The Pride and the Passion Page #2

Synopsis: The story in this movie deals with the perseverance of Spaniards to take back their country from the French who have conquered Spain under Napoleon as he marched over Europe. A huge cannon, perhaps the largest in the world at that time, is discarded by the army as they retreat from the French invaders. A "ragtag" group of Spanish loyalists find "The Gun" and begin to restore it so they may tow it across Spain to the French stronghold in Avila and use it to open the giant walls for an invasion. Luckily Britain has sent someone to retrieve the cannon for England so they can have it to fight the French also AND to make sure that the French don't get the gun! A shoemaker and his voluptuous girl friend are the leaders of the peasants trying to get the gun to Avila. The Brit can't get help to get the giant gun back to his ship without the peasants and the shoemaker won't help him unless they all go blast Avila open first. The Brit has the knowledge needed to fire the weapon and the shoemaker
Director(s): Stanley Kramer
Production: United Artists
  1 nomination.
 
IMDB:
5.7
Rotten Tomatoes:
14%
Year:
1957
132 min
464 Views


beside the flag of the enemy.

(man shouts)

Arrtez! Arrtez!

What kind of people are you,

sitting here enjoying your life?

the enemy amuses himself,

holding Spanish babies on bayonets.

Do you feel nothing in your hearts?

Can you feel no shame?

Across the river,

a cannon is buried in the mud.

We need your help.

I do not ask you to die.

Or even to bleed.

Just to sweat a little.

So you can tell your children

that Algado sweat for the Resistance.

And those of you...

who are still Spanish... can follow me.

Your face is dirty.

You can't risk it.

We have to.

They outnumber you,

and there's a gun for every man.

- It'll take three weeks to go around them.

- All right, three weeks.

Captain, in vila there is

a general in Napoleon's army.

General Henri Jouvet.

His uniforms are beautiful.

His wine comes from France,

and his women from Morocco.

And every morning, to stop the

Resistance, and for his own pleasure,

he hangs ten Spaniards.

In three weeks,

he will hang 210 Spaniards.

You're risking the gun and everything

because of those hangings.

Has it occurred to you how many more

he'll hang if you never get to vila?

There are thousands expecting the gun.

I cannot wait.

I want no part of it.

If we fail, Captain, then you can

pull the gun to Santander by yourself.

The Duke of Wellington.

Captain, there are some things

you cannot change.

- And Miguel is one of them.

- That's unfortunate for all of us.

- You are taking no part in this, are you?

- I have no desire to commit suicide.

Listen to me. I know Miguel is difficult.

He's stubborn...

That's an understatement,

if I've ever heard one.

Nobody knows him better than I.

But you, you act as if you were

on the deck of a ship.

Miguel has never seen one. He is fighting

the only way he knows, as a guerrillero.

- You think he's right, don't you?

- All of us do.

But even if he's wrong,

we will go with him.

I hope you will too.

Why?

Captain, I have an idea

you'd like to act more like a man

than a cold piece of English mutton.

We are ready.

You stay here with Maria and him.

I'll need five men.

- For what?

- To get their powder.

Get him the men.

Guerrilleros! Guerrilleros!

Get these powder kegs away from here.

Come on! Come on! Quickly! Quickly!

Quickly.

Out! Out!

It's going! Jump! Jump!

Je ne fais pas partie de I'tat-major.

Je n'ai aucune information.

He's a field officer, not a staff man.

He doesn't know.

Tell him to search his memory, quickly.

Essayez de vous souvenir, vite.

Je n'ai rien dire. Je suis prt.

(gunshot)

Dites-leur ce qu'ils veulent savoir.

Vous pouvez sauver votre vie.

- What did you say?

- I'm trying to stop you murdering him.

I told him to talk. Allez, parlez.

Je vous jure qu'il n'y a

aucune formation entre ici et vila.

J'ai une famille, et je ne veux pas mourir.

He swears there's nothing between

here and vila. He doesn't want to die.

They were lying.

I'm surprised you bother to wash your

hands. That kind of blood won't come off.

- So?

- I refuse to watch cold-blooded murder.

