The First Legion Page #4

Genre: Drama
Director(s): Douglas Sirk
Production: United Artists
  1 nomination.
 
IMDB:
6.9
APPROVED
Year:
1951
86 min
65 Views


besides Father Sierra, who knows?

It might even happen to me.

Don't you think it might, Peter?

Well .. here we go.

Now stop this, Terry.

You want me to push you to the gate?

Terry, I don't want you to do this.

What's the trouble? Look!

Look Joe, this is no place for Terry.

Can't you take her back to town now?

Sorry, Doc. Got to have that

furniture delivered by 5pm.

Newly-weds. You know,

kind of anxious to get their stuff.

I'll pick Terry up on the way back.

Never mind.

I'll take her back in my car.

But I don't want to go back!

I don't want to go back.

Doctor Morrell .. good to see

you again .. anything the matter?

No. Just giving Terry

a lift home. That's all.

Peter is angry with me because

Joe took me up to St Gregory's.

Oh, and she never told me a word.

Well, Miss Terry, with your permission

I'm going to have a little talk with Joe.

He takes her to all kinds of places.

You don't have my permission,

and I want him to take me places.

How else would I ever see anything?

I never dreamt that this

town would be so crowded.

People are streaming

here from everywhere.

Our home is about the only one that

hasn't been turned into a rooming-house.

Well, that's a wonderful idea.

Why can't we be a rooming-house?

Oh, Miss Terry ..

But then I could talk to the pilgrims.

Pilgrims? A bunch of sensation seekers

chasing a fire-engine. They're everywhere.

Floods, tornadoes, murder trials.

You don't seriously think any

one of them really believes ...?

Why not? Doesn't everyone

believe in God?

Not everyone.

They only think they don't.

I guess people get mixed up

because there are so many religions.

If you ask me, there ought

to be only one faith.

Who is going to select which one?

Look. Now my grandfather was a

Baptist and he married a Catholic.

When they couldn't agree on faith, they

sent my father to an Episcopalian school.

Then, when he met my mother,

well, she was a Lutheran.

And on Sundays they'd all

go to different churches.

And we little ones, would listen

one week to the Lutheran pastor ..

And the next week to the Episcopalian.

How about some tea?

No dear. No tea, thank you.

But for you, Miss Terry? Yeah.

Funny old Henrietta.

Every time mother is away, she

gets very possessive and talkative.

But she's still the best cook in town.

Just where is your dashing mother?

Why, she's in the city today.

Getting ready for another trip to Europe.

Magazine stuff. Paris in the spring.

All expenses paid.

Well, you Gilmartins sure get around.

They're flying from New York next Monday.

Say, that's alright.

Oh, Peter.

Why does everything have

to happen all at once?

Now hold on.

If you mean St Gregory's, I want you to

promise me not to go back there again.

Why?

It is a miracle, isn't it?

It says so in all the papers.

Now look, Terry .. every time a miracle

happens someone gets hurt.

Hurt?

It doesn't always work for everyone.

I just don't want to see you hurt.

Not you.

Understand?

Yes, perhaps I do.

That sounds better.

You know .. it's nice

to be back here again.

To find everything the same.

Just as it was in the old days.

It isn't the same, Peter.

It can't ever be the same.

Take it easy. Everyone says you

made a wonderful adjustment.

Oh, sure I made a wonderful adjustment.

But I've never given up

hoping that someday ..

Terry, this isn't like you.

Oh, I know what's the matter, Peter.

You'll be the last one

to believe in a miracle.

But after all, it just stands to reason

that there must be something, somewhere.

That holds the world together.

And it fixes up pains

when no one else can.

I'm sorry angel, but ..

That's a little out of my field.

See you tomorrow?

Tomorrow.

[ Church bells ]

[ Church bells ]

Hello Doctor.

Hello Monsignor. Come on in.

Can you spare a blessing

for a pious pilgrim?

Come on in. Don't talk

to me about pilgrims.

If this keeps up we'll have

to build a whole new town.

They're already talking about that

down at the chamber of commerce.

No. I'll stick to my pipe.

I hope the people go back home. We don't

have the hospitals to care for them here.

The doctors, neither. There is nothing

we can do for them .. nothing.

My boy .. they don't want

you to do anything at all.

They're looking to the Blessed Joseph.

A lot he'll do for them.

By the way, you .. you

know Terry Gilmartin?

Yes, I know Terry.

In fact, I'm her Latin tutor.

A wonderful girl.

Yes. Wonderful parents, too.

I was with her father the day he died.

I was with Terry the day she

was thrown from the horse.

For a while, the whole world

just came to a stop for her.

And then she began to make the

kind of recovery doctors dream of.

She began to build a whole

new life for herself.

Now she's just like all

the rest of these people.

Dreaming and hoping for the impossible.

You mean, she's never

going to be any better?

There's nothing to hope for?

Nothing.

A complete break in the spinal cord.

She'll never walk again. Now you

see what I mean, Monsignor.

What are we going to do with people

like Terry? Who get their hopes so high?

They're going to be worse

off than they were before.

You're trying too hard.

Trying to do too much.

Alright, I'm out of joint just

like the rest of the world.

Nothing adds up to anything anymore.

Peter. Yes?

What happened to you while you were away?

Oh, I don't know.

I guess I was just like

a thousand other kids.

I had a lot of big plans and somehow ..

Nothing every came of them.

