HEROES OF THE ALAMO (1937, Directed by Harry L. Fraser, starring Lane Chandler, Rex Lease and Roger Williams) Available from Woody Wise at Discount Video Tapes at www.hollywoodsattic.com.

While this film has many trappings of a mediocre B Western, it fills in a few of the gaps in the Alamo story as far as dramatic presentation goes. Beginning in 1833, we see some American settlers being turned away at the Texas border, as Santa Anna implements his new immigration restrictions. Shortly thereafter we see Stephen F. Austin meeting with a group of concerned civic leaders. In agreement that the Constitution of 1824 guaranteed all settlers certain liberties and privileges, Austin takes it upon himself to take the citizens’ cause straight to Mexico City and petition Santa Anna.

Austin’s eventual interview with the President is shown in detail and of course ends with his imprisonment. It is a segment of the Alamo story that is crucial to understand in light of the desperate measures it forced the Texicans to take.

At the other extreme, some cloying domestic scenes rather strain the viewer’s patience as we see Captain Dickinson and his wife being very lovey-dovey in a ‘30s sort of way. Mrs. Dickinson is especially saccharine and while the attempt at character development is appreciated, she is one character who here, at least, should’ve remained in the background!

Troop movements and battle scenes are lifted from one of the earlier silent versions of the story, resulting in a slightly sped up quality to the action, as some silent films were shot at slower shutter speeds. The advancing Mexican army tends to look rather effeminate as they ‘swish’ into battle formation, rather than walk, their white trousers contrasting sharply with their dark coats.

Some of the photography appears insufficiently lit, though this could be due to the worn print available to us today. However I suspect it was due to lapses in technical efficiency as the closer shots are brighter and better balanced.

Still, it’s pretty hard to ruin the Alamo story with all its inherent heroism and action. There is enough new footage combined with the borrowed siege footage to make for a reasonably satisfying film. Captain Dickinson’s farewell to his wife during the final battle is shown and is interesting if only because it apparently happened that when Dickinson saw that the situation was hopeless, he ran inside the chapel to where his wife was hiding to say farewell and implore her to save their child. It doesn’t quite happen like that here, but it is another nod in the direction of an eye witness account.

Mrs. Dickinson, for some strange reason, later abandons her baby long enough to wander around the chapel where she says another good-bye to her dying husband. She is then caught by the Mexicans. A wounded Davy Crockett is clubbed to death and a triumphant Santa Anna (played by a real Mexican actor, unlike the conventions of the day) rides pompously into the Alamo to observe the carnage.

The last scene shows Mrs. Dickinson with Sam Houston, giving a rousing speech to end the film and attributing the phrase ‘Remember the Alamo’ to her!

HEROES OF THE ALAMO is an uneven film. There’s a distracting scene the night before the slaughter of the garrison where the defenders sit around a campfire singing THE YELLOW ROSE OF TEXAS. While the men of the Alamo apparently did sometimes sing at night (between bombardments and when Crockett was not playing his fiddle to raise their spirits) I doubt it had the look and feel of a Gene Autry ranch party!

There are enough historical sign posts along the way to keep the story on track and HEROES OF THE ALAMO, although not the best telling of the tale by far, is worth a look for Alamo completionists.

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THE ALAMO: SHRINE OF TEXAS LIBERTY (AKA: THE FALL OF THE ALAMO, 1938, Directed by Stuart Paton) Available from Amazon.com

This film is fascinating as it substituted Mission San Jose, one of the five San Antonio missions built around the same time as the Alamo, as the actual Alamo itself. Intended as an educational tool, this modest film presents some intriguing episodes in the battle based on eyewitness accounts (such as the survival of five defenders who were summarily executed after being brought to Santa Anna).

For almost sixty years THE ALAMO: SHRINE OF TEXAS LIBERTY was thought lost. Then in 1999 a pristine print of the film was discovered and made available on video, along with an explanatory documentary called THE ALAMO: SHRINE OF TEXAS LIBERTY: LOST AND FOUND written and narrated by Alamo scholar Frank Thompson. This great little doc puts this meagre Alamo film in perspective, allowing the viewer to appreciate certain aspects of the production, such as the fact that it was made on a miniscule budget with local extras culled from the employment office and paid two dollars a day for their efforts. Mission San Jose is actually an effective stand-in for the real Alamo as its stone work gives an authentic look to the production, even though it bears little design resemblance to the actual Alamo. The film’s lasting value is that it provides insight into two periods of Texas history at once, 1836 and 1938.

A lame narration accompanies the film, but taken for what it is-- a low budget educational resource tool-- THE ALAMO: SHRINE OF TEXAS LIBERTY is interesting. At barely twenty minutes it is not too long a slog to sit through. The above-mentioned documentary, plus a short Alamo cartoon puts the total running time of this tape at a mere 45 minutes.

As such, this is a worthy addition to anyone’s Alamo library. Just don’t expect too much and you will be pleasantly surprised.

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MAN OF CONQUEST (1939, Directed by George Nichols, Jr., starring Richard Dix, previously reviewed) Available exclusively from Comet Video.

Anyone interested in films about or featuring the Alamo will have this extremely rare film high on their list.

