My main quibble with this script (and I did love the movie) was at the time I was reading my copy of Richard Harding Davis, "The Notes of a War Correspondent", his description of the battle came from the actor playing Stephen Crane's. RH Davis is worthy of a rousing action movie in his own right. Would have been a great addition to the movie.

This three-hour, made-for-cable TV in America story of Cuban battles in the Spanish-American War was good enough to sit through once but not edited well enough to see it again. I say "edited" because, after the short stage-coach robbery scene in the first minute or two, nothing much happens for almost an hour. Then, for the rest of the film - 90 to 120 minutes - it's almost non-stop action. After awhile, with only a few very short lulls, you get tired of it. All the shooting and cannons, etc., become too repetitive and get boring.Also, for those who assume, as I did, that this film is a biography of sorts of Theodore Roosvelt, before he became President of the United States, might be a bit disappointed. You do see him, and he's a major figure in this long story, but there is no real central character in here. The film gives a fair amount of screen time to a handful of people, not just Teddy. There is no real star in this story.Tom Berenger must have done a pretty good job because I wouldn't have known it was him had I not read about this before seeing it. Whether it was his pronounced choppers, or odd way of speaking, it didn't sound or look like the actor. However, it was good to get some glimpse of what our former President was like as you don't often see "Teddy" portrayed on film. This also gave us a good insight on the Spanish-American war, another historic event not often seen on film. I wonder how many people even know that "San Juan Hill," which helped make Roosevelt famous, is located in Cuba?For a TV-film, the action scenes were well-done and it appeared no expenses were spared in making this movie. A little more action in the first hour, and a little less in the next two, would have made this film more interesting.

This is one of my all time favorite movies, I actually bought the commercially produced tape of it. I am a Living Historian/Reenactor, I do a Spanish American War impression, I read everything I can about the SA War, and these people got it right. Some over-dramatization of course, playing with the facts. The Spanish did not have machine guns at Santiago, if they had, the battle would have turned out of little different-look at the havoc machine guns cause in the Russo-Japanese War of 1904-05 then in WWI. But it looks great to see "our boys" valiantly charging up hill against them (nice of the Spanish to be such lousy shots). The U.S. officer in charge of the Gatling guns was Lt. John J. Parker, about 35 (promotions were slow back then) and he was know as "Blackie" for his luxurious black beard. William Shafter had a full head of hair, a mustache but no beard, the actor portraying him is bald with a beard, plus he really didn't do justice to Shafter's corpulence (he weighed over 300lbs). And the scenes where the Spanish soldiers all have left handed rifles and the Maxims are feeding from the left, later when the Rough Riders capture one Roosevelt says "I can see it feeds from the right"-poor film editing. And the Spanish had no need of German advisers, they had a long and proud military tradition. Also the scene where Roosevelt tells his men to "kill the German"-TR ordering a prisoner to be murdered? I think not.Against these perhaps minor criticisms (hey, I am have taught history at a community college) I will state that the uniforms and equipment of the troops on both side are correct, the depiction of black soldiers in the battle is correct-all four of the Army's black regiments were in Cuba, the 9th & 10th Cavalry, the and 25th Infantry, the Rough Riders were brigaded with the 10th Cavalry. Mostly importantly, the film captures the mood, the mannerisms, the atmosphere of the time, the idea of the sons of New York's wealthiest families so eager to get into the fight that they will serve as enlisted men, and the fact that the War of 1898 ended many of the divisions left over from the war of 1861-1865 and in a sense we went from being the "United States" to the "United States of America".

