Union officer Kerry Bradford escapes from Confederate Prison and is set to Virginia City in Nevada. Once there he finds that the former commander of his prison Vance Irby is planning to send $5 million in gold to save the Confederacy.
Clay Hardin is a San Antonio rancher who has been run off his land by cattle rustlers. There's a range war going on and Hardin is determined to get the man behind it all, Roy Stuart. Hardin has been hiding out in Mexico, biding his time and decides the time has come for him to return. He's managed to get hold of one of Stuart's tally books that clearly shows he was selling cattle that didn't belong to him. Stuart and his partner Legare will go to any lengths to stop Hardin before he can put the evidence before a court. Beautiful dance hall performer Jeanne Starr arrives in San Antonio under contract to Stuart and Legare but she is clearly smitten with the handsome Hardin. When the army is called away, Hardin and his supporters are left on their own to defend themselves.Written by
Bozic in the film twice refers to riderless horses as "empty horses". This is likely to be a reference to director Michael Curtiz, with whom Errol Flynn had worked on The Charge of the Light Brigade (1936) (and whom Flynn detested). When wanting to see stray horses wandering through the battle, Curtiz directed the wranglers to "bring on the empty horses." When David Niven and Flynn cracked up laughing, Curtiz responded with, 'You people, you think I know fuck nothing; I tell you: I know fuck all". Niven later made this "Curtizism" immortal by titling his autobiography:"Bring On the Empty Horses". See more »
Clay Hardin catches the stage riding his running horse. It's never explained how he was able to jump to stage and then lift his saddle off the horse. He wouldn't have been able to run his horse as he did in the clip (over a great distance) with an uncinched saddle. See more »
The regular stagecoach stops here overnight. They don't have to sit up all night, bouncing their brains out!
It is not my brains is tired!
Well *use* them then, and get us on the regular stagecoach!
Look, Tuesday it is last night we played already... so we got to be there, yesterday yet. Because the day before, we ain't *no* place, you know?
Sheesh'a! Look... next day it is last night we don't start. And Tuesday evening is the morning we ain't coming. Now you understand?
Of course not!
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"San Antonio" is a lively movie, with a lot going for it: two very attractive leads who look good together, beautiful Technicolor, enjoyably unsubtle and melodic Max Steiner score, good villains. It's a Saturday-afternoon kind of film, best accompanied with a bucket of buttered popcorn. The script isn't inspired, but it moves, and the big fight sequence toward the end is quite spectacular and well choreographed, and made me really appreciate the contributions of stunt players in this kind of film.
Alexis Smith is gorgeous and well-costumed, if a bit reserved, and gets to lip-sync two very pretty songs. There was always something very identifiable about Warner Bros. orchestration for musical numbers--a cheeky brassiness. Errol Flynn is characteristically cheeky in his own slightly self-mocking way, as when he carries on a conversation while interspersing it with bits of a romantic song, also strumming a guitar. Florence Bates does a reprise of her "mentor to the female lead" from "Saratoga Trunk." Victor Francen and Paul Kelly make a good, hissable pair of bad guys.
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