Vera Cruz

VERA CRUZ picks up on a bit of business from the American Civil War that is rarely discussed in our movies. Only a slight, similar comment is brought up in the film ANOTHER PART OF THE FORREST, where John Dahl plans to leave the south and fight in the Brazilian Army. It is 1870, and Dahl (an ex-Confederate officer) decides to fight for an army from the one large nation that still practices slavery. Many Confederates at the end of the Civil War sought employment outside the United States, where their military skills would be appreciated and they did not have to live under the U.S. Flag. George Pickett (of the famous charge at Gettysburg) was offered the job of Commander-in-Chief of the the army of the Khedive of Egypt (but he did not take the offer).

Many of the ex-Confederates decided to go to Mexico, because during the Civil War Maximillian was pro-Southern (as Juarez was pro-Northern), and the French who supported Maximillian were pro-Confederate (unofficially) as well. Napoleon III of France saw the Confederates as one of those "nationalities" he championed in the name of his uncle's so-called revolutionary principles. He also had a belief that the United States was growing too potentially powerful. Throughout the first two years of the war, while Lee and Jackson were doing so well in the East, Napoleon III did all he could to get the British and himself to coordinate mediating a peaceful (i.e. "pro-Confederate") solution to the war. But every time it looked like that would occur, there would be a Northern victory (Antietam Creek, Gettysburg) that upset the plan. Also the release of the Emancipation Proclamation in January 1863 muddied the waters. It reminded the people of France and Britain that the South favored slavery.

Napoleon III was hoping a Southern victory would ensure his puppet Maximillian's Empire in Mexico would be secure. During the war he had conferences with a former Senator from California, Dr. William Gwin, who was pro-Confederate. Gwin wanted to have a portion of the Sonora state of Mexico set aside for Confederate emigrants to farm and mine.

All this collapsed on April 9, 1865 when Lee surrendered. VERA CRUZ follows the collapse of the Confederacy, and how Gary Cooper joins the exodus to link up with fellow former Rebels in Mexico, to support Maximillian. He also links up with Burt Lancaster, who leads a gang of gunslingers for hire, and the story turns on a huge gold shipment that is for Maximillain's forces. But in VERA CRUZ everyone sees this gold shipment as the key to a happy future for themselves or for their people. Cooper (the hero in the film) would like to use it for helping to rebuild the South. Lancaster and his gang (including Ernest Borgnine and Charles Bronson) see the riches for themselves. Maximillian (George Macready, in a very short scene - unfortunately - where he is not as sweet and well intentioned as Brian Ahearn had been in JUAREZ) - wants the money sent for future purposes. Cesar Romero and Henry Brandon are intending the money should go to France. Denise Darcel, a French aristocrat, wants the money sent to France to - for herself.

There are plenty of films about gold and how it brings greed out of everyone, and VERA CRUZ is one of the best. It is not settled until the end who will get the gold - and only after one last gunfight after the battle.

The first 20 minutes of Vera Cruz are excellent, starting with the great score by Friedhofer and the meeting of Cooper's and Lancaster's characters. The most striking scene is in a plaza, with a great gunfight followed with the meetings with the main players in the plot including a couple of hundred revolutionaries and Cesar Romero, whose character serves the Emperor of Mexico, Maximillian. This initial sequence of scenes are very well done, have a tough and cynical feel about them, and seem a little ahead of their time. After this point the movie becomes a more typical 1950s big budget adventure film. It remains entertaining, but looses the sharpness that these first striking minutes had. Only at the very end of the film does it regain it's edge. It could have been an excellent film, but is still entertaining and well worth watching.

Cooper and Lancaster are good as always and their usual on-screen personas compliment each other well.

The Mexican locations were great.

This film was very influential on the Italian filmmakers that would go on to create the spaghetti western. Stylistically the influence can be scene most in plaza scene. The plot filled with multiple double crosses and betrayals will also seem familiar to fans of the eurowestern, as does the primary character motivation -- greed. Also, this film may explain the large number of SW that involve Maximillian, Jaurez, and soldiers of fortune manipulating them.

