The First Legion Page #8

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


the truth, Monsignor?

Would I permit him to lie

about a thing like that?

I don't know.

Everything seems to be a lie.

Maybe he thinks he can shock me.

Make me stand up and

walk like Father Sierra.

Of that, I would lie to you, Terry.

You've no idea what lies I would

tell you if they would help.

But .. but what about

all the other cases?

Lots of people were helped.

You can't deny that.

Honey, they helped themselves. These were

all cases to do with the nervous system.

Like so many motors that turn

over if they get the right spark.

But your case is different, Terry.

Yours is organic.

Organic? Yes.

It's like a break in the wiring system

of a car. A break that can't be mended.

It can't.

Terry.

There are other things in the world.

Enough of them to make life pretty good.

Don't worry.

You said yourself, you thought it

would be a great joke on the Fathers.

Well, I've got a sense of humour too.

I can take a .. joke.

Terry.

I'm sorry for what I've done.

Well, I guess being sorry isn't enough.

It doesn't change anything.

I'll be moving out of town as soon

as I can get my things together.

May I see you again before I go?

And you think I would close

my door in your face?

Thanks, Monsignor.

Take care of her.

Have you heard from your mother, Terry?

Well .. I suppose she

must be in Rome by now.

Oh by the way. Thanks for saving

the stamps for me. They're beautiful.

You know, if I were an angel ..

I think half the fun would be flying

from one new place to another.

And bringing home all the stamps.

Terry.

Would it be so bad to be

deprived of a miracle?

Well, I suppose it must be if

you need one badly enough.

It's hard for me to understand.

I see miracles everywhere I look.

They are there all the time.

I'm an old man.

And the only prayer I ever learned

to say was the "Our Father".

And that's left everything up to Heaven.

Once I learned to say it and mean it.

I saw miracles everywhere I looked.

We're miracles ourselves.

And what more proof

would one need of God?

It's a miracle that God

loves us .. but He does.

He does.

Yes, Monsignor.

And He loves you too, Terry.

And He never forgets.

Well, I must be going, I guess.

Good morning. Good morning.

Good morning, Monsignor.

Cleaning up the miracle, huh?

That's right.

Caesar, here! Caesar, come here.

Back here, go. Get in there Caesar.

Stay there.

Good morning. Good morning.

How goes everything with the grand

army of Heaven this beautiful morning?

May I advise you Monsignor, that

you are addressing the acting-Rector.

And the acting Vice-Rector

of St Gregory's.

Oh.

Well then, are congratulations

in order, Father Rector?

No .. not quite .. not yet, Monsignor.

Sit down. Thank you.

We've reason to believe, that we may have

official word on the matter quite soon.

You sent for me, Father Keene?

Yes, I did.

But I did not send for Father Arnoux.

Isn't that your dog, Monsignor?

Now Caesar, down.

I told him to stay in the car but,

he likes to hear the latest news.

I took the liberty of asking

Father Arnoux to accompany me.

No matter. What I have to say might

just as well be said to you both.

As acting-Rector it is my duty to make

various assignments for the house.

And frankly Fathers, I am puzzled.

I hardly know how to place you.

I gather that you Father Arnoux, have not

been at all happy with us here, of late.

As for you Father Quarterman,

I can't seem to account for you at all.

We carry you as a guest of the house but

you seem to be assigned to no province.

May I suggest that ..

Perhaps this cable from

Rome will clarify matters.

Ah, it is from Father General,

and it says ..

It says that Father Quarterman

is an official visitor.

With power over us all.

Even over Father Provincial if necessary.

So they're changing the guard

at Buckingham Palace.

Father Quarterman, I am at your service.

Thank you, Father Keene.

I am happy to announce .. Fathers.

That your new Rector

will be Father Arnoux.

Father Quarterman.

I don't know what to say.

On that point Father, our rules are quite

explicit. You have only to say "yes".

Yes.

Father Keene is relieved as of today.

Father Sierra becomes Vice-Rector.

What, if I may I ask, is your

pleasure with respect to myself?

Father Keene, your severity

almost tempts me to suggest ..

That for the next thirty days

you make the long retreat.

But instead, I recommend to Father Rector

that he assign you to library work.

And also, to loan you on Sundays to the

Monsignor whenever he has need of you.

Oh no ..

Father Keene is a valuable man.

You can't spare him.

Besides, the honour is to me.

Why do I deserve such an honour?

An order is an order.

I accept what is given me.

But I fail to understand

how it could happen.

Ah, my boy, discipline, discipline.

It's a lovely and wonderful thing.

Well goodbye for now, Father .. Rector.

And the best of everything to you.

Thank you, Monsignor.

You must always feel at home here.

I will, if you stop

serving those awful ..

I think I can promise some

French cooking from now on.

Do it .. come on, Caesar .. come.

Caesar!

Caesar!

Such a nice sense of discipline.

Perhaps he too should have been a Jesuit?

Caesar!

Hello.

Hello, Father.

Would it be alright Father,

if I said a prayer in your Chapel?

Well, there must be some mistake.

Our Chapel is not always open

to the public. This is a Seminary.

Oh. But how did you get in?

Oh that was easy. Joe brought me.

Joe? Who is he?

He drives a delivery truck so

this morning he delivered me.

I came in the back way.

You don't mind, do you?

Well, I'm sorry, but I'll have to ask you

to leave .. you see, a rule is a rule.

But I want to say a prayer in the Chapel

where you prayed for Father Sierra.

It's quite impossible. I told you, our

Chapel is not always open to the public.

What's the matter with

everyone all of a sudden?

It was a miracle.

I don't care what anyone says.

You can't just lock it up and put it away

as if nothing had happened, can you?

My dear child ..

You're just like Dr Morrell.

Dr Morrell?

He too tried to tell me that

everything was all over.

Just a minute.

Is your name Terry?

Yes .. how did you know?

Well, we Jesuits get

around now and then.

Couldn't you break a rule just once?

No, Terry. I can't say it's alright

for you to go into Chapel.

But you can say a

prayer here if you like.

Oh thank you, Father.

That's something, anyway.

Now Terry, if you'll wait here,

I'll see about getting you back to town.

Oh, Doctor. Just the man I'm looking for.

Well, good morning and

congratulations Father Rector.

I've come to say I've done

everything you wanted.

I've told everybody everything

and now I'm discharging myself.

Peter .. I want you to stay

on as the house physician.

Sorry, Father. Take it from me.

We're from two different worlds.

Better not try to mix them.

What is it you're angry about now?

Starting a new war with Heaven?

No, Father. I've learned my lesson.

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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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