IMDb > San Antonio (1945)
San Antonio
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San Antonio (1945) More at IMDbPro »

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Overview

User Rating:
6.3/10   842 votes »
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Down 23% in popularity this week. See why on IMDbPro.
Director:
Writers:
Alan Le May (screenplay) and
W.R. Burnett (screenplay)
Contact:
View company contact information for San Antonio on IMDbPro.
Release Date:
29 December 1945 (USA) See more »
Genre:
Tagline:
Strong Men . . . Brave Men . . . Real Americans - and their Women! See more »
Plot:
Tough dance hall girl working for the local villain falls for a cowboy trying to clean up the town. Full summary » | Add synopsis »
Plot Keywords:
Awards:
Nominated for 2 Oscars. See more »
User Reviews:
Atmospheric Warner Brothers Western A Treat For The Eye And The Ear See more (26 total) »

Cast

  (in credits order) (verified as complete)

Errol Flynn ... Clay Hardin

Alexis Smith ... Jeanne Starr

S.Z. Sakall ... Sacha Bozic (as S.Z. 'Cuddles' Sakall)
Victor Francen ... Legare
Florence Bates ... Henrietta

John Litel ... Charlie Bell
Paul Kelly ... Roy Stuart
Robert Shayne ... Captain Morgan
John Alvin ... Pony Smith
Monte Blue ... Cleve Andrews
Robert Barrat ... Colonel Johnson
Pedro de Cordoba ... Ricardo Torreon (as Pedro De Cordoba)
Tom Tyler ... Lafe McWilliams
rest of cast listed alphabetically:
Eddie Acuff ... Gawking Townsman (uncredited)
Victor Adamson ... Barfly (uncredited)
Bob Burns ... Townsman at Dance / Barfly (uncredited)
Lane Chandler ... Cowboy (uncredited)
Wallis Clark ... Tip Brice (uncredited)
John Compton ... Cowboy (uncredited)
Zedra Conde ... Girl Bathing (uncredited)
Tex Cooper ... Barfly (uncredited)
Harry Cording ... Hawker (uncredited)
Victor Cox ... Man in Stage Office / Barfly / San Antonio Townsman (uncredited)
Walter De Palma ... Cowboy (uncredited)
Joe Dominguez ... Laredo Border Guard (uncredited)
Robert Dudley ... The Telegrapher (uncredited)
James Flavin ... Streeter - Cattleman (uncredited)
Francis Ford ... Old Cowboy Greeting Coach (uncredited)
William Gould ... Wild Cowman (uncredited)
Henry Hall ... Cattleman (uncredited)
Poodles Hanneford ... Stage Coach Driver (uncredited)
Carl Harbaugh ... Cowman (uncredited)
Neal Hart ... Bella Union Gambler (uncredited)
Al Hill ... Hap Winters (uncredited)
Howard Hill ... Henchman (uncredited)
Brandon Hurst ... Gambler (uncredited)
Si Jenks ... Station Boss (uncredited)
Fred Kelsey ... Bartender (uncredited)
Jack Kenny ... Townsman (uncredited)
Arnold Kent ... Specialty Dancer (uncredited)
Brad King ... Cowboy (uncredited)
Dolores Lamar ... Girl Tying Flowers (uncredited)
Cliff Lyons ... Gunman (uncredited)
Chris-Pin Martin ... Hymie Rosas (uncredited)
Merrill McCormick ... Townsman (uncredited)
Don McGuire ... Cowboy (uncredited)
John Miles ... Cowboy (uncredited)
Art Mix ... Townsman (uncredited)
Kansas Moehring ... Barfly (uncredited)
Jack Mower ... Wild Cowman (uncredited)
Otto Norman Olsen ... Violin Player (uncredited)
Artie Ortego ... Barfly (uncredited)
Paul Panzer ... Laredo Citizen (uncredited)
'Snub' Pollard ... Dance Extra (uncredited)
Eva Puig ... Old Mexican Woman (uncredited)
Harry Semels ... Mexican (uncredited)
Dan Seymour ... Laredo Border Guard (uncredited)
Harry Seymour ... Bartender (uncredited)
Allen E. Smith ... Henchman (uncredited)
Tom Smith ... Soldier (uncredited)
Ray Spiker ... Rebel White (uncredited)
William Steele ... Roper (uncredited)
Charles Stevens ... Sojer Harris (uncredited)
Jack Stroll ... Bartender (uncredited)
Hal Taliaferro ... Cowboy (uncredited)
Eddy Waller ... Cattleman (uncredited)

