User reviews

I admit, this is the first Flynn movie I have seen. I have long been intrigued by the actor's reputation: as THE dashing movie swashbuckler and dandy. After seeing San Antonio, I find that that reputation seems well earned. Flynn's Clay Hardin is a bit of a super-hero, tossing witty dialog right and left, outsmarting and outfighting bad guys, charming ladies effortlessly and looking swell throughout all. As Westerns go, it does not hold up well with the more dramatic and textured movies that started being made a few years later; the plot is not exactly the most believable and the film is loaded with perfectly stock characters (conniving cattleman, scheming Acadian, loyal father figure/partner, etc.). Then again, it is clearly a different sort of movie and I recommend it as that; a pulp Western, the sort of pulp that Indiana Jones is homage to, a story of villains, damsels, and one unstoppable roguish hero.

"San Antonio", directed by David Butler must have been a vehicle for the handsome, and debonair Errol Flynn, who could do nothing wrong during that period of his career. Warner Bros. went all out to make this film that has a little bit of everything to please the fans of the Western genre.

The surprise of the film was Alexis Smith, who was at the height of her beauty at the time. She makes a wonderful Jeanne Starr, an entertainer, who is the center of attraction among the men one sees in the film. Not only was she a gorgeous woman who blended well with her screen partners, in this case with Mr. Flynn.

The supporting cast does good work under Mr. Butler's direction. The adorable S. Z. Sakall is wonderful as the conductor of the orchestra in the saloon where Jeanne plays. Also, Glorence Bates, an accomplished character actress appears as Jeanne's maid, Henrietta. Also in heavier roles Victor Francen and Paul Kelly do wonders with their evil roles.

"San Antonio" has kept its wonderful colors. Max Steiner's musical score also helps the action.

Clay Hardin (Errol Flynn) is returning to . . . Where else? San Antonio! And he has evidence to convict a crooked cattle boss. But will he live to present it to the cavalry?

Flynn, a Texan by way of Tasmania, does nothing to disguise his accent. Who cares? We paid to see Flynn, not some actor.

Typical western tropes are on display: a saloon, for instance, large enough to hold a political convention.

S. Z. Sakall rides along for comic relief. It would be nice to see a few of Flynn's old companions, but alas. Doodles Weaver, however, pops up as a dance caller.

By 1945 Flynn is no longer young. He fought a hard war on the Warner soundstages. But the old Flynn charm is turned up full-force against saloon singer Alexis Smith, a strange-looking actress but hardly repellant.

On the good side we see a genuine rarity, a cow poke with a parrot (used for one joke). Then there's the lovely standard "One Sunday Morning."

And we get a glimpse or two of the Alamo. In 1945, after a hard-fought war against Hitler and his ilk, when so many Americans had loved ones buried abroad in the fight for worldwide freedom (including brothers of both my grandmother and grandfather), such reminders of American bravery and independence were heartening. And Flynn's character exemplified the ongoing American defiance to all little Hitlers.

"San Antonio" is not on anyone's list of the greatest movies ever made. But it's no disappointment for Flynn fans.

"San Antonio" is a lively movie, with a lot going for it: two very attractive leads who look good together, beautiful Technicolor, enjoyably unsubtle and melodic Max Steiner score, good villains. It's a Saturday-afternoon kind of film, best accompanied with a bucket of buttered popcorn. The script isn't inspired, but it moves, and the big fight sequence toward the end is quite spectacular and well choreographed, and made me really appreciate the contributions of stunt players in this kind of film.

Alexis Smith is gorgeous and well-costumed, if a bit reserved, and gets to lip-sync two very pretty songs. There was always something very identifiable about Warner Bros. orchestration for musical numbers--a cheeky brassiness. Errol Flynn is characteristically cheeky in his own slightly self-mocking way, as when he carries on a conversation while interspersing it with bits of a romantic song, also strumming a guitar. Florence Bates does a reprise of her "mentor to the female lead" from "Saratoga Trunk." Victor Francen and Paul Kelly make a good, hissable pair of bad guys.