I’d waited years to see this film. Anytime one anticipates years to see a film there is always the danger of disappointment but let me assure you, MAN OF CONQUEST does not disappoint—it delivers!

Richard Dix isn’t too well known an actor today. He’s perhaps best remembered as the star of the Academy Award-winning film CIMARRON. Dix was stage trained, he had a terrific acting technique and he is very believable as Sam Houston.

MAN OF CONQUEST is Houston’s story from his failed first marriage, his time living with the Cherokee Indians, his father-son relationship with President Andrew Jackson and right up to and past the battle of San Jacinto, where the famous cry ‘Remember the Alamo!’ was first heard.

Despite some ridiculous historical inaccuracies such as Houston arriving on Texas soil just in time to help Davy Crockett and Jim Bowie (plus a few beleaguered others) defend a cabin against an Indian attack, this film is a sweeping epic, replete with stirring montage sequences (including the first part of the Alamo siege) and a spectacularly staged clash at San Jacinto. The actual fall of the Alamo is shown quickly, but with sufficient attention paid to the deaths of Crockett and Bowie. Given that this is not the main thrust of the story, the time allotted is acceptable to still register an impact.

MAN OF CONQUEST was the most expensive Republic Studios production at that time and it looks it. While it is a prime example of 1930s filmmaking in its style (such as the montages) pace and performances, it nonetheless remains highly watchable. It is extremely entertaining and passionately patriotic, as it was timed to inspire viewers who were conscious of war raging in Europe, prior to America’s participation.

It has been suggested that because Republic had already produced this Alamo-related film, studio head Herb Yates was less than enthused about John Wayne’s desire to produce another Alamo film. We’ll never know for sure.

If you enjoy Westerns or historical biographies, and especially if you relish Alamo-related stories, MAN OF CONQUEST is a must-have.

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THE MAN FROM THE ALAMO (1953, Directed by Budd Boetticher, starring Glenn Ford) Available from most video outlets.

Budd Boetticher is best known for his classic Westerns in collaboration with Randolph Scott. Together they turned out seven films, six of which are highly regarded. Boetticher was a great director of action dramas, infusing them with strong, masculine images and a firm grasp of his recurring theme of one man with a mission, alone against great odds.

This film begins with the Alamo siege, which immediately distinguishes it from other Alamo films. The depiction of the fort and the portions of battle scenes that we see are quite exciting, if not historically accurate.

Most Alamo fans know that when Travis realized the Alamo’s impending fate and drew the famous line on the ground (either literally or metaphorically), one man chose not to cross the line to stay and fight. That man was Louis ‘Moses’ Rose, veteran of Napoleon’s army, who fought bravely in Europe and in Texas, his adopted home. He survived the invasion of Russia and the French army’s subsequent, disastrous retreat. When given the choice by his commanding officer, Rose chose to try to survive the disaster of the Alamo. His night-time escape was daring and highly perilous. It took great fortitude and courage. Rose was not a coward.

Loosely adapting the premise of Rose’s decision to leave, THE MAN FROM THE ALAMO creates a scenario whereby a small group of Alamo defenders decide that one of their number must escape to round up and protect their families back on their respective ranches. The men pick beans from a hat. All but one are white. The black bean indicates who must leave, without informing the rest of the garrison why.

Glenn Ford, one of the brightest and most under-rated Hollywood stars ever, plays John Stroud, the character modeled after Louis Rose. He displays great courage during a Mexican bombardment, climbing the main wall of the fort to replace the defenders’ fallen flag, thus establishing himself as a patriotic and courageous Texan. It is with this act of heroism firmly in mind that the audience shares Ford’s frustration as he subsequently finds himself labeled a coward.

Returning home to find his family slaughtered by marauders, Ford learns from a young Mexican boy who survived the raid that the perpetrators were renegades comprised of both Americans and Mexicans—their nationality is irrelevant. Ford takes the boy to the nearest town with the intention of seeing him cared for before intending to ride back to the Alamo but learns from the panicking townsfolk that the siege is already over. The last courier out from the Alamo (Hugh O’Brien), who witnessed Ford’s apparent desertion, discovers Ford’s presence and slanders him before the townspeople.

Ford displays that annoying characteristic of all classic leading men; the refusal to explain his situation unless asked specific questions. Partly due to his own stubbornness, he finds himself in a whole lot of trouble before things turn out right in the end.

The rest of the story is irrelevant as far as Alamo movies go. The one jarring aspect of this film is that although everyone uses single shot rifles, many carry six shot Remington pistols, which were not yet invented! This ill-considered choice undermines the film’s effectiveness for today’s more informed audiences, but a strong central performance keeps this exciting film fresh and enjoyable.

Despite historical inaccuracies, THE MAN FROM THE ALAMO is an imaginative application of the Alamo story. Glenn Ford, excellent as always, plays a stalwart hero and conveys strength, vulnerability, integrity and courage with complete conviction. Even in what is essentially a formula picture (after the Alamo elements are dispensed with) Ford is always interesting and appealing, especially under the sure hand of director Boetticher.

A must-have, not for the light shed on the Alamo siege, but the simple fact that it is a thrilling adventure story.

Jon Ted Wynne