The Baron of Arizona Page #6

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


But now I can think of

nothing but my husband.

In this room he was publicly

accused of being a fake...

a forger and a swindler.

I will not tolerate such charges,

not even by the government.

My husband is not a fraud. He is

not a swindler. He is not a forger.

I have nothing to offer him

except my love and my faith in him.

And if it's fight you

want, it's fight you'll get!

No one calls my husband a thief!

Well, Your Honor, is the

land ours, or isn't it?

We've got a little business to settle, Baron.

And we've made sure nobody would disturb us.

Now, this fella Griff's all right,

but we believe he's telling the truth.

We got an idea you're going to outsmart him.

And that's really got us worried.

And if we don't have the proof, it means Arizona's

handed over to you like a shot of bourbon.

- You heard what the judge said.

- But we don't wanna see it go that far.

Is this the vanguard of

the vigilante committee?

Maybe.

Maybe we don't like your kind scaring

people into giving you money...

just so they can hang onto

land that's already theirs.

That's very interesting. I'm touched

by your public spirit, gentlemen.

What do you propose I do about it?

We ain't like the others

who want to lynch you.

That won't help the government much.

You know a lot of fancy words,

Baron. We heard you in court today.

Just write a confession that it was

all a mistake about the land grant.

That'll make it easier for everybody.

Start writin'.

How old was she? Are you an American citizen?

- How old was she?

- Are you a good American?

- How long you been in this country?

- You got your citizenship yet?

- I warned you against such tactics!

- They put words in my mouth!

I do not know what they want!

To me, he's the Baron, she's the Baroness.

Mr. Alvarez...

you will forgive the

government for annoying you?

Yes. Yes, Mr. Griff.

I'm sorry. You know how it is.

Right.

Unfortunately, this case is gonna take time.

Reavis knows I know he forged the documents.

He also knows it will

be difficult to prove it.

Very difficult.

But what I don't like about this

is the feeling of mob justice.

That means people will be killed.

You remember once before...

we walked like this near

my little adobe shack, huh?

- Mm-hmm. -

Long time ago.

And you remember that night?

For months it did not rain in Phoenix.

It was so dry, one could not even spit.

And then it rained

- a miracle.

Then you knock on the door

- a great miracle.

The rain brought life to the

earth. You brought life to Sofia.

But it is not your fault...

people call you a fake...

'cause that miracle in

the rain was one big lie.

What are you talking about?

I, uh

- I know all the time Sofia is not a Peralta.

- What?

- It is true.

But I checked with everyone. They

said she was abandoned with you.

- They all said she was illegitimate.

- No. She did have her mother and father.

But there was a reason why I

could not let anyone know this.

What reason?

She has Indian blood in her.

I promised her people before

they die I tell no one.

So she will be like other girls, you know.

It make it easier for

Sofia when she grow up...

when she get married.

I promised them I take good care of Sofia.

She will eat good and

learn and be a fine woman.

But I am poor.

And always Sofia, she has

nothing but the pigs and the mud.

Nothing.

And then you came...

and I made my plan.

- You made a plan?

- Yes.

But I did not think it would mean

fights and shootings and lynchings...

and taking land from people.

I did not think this.

I think it would mean

good chance for Sofia...

to have everything I could not give her.

So I lie!

I do not say you have found the wrong child.

I say nothing.

Ohh. I do not sleep.

I:

- I'm sick inside.

But all the time I say to myself...

"Pepito, this is good for Sofia. "

Oh, but now I know it's wrong.

It's wrong.

It is because of me that Mr. Griff

say your writing on the paper is false.

It is because of me he

say Sofia is not a Peralta.

He is a smart man.

I will go to him and make a stop to all this.

I will make a stop to people getting hurt.

I will tell him it is not you...

but me who is the fake.

Well, I'm -

I'm sorry for what I did to you...

my friend.

You're leaving, hmm?

Yes.

Pepito told me about myself.

Did he?

Is that why you're going away?

No.

Then it's because of what I am.

- That's not why I'm leaving.

- Then what is it?

I'm a fake.

Pepito told me you had

blamed yourself for his fraud.

- Did he say that?

- Yes.

You don't understand.

He had a reason for lying.

It was for you.

I have no reason. It's for myself.

Your eyes look sick. You've been crying.

I don't want you to feel

guilty because of me.

Oh, good heavens, Sofia.

I spent years developing your

mind, and yet you're unable to -

to grasp what I'm saying.

I tell you, I'm a forger.

The whole scheme is one big fraud.

There never has been a Peralta.

I created the family out of my own mind

and faked it with ink in the records.

I married you because it was part of

my scheme, not because I loved you.

Well, I'm ready for your contempt...

and your disgust.

Take a good look at me.

Take a good look at your husband.

Now you know why I'm leaving.

I don't want you to go.

Sofia, look, we have over $500,000. We

can go to Europe. They'll never find us.

Let's not have any illusions,

James. We're guilty, both of us.

You may go. I'll take the

money back to the people.

Now you're having illusions.

I am Mrs. James Reavis...

and one of us must have the

dignity to accept punishment.

One of us must have the

dignity to recognize love.

I'll always love you.

Nothing can change that.

You still want me?

I'll want you until the day I die.

It is not death, it is dying that alarms me.

It is not your crime, it's

your weakness that alarms me.

Arizona.

Seems so small.

You suddenly seem so great.

Now I know what I was looking for-

a woman who would love me for what I am.

No man can live without that.

No man can ask for more.

- This will make you feel better, dear.

- Thank you.

None for me, Loma.

Mrs. Reavis.

- You sent for me?

- Yes, Mr. Griff.

I, uh

- I have a statement to make.

Strangely enough, I was on my way to see

you when Mr. Alvarez came to my office.

Oh.

Mr. Griff, you were right.

My claim is a bad cigar

wrapped in a rich Spanish leaf.

I am guilty of the criminal act of forgery...

with intent to defraud the

government of the United States.

My wife is innocent of

any part in the conspiracy.

And Loma Morales and Pepito Alvarez...

believed my story of her ancestry.

They are blameless.

That's very interesting, Mr. Reavis.

Excuse me a moment.

Troy.

Your Honor.

Ladies, will you please be seated?

What is this?

The court of private land

grant claims is now in session.

- What?

- This is quite an occasion, Mr. Reavis.

One of historical significance.

This federal court has been

granted the permission...

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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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