Once it was established that ERROL FLYNN could fit the mold of a western hero (even with his Australian/British accent), his studio wasted no time in putting him through the paces of several westerns, the best of which was DODGE CITY ('39). By the time he did SAN ANTONIO, all the western clichés were pretty well used up, so what we have here is a routine storyline that gives Flynn a chance to play another one of his suave western heroes who romances the local dance hall girl (ALEXIS SMITH) so we get a chance to hear a couple of pretty tunes along the way.

It's a shame that Warners had so little faith in Alexis' singing prowess that they dubbed her voice for the musical interludes. She went on to become an accomplished dancer/singer on Broadway in the years ahead. Nicest number is "Some Sunday Morning" which actually got an Oscar nomination as Best Song.

The usual cast of competent Warner contract players is evident once again: John Litel, S.Z. Sakall, Paul Kelly, Tom Tyler (wasted in a small role), Florence Bates and Victor Francen. Conspicuously missing is Alan Hale, who usually played Flynn's sidekick.

With a jaunty score by Max Steiner (who borrows his own title theme from DODGE CITY), this is the kind of western you've seen many times before, but enhanced by some of the nicest Technicolor and set decorations to be seen in any Warner film of this period.

Errol Flynn fans will enjoy it as one of his lesser excursions into the western genre. Fast moving and breezy entertainment.

Good and handsome Western , though trite script , it stars an excellent Errol Flynn , about usual conflict about cattlemen . Set in a post-US/Mexico war San Antonio de Bejar location from the freeway in which takes place a strong confrontation among leaders of the cattlemen . Here Hardin (Errol Flynn) is opposed by a local rancher as well as rich cattleman , Stuart (Paul Kelly) . While other cattle barons attempt to keep their cows from nubbing away at the far grass . Now Hardin as a tough person trying to calm the conflict between cattlemen and homesteaders . Gorgeous dance hall performer Jeanne Starr (Alexis Smith) along with her manager (S.Z. Sakall) arrive in San Antonio under contract to play at a Saloon as a singer for Stuart (Paul Kelly) and Legare (Victor Francen) but she is clearly smitten with the good-looking Hardin . When the army is called away , Hardin and his followers are left on their own to defend themselves . Meanwhile , Hardin has taken one of Stuart's tally books that clearly proves he was selling cattle that didn't belong to him .Strong Men . . . Brave Men . . . Real Americans - and their Women! Adventure of the Century ¡ America's most glorious adventure ¡

It deals with the classic cattlemen feud and it gets Western action , shootouts , a love story , street showdown gunfight and being quite entertaining . There is a love story when Flynn falls for an explosive girl working in a dance hall who turns out to be a domineering woman turning over a new leaf on meeting the good guy . This relationship between Hardin/Flynn and Jeanne Starr/Alexis Smith turns out to be very enjoyable romance and she quickly decides that Hardin has a much better name than other suitors but keeps them apart , then the violent conflicts emerge . It's a medium budget film with nice actors , technicians , production values and pleasing results . Including a breathtaking battle beween Errol and villain Kelly at the finish . The film is totally set in San Antonio territory , there took place The Alamo Battle , it was the first of the major territories in Mexico frontier , it was a booming depot , including cattle drives and shipping some Longhorns and meat markets . With the numerous presence of homesteaders the towns prospered , stabilized and grew , its lawabiding citizens decided to discourage the troublesome cattle trade with his transient cowboys and early requested the cattlemen to drive their herds elsewhere . Well played by Errol Flynn who starred various ¨Sword and Swagger¨ films and was superstar of Warner Brothers swashbucklers . Errol is still nearly at his most agile and deft style . This was Flynn attempting to pick up where he left off in 1941 when a series of war films succeeded the superbly organized Westerns and swashbucklers that made him his name . Errol Flynn was 40 when he made this movie , but his wild lifestyle had diminished his health and made him less able to perform his own stunts, as he had in earlier films . Previously , Flynn made his best swashbucklers and played successes as ¨Captain Blood¨ , ¨Adventures of Robin Hood¨, ¨The prince and the pauper¨ , ¨Sea Hawk¨, ¨The private lives of Elizabeth and Essex¨ , ¨Gentleman Jim¨ . Flynn also performed some Westerns as ¨Dodge City¨, ¨Virginia City¨, ¨Santa Fe Trail¨, ¨They died with their boots on¨, ¨San Antonio¨, ¨Silver River¨. And wartime movies as ¨Objective Burma¨, ¨Norhern pursuit¨, ¨Dive Bomber¨ , ¨Edge of darkness¨ , ¨Desperate journey¨. Flynn's subsequent vehicles at Warner Bros confirmed the beginning of his decline . Nonetheless , the hand of filmmaker Michael Curtiz who made almost all Errol's best films before their wrangling grew too much for either man to take , is sorely missed .Flynn is well accompanied by a good support cast , such as : Paul Kelly , Victor Francen , Florence Bates , Monte Blue , Robert Barrat , Pedro De Cordoba , Tom Tyler and special mention for the always likeable S.Z. Sakall .

