The Man from the Alamo

Glenn Ford plays the only survivor of the Alamo -- not a very popular man in Texas. Of course, the story gives him a good excuse -- he drew lots with some other Alamo soldiers to see who would go west to defend their homes from Texan bandits hired by the Mexicans, but the families were already dead when he gets there -- but nobody wants to believe him, except one lovely woman on the wagon train he sets out to defend. Only problem is his strategy of siding with the bandits to get into their confidence puts him in a nearly impossible situation.

A well-made film, with convincing action and gritty characters. Unlike other Boetticher westerns, here the scale of the film is "epic" as the future of the West hangs in the balance. Ford makes a surprisingly good substitute for Randolph Scott or John Wayne.

Glenn Ford plays the title role in The Man From The Alamo which probably should be better titled The Man Who Left The Alamo. Don't worry, Glenn had good and sufficient cause for doing so.

Ford is one of the men who was there at the mission fort at San Antonio De Bexar when word is received of some renegade Texans raiding some of ranches up where Ford and his family have settled. He and three others draw lots to see who goes out of The Alamo to check on their families. Ford gets the short straw and when William B. Travis played by Arthur Space draws his famous line in the sand, Ford is the only one who opts out of the fight.

Of course when Ford arrives he finds his and the other families dead at the hands of renegade Victory Jory and his band who are in league with Santa Anna. After that it's a struggle to clear his good name and alert others to the dangers of Jory's band.

The Man From The Alamo is a short, but action packed western. Budd Boetticher got good performances out of his cast which besides those mentioned include Julie Adams. Hugh O'Brian, Neville Brand, and Chill Wills who as we all know was in John Wayne's blockbuster film on the same subject.

The film is very similar to a lot of the westerns that Boetticher did with Randolph Scott and I wouldn't be surprised if the film wasn't created with Randy in mind originally for the lead. If it was, Glenn Ford was more than adequate in the part.

Western fans and other fans will not be disappointed.

As the war for Texas independence heightens, the Alamo has become a critical point of time buying interest. Fearing their families will perish under the might of the marauding Mexican army, the men of the Alamo draw lots to see which one of them will flee the Alamo battle to steer the respective families out of harms way. John Stroud is the man faced with the task, but upon reaching his destinations he finds he's too late to save anyone. However, this is just the start of his worries as he finds he has been branded a coward for leaving the Alamo, where all have now perished; while his attempts to avenge the murder of his family are beset with problems at every turn.

In truth, no great shakes in the Western genre here, and certainly not even close to being amongst the better work of director Budd Boetticher (The Tall T & Comanche Station) or Glenn Ford (The Big Heat & Blackboard Jungle). It's also not high on production value and doesn't have location vitality to give it an earthy sheen, it still, however, manages to be an entertaining piece putting an interesting offshoot to the Alamo legend. Glenn Ford is a watchable star at the best of times and he manages to keep this picture afloat by putting a bit of cool bravado urgency into the role of John Stroud, with dashes of emotional fortitude, his relationship with the young, recently orphaned Carlos, gives the film its emotional weight, and when that sits alongside the usual array of shoot them up sequences it makes for good honest Western fare.

Of the supporting cast, Chill Wills and Neville Brand put in some fine work, while there has been far far worse female leads in this genre than the radiant Julie Adams. Of Boetticher's direction? It's just about adequate, where working within the confines of the lot and it's lowly budget origins, he manages to pull it thru; but in truth probably himself cringed at some of the final night time sequences in the cut. He of course, a couple of years down the line, would go on to direct some of the best genre pieces on the market, so he owes the genre fan very little all told. So good and bad here folks, with the good far outweighing the technically bad deficiencies on offer. But I mean come on now, if you can't enjoy Ford having a good old punch up on the brink of a waterfall? Well you're probably better off not watching a 50s B movie Western in the first place then. 6.5/10

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.

Budd Boetticher made several films for Universal Pictures before going to Columbia studios. His movies were westerns and adventures movies. Universal standard, where the bull fighter director could only show his professional skills but maybe nothing more. Anyway, I guess that served him for his later Columbia westerns starring Randolph Scott. This one surprised me because the presence of Glenn Ford, a Columbia star borrowed by Universal. I am sure it was the only one, knowing that later Ford will "emigrate" towards MGM. So this movie shows something rather unusual, related to Alamo battle, something surprising. A man falsely accused of cowardice instead of a murder, yes, very interesting. But the rest is predictable; good, effective but predictable. See for instance SPRINGFIELD RIFLE, more or less same plot and scheme.