Directed by Budd Boetticher
Produced by Aaron Rosenberg
Screenplay by Steve Fisher and D.D. Beauchamp
Story by Niven Busch and Oliver Crawford
Music by Frank Skinner
Cinematography: Russell Metty
Film Editor: Virgil W. Vogel
Cast: Glenn Ford (John Stroud), Julie Adams (Beth Anders), Chill Wills (John Gage), Hugh O’Brian (Lt. Lamar), Victor Jory (Jess Wade), Neville Brand (Dawes), John Day (Cavish), Myra Marsh (Ma Anders), Jeanne Cooper (Kate Lamar), Mark Cavell (Carlos), Edward Norris (Mapes), Guy Williams (Sergeant)
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It took Budd Boetticher a while to find his cinematic sweet spot with stuff like The Killer Is Loose and Seven Men From Now (both 1956). But he made some terrific pictures in the meantime. The Man From The Alamo (1953) is one of the best of those. It’s a short movie completely filled with action — from the attack on the Alamo to a number of fist fights to the climactic wagon train scenes. It’s all handled perfectly, and when you learn this was a shoot plagued by injuries, it’s easy to see why.
John Stroud (Glenn Ford) is the one man who left the Alamo after Travis drew his line with his sword, and he’s been labeled a coward. We know he’s not. Stroud sees the chance to help other families make their way to safety as a way to clear his name — and get his revenge on Wade (Victor Jory), the leader of a band of mercenaries who have hired on with Santa Anna.
We get an early version of the usual Boetticher hero — an outsider obsessed with a personal mission, a character Randolph Scott played to perfection in pictures like The Tall T (1957). Glenn Ford does a good job here as a man who’s lost everything, even his good name. Not many movies have us rooting for a character so clearly burned out and cynical. That’s where Ford really comes through, always showing enough of the decent family man to keep us from writing him off. It also keeps us from wondering why Julie Adams would be interested in him.
Victor Jory is Wade, the soldier for hire responsible for the death of Ford’s family. Jory is a great bad guy, and he’s at his absolute slimiest best here — though it’s hard to top him in South Of St. Louis (1949). He’s given some sweaty, sneering closeups that’ll make your skin crawl.
Julie Adams is so beautiful in Russell Metty’s Technicolor — she was perfect for Universal International’s bright, colorful Westerns of the 50s. And she’s always able to pull something out of an underwritten part. Neville Brand is terrific, too. Chill Wills can be a bit grating, as usual.
Back to Russell Metty. He was a master, and his Technicolor work here is incredible. In a picture that takes place largely in rocks and sand, he manages to find enough of a color palette to create plenty of vibrant visuals.
And that’s what makes this new Blu-Ray from Mill Creek such a treat. It’s a gorgeous transfer of the original material, and the movie really benefits from the boost in definition, a solid improvement on the old DVD (which was nice to begin with). The color is really terrific. Mill Creek has paired it with Robert Rossen’s They Came To Cordura (1959), which also looks splendid. A pair of movies like this, looking this good, at such a great price — you can’t get too many of em. Highly recommended.
50 Westerns From The 50s. 
Mighty fine write up Toby of a Boetticher that generally gets overlooked.
You have certainly covered all of the movies selling points,and then some.
I really wish Mill Creek would release more of these vintage double bills,
their transfers and more to the point their prices are very pocket friendly.
Their recent Castle Noir double HOLLYWOOD STORY/NEW ORLEANS
UNCENSCORED is also excellent.
The co feature THEY CAME TO CORDURA is less impressive as a film
more of a “Guys On A Mission” movie than a Western and it’s a long slog
with Burnett Guffey’s photography the sole plus factor.
Furthermore the film has nothing roles for good actors like Van Heflin and
Richard Conte.
Overall though it’s a neat package from Mill Creek and I hope they release
more vintage double bills like this.
What I forgot to say was that it’s interesting that Mill Creek have included
both a Universal and Columbia title in this set and I guess they have been
able to get ’round that by having the two films on separate discs as they
have done with the Castle Noir set,I loved HOLLYWOOD STORY BTW what
a joy to see Joel McCrea having a “guest spot” in a Castle flick.
I just hope sales are good enough to persuade Mill Creek to release
more of these vintage double bills,personally I could use a couple of these
every month!
A really good film and Glenn Ford is perfect in the part.The theme from this movie is I suppose simple ,but it remains in your head ,although it did in mine.Frank Skinner done some nice themes.
Of course, Glenn Ford was a huge Box Office star, especially throughout the 1950s, and he covered several genres but always said he was happiest in the saddle and that nothing satisfied him quite the way a western did.
This film is action-packed and Ford was clearly enjoying himself.
I’m in a bit of a dilemma and reaching out for thoughts from the cognoscenti here at FWFTF – seriously not spoofing. I haven’t seen The Man From the Alamo but mark me as a Glenn Ford, Julie Adams, Victor Jory & Alamo setting fan. I have seen They Came to Cordura & I adore Gary Cooper but didn’t love my first time viewing. I don’t think I have an interest in re-viewing but maybe I’m not remembering correctly. I do support Western releases on DVD / BluRay to the extent that I hope to live long enough to see all that I have purchased at least once! Is this a good buy for me?
Great Information,
Thank you for sharing..
Gunsmoke The Complete Seres came out recently—over $300 for this DVD set—-I may get one when it is on some sort of sale later.
Linda Cristal has gone.
Linda Cristal so talented and beautiful.
LINDA CRISTAL R.I.P.
She was a real treasure.
Kino has announced a blu ray of The Shepherd Of The Hills.
HAPPY INDEPENDENCE DAY!