Last Stands from the Alamo to Benghazi

How Hollywood Turns Military Defeats into Moral Victories

Frank Wetta, Martin Novelli

• Publisher: Routledge
• Year: 2016
• Print ISBN: 9781138819559
• eBook ISBN: 9781317591924
• Topic: History
• Subtopic: Military & Maritime History
• Index: History

Last Stands from the Alamo to Benghazi examines how filmmakers teach Americans about the country's military past. Examining twenty-three representative war films and locating them in their cultural and military landscape, the authors argue that Hollywood's view of American military history has evolved in two phases. The first phase, extending from the very beginnings of filmmaking to the Korean War, projected an essential patriotic triumphalism. The second phase, from the Korean and Vietnam Wars to the present, reflects a retreat from consensus and reflexive patriotism. In describing these phases, the authors address recurring themes such as the experience of war and combat, the image of the American war hero, race, gender, national myths, and more. With helpful film commentaries that extend the discussion through popular movie narratives, this book is essential for anyone interested in American military and film history.

1
"Do this Mean What I Think it Do?"

John Wayne's Alamo (1960)

They now faced the
decision that all men in all times must
face . . . the eternal choice of men . . .
to endure oppression or to resist.

(Opening Crawl)

Synopsis

The film begins with Sam Houston (Richard Boone) seeking out Jim Bowie (Richard Widmark) to assume command of the Alamo. Bowie is ill, drunk actually, so Houston hands command of the militia over to William Barrett Travis (Laurence Harvey). After Travis takes command of the fort, Bowie and his men arrive to declare that Mexican general Santa Ana and 7000 soldiers are closing in on San Antonio.

Next, Davy Crockett and company arrive. Time for a bit of second-rate John Ford film-school humor before getting down to the serious stuff. Crockett and his men are drinking themselves stupid in a cantina when one of Crockett’s men challenges him to what appears to be a bit of “fun.” He and Crockett balance feathers on their noses and each tries to blow off the feather of the other. Crockett loses(!) and the victor has the opportunity to punch Crockett in the jaw. But Crockett being Crockett (or, really, John Wayne being John Wayne), the punch doesn’t knock him out (or even down). Now it is Crockett’s turn and, of course, he not only knocks the man down but also knocks him out. All the while, Travis looks disapprovingly at this Tennessee rabble at play. Time to get serious.

Crockett and his men later enter the Alamo and make themselves at home. Chill Wills (as “Beekeeper,” the comic relief) asks, “What do you Texicans (the historically accurate term) call drinking whiskey.” (Later in the film he inquires about what they call “eating meat.”) Satisfied that the answer is “drinking whiskey,” he begins to imbibe by the gallon. One Tennessee type says to another: “Does this mean what I think it do?” and is answered “It do!” (This pointless exchange occurs again in the film culminating in a final coda as the two men die at the hands of the Mexicans.)

Later, Santa Ana demands surrender and fires on the fort with a gigantic cannon. That night Crockett and Bowie lead a raid that destroys the cannon. Travis is furious that Bowie has gone outside the command structure. A duel seems imminent but both agree to wait until the war is over. Bowie announces he is leaving at dawn with his men. His slave declares him to be in the wrong. More bad news for Bowie comes in the form of a message informing him that his wife has died of the plague. Travis, again outraged at Bowie, softens when he hears the news and offers his condolences.

Earlier, Smitty (played by teenage heartthrob Frankie Avalon, whose romantic ballad “Venus” was five weeks on the Billboard Hot 100 in 1959) provided a song for the men in the fort (and, of course, for all the teenagers who Wayne hoped would buy a ticket). Now it’s time to make sure he and his giant coonskin cap survive. Crockett and Bowie send him to Houston with a message after assuring him that they don’t doubt his ability to fight.

Santa Ana now offers safe passage out of the fort for all the women and children. Only Mrs. Dickinson (Joan O’Brien), the wife of a soldier in Travis’ command, refuses to leave and keeps her children with her as well. In a bit of female machismo, a blind wife, whose husband had asked to leave so he could care for her, tells him to stay since he is as good as any man there, including Travis and Bowie.

Santa Ana launches an attack on the fort. It fails with heavy losses. In a sop to Hispanic moviegoers, the defenders talk about the bravery of the attacking soldiers. As one says, “I was proud of them even as I was killing them. Speaks well for men that so many are ready to die for what they believe in.” Unhappily, news arrives that the long-awaited relief by Fannin will not happen. The fewer than 200 defenders in the fort are on their own. Bowie and Crockett decide to leave. Surprisingly, since it is an essential part of the myth, Travis draws no line in the sand. He carries a cane not a sword, but the speech is pure myth:

Men . . . Jim Bonham has brought news as sad as death. Colonel Fannin has been ambushed. We can expect no help. I stay here with my command. But any of you who wish to, may leave with all honor. Failing reinforcements, the Alamo cannot hold. But do not go with heads hung low. No man could criticize your behavior. Here on these ramparts, you’ve bought a priceless ten days of time for Houston. You have bled the enemy army. You are brave and noble soldiers. Open the gate! May God bless you.

