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The Man from the Alamo Starring Glenn Ford

A feature film from 1954

This is a great example of historical distortion through popular cinema, which is the normal route for historical distortion, until the family TV news cult rose in the early 1960s. This movie starts with a compelling storyline. A number of local Texans hold up at the Alamo discover that a group of Anglo bandits [with no historic basis] are pillaging for Mexican military dictator Santa Anna, who represents militant nationalism as a great evil, and the men draw lots to see who will fail to stay and die with Colonel Travis and be the man to ride forth and save their families from the bandits. Amid the sublime heroics of a man accepting infamy to do his duty we are treated to his universal emasculation.

The man chosen by picking the one black bean out of the hat, is of course unable to communicate with other anglos and, until the penultimate scene, he is left to communicate through his Mexican servant [who would have been a Tahano and not a Mexican] with no voice of his own and the plot progresses like cheap horror movie among an arc of misunderstanding. It turns out the villains are anglo-bandits dressed as Mexicans, wiping out fellow whites in hopes of currying favor with Santa Anna. What follows is a mish mash of manifest destiny Texas freedom fighter bullshit [to satisfy American sentiments] and globalist Aryan negation inclusivity politics in which no white man can trust another, that all villains and good guys are white men, in which a magic beaner saves the day numerous times and a bunch of pioneer women defeat a gang of anglo-banditos in a one sided gun fight.

The unbelievable plot, poor firearms matching for the period and globalist jingoism and feminism were surprising for the year, but the horse stunts were first rate, with lot of full-speed jockey work in costume. It was simply amazing to view a movie made during the last stages of the Korean Conflict in which the white man was made to be by turns, an impotent hero, an evil villain and a blindly block-headed racist block of character actors and that this scathing reduction of the men who formed this country was couched in falsified jingoistic terms of its formation, for the Texans were the strategic aggressors in this drama, not the defenders. What a surprisingly adept weaving of opposing false narratives was The Man from the Alamo.

In the end, vaginal authority and POC super-morality are the main messages.

Son of a Lesser God



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