At a Mexican ranch, fugitive O'Malley and pursuing Sheriff Stribling agree to help rancher Breckenridge drive his herd into Texas where Stribling could legally arrest O'Malley, but Breckenridge's wife complicates things.
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>
Opening credits: The story of Texas symbolizes the spirit of independence so close to the heart of all Americans. Her people fought for Mexico's freedom from Spain and lived peacefully as a separate province until... ... General Santa Anna seized the presidency of Mexico. They were then faced with the prospect of military government or war. General Sam Houston was entrusted with the task of mapping a course of action that would determine the future of Texas .... 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 »
Carlos, I'll be back for you as soon as I can, son. I'm heading for San Jacinto. All right, Mr. Gage, let's get these wagons rolling.
You heard what the man said. Let's get these wagons rolling!
He'll come back, Miss Beth.
I hope so, Carlos.
So do I - for both of us.
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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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