(Music: Ballad coda)

Inspired, Bowie and his slave decide to stay, followed by the rest of Bowie’s men and then Crockett and his men. As the men await what they know will be the final assault and that “no quarter” will be given, they discuss the existence of God. To the assertion that there is no God, no afterlife, one man declares, in a perfect non-sequitur, “good will triumph in the end; evil will be vanquished. I believe in an afterlife.”

Bowie gives his slave his freedom, telling him to escape in the night. But the man refuses to go, saying that now that he is a free man, he is “free” to choose to stay.

The final assault begins. The attackers overwhelm the defenders. Travis is shot dead. Bowie is bayoneted in his bed (his former slave is also bayoneted as he tries to protect Bowie). Crockett is speared with a lance but manages to throw a torch into the powder magazine and blow it up, taking several Mexican soldiers with him. And, . . . in the midst of all the carnage, there must be a moment of “humor”! As two comic Tennesseans, mentioned above, face a dozen Mexican bayonets, what are their dying words? “Do this mean what I think it do?” “It do.”

In the end, everyone is dead except Mrs. Dickinson and her children, who are allowed to leave. Avalon reappears, having dashed back to the Alamo after taking the message to Houston. The chorus:

Lift the tattered banners proudly, while the eyes of Texans shine
Let the fort that was a mission be an everlasting shrine
Once they fought to give us freedom, that is all you need to know
Of the thirteen days of glory at the siege of Alamo.

Now the bugles are silent
And there’s rust on each sword
And the small band of soldiers
Lie asleep in the arms of the Lord . . .
Lie asleep in the arms of the Lord!

At this point many in the audience were, no doubt, also asleep. The film was neither a financial nor a critical success.

Key Scene

Crockett and Travis have a private conversation where Crockett, to Travis’s amazement, speaks of his enthusiasm for the word “Republic.” It is the essential scene in the film—establishing its tone and message:

CROCKETT: Step down off your high horse, Mister. You don’t get lard less’n you boil th’ hog. Have one of these see-gars. I brought’em all th’ way from New Orleans. Were you going to tell my Tennesseans that a good many men, sound men all, had a . . . plot to ease the suffering of the people in these parts? Or were you going to tell them that Steve Austin, Houston and others—and you too, Travis—had planned to declare for a republic? To declare this the Republic of Texas? Were you gonna tell’em that, Travis?

TRAVIS: I hadn’t thought this was generally known. . . .

CROCKETT: It isn’t yet. Not till Austin separates the sheep from the goats. Not till he decides who’s on the right side. [Music: Ballad coda.] Republic . . . I like the sound of the word. Means people can live free, talk free, go or come, buy or sell, be drunk or sober—however they choose. Some words give you a feeling. Republic is one of those words that makes me tight in the throat. Same tightness a man gets when his baby takes his first step or . . . his first baby shaves and makes his first sound like a man. Some words can give you a feeling that make your heart warm. Republic is one of those words.

Travis realizes that Crockett is not an unlettered country ignoramus and Crockett reveals, ironically in light of the patriotic drumbeat all through the film, that he had to pose as a rural rube to get elected.

John Lee Hancock's Alamo (2004)

1835: Sam Houston (Dennis Quaid) and Davy (he prefers to be called “David”) Crockett (Billie Bob Thornton) meet in Washington. Houston tries to convince Crockett to “come to Texas.” Crockett attends a play, “inspired” by his exploits. It was the “Lion of the West,” based on a real one-man performance by Crockett impersonator, James Hackett, as “Nimrod Wildfire.” The heavy-set actor steps in front of the curtains, wearing a giant coonskin cap (perhaps left in the prop room by Frankie Avalon four decades earlier). He salutes Crockett who stands and waves to the audience.

Texas, early 1836: Texans argue over how to resist Santa Ana (Emilio Echevarria). Houston calls one of his political opponents a “catamite” (a reference to the story in Greek mythology in which Zeus abducted a young Trojan to be his “companion.” A dangerous thing to say in those days). A duel is in the air; Jim Bowie (Jason Padric) intervenes. William Travis (Patrick Wilson) is put in command of the San Antonio militia. Travis immediately buys a fancy military uniform, in addition to negotiating a divorce from his wife.