Here I am at 35, back in this town.

Not because I believe in it but ..

Because there is nowhere else to go.

Nothing else to hang on to.

As a boy, you had on you

the mark of my hand ..

When I caught you stealing

apples from my orchard.

Didn't you?

That was a heavy hand.

There is a heavier hand

over you now .. Peter.

Well .. drop in and see

me once in a while.

Even if you don't come to church.

And oh yes. If you're

running short of beds ..

I can put up a few cases

for you in the Rectory.

Thanks Monsignor. Thanks a lot.

Jos .. are you sure you got out of

bed all by yourself? Yes.

I mean .. Doctor Morrell did

not help you? No.

But he was in the room. Marc.

I was looking at Blessed Joseph.

Of course. See, I'm only trying to ..

Reconstruct exactly what happened.

But you know what happened.

I walked .. I can still walk.

Let me show you.

No, no, no. Not now.

Now Jos .. you are a priest of God,

but also a man of science.

Don't you think you could possibly have

imagined this? While you were delirious?

Yes, I thought of all that.

But it's really very simple.

Because, if it was not a miracle.

I could not have walked.

Of course.

Hello John. Hello Marc.

Isn't it wonderful?

I never liked crowds.

Come on, Marc. Don't always be

so rational about everything.

I know it will make a big

change in our way of life.

But perhaps we needed

a big change .. all of us.

Listen to the murmur of that crowd.

It's like the hum of a great orchestra

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Emmet Lavery

Emmet Godfrey Lavery (November 8, 1902 – January 1, 1986) was an American playwright and screenwriter. Born in Poughkeepsie, Lavery trained as a lawyer, before devoting his career to the theatre and to film. He wrote the English libretto for Ernst Krenek's 1940 chamber opera Tarquin. 1943 saw him writing for three films: He was one of the team of 22 writers collaborating on the film Forever and a Day. He adapted Gregor Ziemer's book Education For Death for Edward Dmytryk's film Hitler's Children. He wrote the American war film Behind the Rising Sun, based on the 1941 book] by James R. Young.Lavery was president of the Screenwriters Guild of Los Angeles from 1945 to 1947. He served as vice president of the Academy of Motion Picture Arts and Sciences in 1946. In 1946, Lavery was one of six Hollywood figures listed by William Wilkerson in a The Hollywood Reporter editorial under the headline "Hywd's Red Commissars!" Drawing on the biography Mr. Justice Holmes by Francis Biddle, he wrote the play The Magnificent Yankee, which opened in 1946, and he adapted it for the 1950 film version. In 1949, Lavery wrote his play The Song at the Scaffold, adapted from the novel Die Letzte am Schafott by Gertrud von Le Fort. In April–May 1949, Lavery had secured a contract from von Le Fort that granted him all rights to theatrical adaptations of her novel, and formally had declared his own play to be 'the only authorized dramatic version of the novel'. In 1952, Lavery learned of stage productions of Dialogues des Carmélites by Georges Benanos, which Bernanos had written as a film screenplay and completed in 1948, just before his death. In January 1949, von Le Fort had granted the Bernanos heirs permission to publish the screenplay, and had gifted her portion of the royalties due to her, as creator of the original story, over to Bernanos' widow and children. Lavery contacted the literary agent for the Bernanos heirs, Albert Béguin, to inform the latter of the status of theatrical adaptation rights to the von Le Fort novel. Their subsequent two-year literary rights dispute reached arbitration by a jury from La Societé des Auteurs in Paris. On 20 July 1954, this jury ruled unanimously for Lavery, and ordered the Bernanos heirs to pay Lavery 100,000 FF for past contract infringements. In addition, the ruling required the Bernanos heirs to pay Lavery, with respect to all future productions of Dialogues des Carmélites, 15% of the royalties from English-language productions, and 10% from productions in all other languages. This allowed Lavery to earn royalties from both his own play and the Bernanos adaptation, with no contribution of his own to the latter, because of von Le Fort's waiver of her share of royalties and retroactive application of copyright. Separately, Francis Poulenc had begun to compose an opera based on Bernanos' work. He curtailed work on his opera in March 1954, in light of his understanding of the Béguin-Lavery dispute. Following the July 1954 decision, separate negotiations occurred between Béguin and Lavery, via Lavery's agent Marie Schebeko, on rights and royalties to allow Poulenc to write his opera. Lavery claimed to have met Poulenc in October 1954 and to have come to a cordial agreement on terms and royalties. However, the final formal agreement was not dated until 30 March 1955, and acknowledged Bernanos, Lavery, von Le Fort, Bruckberger, and Agostini. The terms stipulated that the Poulenc opera was adapted from Bernanos 'with the authorization of Monsieur Emmet Lavery', with Lavery listed in the credits after Bernanos and before von Le Fort, with no contributions of his own at all to Poulenc's libretto.In 1950, Lavery wrote Guilty of Treason; in 1953, Bright Road ; in 1955 The Court-Martial of Billy Mitchell, which was nominated for "Best Story and Screenplay" at the 28th Academy Awards. He wrote Williamsburg: the Story of a Patriot, a 1957 orientation film for Colonial Williamsburg. Lavery and his wife Genevieve Lavery had two children. Their son Emmet G. Lavery, Jr. (1927-2014) was himself a lawyer and a producer in Hollywood. Their second child was a daughter, Elizabeth Taylor. His wife and children survived Lavery. more…

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