CAST: CAST: Dennis Quaid (Sam Houston), Billy Bob Thornton (Davy Crockett), Jason Patric (James Bowie), Patrick Wilson (William Travis), Emilio Etchevarría (Antonio Lopez do Santa Ana) SCR: Leslie Bohem, Stephen Gaghan, John Lee Hancock DIR: John Lee Hancock STUDIO: Touchstone Picutres MPAA: PG-13 for sustained intense battle sequences RUNNING TIME: 135 minutes OFFICIAL SITE: http://alamo.movies.go.com/intro.html "Remember the Alamo!" is a battle cry still remembered to this day, although many may have forgotten why. "What's the big deal about an automobile rental company?" one might ask. Having been to the Alamo, more than once, I do remember it fairly well, but not as the film makers have presented it. They are concerned, of course, with a different era for the Alamo, the same era presented in the 1960 film that starred (and was directed by) John Wayne. In typical Hollywood fashion, Wayne's version was simply too “old fashioned” and had to be freshened up for the present generation. One axiom I have found to be consistently true among retreads is this: if the new version doesn't add something significant to the previous version, then it's better that you didn't bother. Cases in point: THE MUSKETEER, a tripe-filled piece of cinematic schlock that was a hack-job remake of THE THREE MUSKETEERS (Actually, it was about the fourth or fifth redux for that film). What Peter Hyams thought was adding to was actually taking away from; it was truly awful. On the other end of the scale: TITANIC, the quintessential remake that added a new dramatic fictional story along side a contemporary treasure hunt story to breathe new life into a modern event that had achieved its own fabled status before the first of several films was made. James Cameron succeeded in grabbing both box office bucks and a fist full of Oscars with the success of that film. And that's when the suits at Touchstone remembered the Alamo. THE ALAMO starts off with a strong suit of actors to begin with, and that is certainly a good beginning. However, I wasn't sure that would be a saving grace or not. How much could you add to the story of the Alamo that isn't already old historical hat? Dennis Quaid stars as Sam Houston, for whom the city of astronauts is named. Although he is an important figure in Texas history, he wasn't actually at the Alamo. He is, however, credited with the famous battle cry that, in a sudden, well executed stroke, brought freedom to Texas. Quaid is a long-time favorite of mine, and he's tackled virtually every genre. He's a strong actor, and gives a very credible performance as Houston. While he departs from some of his past role patterns, he nonetheless still seems to be Dennis Quaid playing Sam Houston. This is true of Quaid in many of his films; THE ROOKIE, THE PARENT TRAP, FREQUENCY, INNER SPACE. He has shown the ability to stretch into a part, such as his performance as Jerry Lee Lewis in GREAT BALLS OF FIRE, the tortured Frank Whitaker in FAR FROM HEAVEN or as Doc Holliday in Kevin Costner's WYATT EARP (which, I have to say, was a wasted effort for Quaid; his acting was fine, but Costner didn't give him, or any of his actors, anything to do. It was a three hour snooze fest.) Unfortunately, the role of Sam Houston doesn't give him much to stretch into, or he doesn't create anything to stretch into with it, however you want to look at it. But he does make a good Sam Houston. Billy Bob Thornton, on the other hand, was a delightful surprise as David (Davy) Crockett. He has an excellent set of one-liners, both serious and comical, to deliver, and presents them with outstanding nuance. Thornton's Crockett is not the mythologized coon-skin capped character that has been made popular in American folklore, aided by John Wayne's portrayal. And Thornton's delivery was on a much higher plane than the near monotone drawl of "The Duke". Jason Patric (SPEED 2, 3 DAYS OF RAIN) wields a huge knife in the persona of James Bowie. Again, his character is quite a departure from that portrayed by Richard Widmark in the Wayne version. While Widmark was on the battlements fighting hand to hand alongside Wayne, Patric's Bowie was prostrate on a bed, overcome with consumption, with a pair of pistols in each hand. After discharging both of them, he grabs for his knife, but never gets a chance to use it. But Bowie is introduced as a colorful character, as he is often described to be, and his early power struggle with William Travis (Patrick Wilson) is only one dimension of that color. Emilio Etchevarría makes an excellent Santa Ana. His part is written for a stage actor, and Echevarría handles it that way. But it doesn't come off with the campiness of a stage production. His delivery is solid in every respect, both in victory and defeat. (That may be a spoiler for some, but if you haven't read your history book, it's not my fault....) The screenplay is probably the biggest asset this film has, even beyond the acting. Director John Lee Hancock (who directed Quaid in THE ROOKIE) teams well with Leslie Bohem (DANTE'S PEAK) and Stephan Gaghan (TRAFFIC) to provide the actors with punchy dialog throughout. And as to the something significant that is added to the story, there are a number of odds and ends. Hancock stages the climactic battle in the Alamo during the night, as opposed to Wayne's version that presented a daytime battle. I'm not sure which is more historically accurate, but the night time attack by Santa Ana feels more true to form. I suspect that, in 1960, a night time attack scene might have cost a lot more to shoot, and a producer somewhere probably called for the daytime concept. Or maybe John Wayne just wanted to see who he was shooting, and shooting at. In any case, Hancock gives a gritty, multifaceted view of the battle. It does get bloody, but he keeps it from becoming too gruesome. The other significant addition is the story of Houston and his engagement with Santa Ana, which was merely referenced in the Wayne film. Having this part of the story told gives greater meaning to the famous battle cry. THE ALAMO will not be an Oscar contender by any means; for one thing, its way too early in the year, and in spite of being well executed it's not an Oscar level story or film. It is an engaging retelling of an important event in Texas, and American, history, and will probably become a classroom teaching aid for history teachers. And unlike Mel Gibson's THE PATRIOT, it will deserve the honor. --reviewed by DALE JAY DENNIS