Then do not watch. Stay out of the way.

You interfere too much.

- If not for that cannon, I...

- You would do what?

- I'd leave and let you fire it yourself.

- Then leave. We do not need you.

- You know I have my orders.

- This is my order.

Leave, Captain, or the next

cold-blooded murder will be yours.

You're insane.

There's a British ship in the harbour

at Las Cruces. Get on it. Go!

All right, I'll go tonight.

Go now, Captain.

I hope you're satisfied.

The British won't get the gun, he can't

fire it, so that's the end of your vila.

- He's still going there.

- Then he's a fool.

And I am going with him.

You can't understand that, can you?

It's none of my affair now.

You won't understand this either, Captain.

My father and brother were sentenced

by General Jouvet to be hung.

The general admired me.

I went to him.

He hung them anyway.

In the hills with the others,

I had one prayer - to die.

I had no hope, no purpose.

Until a man who was

the son of the shoemaker came.

He gave us a reason to live, to fight.

That was Miguel.

Well, then, I'd say

you've been grateful long enough.

- I am staying with him.

- You mean you're living with him.

But you don't love him.

That's the part of you that's cheap.

The British captain and the guerrillero's

woman - not a very good match.

I'll take my chances.

Enough to fire the cannon?

He said he'd do that himself.

Miguel doesn't always

mean what he says.

I won't apologise to him.

You won't have to.

I have already done that for you.

How much French cardboard

can a man eat?

Three days, this and water.

To pull this gun, a man needs food.

- You are not a man yet.

- (laughter)

He follows you anywhere,

and you make fun of him.

Jos, they are only teasing you.

I can do as much as any of them.

You know it.

More.

You are young and brave

and strong and handsome.

All any woman could desire.

And, besides, you're intelligent. And...

All right, Juana.

That's enough. I give up.

(shouting)

Excelencia. Excelencia, please!

Excelencia! Excelencia, please!

There are children in the village.

Give us back our food. We will starve.

At least the bread. Leave us something.

Miguel. And cognac!

- What is the matter?

- I doubt if you'd listen.

What is it?

- We need the food, don't we?

- We need the peasants more.

- What do you know about peasants?

- Obviously I know very little.

But I know you expect thousands

of them to meet you at vila.

Let me worry about the peasants.

I'm tired of you and your ideas.

Every village we come to

will hide their food.

And when we need help

with the gun, they'll disappear.

All right. You are in command. I give you

permission. You handle the peasants.

Go get the money and pay them.

In pounds sterling.

He's wrong. You'd better tell him so.

I know peasants. I live with peasants. I do

not need anybody to tell me about them.

- Of course not.

- You think he is right?

- I think perhaps...

- You think too much for a woman.

I think you are right, Miguel.

Miguel. Tell him you are sorry

for what you said.

Jos.

Wipe your nose.

An entire encampment wiped out.

Pretty picture - the invincible French

army running with our nightgowns on fire.

And still they elude us.

We are strangers in their house, General.

They know where to fight, when to hide.

They're hiding now someplace.

They will move again,

and I think I know where.

- They have help.

- Ah, peasants.

Not only peasants.

There's a British naval officer with them.

And a British man-of-war

in the harbour of Las Cruces. Here.

Very well.

Very well.

I want every road and trail into Las Cruces

blocked, day and night patrols.

We will see if you are right.

Carlos! Carlos!

The wagons!

Where are the wagons?

- Well, where are the wagons?

- Well, I don't know.

I don't know what happened to them.

They're in the village. I sent them back.

You sent them back?

Miguel.

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Edna Anhalt

Together with then husband Edward Anhalt, screenwriter Edna Anhalt (April 10, 1914 – 1987) enjoyed some considerable success in a ten-year stretch from 1947 to her retirement in 1957. This stretch was capped with an Oscar win for Elia Kazan's 1950 film Panic in the Streets, and another nomination two years later for The Sniper. She also wrote the screenplays to The Member of the Wedding (1952), Not as a Stranger (1955) and The Pride and the Passion (1957), before hanging up her pen after her divorce. more…

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Submitted on August 05, 2018

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