Tom Berenger is a superb actor, and I think his talent is often overlooked. He was funny, affecting, and ennobling in "Major League," a comedy about a misbegotten baseball team. He was chilling, on a knife's-edge (a one-man Hitchcock plot - no way to tell where he was, or what he might do, or what he knew... but no mistaking the motivation and emotion, either... indescribably human, he was) in "Betrayed." His performance there was such that one hated and feared him from the very start, but ended up praying that he would not be slain. I heard little about his effectiveness in either case. And yet, there was, of course, his screen-shattering performance as Sgt. Barnes in the brilliant, alligorical, and hard-hitting Oliver Stone production, "Platoon." He won plaudits for that one, and well-deserved ones.In this one,"Rough Riders," he is given a juicy, meat-filled slice of adolescent Americana, to play - an incorrigible and inimitable American hero, the irrepressible Theodore Roosevelt. Rather than restraining himself, or attempting to portray TR as - well, as an adult - Berenger seems to let his performance carry itself, unconsciously. He is as over-the-top as TR himself. This is, at all times, under a thin, barely-controlled layer of respectability, very similiar itself to the state in which TR himself seemed to be born. TR's life, much of the time, was a bouncy, swashbuckling melodrama - and Berenger plays all of this to the hilt, and with the necessary controlled-abandon. He might be critisized for over-acting if it wasn't for the plain fact that this is, in fact, the way TR behaved. And anyone who cares to witness Mr. Berenger's other performances (including his most recent roll, as a delightfully dour and cynical sheriff, on USA's "Peacemakers") can see, his sensitivity to the depth of the characters he plays is extraordinary - one can almost pity him, in this case, for choosing to play a man who himself embodied unbelievable melodrama.Suffice to say, the entire picture is worth watching, just to see bully old Teddy back again, alive and in the flesh, trying to start a war, and then trying to fight and win that war... Berenger brings it all to life, brilliantly. He shouts "bully!" with enthusiasm, he studiously prepares several pairs of spectacles for his expedition to Cuba, we see him trying to improve his piping, asthma-riddled voice, the better to command his soldiers - and, later, we see him fall quite out of his chair at the jest of a comrade, declaiming, "I was overcome with mirth!" Such scenes will overcome the viewer with mirth, as well - but a knowing mirth.Having said that, this film's best moment is near the beginning, and it involves Illeana Douglas, who plays Teddy's wife, Edith, with a healthy dash of long-suffering tolerance, as if she would leave the set if she could just quit loving the man she'd married. Her defense of the macho (but defenseless) TR in the face of the French is played off terrifically. She comes across as precisely what Edith herself, in fact, was - a woman who had long since resigned herself to the hell-for-leather forays of her headstrong husband... and she defends him with the ruthlessness of a woman who knows that no foreigner will ever understand the boundless Americanism (or worldy childishness) of her husband.This is not a brilliant film, but it is an entertaining one. The battle scenes are well done, but, aside from what I mentioned above, the real fun in the picture is in the "boot-camp" scenes. A well-cast and icily forbidding Sam Elliott, along with the silent, brooding threat-in-being of David Midthunder, makes these scenes more interesting than the typical military drill-sergeant fare. By the end of the training process, even those watching the movie are longing for the approval of the aloof and mysterious Midthunder - who, in a nicely balanced final scene, explains himself in a way that banishes mystery, conjures comradeship, and evokes sympathy.One other character commends attention here. Gary Busey plays the ancient Confederate General Joseph Wheeler - a hero of the Civil War (for the South, anyway). Like Berenger, his acting is sure to be termed overdone, excepting the reality that his character was, in fact, a hell-for-leather, horse-riding, Yankee-skewering madman... And there is great pleasure in the watching of Busey bringing this nutty semi-senile General to life. He demands assurances from the President, and we see him repeatedly mistake the Spanish, who we Americans were fighting in this war, for "Yankees." (In the end, the addled, overweight, and over-enthusiastic General settles upon the phrase "them Yankee Spaniards," when referring to the enemy...) It is a fun portrayal of a man whose time has past, but who refuses to acknowledge the fact. Busey's Wheeler is so wound up in the sound of the guns, that he loses all reason, becomes delirious, and yet, beneath it all, hangs inadvertantly to the vestiges of heroism. I think there is little choice but to root for the ill-guided but irresistable General. Having such a melodramatic icon on screen with a viviedly-created TR is almost too much fun to bear. There is humour and adventure enough for all, in this. In the end, I recommend this picture for the terrific performances of Tom Berenger and Illeana Douglas, as well as the historical accuracy of much of it. I have left out, in these comments, sympathetic and effective performances by Chris Noth and Holt McCallany, who help make the movie go, and serve to tie the audience into the volunteer soldier idiom. Francesco Quinn brings patriotism, duty, and honour to life - unexpectedly (at least, to Anglo-Americans who know nothing of Latin qualities) in the guise of a love-struck Latin-American. His character, I think, speaks the most towards what modern soldiers might say, that we "all fight for each other." Quinn elevates these platitudes into reality, as the film portrays him carrying out his values, making decisions according to a code he had initially resisted in the interests of staying with his sweetheart. I have also left out Brad Johnson, who's trite "bad-man who learns honour" roll is, nevertheless, well-played. I could write much more... alas, just watch it, and see. A lot of fun. And very, very well done.