NR | 2h 42m | Adventure, Drama, History | 1960
I’ve always been a big appreciator of legendary American actor, director, and producer John “The Duke” Wayne (born Marion Robert Morrison). Although his acting range wasn’t that wide, his star power was undeniable. One of the things that was most impressive about Wayne was how his rise to fame encapsulated the good, old-fashioned American values of self-reliance and perseverance.
While Wayne is probably best remembered as an actor, he directed five films as well, including “The Alamo” (1960), “The Comancheros” (1961), and “The Green Berets” (1968). Out of this quintuplet of movies, perhaps the most grand-scale endeavor was “The Alamo,” which depicted the epic battle between a vastly outnumbered force of Texans and a large contingent of the Mexican army.
The film’s opening text gives some historical context to the proceedings, with a timeless (and timely) reminder about the dangers of tyranny: “In the year of our Lord, 1836, Texas, which has known many flags, was then under the colours of Mexico. Though its inhabitants were made up of settlers from far countries and all parts of the United States, they were Mexican citizens all. Generalissimo Santa Anna was sweeping north across Mexico toward them, crushing all who opposed his tyrannical rule. Now they faced the decision that all men in all times must face … the eternal choice of men … to endure oppression or resist.”
As the first act begins, we see a contingent of men led by Gen. Sam Houston (Richard Boone), riding across dust-strewn desert plains toward the (at the time) small settlement of San Antonio, Texas.
Houston is there to discuss battle plans with Cols. William Barret Travis (Laurence Harvey) and Jim Bowie (Richard Widmark), and Capts. Almeron Dickinson (Ken Curtis) and James Bonham (played by one of John Wayne’s sons, Patrick Wayne). However, Bowie is noticeably absent. It is explained to Houston that Bowie recently got so drunk that he is “indisposed.”
The gruff, square-jawed general is concerned that the nearby Spanish mission and fortress known as the Alamo is undermanned and in no shape to defend the area against Gen. Santa Anna, who is approaching the region with thousands of seasoned Mexican soldiers.
Houston, who has been given command of the armies of Texas (and hence, the Alamo), states: “But the fly in the buttermilk is there ain’t no armies in Texas—few good friends, some willing men. I’m gonna have to knock some of those men into an army and to do that I need time.” Just before departing, Houston privately tells Travis that although he doesn’t care for him, he trusts the colonel to defend Texas against the Mexican army.
In a rather humorous scene, after Houston departs from San Antonio, Bowie’s servant Jethro (Jester Hairston) goes to rouse his master from his slumbers—but Bowie’s colossal hangover makes that endeavor a challenging one.
Travis travels to the Alamo, which has been battered by a recent conflict. He’s been tasked with repairing the fortress mission so that it can be used to defend against the rapidly encroaching Mexican forces.
When Bowie later arrives with his men to assist Travis’s efforts, the former chides him for his laissez-faire attitude, most recently evidenced by his drunkenness. It becomes quite obvious that the two men can’t stand each other—Travis being a rules-and-regulations soldier while Bowie is quite the opposite.
Col. Davy Crockett (John Wayne) arrives on the scene with a gaggle of rugged men wearing fur hats, including Parson (Hank Worden) and Smitty (Frankie Avalon). The men are a volunteer force that has traveled all the way from Tennessee to assist in the defense of the Alamo.
The raucous Tennesseans make a beeline for the Alamo’s recently repaired cantina and proceed to engage in all manner of debauchery, which includes rather crude interactions with women and lots of boozes-swilling.
While enjoying the festivities, Crockett meets Travis for the first time. Crockett is yet another man who doesn’t get along with Travis because of the latter’s chilly demeanor. However, Crockett’s infectious charm eventually begins to thaw out Travis’s icy countenance.
Crockett steps outside and is immediately smitten by a pretty Mexican local, Flaca (Linda Cristal), but soon discovers that she’s being courted by the ill-tempered man Emil Sande (Wesley Lau). Thus begins a rivalry between the two men for her attention. When Sande sends a gang of his men after Crockett, Bowie suddenly shows up to help Crockett fight them off and the two men quickly become buddies.
The rest of the film details the men’s efforts to build up the Alamo’s defenses and their eventual (and now legendary) battle against the vast forces of Gen. Santa Anna.
One of the things I enjoy about this film is how effectively it emphasizes the importance of standing up against tyranny. It also details the events that led up to the formation of the Republic of Texas in 1836, which resulted in its status as a sovereign state. The patriotism on display (especially on the part of Wayne’s Davy Crockett) is refreshing, especially in these tumultuous current times. Also, the acting on display here is exceptional, which isn’t much of a surprise given the movie’s star-studded cast.
Once Santa Anna shows up and the battle begins, there are some pretty epic action set pieces to behold, as the underdog Texans try in vain to hold out against astronomically unfair odds. There are plenty of rifles firing, men yelling, troops rushing around, and cannons blowing up stuff—so action fans won’t be disappointed once things become kinetic.
“The Alamo” reminds us that borders exist for a reason. It shows us that drawing a line in the sand is sometimes all that separates the forces of freedom from undesirable elements that are diametrically opposed to what the United States stands for.