Doodles Weaver ... Entertainer (uncredited)

Dan White ... Joey Simms (uncredited)
Blackie Whiteford ... Shotgun (uncredited)
Chalky Williams ... Poker Player (uncredited)
Norman Willis ... Jay Witherspoon (uncredited)
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Directed by
David Butler 
Robert Florey (uncredited)
Raoul Walsh (uncredited)
 
Writing credits
Alan Le May (screenplay) (as Alan LeMay) and
W.R. Burnett (screenplay)

Produced by
Robert Buckner .... producer
Jack L. Warner .... executive producer
 
Original Music by
Max Steiner 
Erich Wolfgang Korngold (uncredited)
 
Cinematography by
Bert Glennon (director of photography)
William V. Skall (director of photography) (uncredited)
 
Film Editing by
Irene Morra 
 
Art Direction by
Ted Smith 
Bertram Tuttle (supervising art director) (uncredited)
 
Set Decoration by
Jack McConaghy 
 
Makeup Department
Perc Westmore .... makeup artist
 
Sound Department
Everett Alton Brown .... sound (as Everett A. Brown)
Gordon M. Davis .... re-recording and effects mixer (uncredited)
Charles David Forrest .... sound (uncredited)
E. Kenneth Martin .... re-recording and effects mixer (uncredited)
 
Special Effects by
Willard Van Enger .... special effects
William C. McGann .... special effects (uncredited)
 
Visual Effects by
Paul Detlefsen .... matte paintings (uncredited)
Mario Larrinaga .... matte paintings (uncredited)
 
Stunts
Cliff Lyons .... stunt double: Errol Flynn (uncredited)
Allen Pomeroy .... stunt coordinator (uncredited)
Ray Spiker .... stunts (uncredited)
Buster Wiles .... stunt double: Errol Flynn (uncredited)
 
Costume and Wardrobe Department
Milo Anderson .... wardrobe
Eugene Joseff .... costume jeweller (uncredited)
 
Music Department
Leo F. Forbstein .... musical director
Hugo Friedhofer .... orchestrator
 
Other crew
Frederick De Cordova .... dialogue director
Leonard Doss .... associate technicolor color director
Natalie Kalmus .... technicolor color director
LeRoy Prinz .... choreographer (uncredited)
 
Crew believed to be complete


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Additional Details

Also Known As:
Runtime:
109 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (RCA Sound System)
Certification:
Australia:G | Australia:PG (TV rating) | Canada:PG (Ontario) | Finland:S | Sweden:15 | USA:Approved (certificate #10624) | West Germany:16

Did You Know?

Trivia:
The song "Some Sunday Morning", written for this movie, went on to be hit records for numerous singers of the 1940s including Frank Sinatra, Helen Forrest and Dick Haymes.See more »
Goofs:
Errors made by characters (possibly deliberate errors by the filmmakers): As he lies dead in Flynn's arms, John Litel blinks at least twice.See more »
Quotes:
Jeanne Starr:This town looks as if it's full of men who step on baby chickens.See more »
Movie Connections:
Featured in The Man Behind the Gun (1953)See more »
Soundtrack:
Put Your Little Foot Right OutSee more »

FAQ

This FAQ is empty. Add the first question.
2 out of 2 people found the following review useful.
Atmospheric Warner Brothers Western A Treat For The Eye And The Ear, 24 June 2011
Author: oldblackandwhite from North Texas sticks (see all my reviews)

San Antonio, released in the very last days of 1945, was Warner Brothers' New Year gift to a war weary public. Demobilized GI's had made it clear in opinion polls and and at the box office they did not want to see any more military movies for a while. Would they like a Technicolor western with top stars, A-1 production values, lots of action, dancing girls, songs, and quality traditional music. They did indeed. San Antonio was a smash box office hit, and it still holds up today. This sturdy, sumptuously produced Errol Flynn oater just gets better and better with each subsequent viewing.