Travis and Bowie dislike one another intensely. Houston and Bowie get drunk together. Houston has been removed as head of the army; he asks Bowie to go to the Alamo. Travis bids his son goodbye and leaves for the Alamo with his troops.

Bowie visits his now deserted home, remembers his dead wife (unlike the 1960 version, she seems to have died before 1836). At the fort, Bowie wants to destroy it; Travis wants to defend it. Crockett, having lost his Congressional seat, comes from Tennessee with a band of followers. What follows in the film is a series of sudden scene shifts that propel the story forward:

Santa Ana’s Camp: In Wayne’s film, he is seen only at a distance. Here he is seen close up several times, none of them flattering—a lecher, a martinet. He orders several Texican “rebels” executed over the objections of one of his general, thus establishing, for the rest of the film, his stupid arrogance and cruelty. (His lust is revealed later as he appears to take possession of a young Mexican woman.)

Back to the Alamo: Travis and Bowie once again on the verge of a duel but Crockett stops them.

The arrival of Juan Sequin (Jordi Molla) and a friend: Why are you fighting for this Texas low-life?, asks the friend. We only want freedom; the Americans want to rule the world.

Back to the Alamo: Santa Ana’s army, all 7000 of them, has arrived. Bowie rides out to negotiate with a couple of Santa Ana’s officers. Travis, outraged, fires a cannon at the Mexican lines, ending the possibility of some kind of truce. Mexican soldiers raise the “death flag” (no quarter) and musicians begin to play El Deguello, the “slit throat” dirge. Meanwhile, Santa Ana and his generals discuss how to deal with Crockett and Bowie, who are seen by the Mexican common soldiers as something approaching a nineteenth century version of superheroes. Meanwhile, Bowie falls ill with typhoid and pneumonia. The bombardment of the fort begins.

Bowie and Travis try to make peace. On the ramparts, Crockett sees Santa Ana strutting to the front of his army. He takes aim and, at some distance, misses but shoots one of the epaulettes off of Santa Ana’s shoulder. Nevertheless Santa Ana is made the fool. Travis sends a letter to Houston begging for help.

Sam Houston’s Camp: He will raise an army only if Texas declares its independence from Mexico. With Sequin at his side, he declares “I will command all or none.” Houston refuses to try to relieve Travis with only a small force.

Back to the Alamo: The first Mexican attack is repulsed. Bowie’s fever worsens.

He needles Crockett about his coonskin cap; Crockett laughs it off saying he only wore one because of plays that showed one on his head. Crockett is asked to tell one of his adventures as he passes on a plate of potatoes. He tells an odd tale from an earlier war where some Indians were trapped in a cabin and burned alive.

Later, cooked potatoes were found under the floor of the cabin. Crockett claims the potatoes were cooked in the “grease” from the Indian bodies and thus he will always pass a plate of potatoes on to someone else. Meanwhile, Bowie, delirious with fever and cared for by his wife’s sister, hallucinates that she is his late wife.

Thirty-two volunteers, not a Fannin-led army, arrive at the fort. Santa Ana hopes that Houston will arrive with an army so he can crush the rebellion once and for all. He offers safe passage to any Mexican who will leave the fort. His “lust” mentioned above is revealed as he visits the very reluctant-looking young woman seen earlier.

Bowie recovers, frees his slave who leaves the fort during the night (compare this to the freed slave, in Wayne’s version, choosing to stay behind with Bowie and die with him). Bowie’s sister-in-law chooses to stay.

Crockett advises Travis to speak honestly to the men that they are doomed. Crockett says that in Congress “I learned to stretch but never to lie.” Travis addresses the men. Here is the scene with the director’s notes:

CROCKETT: These people in here have been through an awful lot. I would allow these men have earned the right to hear the truth.

(A raised hand holds pieces of paper. Travis faces his men.)

TRAVIS: I have here pieces of paper, letters from politicians and generals, but no indicati...

Table of contents

• Cover
• Title
• Copyright
• Dedication
• Acknowledgments
• Contents
• Introduction: "The Very Thought of Losing"
• 1 "Do this Mean What I Think it Do?"
• 2 "Are You Calling Me a Liar?"
• 3 Alamos of the Pacific
• 4 "We're Supposed to be Angels of Mercy"
• 5 "The Misfortunes of My Retreat"
• 6 Planes Roaring, Voices Singing
• 7 Pork Chop Hill is in North Korea Now
• 8 Go Tell the Americans
• 9 "Narrowing the Aperture"
• Conclusion: "It is Here that We Lie. . . ."
• Filmography
• Further Reading
• Index