King Solomon's Mines Page #4

Synopsis: Guide Allan Quatermain helps a young lady (Beth) find her lost husband somewhere in Africa. It's a spectacular adventure story with romance, because while they fight with wild animals and cannibals, they fall in love. Will they find the lost husband and finish the nice connection?
Production: MGM Home Entertainment
  Won 2 Oscars. Another 1 win & 2 nominations.
 
IMDB:
6.9
Rotten Tomatoes:
92%
PASSED
Year:
1950
103 min
485 Views


- Why?

His form of dress. He's too elegant by half.

- He says he didn't ask us our reasons.

- You've grown accustomed to subservience.

I like him.

- Gonna turn him down?

- No.

I'd rather have him with us

than tracking us.

Are you sure he said he wanted to go to the

dark region? Maybe he meant he was willing.

He said he wanted to go.

I don't know why.

What was all that about?

Oh, it was nothing.

I've given you Umbopa

as your gun bearer.

You look after the rear

and keep your eye out for deserters.

Right.

- Will I go with you?

- You're coming with me.

Why were they so frightened?

They claim that that's a Kaluana rattle.

They decided it's time to go home.

What about you?

They're singing as usual.

They don't seem to be frightened.

They're singing to keep their spirits up.

They're scared to death.

Four of them left already.

Cleared off without pay.

Took some of our supplies.

It doesn't matter.

With fewer boys,

we couldn't carry it all anyway.

I'd like to know

what's on that fellow's mind.

He often stands alone, brooding like that.

- He never joins the others.

- They like him, and he likes them.

Have you found out any more?

Where's he from?

He's from the Karabda Village,

miles from where we met.

Doesn't say he was born there. Just that

he lived there until his mother died.

I've had several talks with him,

but all I've found out...

...is a vague connection

between her death...

...and his determination

to visit the dark area.

He made her a promise

or something of the sort.

Have you ever noticed

the shape of his eyes?

Strange, aren't they?

The only other place I saw eyes

like that was in a museum.

He's like the ghost

of an ancient Egyptian king.

- What's up? - Check the supplies.

See what they've taken.

Check the ammunition.

Well, the boys have gone, cleared off.

All except Umbopa and Khiva.

We can take only the medicine,

rifle and ammunition...

...and the bare essentials.

The rest must stay here.

We have a decision to make.

Shall we go on?

I don't know. What do you think?

- I'm being paid. I haven't finished my job.

- That's scarcely the right answer.

It's no time for an outburst.

We must weigh our chances.

From here, travel conditions

are the same...

...if we go on or return, right?

- To begin, yes.

But if we turn back now,

we may pick up new bearers.

- And if we go ahead?

- We may get them from the Kaluanas.

- I don't know.

- We're close to them now?

- Yes.

- We've come all this way...

...to get to the Kaluanas.

You said that among the Kaluanas...

...we might get the first

believable news of Henry, good or bad.

- How about you?

- We haven't done so badly so far.

No one likes to give up

before he's beaten.

All right. We'll have

to remake the packs, Khiva.

Take that, and that

and the medicine chest.

Come on.

I pray that we're doing the right thing.

None of us want to turn back now, Beth.

Not even Allan, though he hasn't said so.

Thank you, Jack.

Did you ever dream

that you were crying out...

...that you were in dreadful trouble

and crying for help?

And people were going by,

and nobody heard, and nobody cared.

That's how I think about Henry.

Alive somewhere, hoping help

will come, but forsaken.

That last year,

before he left for Africa...

...I used to feel very sorry

for him sometimes.

Sorry for him? Whatever for?

Someday I'll tell you.

Or perhaps, someday you'll tell me.

I'd better help Allan.

Stay here. Keep quiet.

The Kaluana Village is ahead.

Well, this is it.

She says a white man's

living in the Kaluana Village.

- Speak English?

- I speak English.

My name's Allan Quatermain.

- This is Mrs. Curtis, and this is John Good.

- This your entire party?

Yeah, for the moment, yes.

Lost your bearers, huh? Come in.

Khiva.

I haven't seen a white face for five years.

You've been here five years, Mr?

Smith.

