Cast & Crew
Gen. Maximilian Rodrigues de Santos leads his motley band of Mexican soldiers across the United States border on the pretext of marching in the Washington's Birthday parade; instead, the men advance to San Antonio and capture the Alamo. Max telephones Police Chief George Sylvester and proclaims his triumph, and Sylvester calls in a local National Guard unit, led by Gen. Billy Joe Hallson. The Mexicans refuse to leave the fort, however, and Max outwits the Guard when he learns that they have not been issued ammunition. During the ensuing siege, Max captures Hattie Longstreet Daniel, a right-wing fanatic who was visiting the fort, and Paula Whitland, a young woman who operates the souvenir stand. Paula becomes sympathetic to the Mexican's revolutionary cause, but Hattie secretly sends a message for help to her nephew, Sam Gillison, the leader of the Sentries, a para-military organization pledged to the defense of the United States. Max is wounded in the confrontation with the Sentries but courageously leads his unarmed soldiers to victory and then orders the army back to Mexico.
Ann Morgan Guilbert
Jim B. Smith
Claude Binyon Jr.
Terence A. Donnelly
Robert S. Eisen
Neil T. Maffeo
Joseph G. Sorokin
Sir Peter Ustinov (1921-2004)
He was born Peter Alexander Ustinov on April 16, 1921 in London, England. His father was a press attache at the German embassy until 1935 - when disgusted by the Nazi regime - he took out British nationality. He attended Westminster School, an exclusive private school in central London until he was 16. He then enrolled for acting classes at the London Theater Studio, and by 1939, he made his London stage debut.
His jovial nature and strong gift for dialects made him a natural player for films, and it wasn't long after finding theatre work that Ustinov moved into motion pictures: a Dutch priest in Michael Powell's One of Our Aircraft is Missing (1941); an elderly Czech professor in Let the People Sing (1942); and a star pupil of a Nazi spy school in The Goose Steps Out (1942).
He served in the British Army for four years (1942-46), where he found his talents well utilized by the military, allowing him to join the director Sir Carol Reed on some propaganda films. He eventually earned his first screenwriting credit for The Way Ahead (1944). One of Sir Carol Reed's best films, The Way Ahead was a thrilling drama which starred David Niven as a civilian heading up a group of locals to resist an oncoming Nazi unit. It was enough of a hit to earn Ustinov his first film directorial assignment, School for Secrets (1946), a well paced drama about the discovery of radar starring Sir Ralph Richardson and Sir Richard Attenborough.
After the war, Ustinov took on another writer-director project Vice Versa (1948), a whimsical fantasy-comedy starring Roger Livesey and Anthony Newley as a father and son who magically switch personalities. Although not a huge hit of its day, the sheer buoyancy of the surreal premise has earned the film a large cult following.
Ustinov made his Hollywood debut, and garnered his first Oscar® nomination for Best Supporting Actor, as an indolent Nero in the Roman epic, Quo Vadis? (1951). After achieving some international popularity with that role, Ustinov gave some top-notch performances in quality films: the snappish Prinny in the Stewart Granger vehicle Beau Brummel (1954); holding his own against Humphrey Bogart as an escaped convict in We're No Angels (1954); the ring master who presides over the life of the lead character in Max Ophuls's resplendent Lola Montez (1955); and a garrulous settler coping with the Australian outback in The Sundowners (1960).
The '60s would be Ustinov's most fruitful decade. He started off gabbing his first Oscar® as the cunning slave dealer in Spartacus (1960); made a smooth screen adaptation by directing his smash play, Romanoff and Juliet (1961), earned critical acclaim for his co-adaptation, direction, production and performance in Herman Melville's nautical classic Billy Budd (1962); and earned a second Oscar® as the fumbling jewel thief in the crime comedy Topkapi (1964).
He scored another Oscar® nomination in the Best Original Screenplay category for his airy, clever crime romp Hot Millions (1968), in which he played a con artist who uses a computer to bilk a company out of millions of dollars; but after that, Ustinov began taking a string of offbeat character parts: the lead in one of Disney's better kiddie flicks Blackbeard's Ghost (1968); a Mexican General who wants to reclaim Texas for Mexico in Viva Max! (1969); an old man who survives the ravaged planet of the future in Logan's Run (1976); and an unfortunate turn as a Chinese stereotype in Charlie Chan and the Curse of the Dragon Queen (1981). Still, he did achieve renewed popularity when he took on the role of Hercule Poirot in the star laced, Agatha Christie extravaganza Death on the Nile (1978). He was such a hit, that he would adroitly play the Belgian detective in two more theatrical movies: Evil Under the Sun (1982) and Appointment With Death (1988); as well as three television movies: Thirteen at Dinner (1985), Murder in Three Acts, Dead Man's Folly (both 1986).
Beyond his work in films, Ustinov was justifiably praised for his humanitarian work - most notably as the unpaid, goodwill ambassador for United Nations Children's Fund (UNICEF). Since 1968, he had traveled to all corners of the globe: China, Russia, Myanmar, Cambodia, Kenya, Egypt, Thailand and numerous other countries to promote and host many benefit concerts for the agency.
Ustinov, who in 1990 earned a knighthood for his artistic and humanitarian contributions, is survived by his wife of 32 years, Hélène du Lau d'Allemans; three daughters, Tamara, Pavla, Andrea; and a son, Igor.
by Michael T. Toole
Sir Peter Ustinov (1921-2004)
Refers to the 'Wayne, John' film Alamo, The (1960) by showing a painting of Wayne as Davy Crockett defending the Alamo. Normally there is a disclaimer that states "all characters depicted in this motion picture are fictitious," etc. In this film, the disclaimer reads "all characters depicted in this motion picture except John Wayne are fictitious..."
Written by well-known American news anchor Jim Lehrer.
The exterior shots of the Alamo were filmed on location in San Antonio, Texas. However, interior shots were forbidden out of reverence to the heros who lost their lives there. So, a set was built and the interior shots were filmed in Rome, Italy.
Location scenes filmed in San Antonio, Texas, and Rome.
Released in United States 1970
Released in United States 1970