At a time when sickness prevailed, survival was difficult and heroes were fighters of the frontier, Americans fought for ownership of land and thrived on their desire for expansion and domination.
"The Alamo" commemorates the loss of American soldiers in pursuit of Texan liberation from Mexico. While it may be viewed that the United States' intentions began as less than admirable, the portrayed determination of soldiers in the face of certain defeat within the film, and the ultimate outcome of the U.S.'s attainment of Texas, is likely to inspire feelings of patriotism.
Discussion concerning the takeover of Texas, a series of brief flashbacks, and the movement of Colonel James Bowie (Jason Patric) and Lieutenant Colonel William Barrett Travis' (Patrick Wilson) army to the Alamo, are the initial steps on the path to battle.
The physical conflict between the American Army and the Mexican Army led by General Antonio Lopez de Santa Ana (Emilio Echevarria) is generally brief and sporadic; the majority of the slaughter occurs in the last 45 minutes. The interaction between the American leaders and Santa Ana and his men serve as the foundation for the film.
Billy Bob Thornton, who plays legendary Davy Crockett, puts an upbeat spin on the otherwise serious tone of the film. His antics build his popularity on both sides of the battle as well as with the audience.
"Quite nice of them to serenade use like this," jokes Crockett when the Mexican army's band begins to play.
Even in the face of danger, Crockett does not shed his fearless image.
"Are you Santa Ana? I thought he'd be taller."
Wilson gives another praiseworthy performance as a character who exemplifies the ideal strong-willed-but-compassionate persona one would anticipate from a war hero.
The transformation of Bowie and Travis from powerful head-butters to loyal comrades is one of the more moving aspects of the film. In regards to both characters, details of their lives are introduced, making them more personal to the audience. However, most attention and intrigue in their lives is lost by the time they die.
Another laudable characteristic of the film is its desire for the audience to sympathize with different character types. The black servants within the time period are not ignored. Rather, they dominate memorable moments within the film.
"It's bad enough we got to fetch them the water, now we got to find it for them too," says one black man after being ordered to dig for a well.
The film's special effects are one of its strongest assets. The use of cannons is particularly impressive. At one point, the viewer follows the cannon ball down the shaft, and its propulsion in a fiery flash. In another scene, the viewer literally follows the path of the cannon ball directly to its site of impact.
Long shots of the Alamo, the army campsites and sunsets that encompass a variety of hues are all features that make the film attractive to view. The eye of cinematographer Dean Semler combined with the direction of John Lee Hancock creates breathtaking visuals and interesting perspectives.
While the film justly portrays the battle for Texas, drawing from multiple perspectives within the film, it would have benefited more from an emphasis on specific characters, creating greater attachment and identification. The soldiers' stories, read aloud in letters, evoke emotion, but alone they do not pull the viewer in completely.
"The Alamo" also bears the burden of being a historic epic to which everyone knows the ending. The fall of the ill-fated soldiers is made dramatic with solemn music, and many viewers will walk away more sympathetic to their loss.
Photo: Meredith Forrest Kulwicki