It contains a glowing good Technicolor cinematography from two magnificent directors of photography : Bert Glennon and William V. Skall . It packs a thrilling and moving musical score by two greatest composers Max Steiner and Erich Wolfgang Korngold , the latter uncredited . The motion picture was directed in sure visual eye and with action enough . The yarn well produced by Robert Buckner/Jack L. Warner was professionally directed by David Butler . David was a craftsman who directed several Westerns . He was a good craftsman who directed all kinds of genres with special penchant for comedy , musical and drama . As he directed : April in Paris , Tea for two , Playmates , Doubting Thomas , Caught in the draft , The story of Seabiscuit , Lullaby in Broadway , The princess and the pirate , Captain January , The road to Morocco , and Westerns as : San Antonio and his greatest hit : Calamity Jane .

After a layoff of four years from the American west, Errol Flynn returns to the western genre in a stylish film about post Civil War Texas and a man looking for some justice for himself and his fellow cattle ranchers. Errol's been in exile in Mexico, but he's back now with the evidence against cattle rustling Paul Kelly who is the local boss of the San Antonio area.

Flynn makes it to San Antonio and in the process hooks up with entertainer Alexis Smith and her two retainers Florence Bates and S.Z. Sakall, a pair of the biggest scene stealers that the movies ever had. Smith is appearing at Kelly's saloon there, courtesy of his partner Victor Francen for whom she worked back in New Orleans. Francen's an ambitious sort and wants to cash in Kelly's other businesses besides the saloon. So we've got two villains working their own agendas at cross purposes whom Flynn has to deal with.

Errol Flynn did a total of eight westerns, but only San Antonio got any kind of recognition from the Academy. San Antonio was nominated for two Oscars, for Art&Set Decoration for a color film and for Best Song with Some Sunday Morning which Alexis Smith sings in a saloon scene. The song is a good one, Dick Haymes had a record of it that sold quite a bit back in the day.

All the cast had to keep on their toes with both Florence Bates and S.Z. Sakall in the cast. Especially 'Cuddles' Sakall. Part of the plot involves Sakall witnessing the murder of Flynn's friend and ally John Litel and being intimidated by the bad guys. With his eye rolling and fractured English, Sakall is at his best in San Antonio.

For the traditional western fan there's enough gunplay and fights to satisfy anyone. Flynn has a nice triangular shootout with both Kelly and Francen at the Alamo ruins, each man trying to get the other two for their own reasons. I say ruins because the chapel had not been restored yet as a historical monument as it is now in downtown San Antonio.

As for the film, San Antonio is a most satisfying western for both fans of the genre and Errol Flynn.

San Antonio is directed by David Butler and written by Alan Le May and W. R. Burnett. It stars Errol Flynn, Alexis Smith, Paul Kelly, S.Z. Sakall, Florence Bates and Victor Francen. Music is by Max Steiner and cinematography by Bert Glennon.

