Film lovers are familiar with the Republic Pictures logo — an impossibly gigantic eagle perched on a mountain — from seeing it at the beginning of such significant works as John Ford’s The Quiet Man (1952) or Nicholas Ray’s Johnny Guitar (1954) (…) The specialty of the label was Westerns (…) One example of Republic’s cost-consciousness is my favorite of the on-view films I’ve seen: Hellfire, a 1949 Western directed by studio workhorse R.G. Springsteen. It’s shot in color, but nearly everyone is dressed in some variation of blue, and every part of the landscape seems brown, umber, and orange. Behold the fruit of Republic’s reluctance to pay Technicolor’s high fees — Trucolor, the studio’s in-house color process, here in its two-strip form. As carefully restored, Hellfire’s two-color Trucolor palette lends a dreamy, fable-like quality to this tale (..) Doll Brown, a gun-slinging outlaw [is] played by Marie Windsor in full Calamity Jane drag, and the movie [is] firmly on her side. It’s a bigger, fuller role than the splendid Windsor usually got, and her blue eyes photograph gorgeously in Trucolor (…) — Farran Smith Nehme, 2018.