Made in 1960, The Alamo reflected John Wayne’s personal politics more than any other of his movies to date. He worked on the movie intermittently for fourteen years.
The project began with research conducted in Texas in 1946. Then, with the support of Republic’s Herbert J. Yates, Wayne scouted locations in Panama in 1949. When Yates withdrew his support, he was extremely disappointed. Nonetheless, Wayne was so committed to the idea that he decided to produce and direct the movie by himself.
There have been other movies on the Alamo, such as D.W. Griffith’s Martyrs of the Alamo,” which he did not direct, the first historical Western to deal with the topic, or Republic’s Man of Conquest,” in 1939, an interesting chronicle of the heroic Sam Houston. But up to 1960, the Alamo’s story had not been treated with the dedication, scope, and grandeur that marked Wayne’s approach.
Wayne was initially going to play a small part, so that he could devote his time and energies to the production. However, United Artists, which distributed the film, agreed to back the project only if he starred in it. They felt, with good reason, that it was too much of a risk without Wayne.
Wayne played Davy Crockett, the former member of the House of Representatives from Tennessee, who turned up at the Alamo with twenty-three patriots and died for the idea of a free Texas. Earlier, he considered playing Sam Houston (played by Richard Boone) and, later, he regretted not playing Colonel Travis (played by Laurence Harvey), who commanded a Texas force completely destroyed by Santa Anna’s Mexican army.
At the time, however, Wayne’s identification with Davy Crockett was complete. Asked if there were any particular historical figure he might have liked to be, his immediate response was, David Crockett.
In this picture, Wayne views Texas’s struggle for independence, not only as one of the most heroic moments in American history, but also as a metaphor of America. Wayne said he wanted to “show the world the sort of spirit and indomitable will for freedom that I think still dominates the thinking of Americans, despite this contaminated celluloid, which is the exception, not the rule, of Hollywood.”
There is an abundance of value statements in The Alamo about patriotism, democracy, sacredness of life and death, and even religion. Hence, following the death of one of his men, Davy Crockett addresses a long entreaty to God, whom he calls Sir. In another scene, Davy expresses Wayne’s personal views: “Republic. I like the sound of the word. It’s one of those words that makes me tight in the throat.” While the battle and action scenes were singled out by the critics for their energy and visual excitement, inevitable comparisons were made to the work of John Ford (who helped Wayne shoot some of the sequences). As a director, Wayne was found lacking his master Ford’s agility and sharpness.
The preachy dialogue was another weak aspect of the film; it was replete with blatant statements and sentiments about patriotism and religion, home and country. The script’s juvenile and homespun quality irritated some critics who described it “silly and banal.”
The theatrical release of The Alamo was neatly timed for the Presidential Election year, opening in California in July 1960 and in New York in October, a few weeks prior to the National Elections (in which Democrat John F. Kennedy would defeat Richard Nixon).
At the annual Oscar Awards show, The Alamo turned out to be a big loser, demonstrating not only that it was a mediocre picture, but that its ad campaign might have been effective in the nomination, but not in the winning, process.
Wayne’s saga was up against Billy Wilder’s The Apartment, which won Best Picture; Elmer Gantry, Sons and Lovers, and The Sundowners.
The Alamo” won only one, technical award: Best sound for Gordon E. Sawyer and Fred Hynes.
The Alamo became Wayne’s most ambitious project to date, in which he was involved in every minor aspect of the production. The lukewarm audience response was disappointing, because he had made the film as a blockbuster. The budget was high and the production costly and timely. It took almost two years to build the replica of the Alamo in Bracketsville, Texas, and location shooting lasted over four months.
In the end, The Alamo grossed a little over $7 million in the U.S., though it was more successful abroad, and later in its various screenings on TV and Cable.
Lines to Remember:
John Wayne’s Col. David Crockett, on Texas becoming an independent republic: “Republic. I like the sound of the word.”
Colonel David Crockett (John Wayne)
Col. James Bowie (Richard Widmark)
Co. William Travis (Laurence Harvey)
Smitty (Frankie Avalon) Capt. James Butler Bonham (Patrick Wayne)
Flaca (Linda Cristal)
Mrs. Dickinson (Joan O’Brien)
Beekeeper (Chill Wills)
Juan Seuin (Joseph Calleia)
Capt. Almeron Dickinson (Ken Curtis)
Running time: 192 Minutes