It's always interesting to compare Errol Flynn's Westerns, his work in a genre he was not overly fond of. Depending on your Western genre proclivities of course, there's a mix of the old fashioned type, where Errol flirts and is heroic, or the more serious ones where his heroism is underplayed. San Antonio is the former.

Plot has Flynn as Clay Hardin, who is the man who can prove that town impresario Roy Stuart (Kelly) is the man responsible for the rampant cattle rustling going on in the state. There's agendas gnawing away in the plot, romantic dalliances that bring the delightful Alexis Smith into prominence, and of course there's frothy comedy light relief - the proviso here is if Sakall and Bates' thing doesn't irritate you?

Flynn is ace, athletic with a handsomeness that's rarely been bettered in Hollywood, to which here he's on lovable rascal form, playing off of Smith with appealing skill. Smith is a strong foil for her leading man, holding her end up in both stern characteristics and comedy angles. While it's always great to find Kelly in a villain role, here getting his teeth into it for much viewing reward.

Unfortunately this really could have done with a better director, the blend of drama and comedy seemingly uneasy in Butler's hands. The big denouement between hero and villain is a damp squib, which is a shame as we are in the ruins of The Alamo, a poignant piece of architecture that positively demands a more extended and vigorous finale. Elsewhere, Glennon's photography is pleasing if lacking in exterior splendours, and Steiner's score will sound familiar to anyone already familiar with his work.

Gloriously pretty, vibrant and colourful, it's well weighted with good production values and a solid cast, but as fun as it is it does lack some urgency ingredients to be great. 7/10

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.

I noticed that "San Antonio" was nominated for two Oscars and won none.The first it deserved i.e. Best Art Direction-Interior Decoration, Color. Yes indeed, that saloon bawdy house was done impeccably,rich and lavishly. The second nomination was unwarranted--Best Music, Original Song "Some Sunday Morning" Ray Heindorf (music), M.K. Jerome (music) & Ted Koehler (lyrics. You can go crazy from that song. Every time a stagecoach moved, it moved with it in the background. EVERY TIME. THE WHOLE PICTURE. Then what do you think Alexis Smith, the saloon chanteuse sings? Right--same thing. And after she's done, what does a male quartet sing? Right again. It's not a bad tune but OVER and OVER and OVER....Good Grief!

The film's about the wild wild west of the mid 1800s. So my question is this: Errol Flynn has an English accent; S.Z. Sakall has a Hungarian accent and villain Victor Francen has a French accent. Now don't get me wrong; I'm neither xenophobic nor bigoted because my own father was a European immigrant but he didn't wear a ten gallon hat and carry a Colt .45 either. What do Europeans have to do with a story of the rootin' tootin' shootin' wild west? Sorry but Mr. Flynn who speaks like someone out of Oxford doesn't belong with the tumbleweed crowd.

The plot is all about revenge as are so many films. There is a quasi-romantic angle of course because of the gorgeous Alexis Smith who was one of Hollywood's great natural beauties and quite surprisingly, a very good job is done by John Litel who is Flynn's best friend.

I rated the film a 6 because it's neither great nor rotten; has excellent color and holds your interest. One thing--they showed too many cattle and not enough Alexis Smith.

Hard to believe this was Flynn's highest grossing film but war-weary patrons were looking for any form of escapism. Sharp Technicolor production, nice use of Warner's Calabasas Ranch plus razor sharp costumes for Alexis Smith make this film watchable but not much else. Flynn smiles his way through the proceedings but looks rather silly in the red bandanna and toy gun.

Nevertheless, his scenes with Alexis generate smiles. Was there anybody better than Flynn? I think not. His riding a horse then dismounting into the window of the stage is a nice touch. Unfortunately, this tepid movie plods along until the anti-climatic saloon fight scene. All stunts, prate-falls and special effects look so staged it's distracting. By the end you're left thinking: let's wrap this up! I'm a huge Flynn fan but San Antonio entertainment isn't as big as Texas. Dodge City, Virginia City and even Rocky Mountain are better bets.

