The Baron of Arizona Page #3

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


I will be very friendly.

- Perhaps.

- You will take me?

Yes.

Yes, I can see you in

Paris, London, America...

everybody bowing to you,

treating you like a lady.

But you'll marry one of your own...

and have many dirty-faced children.

No, no, no, no, no.

But you can't leave your people, Rita.

They depend on you. They listen to you.

I hate them.

Oh, Rita, you're like a rich

curtain before a doorway...

of wild, wonderful miracles.

There is no longer a curtain.

Each band is a sin...

and I want to confess them all to you.

You make it very hard to refuse.

I've known many women, but with you

it's different. With you I'm afraid.

Is it true what you said? That no

washing will turn a gypsy white?

It takes money.

It's all yours. Money I've saved,

stolen, hidden from the others.

I hate living in the woods like an animal...

people spitting at me and

treating me like a mongrel.

- It's not enough for what we both want.

- Then we shall get more.

The Marqus de Santella has much gold.

Enough to dress you in fine gowns

and take you far away from here.

Anything! Anything you say! Only

promise you'll take me with you.

I don't understand Rita.

Last night...

she said it was too

dangerous to go to Madrid.

Today she says we go to Madrid.

Mm-hmm.

I don't like this moving around all the time!

It makes me feel like a vagabond.

Where is the tall gypsy? The

one with the lovely beard.

Ah, Marquesa, I see a

rich, fat man in your life.

My husband is not a fat man.

The Marqus de Santella is a handsome man.

Oh, yes, Marquesa, he is beautiful.

It was because of me that

he permitted this party.

Unless you bring me the tall gypsy

at once, I'll have you driven off.

No, wait. I thought I

saw him go into the house.

No. He's in the woods...

making a love potion for you.

- I think he's in the house.

- No.

He's waiting for you in

the woods. He told me.

What are you doing here?

The gypsy girl told me

that you would be here.

She lied. She's jealous.

And so am I.

Last night you promised you'd

spend every moment with me tonight.

We must be cautious. Your husband.

I love my husband, but I'm bored with him...

and his musty, old books.

Only a fool would waste

his time on old books...

when he has a beautiful, young woman to love.

Please, don't leave with the others.

Stay here in Madrid so

we can be together often.

It's too dangerous here.

I'll meet you near the fountain.

I'll go first. You follow.

Promise?

I promise.

I've known many women...

but with you, I'm afraid.

But he never kept the

rendezvous with the Marquesa...

because he had more important things to do.

He now was ready to come out into the open.

Sofia was traveling in Europe.

He wrote her to meet him in Paris.

- How do you like Paris?

- Is good, but I like Arizona better.

Aha. And, uh, Sofia?

In there, counting the hours.

- And Loma?

- Helping her with the dresses.

Pepito, the Bonaparte sails

from Le Havre next week.

Book a passage and reserve the bridal suite.

We go home!

Bridal? You married? You?

- Not yet.

- Now, you tell me everything.

What you do, where you go, how you live...

how you send so much money.

You found a senorita in Spain,

huh? At a bullfight maybe.

- No, I found her outside of Phoenix.

- Huh?

I'm going to marry Sofia.

Mr. Reavis...

is good all you do for

Sofia, for me - is good -

but is only right for a man to take

a woman as wife when he loves her.

- Don't you believe that I love her?

- I do not mean it that way.

But, uh, she's not a girl now.

She's a woman.

You don't know Sofia as woman.

I know her better than

anyone else in the world.

But you cannot put together cake to iron...

or a girl to an old man.

- Old man?

- Well, uh -

Well, why not leave the decision up to her?

Yes. She has a good head.

- We leave it

to her. - Uh-huh.

Is she still singing Dolores to sleep?

Call the lucky little mother.

Call her.

Sofia.

Sofia.

Well, aren't you happy to see me?

I cannot see you for the tears.

Are my cheeks flushed?

You can't see in the dark.

I'm so excited.

Did you notice my necklace?

You sent it from Mexico.

- And the comb - do you

remember? - From Sevilla.

The one I like best is

- is the music box from -

From, uh, Madrid.

Sofia, how does it feel

to be a woman of dignity...

and

- and beauty?

Why don't you ask how it feels to be lonely?

You too?

All my life, I've known two men:

the one who came out of the

rain in the long black cape...

the other one who is always in my dreams.

Sofia...

am I too old for your affections?

Too old?

I am grateful to have

learned in all my travels...

what so few women ever learn:

how to recognize love.

I could never explain why...

but...

it would fill my heart if

you would become my wife.

Oh, I've

- I've wanted it this way...

ever since I realized what I wanted.

Oh, Sofia, Sofia.

I have know many, many women...

but with you...

I'm afraid.

Hey, that's a pretty fancy carriage.

Well, now we'll see what a baron looks like.

Come in.

- I am the Baron of Arizona.

- Howdy, Baron.

I'm Miller, Surveyor General.

Oh, may I present, Mr. Miller, my wife,

the Baroness Sofia de Peralta-Reavis.

How do you do, Baroness? Um -

We wish to claim full recognition

of the Peralta land grant.

There's, uh, been quite a lot of excitement

in town since your man told us you were coming.

Royalty is something new in Arizona.

Our agents have collected the necessary

copies of all certified documents.

The royal decree signed by Ferdinand VI.

The history of the Peraltas.

The petition.

Are you sure the metes and bounds

i- in this location are, uh -

- I am.

- But there must be some mistake.

Why, this grant, uh -

Why, i-it takes in practically

the entire territory of Arizona.

It does take in the territory.

It also includes all

mineral rights, all rivers...

all grazing ground.

I'd advise you to investigate

this claim at once, Mr. Miller...

for you are living on our land.

Good day, sir.

According to your records of 1750...

a stone marker would

prove a definite location.

And evidence that Peralta

actually took possession.

Well, maybe.

This is pretty wild country around here.

There is no stone.

If you say so, Mr. Miller.

Mr. Miller! Mr. Miller! Mr. Miller!

Peralta. Peralta. Peralta!

This man Reavis claims to own everything...

from the smallest shack

to the capitol in Prescott!

If the land belongs to him, the

sooner the people know it, the better.

Why? So they'll be saved court costs?

Mr. Secretary, we're whipped.

Gentlemen...

because of the Peralta grant...

the New Mexico-Arizona boundary...

has just been altered.

Congress has refused the

territory of New Mexico...

admission as a state to the union...

until the Reavis bounds are clarified by us.

Well, Griff, what about the

signatures on these documents?

This is a good Havana...

but very often a fine wrapper

conceals inferior tobacco.

You're the greatest expert in the country.

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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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