The Alamo 1960 123movies

Watch: The Alamo 1960 123movies, Full Movie Online – In 1836, General Santa Anna and the Mexican Army is sweeping across Texas. To be able to stop him, General Sam Houston needs time to get his main force into shape. To buy that time he orders Colonel William Travis to defend a small mission on the Mexicans’ route at all costs. Travis’ small troop is swelled by groups accompanying Jim Bowie and Davy Crockett, but as the situation becomes ever more desperate Travis makes it clear there will be no shame if they leave while they can..
Plot: The legendary true story of a small band of soldiers who sacrificed their lives in hopeless combat against a massive army in order to prevent a tyrant from smashing the new Republic of Texas.
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Ratings:

	6.8/10 Votes: 16,234
	52% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 281 Popularity: 16.709 | TMDB

Reviews:

John Wayne’s Massive Tribute to Texas Terrific!
Viewed as history, John Wayne’s epic production of ‘The Alamo’ is as full of holes as Swiss Cheese (the final battle actually lasted less than an hour, in the pre-dawn darkness of March 6, 1836; current scholarly consensus is that the historical Crockett attempted to surrender, at the end of the furious onslaught, but was executed), but just as Wayne mentor John Ford never let ‘the facts’ interfere with a good story, first-time director Wayne wanted to tell a tale of larger-than-life heroes, taking a stand for what was right, and being willing to die for that cause. It was a firm belief in these truths that pushed Wayne into investing over ten years of his life, and much of his personal fortune, in telling this story, and ‘The Alamo’ was, and is, a triumph.

The film can really be broken into two distinct parts; the first part introduces the characters, providing insights into their personalities, and tells a melodramatic tale of a beautiful woman (the radiant Linda Cristal), being forced into an unwilling relationship with an evil, profiteering Texan, who is rescued by the plain-spoken and heroic Davy Crockett, as portrayed by Wayne. The story bears similarities to ‘The Fighting Kentuckian’, a Wayne vehicle of twelve years earlier. In this version, however, Wayne doesn’t ‘win’ the girl, but gives her a rather preachy speech about patriotism, and doing what’s right, and sends her on her way.

Despite a terrific fight scene between a bunch of the Texan’s henchmen, and Crockett and Jim Bowie (portrayed with easy charm by Richard Widmark), this first part drags, a bit, and seems contrived to allow Wayne to air his political beliefs. Bear with it, though, because when the action moves to the mission/fortress of the Alamo, for the second half of the film, Wayne’s talents as a director truly shine.

The story of the 13-day siege between the Alamo’s 187 defenders, and General Santa Anna’s 6,000-man army, has NEVER been told on a grander scale than in the John Wayne version, and the uncut edition of the film is presented in a wide-screen format, which allows the viewer to really share Wayne’s vision. With a nod to the fact that the Mexico of today is a staunch ally (several characters make a point of saying how ‘proud’ they are of the Mexicans, even as the two forces are killing each other!), the story flows between exciting ‘victories’ (stealing the cattle, spiking the Mexican cannons), and an understanding of the inevitable conclusion (defined by Lawrence Harvey, as Travis, in the memorable ‘sword in the sand’ scene). Harvey’s Travis is the best-realized of the film’s many characters; he brings a humanity to the complex, driven commander, growing from someone insensitive to others, into a leader who earns everyone’s respect.

Wayne used thousands of Mexicans as extras in the film, which gives the viewer a far greater sense of the magnitude of the siege than Republic’s ‘The Last Command’ or Disney’s ‘Davy Crockett’ ever could. The battles, particularly the final one, as row after row of Mexican foot-soldiers overrun the pockets of defenders, are unforgettable! Each character is allowed to die heroically, and is given a lingering moment to make a final gesture (Travis breaks his sword over his knee as Mexicans surge past, Bowie fires his unique gun, a brace of pistols, and swings his famous knife, Crockett, bayoneted to a door, still manages to pull free, and torch the magazine). The film’s climax, alone, would make the film a ‘must’ for any action fan.

The cast includes many well-known character actors and long-time Wayne friends, including Ken Curtis as Lt. Dickinson, Travis’s adjutant; Chill Wills as the most outspoken of Crockett’s men; Guinn ‘Big Boy’ Williams, Denver Pyle, Chuck Roberson, and many others, as defenders. Wayne’s son, Patrick, has a small but visible role as James Butler Bonham, the famous Alamo dispatch rider, and his daughter Aissa plays the Dickinson’s child, Angelina.

‘The Alamo’, for all it’s faults, is a magnificent spectacle, monumental in scope. It is a fitting tribute to it’s star/director, and an ESSENTIAL part of any John Wayne collection!

“Republic. I like the sound of the word…”
Texas is not the only part of the United States that was briefly an independent state of it’s own. The Kingdom of Hawaii was a sovereign state. So was California (for nine weeks in 1848) as “the Bear Flag Republic”. And, from 1789 – 1790, the United States of America shared the Eastern Seaboard with the “free state” of Rhode Island and Providence Plantations. But Texas was possibly the only one of these independent countries that was formed to eventually become part of the U.S.