Note: Some stunts done with Horses would never see the light of day now. One scene has Flynn chasing Paul Kelly across a bridge, Flynn jumps onto Kelly's white horse with both taking a big fall into the river. It's one of the more dramatic moments in the entire film. Speaking of Kelly, his personal life was almost as drama filled as Flynn's.

It is generally considered that the best of Errol Flynn's westerns was THEY DIED WITH THEIR BOOTS ON, with DODGE CITY second best. SILVER RIVER has his most interesting western role - he's a greedy empire builder in it. VIRGINIA CITY has a plot that strains the mind (and the only real U.S. patriot in the film is not one of the leads but a man who usually plays villains). SAN ANTONIO is the best looking due to the richness of the colors in the film. It has a fairly good plot, and a pair of worthy (and cross-purposed) villains (Paul Kelly and Victor Francken). Wisely Flynn's leading lady from GENTLEMAN JIM (Alexis Smith) is back - their chemistry is not as good as Flynn's with Olivia De Haviland, but it comes close. I have no problem recommending it...except for one moment that always bothers me.

Warner Brothers was blessed with a great set of available character actors (including Francken, who helped spice up many productions like THE BEAST WITH FIVE FINGERS and THE MASQUE OF DEMETRIOS). One of the best for comic spicing was S.Z. "Cuddles" Sakall. A lovable Hungarian, he appears in many of the best Warners films of the period, such as YANKEE DOODLE DANDY, Christmas IN CONNECTICUT, TEA FOR TWO. He was a great scene stealer, and had a rivalry with Alan Hale Sr. regarding Hale's equal ability to steal scenes. He was many things - he was not meant to be a corpse. In this film he witnesses a serious crime by Francken, but the latter realizes it. Since he is a careful man he is not going to be foolish enough to blab about the killing, but Francken is no fool either, and basically warns Sakall that if he even thinks of talking he (Francken) will kill Sakall. It is necessary for the film plot, but it is very unsettling to think that anyone could think of putting a bullet into "Cuddles".

Gunfighter Clay Hardin (Errol Flynn) returns to San Antonio after recuperating from wounds in Mexico. He's determined to bring evil cattle rustler Roy Stuart (Paul Kelly) to justice. Stuart, in turn, is determined to see Clay dead. To complicate matters there's a pretty singer (Alexis Smith) Clay has fallen for who goes to work at Stuart's saloon. Good chemistry between Flynn and Smith. John Litel is great as Flynn's sidekick; an atypical role for him. Paul Kelly plays the villain well. Robert Shayne, S.Z. Sakall, Robert Barrat, and Victor Francen are among the other quality actors in the cast. Enjoyable, if not overly original, Technicolor western. Sequence in the ruins of the Alamo is a highlight.

Goodness, could it get much worse? Every Western cliché intact, tepid, phoned-in performances at best by the leads, a simplistic story the writers couldn't keep in focus, ersatz "Western" music, hollow comedy that's out of step with the plot, costumes from Silly Costumes, Inc., what else? Could Mel Brooks have lifted the dance hall show for his movie "Blazing Saddles"? I thought this might be a celebration of the city of San Antonio, Texas, but it's just garbage, probably none of it filmed in San Antonio anyway. The first hour and a quarter are excruciatingly slow, but when the pace finally picks up, there's really nothing left to watch, except more clichés. A breathtakingly dull film.

While not the best of Flynn's westerns, San Antonio offers appealing players a lavish budget, and plenty of action. It was the Christmas offering from Warner Bros., and, perhaps due to the returning G.I.'s, the highest grossing film Flynn ever made (in its original release). Some good music helps, as does the chemistry between Errol and Alexis Smith. Raoul Walsh is uncredited for some of the direction, and I speculate the action scenes are those he worked on.

