'The Last Command' is a film with a better backstory than the film itself! First batted around Republic Pictures as a potential vehicle for John Wayne, the production was put on the back burner when Wayne decided he wanted total creative control, and decided to produce and direct his own version, with a budget Republic couldn't match.
Republic DID, however, have an arsenal of talent available, and a shooting script, and eventually brought in veteran director Frank Lloyd, who had just come off a ten-year hiatus with 'The Shanghai Story', in 1954. Sterling Hayden, fresh from the cult classic 'Johnny Guitar', and a featured role in Fox's lavish 'Prince Valiant', signed to play Jim Bowie ("I needed the money to refit my boat," he joked). Richard Carlson, whose 'Creature from the Black Lagoon' had just been released by Universal (becoming a big hit) was tapped to play Alamo commander William Barret Travis. Ernest Borgnine, whose 'Marty' was garnering rave reviews (and would earn him an Oscar) took on the showy supporting role of Bowie adversary/friend Mike Radin and starlet Anna Maria Alberghetti, in her first non-singing role, became the female lead. Two veteran character actors rounded out the major cast: J. Carrol Naish, as a sympathetic yet decisive Santa Anna, and, in an offbeat but inspired casting move, bearded Arthur Hunnicutt as a rustic Davy Crockett (who would very nearly steal the film!).
The production was very modestly budgeted, so much so that the number of extras serving as the Mexican army was limited, but director Lloyd and cinematographer Jack Marta were old hands at making more out of less, and with some judicious editing by Tony Martinelli, the illusion of thousands of Mexican soldiers was achieved. Set design was minimal, as well, and the famous 'look' of the church/fortress was often achieved through mat paintings.
Scored by the legendary Max Steiner, with a theme sung by Gordon MacRae, 'The Last Command' seemed to teeter at the edge between 'B' movie and 'A' status; ultimately, the pedestrian script, by Sy Bartlett and Warren Duff, did the movie in, as there was too much time spent on an unnecessary love triangle, which slowed much of the film to a crawl. Despite an unforgettable final battle, audiences avoided the film, and it quickly faded from sight.
Unfortunately, John Wayne didn't learn from 'The Last Command', and he added a love story to his 'Alamo', with the same lethargic result; Crockett's explosive demise (historically inaccurate, but rousing!) must have impressed him, as well, as he staged an even bigger version of it in his film.
'The Last Command' is a curio, but is enjoyable, for the most part, and the spectacular final assault makes it a must for any action fan's collection!
Republic DID, however, have an arsenal of talent available, and a shooting script, and eventually brought in veteran director Frank Lloyd, who had just come off a ten-year hiatus with 'The Shanghai Story', in 1954. Sterling Hayden, fresh from the cult classic 'Johnny Guitar', and a featured role in Fox's lavish 'Prince Valiant', signed to play Jim Bowie ("I needed the money to refit my boat," he joked). Richard Carlson, whose 'Creature from the Black Lagoon' had just been released by Universal (becoming a big hit) was tapped to play Alamo commander William Barret Travis. Ernest Borgnine, whose 'Marty' was garnering rave reviews (and would earn him an Oscar) took on the showy supporting role of Bowie adversary/friend Mike Radin and starlet Anna Maria Alberghetti, in her first non-singing role, became the female lead. Two veteran character actors rounded out the major cast: J. Carrol Naish, as a sympathetic yet decisive Santa Anna, and, in an offbeat but inspired casting move, bearded Arthur Hunnicutt as a rustic Davy Crockett (who would very nearly steal the film!).
The production was very modestly budgeted, so much so that the number of extras serving as the Mexican army was limited, but director Lloyd and cinematographer Jack Marta were old hands at making more out of less, and with some judicious editing by Tony Martinelli, the illusion of thousands of Mexican soldiers was achieved. Set design was minimal, as well, and the famous 'look' of the church/fortress was often achieved through mat paintings.
Scored by the legendary Max Steiner, with a theme sung by Gordon MacRae, 'The Last Command' seemed to teeter at the edge between 'B' movie and 'A' status; ultimately, the pedestrian script, by Sy Bartlett and Warren Duff, did the movie in, as there was too much time spent on an unnecessary love triangle, which slowed much of the film to a crawl. Despite an unforgettable final battle, audiences avoided the film, and it quickly faded from sight.
Unfortunately, John Wayne didn't learn from 'The Last Command', and he added a love story to his 'Alamo', with the same lethargic result; Crockett's explosive demise (historically inaccurate, but rousing!) must have impressed him, as well, as he staged an even bigger version of it in his film.
'The Last Command' is a curio, but is enjoyable, for the most part, and the spectacular final assault makes it a must for any action fan's collection!