The Baron of Arizona Page #2

Synopsis: The U.S. government recognizes land grants made when the West was under Spanish rule. This inspires James Reavis to forge a chain of historical evidence that makes a foundling girl the Baroness of Arizona. Reavis marries the girl and presses his claim to the entire Arizona territory.
Director(s): Samuel Fuller
Production: Criterion Collection
 
IMDB:
7.0
Rotten Tomatoes:
86%
APPROVED
Year:
1950
97 min
49 Views


of Ferdinand VI...

which was in the

well-guarded archives-

the biblioteca in the monastery of Alcntara.

- The Father Guardian will see you now.

- Oh, thank you, Brother.

- Have you come for a short visit?

- I have come to stay.

Oh, uh, forgive me, Father.

I mean I

- I would like to stay very much.

Hmm. But why have you chosen our order?

Well, I have made careful survey, Father,

and from the little I know of your order...

I feel very much attracted to it.

There is much to prove

before you can join our order.

After all, you must admit

we know nothing about you.

Charity commands us to accept

you on your face value...

but for practical purposes, you will

have sufficient time to prove yourself.

By the time you are through

with your novitiate...

we will know more about you.

Oh, Brother Anthony, welcome

to the library of Alcntara.

I'm Brother Gregory, the

custodian. May I assist you?

Oh, thank you, Brother Gregory.

This is our scriptorium...

where we study and do

most of our spiritual work.

It's very interesting.

We have a fine collection of

books which you will enjoy.

The scribe room...

where our experts copy

and illuminate manuscripts.

The illumination is magnificent.

And the calligraphy!

The repair room...

where we strengthen and sew bindings.

- Is this for sewing the bindings?

- Yes, that's right.

- And the, uh, press?

- Yes, the press.

Uh, those are cakes of ink.

Yes, we make our own ink...

and have not changed the

formula in five centuries.

And this is our biblioteca.

This is where we preserve

our ancient books...

and, uh, priceless records.

Oh.

You are surprised to find them chained?

I can understand.

But to remove a book is strictly forbidden.

- But surely no one would dare.

- Well, who knows?

Once a rare book collector acted

rather strangely in this cell...

and we were compelled to summon

the civil police from Seville...

to investigate him.

The Mazarin Bible...

the first work of Gutenberg printed in 1450.

- I thought it was in two volumes.

- You're right, Brother Anthony.

Christopher Columbus's son

borrowed the second volume...

and, uh, never returned it.

The books and, uh, records are listed.

- You're welcome at all times.

- Thank you, Brother Gregory.

He lost no time stealing

ammonia from the infirmary...

and milk and meal from the kitchen.

He mixed a solution and tried it out.

He had to make sure he could remove the ink.

He rubbed the surface of

the page with pumice...

to smooth the irritated grain.

That night he gathered his equipment

and hurried to the biblioteca...

to forge the Peralta

grant in the 1748 volume.

This was his first major catastrophe.

But he never admitted defeat.

For months he practiced ancient penmanship.

For months he made attempts

to enter the biblioteca...

while the others were asleep.

But he failed.

One day, however...

he conceived a simple

but most effective plan...

of gaining entry into the

biblioteca where he could work.

In his cell, he deliberately

left a sample ofhis penmanship.

- Brother Anthony, did you write this?

- Yes, Father.

I'm assigning you to the library

to assist Brother Gregory.

- I prefer field work.

- You've been here three years.

You're a hard worker, but

your talent would be wasted.

- But, Father, I - - I

suggest you go to the library.

Yes, Father.

And this is our biblioteca...

where we preserve our ancient

books and priceless records.

- To remove one of the

books - - Brother Anthony.

Yes, Father. The books

and documents are listed.

Will you get the land grant

records of 1748, please?

Yes, the binding must be repaired.

I wonder what condition the other copy is in.

No, you may keep the keys.

Brother Gregory is ill,

but will be well tomorrow.

