A Mark Carliner Production. Copyright 18 December 1969 by Commonwealth United Entertainment, Inc. and Cine Nova Ltd. Released in the U.S.A. by Commonwealth United: 18 December 1969. U.K. release through Commonwealth United: floating from July 1970. 8,311 feet. 92 minutes. (Available from Amazon on an IDA Films NTSC DVD).
SYNOPSIS: Leading a small force of ill-assorted, ill-disposed troops across the United States border from Mexico, General Maximilian Rodrigues De Santos is planning to make a gesture more triumphant than appearing in an annual parade. He takes his grumbling "army", held together mainly by the untiring efforts of faithful, if none too scrupulous, Sergeant Valdez, to the city of San Antonio; and there, barely squeezing through the gates before closing time, he seizes the Alamo, now a shrine for flocks of tourists, two of whom are taken prisoner. San Antonio's Chief of Police, George Sylvester, and National Guard commander, Billy Joe Hallson, fail to move Max with threats or pleas. Eventually, fire-eating regular army General LaComber is called in to storm the Alamo, while inside the fortress one of Max's prisoners -- Paula Whitland, a young student — is rather fruitlessly trying to persuade Max that his motives for stealing the relic were revolutionary rather than romantic.
VIEWER'S GUIDE: A borderline case which just squeezes in under the wire of suitability for general exhibition.
COMMENT: An entertaining bit of nonsense that will delight Ustinov's many fans, this movie also comes equipped with many fascinating exteriors, actually photographed in San Antonio (and then expertly joined with interiors filmed a couple of worlds away in Rome's Cinecitta Studios).
Brilliantly directed by Jerry Paris who makes it seem that all the principals are really enjoying themselves in tailor-made roles. In fact, the scenario is very Cleverly written with all the variously intriguing characters and sub-plots coming together for a rousingly satisfying conclusion.
Observantly and wittily directed with wonderfully effective use of all the actual locations, the movie's top-drawer technical credits also include an outstandingly apposite music score, astute photography and most agreeably sharp film editing.
ANOTHER VIEW: Directed against such alluring targets as America's historical, civic and military pomposities, "Viva Max!" is a comic broadside more often scattering confetti than buckshot. — Monthly Film Bulletin.
SYNOPSIS: Leading a small force of ill-assorted, ill-disposed troops across the United States border from Mexico, General Maximilian Rodrigues De Santos is planning to make a gesture more triumphant than appearing in an annual parade. He takes his grumbling "army", held together mainly by the untiring efforts of faithful, if none too scrupulous, Sergeant Valdez, to the city of San Antonio; and there, barely squeezing through the gates before closing time, he seizes the Alamo, now a shrine for flocks of tourists, two of whom are taken prisoner. San Antonio's Chief of Police, George Sylvester, and National Guard commander, Billy Joe Hallson, fail to move Max with threats or pleas. Eventually, fire-eating regular army General LaComber is called in to storm the Alamo, while inside the fortress one of Max's prisoners -- Paula Whitland, a young student — is rather fruitlessly trying to persuade Max that his motives for stealing the relic were revolutionary rather than romantic.
VIEWER'S GUIDE: A borderline case which just squeezes in under the wire of suitability for general exhibition.
COMMENT: An entertaining bit of nonsense that will delight Ustinov's many fans, this movie also comes equipped with many fascinating exteriors, actually photographed in San Antonio (and then expertly joined with interiors filmed a couple of worlds away in Rome's Cinecitta Studios).
Brilliantly directed by Jerry Paris who makes it seem that all the principals are really enjoying themselves in tailor-made roles. In fact, the scenario is very Cleverly written with all the variously intriguing characters and sub-plots coming together for a rousingly satisfying conclusion.
Observantly and wittily directed with wonderfully effective use of all the actual locations, the movie's top-drawer technical credits also include an outstandingly apposite music score, astute photography and most agreeably sharp film editing.
ANOTHER VIEW: Directed against such alluring targets as America's historical, civic and military pomposities, "Viva Max!" is a comic broadside more often scattering confetti than buckshot. — Monthly Film Bulletin.