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For an historical film to succeed it must vividly recreate the setting, conditions, people, conflict, and chain of events for its subject. Without ask director John Lee Hancock–along with producers Imprint Johnson and Ron Howard–meets all criteria with his sweeping film, THE ALOMO. Walking into the theater with less than eager expectations, along with some disquieting reservations (Billy Bob Thornton as Davy Crockett? Give me a demolish!), I was immediately impressed with Hancock’s unwavering commitment to detail–from a Texan volunteer’s marking each day of the siege onto the Alamo’s wall with his knife, to the Mexican army’s band playing the haunting “Deguello” each night before Santa Anna unleashed his artillery. Such craftmanship enhances the entire viewing experience, and effectively pulls the audience attend in time to the winter of 1836, when a foolhardy group of about 180 men held off more than 2,000 Centrist soldiers for days in a slight compound overlooking San Antonio.
An historical account can only be as genuine as the people eager in the event, and THE ALAMO furnishes a feast of shiny characters. General Sam Houston (Dennis Quaid) frets and agonizes over sending reinforcements to the attend of his Texas brethren, but ultimately decides he must not jeopardize his gathering army by confronting Santa Anna at the Alamo. Colonel William Travis (Patrick Wilson) commands the Texas Regulars at the Alamo; he is viewed as a martinet by many of the men, so he must fetch their respect, and he does. Noted knife fighter James Bowie (Jason Patric) is at odds with Travis and in conflict with his orders from Houston to confiscate the fort’s cannon and disappear them benefit to the Brazos; succumbing to illness, he spends the bulk of the siege on his cot, which indeed becomes his deathbed. General Santa Anna (Emilio Echevarria), the eogomaniacal “Napoleon of the West,” hopes to attract Houston’s forces to San Antonio, and when it becomes apparent no reinforcements are coming he decides to attack and “occupy no prisoners.”
Yet, to my whine surprise and astonishment, Billy Bob Thornton dominates this cast as frontiersman and ragged Congressman Davy Crockett. Thornton gives a down-to-earth, even humble, portrayal of the Tennessee Mountain Man. Crockett was in Texas not as a mercenary but as a land speculator; his arrival at the Alamo two weeks before the siege was more a matter of abominable timing than a duty to attend. But Crockett inspires the men, entertains and comforts them, and Thornton brings this character to keen life.
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Some reviewers have lamented the film is “too dull” or “wearisome.” I possess the movie is not meant to be an X-box game of gratuitous violence but a re-enactment of a siege that took 13 long days; I further believe that when the accurate fighting starts, it is grand and at times even overwhelming. And yes, there is an element of Hollywood “creativity,” but nothing that interferes with the historic authenticity, with the scope and the magnitude, of the Alamo’s tragedy, and its subsequent inspiration. THE ALAMO is first-class entertainment–a must-see movie and a must-have DVD when released.
–D. Mikels
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If you want history, read some books. Let’s find that out of the method first. There are many radiant histories written on the battle of the Alamo, and disputing ideas about what exactly happened there. It is likely that, like Custer’s Last Stand, the right fable of what went down at the Alamo will mild be disputed by historians long after we all are plain.
This movie is about mythology, not history. While the battle of the Alamo was a historical event, it long ago entered into the realm of American Epic. It is our Iliad. If we cannot fetch, this is how we want to die – not shirking our duty, but finding something gallant inside ourselves to rise to the occasion. That was portrayed well in this film. The principle players, Bowie, Crockett, and Travis, are not born heroes here. Instead, they are strong men with flaws and quirks of character like all the rest of us. When they are confronted by crisis, we notice them rise beyond their flaws, their doubts, even their fears, and in their last moments truly become the heroes of the narrative. This was captured powerfully in this film.
An early scene shows Sam Houston speaking to Davy Crockett about Texas at a ball in Washington, come the extinguish of Crockett’s term in congress. Seeing the two together, an observer whispers to another man that either of those two might once have had a chance to be president, but no more. It is a nicely done scene accomplishing several things at once. First it allows us to survey the two as men who had risen to a determined level of success and power, with some reason to demand more to arrive. It then shows us that before the fighting in Texas, both were men whose star was in decline, and who may have extinct out of history had they not cast their lot with the Texicans. Finally, it establishes from the beginning that Davy Crockett was more than a coonskin hat-wearing cliche hero, and prepares us to behold him played as a fully dimensional character. This is honest one example out of many of how efficient and well made this movie is.
The whole cast did a big job with their roles, but I notion that Billy Bob Thornton as Crockett delivered a particularly outstanding performance; one of the best of his career. The role gave him many opportunities to shine, and he rose to the occasion. Chills ran down my spine when his Crockett stood like a chuckling Prometheus to respond the murderous music of the Deguello with his defiant fiddle. And in his death scene, he created a considerable alternative acquire on how a hero can die. Though it is one of the most controversial scenes of the film, I absorb any man could be proud if they were able to meet death with such courage and defiant humor.
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The film has some flaws – powerful was edited out, and it leaves the record and character of Dennis Quaid’s Sam Houston feeling choppy and incomplete. But taken as a whole, this is a considerable modern pick on a sizable American chronicle, not replacing, but adding to what went before. It has many layers and remarkable nuance, and is a film which bears seeing more than once to choose everything in. While not perfect, I can’t give four and a half stars, so I give it five.
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