San Antonio (Warner Bros.) (1945)

V4 Warners’ ‘San Antonio’ Due Friday At Strand (Advance Theatre Story) The great southwest, with its sun-bleached prairies of tumbleweed and sage, with its priceless heritage of folklore and folk-music, has long been Hollywood’s inspira tion for the ever-popular “western.” Worshipped by starry-eyed youngsters and adult audiences alike in darkened theatres the nation over, the ‘‘western” can always be depended upon to fuse just the proper amount of adventure, romance and breathtaking scenery into any bill of filmfare. “San Antonio,’ Warner Bros.’ newest outdoor. drama in glorious Technicolor which arrives Friday at the Strand Theatre, is the latest example of this type of action-packed story and is, fittingly, as rousing as the fabulous adventurers whose story it tells. Starring Errol Flynn and Alexis Smith and featuring an important supporting cast that includes 8. Z. “Cuddles” Sakall, Victor Francen, John Litel and Paul Kelly, “San Antonio” is in effect a boisterous screen toast to the men and women of Texas who fought rustlers and range wars to bring the long-horned steer across dangerous cattle trails to Abilene and the East. Siill_ 635-46 Mat 209 — 30¢ Florence Bates, S. Z. "Cuddles" Sakall, and stars Alexis Smith and Errol Flynn, gather for a council of war in the above scene from Warner Bros.’ Technicolor drama of the old west, "San Antonio,’ which arrives Friday at the Strand Theatre. The year 1877, they still tell you in the cattle country, was the year of the “Great Breakup,” when highly organized bands of hired gun-slingers opposed Texas ranchers in the most savage range wars, decimating the great nomadic herds and ruining the men who owned them. Law had not yet come to Texas and the handful of U. S. cavalrymen stationed at Fort Laramie were so completely outnumbered that their pitiful efforts to stop the raiders were laughed at in every dog-eared saloon across the Pan Handle. It remained for a few courageous ranchers who still had the will to fight, to barricade their haciendas and defend the future of the west with six-gun and Winchester. Errol Flynn’s Role Such a man, one Clay Hardin, has been made the central figure in Alan Le May’s and W. R. (“High Sierra”) Burnett’s screen play of “San Antonio” and he is played with inspired vigor and enthusiasm by Errol Flynn. Not content with the justice being meted out by the hard pressed cavalry, Hardin leads a group of ranchers against a band of rustlers intent upon running a herd of white-faced steers across the border into Mexico. From one of the slain gun-hands, Hardin obtains a cattle tally book giving conclusive evidence that Roy Stuart (played by Paul Kelly) is a range jackal, the man responsible for the wholesale marketing of stolen cattle. Risks Death Ignoring the advice of Charlie Bell (played by John Litel), Clay runs the gauntlet of Stuart’s gunmén from the safety of Nuevo Laredo in Mexico to the Bella Union Music Hall in 4 San Antonio. Here, in a town dominated by the savage hand of Stuart and his partner, Legare (played by Victor Francen), Clay becomes a man marked for ambush. Relentlessly, he pursues the wily Stuart and Legare, eventually cornering them in the deserted ruins of the Alamo, famous Texas landmark. In true western fashion, Clay slaps leather with the two gunmen, in a blazing, stirring showdown. Butler Directs Wi ieveridy ly directed by David Butler, “San Antonio” plays host to an assortment of picturesque and = flamboyant characters. Lone ek 13s Jeanne Starr (played by Alexis Smith), lovely New York actress who finds love and romance in turbulent San Antonio; Sacha Bozic (S. Z. ‘‘Cuddles” ‘Sakall), Jeanne’s lovable but excitable manager; gun-happy Pony Smith (John Alvin) and doting Henrietta (Florence Bates), all caught in the whirl of excitement and danger that flourishes in lawless San Antonio. In Supporting Cast Included in the supporting cast of the film are Robert Shayne, Monte Blue, Robert Barrat, Pedro De Cordoba and Tom Tyler. Scored by Max Steiner and photographed by Bert Glennon, “San Antonio” was produced by Robert Buckner. Natalie Kalmus directed ail Technicolor filming. Mat 113 — 15e Alexis Smith Special Effects Dept. Busy On ‘San Antonio’ Set Three hours of intense and careful work on the part of the crew and gunfire specialists preceded the first gun play filmed by Warner Bros. for that studio’s new Errol Flynn-Alexis Smith starring film, the Technicolor production “San Antonio,” now at the Strand. Oddly enough .when — such scenes are to be filmed, it is neither the victor nor the victim of the affray who worries most. The powder and effects man assigned to the picture is charged with the responsibility for the guns and the blank ammunition and, consequently, he does the most worrying. So, while director David Butler lined up the scene with his extras and bit players and the stand-ins for Errol Flynn and Tom Tyler, who were to be the shooter and the shot, respectively, Fred Ponedel, head of the powder and effects department, was the busiest and the uneasiest man on the set. Flynn relaxed in his dressing room and Tyler, who was to die so early in the picture, watched the preparations for his screen demise from the sidelines. John Alvin, Tyler’s accomplice, wearing a beard and sipping a small drink, took his place in the saloon doorway to supply the menace needed for the scene. His turn comes later on in the picture. i John Litel, back on the Warner lot where he appeared prominently in many pictures a few