During the war for Texas independence, one man leaves the Alamo before the end (chosen by lot to help others' families) but is too late to accomplish his mission, and is branded a coward. Since he cannot now expose a gang of turncoats, he infiltrates them instead. Can he save a wagon train of refugees from Wade's Guerillas?Written by
Rod Crawford <firstname.lastname@example.org>
According to a September 1952 Hollywood Reporter news item, Glenn Ford suffered three broken ribs during production when he was thrown against a tree by a horse. Filming was suspended for approximately five weeks. See more »
The rifles shown in the film are period correct muskets. However, the sounds heard when they are fired are those of repeating rifles which were decades into future from when the film is set. See more »
Never thought I live to see the day Johnny Stroud would turn yellow.
2nd Alamo Soldier:
Who said he is?
He's runnin' out, isn't he?
3rd Alamo Soldier:
Did you ever figure it might take more nerve to leave than to stay?
4th Alamo Soldier:
The worse that can happen to you is that somebody will say you died a hero. That man's going to called a coward the rest of his life.
Then why's he leavin'?
2nd Alamo Soldier:
We drew lots. Johnny always was unlucky.
See more »
Drawing straws (or in this case beans) Texas patriot Glenn Ford is picked to leave the Alamo in order to evacuate his and his neighbor's families, only to find them all dead at the hands of marauders and himself branded a coward.
Starting with a fairly colorful, low-budget Alamo siege (shot on a sound-stage!), this is pretty compelling all the way, with an excellent, hard-boiled performance from Ford and nice direction from the great Budd Boetticher, one of the best unsung western filmmakers ever.
This is almost as good as Boetticher's later collaborations with Randolph Scott. My only problem is that this wasn't shot in widescreen.
As far as the supporting cast goes, Chill Wills is always fun to watch, while the incredibly beautiful Julie Adams is always fun to look at, and Neville Brand delivers some great, macho, swaggering villainy that easily overshadows the more subdued Victor Jory.
On the other hand, I can't quite understand the Golden Globe win by Hugh O'Brian. He's okay, but slightly bland as Ford's main accuser.
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