This western film is typical of the 50's era. It was well made in excellent outdoor locations. "Coop" gave his usual professional touch which we came to expect of him & "Lancaster" was superb That "smile" really made his character and gave the humour that was needed to make a balanced film. The cast including Borgnine & Bronson added real class to the production. I saw the film as a fifteen year old teenager when it was first released, queuing for 2 hours to obtain entry into my home city's main cinema. Even after 50 years I still watch it with the same excitement & interest. They do not make films like this anymore. Modern films have no answer to it

"Vera Cruz" is settled in Mexico during Austrian emperor Maximilian's ruling and the Juaristas revolution. Ban Trane (Gary Cooper) and Joe Erin (Burt Lancaster) cross the border to hire their guns for the cause that pays better. Trane is a former southern officer ruined by the American civil war and Erin is a self made top gun. Somehow the two men get to like and respect each other and they are paid by the emperor to take a mysterious French countess through Juarista country to the Port of Vera Cruz.

Mexico's colorful outdoor locations are very well used by director Robert Aldrich to give the film some sort of greatness, unusual in early 50's westerns. Lots of action and well done battle sequences help the movie too. The final gun duel couldn't be spared and it is a good one too.

Cooper has no trouble with his character and gives a good performance, but no doubt Lancaster's character is more interesting and he takes the best of it. In fact when you remember "Vera Cruz" Lancater's Joe Erin is what first comes to your mind. His black outfit, his complete lack of class and manners, his limitless ambition and completely unscrupulous behaviour; and yet you feel sympathy for the guy. This is indeed a Burt Lancaster picture.

The supporting cast is also outstanding. You'll find future stars in early roles such as Ernest Borgnine and Charles Bronson, along with Jack Elam all of them members of Erin's gang (what else?). But classical actors of the 40's and 50's are there too: Cesar Romero, George Macready (Maximilian), Morris Ankrum and Henry Brandon among others. Spanish actress Sara Montiel plays a Juarista that gets mixed up with Coooper.

Not only for western fans but also for action and adventure movie followers, "Vera Cruz" is a film to enjoy every once in a while. A top one in both genres.

"As the American Civil War ended, another war was just beginning. The Mexican people were struggling to rid themselves of their foreign Emperor--Maximilian. Into this fight rode a handful of Americans--ex soldiers, adventurers, criminals--all bent on gain. They drifted South in small groups-- AND SOME CAME ALONE"

Gary Cooper and Burt Lancaster head the cast as two polar opposite American adventurers who get involved with Maximilian's royal house and Juarez's revolutionaries in 1860s Mexico. Cooper plays Benjamin Trane, basically a good man, tho one tainted by much cynicism, and Lancaster plays Joe Erin, gunman and an untrustworthy crook. Vera Cruz was the first release in SuperScope (beautifully shot by Ernest Laszlo on location in Mexico) and with director Robert Aldrich at the helm, the film brilliantly captures the violence and danger that was brought about during Mexico's revolutionary period. Adapted by Roland Kibbee and James R. Webb from a Borden Chase story, Vera Cruz very much feels like (is) a precursor to Peckinpah's The Wild Bunch and Sergio Leone's Spaghetti Westerns of the 60s.

With its blend of comedy and outright action, the film is essentially a buddy buddy Western with a cynical amoral kicker. It's a blend that may not be to everyone's tastes, but with Lancaster (grinning for all he is worth) and Cooper (laconic supreme) in the leads the film rises above its oddity status. The professionalism on show, both from the obvious big stature of its stars and Aldrich's astute choreography of the action sequences, ensures this is a polished piece. There's much machismo of course, one only has to see that Charles Bronson, Ernest Borgnine and Jack Elam are in the support gallery of thugs to know this fact, but it should be noted that the picture is interested in showing a fair reflection of the Mexican conflict. The Mexican government of the time were outraged at the film, but on reflection now it's evident the film doesn't take sides. That to my mind has to be applauded.

Some problems exist, notably some of the dialogue is a touch too corn based now. While as the main female character, Denise Darcel is out of her depth. One could think that she is maybe swamped by all the testosterone around her, but when you notice that Sara Montiel is coping fine in a secondary role, it shows Darcel to be limited. Vera Cruz held its own on release, neither busting the box office nor sinking without a trace. It would take over ten years before the true value of the film would start to be noticed. With that, it now shows to be very influential within the genre. Explosive, important and darn good fun, that's a mixture you just can't ignore. 8/10