years ago, plays Flynn’s aide on the side of law and order. All of them were done up in the authentic western clothes worn in Texas during the 1870-80 decade. The early day San Antonio street, specially constructed for the picture from photographs supplied by Maury Maverick, present day mayor of that city, occupied an entire Warner sound stage. Even dirt roads, which permitted wind machines to stir up typical western dust, were provided. They served an additional purpose by being deep and soft enough to cushion Tyler’s fall when Flynn fired the lethal shot. Tyler, ready for the “kill,” expressed a hope, to no one in particular, that the whole messy business might be completed by lunch time, so that he, automatically removed from the cast by Flynn, could be free for the afternoon. To which Ponedel, the man responsible for the true harmlessness of Flynn’s six-shooter, gave a fervent assent. “T’ll eat a better lunch,” he said, “if this is over.” Errol Flynn Plays Guitar In New Film Errol Flynn proves himself a man of many new accomplishments in his current Warner Bros.’ Technicolor production, “San Antonio,” now at the Strand. First, he makes a vocal screen debut by crooning a Mexican folk ballad to the attentive ears of his beautiful co-star, Alexis Smith. Then he accompanies himself on the guitar — another first for his many fans. As a third surprise, he proves to be an accomplished dancer, flawlessly twirling Miss Smith through a tricky dance sequence patterned after the old-time favorite, La Varsuviana, and known as Los Huapangos in Mexico and Texas, where the polka-rhythm dance still is a favorite. CAST Oley Pa RC ee aie -ERROL FLYNN Jeanne Starr ALEXIS SMITH Sacha Bozic Victor Francen Florence Bates John Litel Paul Kelly Robert Shayne John Alvin Monte Blue Robert Barrat Henrietta Charley Bell Roy Stuart Capt. Morgan Pony Smith Cleve Andrews Colonel Johnson Ricardo Torreon Lafe McWilliams Tom Tyler Fiyrale Fania oc ee on, cee Chris-Pin Martin Sojer Harris ‘) Charles Stevens Stage Coach Driver (San Antonio).. Poodles Hanneford Entertainer Doodles Weaver Joey Simms Dan White eapel Welter ct Sea eA ae Ray Spiker Hap Winters Harry Cording Chalky Williams Wallis Clark Bill Steele Allen E. Smith Howard Hill Specialty Dancer.........0..0.......... Agen a sak tie Arnold Kent. Poker Player Tip Brice PRODUCTION In Technicolor. Produced by Robert Buckner. Directed by David Butler. Original Screen Play by Alan LeMay and W. R. Burnett. Music by Max Steiner. Photographed by Bert Glennon. Technicolor Color Director, Natalie Kalmus; Associate Technicolor Director, Leonard Doss. Art Director, Ted Smith. Film Editor, Irene Morra. Sound by Everett A. Brown. Dialogue Director, Frederick De Cordova. Special Effects by Willard Van Enger, A.S.C. Set Decorations by Jack McConaghy. Wardrobe by Milo Anderson. Makeup Artist, Perc Westmore. Orchestral Arrangements by Hugo Friedhofer: Musical Director, Leo F. Forbstein. Assistant Director, Bill Kissell. SYNOPSIS (Not for Publication) The year 1877 was the year of The Great Breakup,” when highly organized bands of outlaws opposed Texas ranchers in a savage range war, decimating the great herds and ruining the men who had built them. Boldest of these stubborn cowmen who still believed in the future of the great Texas southwest, Clay Hardin (Errol Flynn) is across the border in Mexico recuperating from gunshot wounds received while leading a group of loyal Mexican friends against a band of rustlers. From one of the slain rustlers Hardin obtains a cattle tally book giving conclusive evidence that Roy Stuart (Paul Kelly) is leader of the outlaws. With this evidence, Hardin runs a gauntlet of Stuart's gunmen from Nuevo Laredo in Mexico to San Antonio, where Stuart operates the Bella Union Music Hall with his partner, Legare (Victor Francen). In successfully reaching San Antonio, Hardin outwits Stuart’s gunmen by commandeering a ride in a private stagecoach chartered by Jeanne Starr (Alexis Smith) a New York actress; her manager, Sacha Bozic (S. Z. “Cuddles” Sakall) and her maid Henrietta (Florence Bates). Jeanne Starr has been booked by her manager to perform at the Bella Union, Stuart’s music hall. Hardin and his loyal companions are given only twenty-four hours by Colonel Johnson (Robert Barrat), commandant of U. S. cavalry garrisoned in San Antonio especially for the purpose of preventing bloodshed, in which to prove his charges against Stuart. That night, Jeanne Starr opens her engagement at the Bella. Union and invites Hardin to visit her in her dressing room after the show. Hardin accepts the invitation, but first takes the precaution of leaving the valuable tally book in possession of Charley Bell (John Litel). Bell is killed by Legare, who obtains the tally book. Legare’s killing of Bell is unwittingly witnessed by Bozic. Bozic obeys Legare’s warning and, as a result, the inquiry fails to determine the identity of the killer. However, in announcing that the cavalry must leave San Antonio in order to quell an Indian uprising, Colonel Johnson appoints Hardin as town marshal for a period of twenty-four hours. Bozic leaves town, but is brought back to San Antonio by Hardin’s friends and denounces Legare at the Bella Union. Highlight of the story is Hardin's pursuit of both Stuart and Legare with Legare being killed first. Hardin continues his relentless pursuit of Stuart, and, in the bloody battle which ensues, Hardin finally emerges victorious — winning the fight and, of course, the girl. (Running Time: 111 Minutes )