Yes, for five years and more.

I like it here.

What are you doing in these parts?

Looking for trouble?

No. We're looking for a man called Curtis.

Henry Curtis.

He was here?

About a year ago, with only one bearer.

- A fellow with one eye and a scarred face.

- Where is Curtis now?

I haven't anything better to offer.

This is poka. It's a vile drink.

Do you know where he is? Please tell us.

You don't have anything better

than this, do you?

Oh, yes. I've got

a bottle of brandy outside.

Brandy!

I haven't tasted brandy in years.

Give me the brandy.

That fellow Quatermain. I've heard of him.

He's...

- Where is Curtis?

- He stayed with me for a day and left.

Had a notion there was a desert

in the northwest.

His bones are probably moldering

in the jungle.

Is there a desert to the northwest?

I don't know.

Nobody ever goes that far.

- Why?

- Taboo. Legends.

- About what?

- Monsters, gods, terrible animals.

- Not about desert?

- No. Not even about diamond mines.

I know. That's what

that Curtis fellow was after. The fool.

I knew he couldn't last long in there,

so I let him go.

You let Curtis go

because you were sure he'd die?

- It wasn't my business!

- That's not what you said!

You've been here five years.

You must know these fellows well.

- Are the stories of murder true?

- They're naturally warlike.

You heard any rumors about Curtis

after he left?

Nothing. Unless you believe

what One-Eye said when he came back.

- Came back?

- Yes.

Alone, after about three weeks.

What did he say?

Tell us about One-Eye.

He came back here. Staggered back.

He was dying, lasted about four hours.

Died right here.

We buried him.

I think we buried him.

I won't guarantee

that my people didn't...

They're very short of meat here.

There's not much game in this region.

What there is, we can't get

without ammunition.

What did One-Eye say before he died?

He was out of his head. Rambled on about

burning sun and burning earth, repeatedly.

- He say anything about Curtis?

- I gathered he deserted him and came back.

Have another drink.

- Now you'll get us out of here.

- What do you think you're doing?

You weren't going to let us leave alive.

Your name's Van Brun.

I had your description.

He's wanted for murder in Nairobi.

He can't let anyone get away

knowing his whereabouts.

He let Henry go

because he was sure to die.

- You're not so sure about us, are you?

- Get out. Go away.

You're gonna get us out

before those fellows outside...

...start carrying out your orders.

- I'm not sure I can control them now.

- We'll soon find out.

Stay close behind me. All right.

Go on.

Stop. Keep up here with me.

I can't keep up. I just can't.

Khiva. Keep him covered.

Come on, you must try.

Khiva.

Good, give me a hand here, will you?

Let's get out of here.

Is he coming?

I told him to leave a false trail.

We're going up. Good, get up

that tree. Keep lookout for us.

- You're coming with me.

- I can't.

Yes, you can. Now, wake up.

Give me your hand. All right, come on.

- Hold on to there.

- Yes. All right.

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Helen Deutsch

Helen Deutsch (21 March 1906 – 15 March 1992) was an American screenwriter, journalist and songwriter. Deutsch was born in New York City and graduated from Barnard College. She began her career by managing the Provincetown Players. She then wrote theatre reviews for the New York Herald-Tribune and the New York Times as well as working in the press department of the Theatre Guild. Her first screenplay was for The Seventh Cross (1944). She adapted Enid Bagnold's novel, National Velvet into a screenplay which became a famous film (1944) starring Elizabeth Taylor. After writing a few films (Golden Earrings (1947), The Loves of Carmen (1948) and Shockproof (1949) ) for Paramount and Columbia Pictures, she spent the greater part of her career working for Metro-Goldwyn-Mayer and wrote the screenplays for such films as King Solomon's Mines (1950), Kim (1950), It's a Big Country (1951), Plymouth Adventure (1952), Lili (1953), Flame and the Flesh (1954), The Glass Slipper (1955), I'll Cry Tomorrow (1955), Forever, Darling (1956) and The Unsinkable Molly Brown (1964). Her last screenplay was for 20th Century Fox's Valley of the Dolls (1967). more…

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Submitted on August 05, 2018

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