You are custodian of the library for tonight.

When Brother Paul has finished repairing

the binding, be sure to return the book.

Yes, Father Guardian. Oh, Father Guardian.

Yes?

Is there another copy

of such a valuable book?

The 1750 volume. It was written here.

But the Marqus de Santella has it.

He is secretary to the king.

Are you ill?

No, Father.

I was just thinking of the book.

I understand your concern

for ancient documents...

but do not despair.

They're well preserved

in his castle near Madrid.

Oh, I came here to the archive...

to seek peace within myself, Father.

You are tempted to run away.

I am not for this kind of life, Father.

Others have been tempted too.

Meditate.

We shall talk tomorrow.

You know how it is, Father. There are

so many reports, so many complaints.

But in your case, we came just

as soon as we were notified.

I'm glad you came today. I -

Oh, Brother Anthony!

Brother Anthony!

Brother Anthony!

Brother Anthony!

I did not think he would run away.

Run away? The wagon. He has

taken our horses and wagon.

- We'll bring them back.

- That's not the way.

He would not speak to me for

fear I would inspire him to stay.

Yes, he did appear frightened.

As I was telling you, Father...

your complaints finally

brought official action.

Tomorrow all holes in the

mountain roads will be filled...

even those beyond the Roman Bridge.

Some wine, Father.

Your horse is dead,

Father, your wagon firewood.

I found you

- me, Rita.

I'm not a monk, Rita.

To escape police, I had to wear this robe.

Who are you?

A wanderer, like Cain,

looking for a woman of my own.

I tell you, she was beautiful...

but I told her that a Spanish

promise is like a Spanish pepper.

It burns whoever tastes it.

- Here's a hat.

- Oh, thank you, Angie.

- And here's a coat.

- Ah.

- I think this will fit you.

- Ah, thanks.

What's the matter? Aren't you gonna

finish the stew I made for you?

- Oh, certainly, Angie. It's excellent.

- It's your horses.

Two years ago in Madrid I was

dining with royalty one night.

One of them said that no amount of washing...

could turn a gypsy white.

- I accused him of insulting the gypsies.

- You said that to a nobleman?

I spit in his face and

received 20 lashes on my back.

That pig of a nobleman was

the Marqus de Santella.

Santella? Secretary to the king?

He's a pig. He prays

every night to the devil.

- He's rich.

- I know, and I have a plan.

In his house is much gold. I

know exactly where it is hidden.

But I need help, and we can

all share in that great wealth.

- It's too dangerous.

- She is right.

A thief never takes chances.

We can get that gold.

- Then why do you need us?

- I told you, I have a plan.

As it is, they chase us like

dogs from one province to another.

Madrid!

The marqus would order half

of Spain to hunt us down.

Does a girl make decisions for you?

She has a man's shrewdness.

A shrewd woman would

know when to trust a man.

Well, why should we trust you?

We don't know who you really

are or... where you come from.

Tomorrow you leave our camp!

I told you to leave tomorrow!

Take me with you. I want to go with you.

I will not be in the way.

I will be good to you.

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Samuel Fuller

Samuel Michael Fuller (August 12, 1912 – October 30, 1997) was an American screenwriter, novelist, and film director known for low-budget, understated genre movies with controversial themes, often made outside the conventional studio system. Fuller wrote his first screenplay for Hats Off in 1936, and made his directorial debut with the Western I Shot Jesse James (1949). He would continue to direct several other Westerns and war thrillers throughout the 1950s. Fuller shifted from Westerns and war thrillers in the 1960s with his low-budget thriller Shock Corridor in 1963, followed by the neo-noir The Naked Kiss (1964). He was inactive in filmmaking for most of the 1970s, before writing and directing the war epic The Big Red One (1980), and the experimental White Dog (1982), whose screenplay he co-wrote with Curtis Hanson. more…

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Submitted on August 05, 2018

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