for ScreenSlate
WAKE OF THE RED WITCH
"'Wake of the Red Witch,' With John Wayne, at the Mayfair" Original Review for the NY Times
"Martin Scorsese Presents: Republic Rediscovered, Part 2 – Golden Dreams at the Rainbow's Beginning" for MUBI Notebook
"WRECKED: WAKE OF THE RED WITCH (1948)" for (and by) R. Emmet Sweeney
Archive of Republic Pictures Opening Logos for the Audiovisual Identity Database
"Interview: Gina Telaroli on Republic Rediscovered" for ScreenSlate
The FIlm Foundation on Letterboxd
Martin Scorsese Presents: Republic Rediscovered
HELLFIRE + WAKE OF THE RED WITCH
Live Screening Commentary Script
6/12/23
Welcome to The Film Foundation Restoration Screening Room! Tonight we’re screening a double feature: HELLFIRE (1949, d. R.G. Springsteen) and WAKE OF THE RED WITCH (1948, Edward Ludwig).
You can stay with us here in the chat to learn more about the film as you watch or you can view the film full screen on-demand at 7pm.
In this chat mode the screening is live and picture controls (rewind/fast forward/pause) will not be available. If you miss anything or need to take a break, that functionality is available when watching on-demand.
Thanks for being here and we hope you enjoy our live commentary. We also encourage you to share your thoughts on the film as we go, making this a communal virtual viewing experience!
HELLFIRE
00:00:00 - 00:12:00
Brother Joseph is played by prolific character actor H.B. Warner, who was known for his religious roles, including playing Jesus in Cecil B DeMille’s THE KING OF KINGS (1927). Warner acted on screen from 1900 to his last role in 1958, which was an uncredited appearance in William A Wellman’s DARBY’S RANGERS.
During Warner’s early career, in silent cinema, he often played the lead, as he did in 1920’s ONE HOUR BEFORE DAWN, which was directed by Henry King, who also directed last month’s RSR feature, STELLA DALLAS (1925).
To learn more about Warner’s long and rich film career, be sure to visit the link to The Film Foundation’s Letterboxd account below:
https://letterboxd.com/tff/list/starring-hb-warner/
00:12:00 - 00:24:00
HELLFIRE was shot by regular Republic Pictures DP Jack A. Marta in the studio’s own unique color process called “TruColor.” Primarily used in Westerns, Trucolor was a two-color (red and blue) subtractive color process based on William Van Doren Kelley's earlier Prizma color process. Trucolor films were shot in bipack, with the two strips of film being sensitized to red and blue.
To learn more about Marta’s impressive film career, be sure to visit The Film Foundation’s Letterboxd account, linked to below:
https://letterboxd.com/tff/list/shot-by-jack-a-marta/
To learn more about Trucolor and the restoration process behind HELLFIRE, be sure to watch our interview with Andrea Kalas, available on this page.
00:24:00 - 00:36:00
The characters of Doll Brown and Mary Carson are played by actress Marie Windsor. Known as the “Queen of the B’s,” Windsor primarily acted in smaller genre films, including many others for Republic Pictures, like THE FIGHTING KENTUCKIAN (1949), THE CITY THAT NEVER SLEEPS (1953), and HELL’S HALF ACRE (1954).
Despite playing devious femme fatales, Windsor was a lifelong Mormon and politically conservative. She acted until the age of 72 and passed away from congestive heart failure less than ten years later at the age of 81. She said that HELLFIRE was her favorite film of all the ones she acted in.
To learn more about Windsor’s film career, be sure to visit the below link to The Film Foundation’s Letterboxd account:
https://letterboxd.com/tff/list/starring-marie-windsor/
00:36:00 - 00:48:00
Director R.G. Springsteen (the R stood for Robert) started out as a wardrobe assistant in the early 1920s. In the 30s he moved over to the directing team, often working as an assistant or second unit director. In the 40s he started directing his own pictures for Republic, primarily Westerns, including SINGING GUNS (1950) and many with Republic stars Allan Lane and Monte Hale.
One of his best films, a departure from his genre work, was Republic’s COME NEXT SPRING (1956) which was marketed as being similar to another Republic film, John Ford’s THE QUIET MAN (1952). In 2018, COME NEXT SPRING, along with HELLFIRE, played as part of “Martin Scorsese Presents: Republic Rediscovered,” a 30 film series that played at the Museum of Modern Art.
To get a sense of the series, be sure to check out its extended trailer, available on this page.
01:00:00 - 01:12:00
Bill Elliott (born Gordon Nance), who plays Zeb Smith, was born in Missouri on a ranch to a cattle broker. He grew up riding and roping and going to the rodeo and briefly attended Rockhurst College, a Jesuit school, before heading out to Hollywood. He started getting film work in 1925 and in 1943 he signed with Republic Pictures.
His first film with the studio was CALLING WILD BILL ELLIOTT (1943) and it would give him the name that he would be known by for the rest of his career. Elliott retired from film acting in the 1950s, as B-westerns were phased out at the smaller studios. He would go to find work as a spokesperson for Viceroy cigarettes and host a local TV show in Las Vegas in which Westerns were played.
01:12:00 - 01:24:00
Martin Scorsese on Republic Pictures and Trucolor:
“..a very important element for me of Republic Films, that’s Trucolor. It was a cheaper color process that was staggering to see projected in 35 in nitrate. Really quite beautiful, maybe not true to the actual colors but fantasized colors in a way. Unfortunately all of the prints made in Trucolor have pretty much faded, they faded quite rapidly, to magenta, but they’ve been restored.”