The full story deserves a television mini series, and nobody has seen fit to do it. It would begin in 1800, involving the interest of the young United States in the Spanish lands. It would go into the Louisiana Purchase, the exploration of Zebulon Pike in 1806, Burr’s Conspiracy and Treason Trial, the Mexican War for Independence, the immigration of Americans to the Mexican Province of Texas, and the leadership of Stephen Austin. None of this (except, perhaps, Aaron Burr’s Conspiracy and Trial – see MAGNIFICENT DOLL and THE MAN WITHOUT A COUNTRY) got any examination by American film or television. Austin was shown in a television film (finally) about six years ago, but he’s usually quickly overtaken in our imagination by the threesome who lead the men at the battle of the Alamo, and Sam Houston.

So we really tend to concentrate on the final stages of the Texas Revolt of 1836, and stick to the battle of the Alamo. There is a film about Sam Houston with Sam Elliot that goes into the defeat of the Mexicans at the battle of San Jacinto, but that’s a rarity.

I do not know of any other American battle that has held center stage on film as often as the Alamo, except that other western battle: the Little Big Horn. There is something I suppose about heroic western massacres (but then, why haven’t they done a film about the Fessenden Massacre of 1866, or even the Mountain Meadows Massacre of 1857 – though the latter would probably bring up some religious controversy). Oh yes, one other battle we have had has been as shown as the Alamo and Little Big Horn: Pearl Harbor! Maybe, to avoid so many defeats, D-Day, and the Battle of the Bulge (though the latter was a near defeat!).

THE ALAMO is a first rate film of the defeat turned symbolic victory. Wayne’s sole directing exercise was a big topic, fit for an actor who was bigger than life himself. He actually did well as a director, in his battle sequences, and in developing plot and character. Look at the moment when John Dierkes as Jocko Robinson is in the position of being the only defender who can leave the fort with the blessings of Travis (Laurence Harvey) and the other defenders. His wife (Veda Ann Borg) is blind, and they have several kids. There is no reason that he could not be excused. But the turmoil in his face, when confronted with either cowardice by going off with his family (leaving his friends to certain doom) or leaving all he ever loved forever, he is shown as a man torn in half by Wayne’s direction. It is a strong moment – and one of many in the film.

The film is best shown with the “director’s cut” sequences restored, particularly in showing the conflicts between Travis and Bowie (Richard Widmark) over military strategy. Widmark has some nice character scenes showing how much he misses his Mexican wife and two sons (in history, Bowie’s wife had died before the revolt). Wayne also shows the personal sacrifices of Crockett (Wayne himself) who meets a local landowner (Flaca: Linda Crystal) who falls for him, but who he sends away for her own safety. Travis’s problems are his sense of duty to the people of Texas, but his sense of superiority that rejects the reality of democracy and equality. He turns people off, including Sam Houston (Richard Boone, in a brief but good performance), but his coolness and ability under crisis are shown as well.

The inequality of the age is illustrated by Travis’s dismissal of intelligence reports by Juan Seguin (Joseph Calleia). Wayne, to his credit (and the screenplay writer’s) finally gave equal time to this figure of real importance. Films on the Alamo never mentioned Sequin and his contribution: he wasn’t a white American, but a Mexican. Travis admits Seguin is a gentleman, but can’t accept his really good intelligence. Also note that wise man Jethro (Jeston Hairston), Bowie’s slave but confidante, who refuses to take advantage of Bowie giving him his freedom and decides to fight alongside the whites (many of whom were slave holders).

This “Alamo” did capture the issues of the story – the bravery of the Mexicans is there even while obeying Santa Anna (not one of Mexico’s really great heroes). The reality of American Slavery is not totally ignored, but it is shown that it could be leavened on a personal level. The growing differences between Mexican and Americans is overcome by a common threat that is worse. All told it is a fine picture, and deserving of it’s growing popularity as the definitive Alamo picture.

Other Information:

Original Language en
Runtime 2 hr 42 min (162 min), 3 hr 23 min (203 min) (25 fps) (director’s cut) (1993 video release) (UK), 2 hr 20 min (140 min) (1967 re-release) (USA), 3 hr 22 min (202 min) (roadshow)
Budget 12000000
Revenue 7900000
Status Released
Rated Passed
Genre Adventure, Drama, History
Director John Wayne
Writer James Edward Grant
Actors John Wayne, Richard Widmark, Laurence Harvey
Country United States
Awards Won 1 Oscar. 7 wins & 8 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix 3 Channel Stereo (Westrex Recording System) (5.0) (L-R)
Aspect Ratio 2.35 : 1 (35mm, anamorphic), 2.20 : 1
Camera Mitchell BFC, Mitchell BNC 65mm
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length N/A
Negative Format 65 mm (Eastman 50T 5250)
Cinematographic Process Todd-AO
Printed Film Format 35 mm (anamorphic) (Eastman 5382), 70 mm (Eastman 5382)