And no wonder. Warners pulled out all the stops when they made this one. Both the color cinematography, photographed by Bert Glennon and overseen by Technicolor Corporation's top adviser Natalie Kalmus (see my review of California for remarks on this little-known but important figure), and the Accademy Award nominated set decoration are as plush and impressive as any to be seen this side of Gone With The Wind. The exterior sets are as good as the lavish interiors. Instead of just using the standard western town set, Warners made it look like old San Antonio with sandstone building fronts, a plaza crowded with Hispanic peddlers carts and booths, and even a mock-up of the Alamo ruin the way it was before its 20th century restoration. This movie is a visual treat, but an auditory one, too. A robust score by top Hollywood composer Max Steiner punctuates every dramatic moment. His pulsating score is complemented by an almost continuous steam of musical numbers produced by the bands and and singers in the saloons and dance halls, in and around which most of the action takes place. The song "Some Sunday Morning" garnered another Accademy Award nomination for San Antonio.

Flynn and hot new leading lady Alexis Smith shine at the top of the cast with solid support from ever-reliable John Litel and the delightfully funny tandem of Cuddles Sakall and Florence Bates. Formidable villainy is provided by the hard, cold menace of Paul Kelly and the urbane sliminess of Victor Francen. Throw in hundreds of extras, a Dickensesque richness of detail and minor characterization, period stage coaches, a chorus line of handsomely buxom dancing girls, a sonorous male quartet, hundreds of rounds of blank ammunition expended (mostly in the same scene), and you have one of the most extravagant, richly atmospheric, and fun westerns ever put on film.

Though the story is somewhat standard, the script is very tight with colorful, sharp dialog. Not surprisingly, since it was provided by two of the top western screenwriters, W. R. Burnett (Arrowhead, Colorado Territory) and Alan Le May (The Searchers, The Unforgiven) Since Burnett was actually better known for his crime stories (Little Ceaser, The Asphalt Jungle, High Siera), it may not be just trendiness that San Antonio seems to be stylistically influenced by noir, crime thrillers popular in 1940's. While the two villains, Kelly and Francen, are partners in large-scale criminal activities, each will cut the other's throat at first chance, not unlike the ruthless bootleggers of the prohibition era. Much of Steiner's scoring of the action-suspense sequences seems to have been lifted from his score for classic noir The Big Sleep, filmed in 1944 but not released until l946. All the shootouts occur at night, including the climatic gunfight, involving hundreds, eventually destroying a saloon, spilling out into the street with runaway horses smashing peddlers' booths, and winding up in a three-cornered showdown in the Alamo ruins. This sequence is so bone-rattling violent, lengthy, and noisy, it seems to have more in common with one of Warners' rat-a-tat-tat gangster movies than with standard western action. All done with the fluid editing and smooth style typical of big studio pictures from this era. Director David Butler, more frequently seen on the musical comedy sound stage than in the wide-open spaces, and producer Robert Buckner deserve kudos for guiding this sprawling, complex production to such artistic and financial success.

Dashing Errol Flynn, beautiful, elegant Alexis Smith, lavish production, gorgeous three-strip Technicolor, titillating music, thrilling action -- what more could you ask? San Antonio is top notch western entertainment from Old Hollywood's golden years.

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See more (26 total) »

Message Boards

Discuss this movie with other users on IMDb message board for San Antonio (1945)
Recent Posts (updated daily)User
Costuming hankpac
Where were Guinn Williams + Allan Hale? barjo4
Words spoken in song 'Some Sunday Morning' mcbsebho
Crazy stunts + 15min chase scene scheelj1
The cat scene 398
song mrmrsc-1
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