No, I don't mean Flynn, I'm speaking of John Litel, perhaps best known as Bonita Granville's father in the Nancy Drew films. Usually called on to do a businessman or a town elder, he does a lovely turn here as the dangerous and savvy Texas pioneer Charlie Bell -- and his enjoyment in the part is palpable. There's some nice art direction, especially in the look of the towns of Cotula and San Antonio. Finally, the costume design is wonderful -- a total hodge-podge of styles collected from all corners of the US and Mexico, met on the New Frontier, totally unlike the ubiquitous look that would soon show up in films about the West. One question -- isn't that little Boby Blake as the telegraph messenger boy? The role is uncredited, even here, but he'd be about the right age, and it sure looks like him.

Roughly 15 minutes into the film, Errol Flynn is trying to sneak into San Antonio. He rides up alongside a moving stagecoach and manages to board it directly from his horse - with luggage! As he's shimmying in, NASCAR-style, his eyes first fall upon the old lady to his right. Watch his eyes. Then catch the ''whew." Then he looks to his left and sees Alexis Smith. ''Well, hello!" he says as he flashes that million-dollar smile.

''Move over, honey." Horrifed at the impudence, Smith says, "The show doesn't start until after supper." "Oh, are we gonna have supper too?"

Bang. I'm dead. Whoever wrote that sequence should be in the screenwriter's Hall of Fame. And they should have shown this clip when the Academy awarded Flynn his Irving Thalberg Memorial trinket for Lifetime Achievement in Motion Pictures.

What's that you say? Flynn never got that recognition? Obviously the academy wouldn't recognize acting and star power when it's right up there on the 35-foot-wide screen.

Oh, the movie. Something, something cattlemen, rustlers, range war, who cares.

Did I mention how beautiful Alexis Smith is? The Penticton Peach, I like to call her. Let's make that a thing.

Could I get a director's cut that eliminates all of S. Z. Sakall's lines? Even for an industry wherein ''comic" sidekicks ruined more movies than they improved, Sakallshyt is the most ruinous. Fat, ugly, thickly accented, unfunny doofus. I loathe him even more than Gabby Hayes, Walter Brennan, Harvey Lembeck, Robert Strauss, Ralph Malph (but not Potsy), and Squiggy (but not Lenny).

In fact, my theory on why Montana (released years later) is about 14 minutes short is that preview audiences filled in their feedback cards and 94% of them wrote a variation of, "More smokin' hot Alexis Smith, less ugly, fat doofus S. Z. Suxall." Being world-class chiselers, they didn't bother shooting more film of Smith, they just hacked out most of Suxalot's scenes. Whereas San Antonio checks in at an over-drawn hour-49, which means they could have clipped all of Suxballz scenes and brought this thing in at a tight 90. Had they invested in writing more ambiguity into Smith's character, San Antonio could have been a Technicolor western noir featuring two excellent villains instead of a 3-director jumbalaya of pandering to every possible audience demographic.

The story here isn't bad, and that's really what drives the movie. Errol Flynn plays Clay Hardin, who's recently returned to Texas from Mexico, only to find out there's been some rustling going on.

Typical of older movies, there's a love interest (in this case Alexis Smith as Jeanne Starr), who reminds me of Greta Garbo, the look, laugh. The two of them have pretty good chemistry.

Jeanne is a saloon singer / performer and she brings a breath of fresh air to this film.

I particularly like her manager, whom nobody seems to understand. He's peculiar, which is interesting to me.

After Clay's friend Charlie Bell is murdered, he gets 24 hours of support to get to the bottom of it all.

The movie is predictable and nobody particularly looks (or acts) like a real gunslinger. A couple guys don't even look like they know how to hold a gun, yet it's funny how 1 guy can nail 3 guys with 3 bullets then miss the main guy they want to kill with 3 or 4 shots. That's a bit hokey to me. But it also gives the film a bit of a light-hearted feel.

It's entertaining to me. Sure, it could be better, but I'm an Errol Flynn fan, I like the story here, and it kept me interested.