To learn more about Trucolor and the restoration process behind HELLFIRE, be sure to watch our interview with Andrea Kalas, available on this page.
01:24:00 - end of the film
Thank you so much for joining us for HELLFIRE and please stick around for the presentation of WAKE OF THE RED WITCH (1949, Edward Ludwig).
WAKE OF THE RED WITCH
00:00:00 - 00:12:00
WAKE OF THE RED WITCH was an incredibly important movie for its star, John Wayne. The shipping firm that his character Captain Ralls works for is called Batjak. In 1951 when Wayne started his own production company, he named it “Batjac”—his secretary misspelled the name on the corporation papers. Later in life, when Wayne would get sick with cancer, he called the disease “The Red Witch.”
Wayne got his main start acting in low-budget Westerns in the 30s and would go on to make many movies with Republic Pictures, including DARK COMMAND (1940), THREE FACES WEST (1940), SANDS OF IWO JIMA (1949), and THE QUIET MAN (1952). Wayne became so important to Republic that the head of the studio, Herbert J. Yates made sure that Wayne wasn’t able to enlist in World War II, something that would haunt the actor for the rest of his life.
00:12:00 - 00:24:00
Herbert J. Yates was the main man behind Republic Pictures and while the studio mainly produced smaller B and C genre movies, Yates did try to make a few larger prestige pictures, of which WAKE OF THE RED WITCH, based on Garland Roark’s 1946 novel, was one. Its original budget was 1.8 million dollars and was one of the largest in Republic’s history. In the end, the budget actually ended up being closer to 1 million dollars.
The island scenes in the movie were shot at Rancho Santa Anita, and the sea footage, which required a lot of work in post production, were filmed at the isthmus on Catalina Island in California.
00:24:00 - 00:36:00
Actress Adele Mara, born Adelaida Delgado, plays the character of Teleia Van Schreeven. Adele had a contract with Republic Pictures and appeared in many films from the studio, including 4 with John Wayne: THE FIGHTING SEABEES (1944), FLAME OF THE BARBARY COAST (1945), WAKE OF THE RED WITCH (1948), and SANDS OF IWO JIMA (1949).
To learn more about Mara’s film career, be sure to visit the below link to The Film Foundation’s Letterboxd account:
https://letterboxd.com/tff/list/starring-adele-mara/
00:36:00 - 00:48:00
Director Edward Ludwig was born in Ukraine (then part of the Russian Empire) in 1899. He eventually came to the US through Canada and started directing short films in 1920. He started working with Republic (and John Wayne!) in 1944 when he made THE FIGHTING SEABEES.
Other Republic titles that he worked on include THE BLAZING FOREST (1952) and FLAME OF THE ISLANDS (1955).
To learn more about Ludwig’s film career, be sure to visit the below link to The Film Foundation’s Letterboxd account:
https://letterboxd.com/tff/list/directed-by-edward-ludwig/
01:00:00 - 01:12:00
The character of Angelique Desaix is played by Gail Russell, a talented actress with a tragic story. Russell signed a contract with Paramount Pictures in 1942 when she was 18. The studio would loan her out to Republic so she could make ANGEL AND THE BADMAN, which was her first collaboration with John Wayne. Both Wayne’s wife and Russell’s husband later accused the two of having an affair.
Russell was a well-known alcoholic in Hollywood. In 1953 she was arrested for drunk driving and she would later face legal problems from other car accidents. Her drinking also gave her major health problems and in 1961, at the age of 36, she was found dead in her house, an empty vodka bottle by her side. The cause of death was liver damage.
01:12:00 - 01:24:00
In his introduction to the Republic series at MoMA, Martin Scorsese spoke about WAKE OF THE RED WITCH and its baffling and impressive structure:
“That film, another [Bertrand] Tavernier favorite, and one of mine, too, if you get to see it, just be aware that you will be immersed in a series of flashbacks within flashbacks, within flashbacks, within flashbacks…”
“…The storytelling structure is so unique, dreamlike, otherworldly, it always stands out for me and I never quite know where we are in the film because I don’t know which is the flashback anymore, I don’t know how it all started, sort of like ‘The Arabian Nights.’”
01:24:00 - 01:36:00
According to an August 24, 1948 Hollywood Reporter news item, the underwater dolly shots in the film were the first of their kind and they were taken from two separate camera pits, each accommodating a full crew.
One final piece of fun underwater trivia, from TCM:
“The rubber octopus used in this movie was later stolen by Edward D. Wood Jr. 's crew and used in BRIDE OF THE MONSTER (1955). They forgot to steal the motor that ran the tentacles though, so Bela Lugosi was forced to wrap the tentacles around him while he "fought" the beast.”
01:36:00 - end of the film
Thank you so much for joining us tonight for HELLFIRE and WAKE OF THE RED WITCH, both restored by Paramount Pictures.
Please make sure to check out the EXPLORE section on our HELLFIRE/WAKE OF THE RED WITCH landing page for more resources connected to the film and to watch the supplemental videos that are posted on the site.
We look forward to seeing you next month on Monday, July 10th for a double feature screening of Robert Siodmak’s THE KILLERS (1946) and Don Siegel’s THE KILLERS (1964)
