The Baron of Arizona Page #4

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
59 Views


Are these papers forged?

I think so. Now, now, now, don't get excited.

Why should a land office clerk

finance a child's education...

when he could have bought the

grant from her for a few dollars...

and claimed it for himself?

- Why did he marry her?

- Well, why?

To protect himself.

As long as a true Spaniard

inherits the land...

he knows the government

will not violate the treaty.

Gentlemen, it has the stench of swindle.

The signatures on these

papers appear authentic...

but they're still only copies.

Well, Griff, what do you suggest?

To examine the original source

upon which this claim is founded -

in the monastery of Alcntara in Spain.

Come in.

- Sir, the president

of- - I am occupied.

Not too occupied to see

Gunther of Southern Railroad.

Say!

Well!

I've sent word to you more

than once to come to my office.

Your manners are as impossible, sir...

as your chances to continue

operating in Arizona.

Say!

What do you know about that?

You're not going into the railroad business

too, are you? Now, see here, Reavis -

- Baron. - Baron.

I want you -

Your lawyer told you that I hold the

threat of stopping, by injunction...

all railroads trespassing our land.

He advised you to capitulate.

- It's interesting, isn't it?

- Yes.

Since I don't want to impede progress...

- I'm permitting you to advance me $50,000.

- Fifty thousand?

As a first installment for

an immediate quitclaim deed.

Just the amount I was going to

offer you for my right-of-way.

Well, in that case I shall remove

you from the trespassers list.

Thank you, Baron. Thank you.

Oh, Baron...

how about buying an interest

in some of your mineral rights?

How much of an interest?

Oh, a hundred thousand as a starter.

That's not a very interesting start.

Uh, Mr. Gunther...

I understand that you own that

magnificent mansion outside of Phoenix.

That's right.

Well, now that would be a very

interesting down payment...

on some of my mineral rights.

Baron, you've got yourself a house.

I'm a landowner. We all are.

- We want to know where we stand.

- In my private office without an appointment.

Just a moment. Let's not have any

violence, at least not till I get my story.

I'm McCleary of the New York World. If you

don't mind answering a few questions, Baron.

Is it true you're collecting thousands of

dollars in revenues, rents and royalties...

even before your claim has

been recognized in any court?

Would a railroad advance me a penny...

if there were a question

regarding the validity of my claim?

Not if I know those railroads.

This is Gunther of Southern Railroad.

Mr. Gunther, are you paying me

for right-of- way through my land?

Well, uh, yes.

Why don't you wait till the government

recognizes his claim officially, Mr. Gunther?

And be forced to pay

him an impossible figure?

That would be poor business foresight.

If I were you, men...

I would settle right now for what he demands.

Why don't all of you gentlemen

listen to the railroad man?

That's why he's so rich.

Baron, my publisher, Mr. Pulitzer,

wants me to write you up...

as the man who changed geography.

- This is only the beginning.

- This is sufficient for me.

Nothing is sufficient for

anyone who can change geography.

My dear, I -

I've just bought a private

railroad car for us.

We'll go all over our

territory sometime next month.

Oh, let's not go anywhere for a long

time. I've so many wonders to get used to.

This is our first real home.

Anything you say, my dear.

Is it unladylike for a baroness to -

to shout to everyone that

she loves her husband?

Never mind everyone. Just shout it to me.

- Well, I did it.

- You sure nobody was home?

- No, nobody was home.

- Tom.

- It's wrong.

- He's just a lot of fancy words.

That little explosion'll

scare him right out of town.

Don't worry, Carrie. We

ain't gonna lose our home.

- I oughta turn you in to the sheriff.

- Pa!

He can't take the law into his own hands.

It ain't up to him to scare the baron

outta here. It's up to the government.

Hank, nothing'll stop me from

tangling with you if you get in my way.

You just got a room in town,

that's all. You got nothing to lose.

We got everything.

Did you ever read it?

I thought you might like a copy.

- My name's Griff.

- My library is complete.

How do you do, Mr. Griff?

- Cigar?

- Thank you.

Writing books is a sideline.

I'm with the Department of Interior.

Oh? What exactly is your job, Mr. Griff?

Not a very pleasant one, sir.

I expose falsified wills,

ancient manuscripts and, uh...

Spanish land grants.

I can understand the government's

reluctance to part with Arizona.

I am prepared for a thorough

investigation of all documents.

But I don't appreciate the

inference of falsification of papers.

I've never yet met a claimant who

appreciated my presence in a case.

Griff. Hmm.

Come to think of it, your name is familiar.

I heard of you when I was a clerk

in the land office at Santa Fe.

Frankly, didn't you read my book?

I really don't recall it.

I've just returned from Spain after following

your trail from Mexico City to Madrid.

- Surprised?

- On the contrary.

I'm pleased with your energy.

I hope that your investigation

proved interesting.

Interesting enough for another book.

Oh. When you write it, send me a copy.

Your penmanship was truly a masterpiece.

A work of art.

This is a good Havana, sir.

But it's a pity your claim is a bad

cigar wrapped in a rich Spanish leaf.

Good day.

Oh.

It's autographed.

- How do you do?

- How do you do?

May I present Mr. John

Griff of Washington, D.C.

My wife, the Baroness Sofia de Peralta

- Reavis.

How do you do, Mrs. Reavis?

Forgive me. This is very important.

Mr. Reavis...

during the investigation

of your wife's parentage...

did you go to the Guadalajara cemetery?

Yes, Mr. Griff, I did.

And that is where her

father and mother are buried?

Yes, it is.

Mr. Martinez.

Is this the man?

S.

Is he the one who told you he was looking for

the tombstones of Pedro and Maria de Peralta?

S.

Is he the one who paid you to cut

words on two unmarked tombstones...

in the Guadalajara cemetery?

He pay me to cut flowers and

keep the grave nice and beautiful.

Martinez, you know the

seriousness of perjury?

What is "perjury"?

Did you see this man today?

I see him. Eleven years ago.

He were looking for Peralta family.

- You told me he bribed you.

- What is "bribe"?

Poor devil. I can understand

what happened and why you did it.

It won't do you much good.

Mr. Griff.

You think my husband is a fake?

Mr. Griff, look at me.

Tell me, am I a fake?

I felt a sense of guilt.

Don't let their resentment

disturb you, Sofia.

It's wrong.

Something is wrong.

I never want to come here again.

I mean it.

You must accept certain terms, Sofia.

Perhaps I'm not proud

enough to accept such terms.

I forbid you to speak like that.

I remember when you

forbade me to eat raw sugar.

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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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