Thornton portrays Crockett more realistically than previous versions, as a man grappling with his own legend, rather than a pure frontiersman archetype. His death scene reflects one disputed but credible account (execution after capture).

Patric portrays Bowie as a tough, pragmatic figure weakened by illness (likely tuberculosis or typhoid pneumonia). His complex past (land deals, slave ownership) is alluded to. His death in bed aligns with historical accounts.

Wilson portrays Travis as somewhat somber and mature. Historians describe the real Travis as more ambitious, impulsive, and hotheaded. His determination and famous letter are accurately included.

Quaid portrays Houston as a strategic, pragmatic leader grappling with building an army and political pressures. His reluctance to reinforce the Alamo and focus on a decisive battle later is accurate.

Echevarría portrays Santa Anna as arrogant, determined, and ruthless, reflecting common historical assessments. His motivations and strategic decisions during the campaign are depicted.

Mollà accurately portrays Seguín as a prominent Tejano leader fighting alongside Anglo-Texans for independence. His role delivering messages from the Alamo and fighting at San Jacinto is historical.

The film accurately sets the stage with the ongoing conflict between Texas settlers (Anglo and Tejano) and Santa Anna's centralist Mexican government.

Houston did order Bowie to assess the situation and potentially destroy the Alamo and remove artillery, deeming it indefensible. Bowie and Travis ultimately chose to stay and defend it, exceeding or ignoring the spirit of Houston's orders.

The difficult joint command structure between the Regular army officer Travis and the volunteer leader Bowie, leading to initial friction, is historically accurate.

Crockett's arrival with a small group of volunteers shortly before the siege began is accurate.

Bowie was severely ill and bedridden for most, if not all, of the siege, unable to participate actively in the command or final battle.

The arrival of the Mexican army under Santa Anna and the commencement of the 13-day siege are depicted accurately according to the historical timeline.

The film accurately includes Travis sending out appeals for reinforcements, including his famous and defiant letter addressed "To the People of Texas & All Americans in the World."

The timing of the final attack in the early morning hours is accurate.

The film attempts to accurately portray the multi-pronged assault on the Alamo compound based on historical accounts and analysis.

Travis was killed early in the final assault while defending the north wall, consistent with most historical accounts.

Bowie was killed in his sickbed during the final assault, likely bayoneted by Mexican soldiers after resistance.

The film depicts Crockett being captured alive with a few others and then executed on Santa Anna's orders. This is based on some accounts (like de la Peña's diary) but disputed by others claiming he died fighting. The film chose one credible version.

Santa Anna did spare a small number of non-combatants, including Susanna Dickinson, her daughter, and some slaves like Joe.

The film correctly depicts the flight of Texas settlers eastward (Runaway Scrape) and Houston's strategic retreat to train his army following the fall of the Alamo.

The film includes a portrayal of the decisive battle where Houston's army defeated Santa Anna, securing Texas independence. The surprise attack during siesta time is depicted.

An enormous, detailed set was built based on historical research, accurately reflecting the layout and condition of the mission-fortress in 1836 (including the still-roofless main church, correct wall heights).

The film accurately recreated the surrounding town of Béxar as it appeared in 1836, providing context for the Alamo's location on the edge of the settlement.

Filmed in Texas, capturing the general landscape relevant to the campaign (though specific battle site geography might have minor variations).

Portrays the defenders in a mix of civilian frontier clothing and some militia elements, accurately reflecting the diverse, non-uniformed nature of the Texian forces.

Uniforms and equipment of the Mexican soldiers were meticulously researched and recreated, offering a more accurate portrayal than many previous films (though some noted they might look slightly too pristine for a campaign).

Accurately depicts the types of flintlock muskets, rifles (like Crockett's), cannons, and knives (including Bowie's famous design) used during the period.

The final battle sequence is praised for its historical choreography, showing the pre-dawn timing, multiple assault waves, use of ladders, and intense, close-quarters fighting within the compound.

Unlike some earlier versions, the film makes an effort to show the presence and participation of Tejano defenders (like Esparza) and leaders (like Seguín) fighting for Texas independence.