The Unforgiven Page #5

Synopsis: Western about racial intolerance focuses around Kiowa claim that the Zachary daughter is one of their own, stolen in a raid. The dispute results in other whites turning their backs on the Zacharys when the truth is revealed by Mother. Cash, the hotheaded brother, reacts violently upon learning his "sister" is a "red-hide Indian." He leaves the family but returns to help them fight off an Indian raid.
Director(s): John Huston
Production: United Artists
 
IMDB:
6.7
APPROVED
Year:
1960
125 min
811 Views


My breasts were hurting with all that milk.

I wish we could raise nasturtiums.

Then we could have a yard full,

like when I was a girl.

I just love nasturtiums.

What you fixing to do?

Get this wood in.

I mean, about everything.

We can't stay here no longer.

We got to pull up stakes...

or else send Rachel away.

A man sets down roots.

He don't like them cut off,

by Kiowas or anyone else.

With her out of here,

we could at least get our cattle to market.

Cash, you want the cattle that bad,

you take them. All of them.

You tell Zeb you and me

don't see eye to eye. And that's for truth.

Take that cattle drive

and keep all the profits.

Don't you go twisting my words around.

- We've got to get her out of here.

- Where to?

An Injun camp?

Or maybe to squat outside the garrison

at Wichita...

and pick up silver dollars

from the troopers?

Why don't you say it?

Damn you, why don't you say it?

It's not the Kiowas or the cattle!

It's the red Injun in the house!

Get her out of here!

I don't care how you do it,

get her out of here.

I'm staying. She's staying.

We're all staying.

I'm not staying.

Not with a redhide n*gger!

Get going.

Here, piggy.

Cash!

I left my family.

Why?

They turned Indian lovers!

Injun lovers!

Can't stay there no more!

I'm a little bit drunk, Georgia.

You can sleep it off in there.

Or there's a bed in my room,

if you'll marry me.

I'm drunk, but I ain't that drunk!

Cash! Come on.

They're coming.

The same three, it looks like.

- Only three of them?

- That's all that's coming up.

But I figure

there's 40 strong across the river.

You figure they came to parley?

They'll ask for her first.

Then they'll try to take her.

I'm going out there.

There won't be any fight.

I'm going out to my people, where I belong!

You're staying here.

You can stop me now,

but I'll go out to them the first chance I get.

- Andy.

- Sir?

- Andy.

- Sir?

They still out there?

They're still there.

Kill one.

Kill one?

- They're under a sign of peace.

- Kill one!

No!

Go ahead.

It's done.

They'll never turn back now.

You can bet on it.

Not till you're all dead.

Ain't much point in going out now, is there?

Why didn't you let me go?

Why did you stop me?

When Mama told the truth this morning,

I wanted to die.

And you wanted to die, too.

I could see it in your faces,

you had to turn away.

Why let yourselves be killed

on account of me?

Little Injun.

Little redhide Injun.

Andy!

Sir?

Turn out that light.

That gun shoots a little high...

so draw a fine bead.

When they get close enough so you want

to scream, don't scream. Just shoot.

What if I can't do it?

You can.

I've never killed anybody before.

The gun does the killing.

My own kind?

By blood, yes.

But not by anything else.

Funny, I don't remember

all them bushes out there.

There wasn't.

How's that?

One of them is moving.

Slow down, Andy. You're shooting too fast.

Sister!

We did it.

We beat them off.

Just like I said.

I did what you told me.

You did fine. Real fine.

The music of their flutes.

Magic...

to make them bulletproof.

We'll give them some magic of our own.

Lend a hand, Andy.

Mama!

Play something, Mama.

Make it loud, good and loud.

Mama, that's enough magic for tonight.

Andy, you take over Mama's gunport.

Here they come.

Andy, to the side port!

Still on its hinges?

Still holding.

What is it?

I hear gunfire.

- In your head.

- No, I hear it, I tell you.

You couldn't. Your house is 10 miles away.

Yeah.

It's stopped now.

I didn't hear anything,

even before it stopped.

Could be they ran out of ammunition.

Forget about them.

Don't think about anything but me.

I know I could make you happy.

I know it.

Now, Cash.

Right now.

Georgia, get me some ammunition.

Rimfires, if you've got them.

All you can spare.

Papa's got them all locked up,

and he wouldn't...

I know.

He wouldn't lift his little finger off his Bible

to save a Zachary.

Stay here.

Don't think about anything

in the whole world except me.

- Andy.

- Sir?

How's the ammunition holding up?

Not too many.

No more fire till they go to break in.

And here.

Give this to Mama.

Just in case.

Ma.

You've been hit.

My arm. Nothing much to it.

Get back to your gunport.

You better lie down

and get some rest while you got a chance.

Stop fussing.

I've hurt myself worse with a kitchen knife.

You just lie here awhile.

I'll be all right, I tell you.

Keep this by you.

My poor baby. My baby.

- I'm sorry if I did wrong.

- Hush, Mama.

About Cash...

don't mind.

He was always fiery tempered,

even as a little boy.

You don't have to explain Cash to me.

Andy, you still got those lead soldiers

I brought you from Wichita?

- I ain't played with them since...

- I know where they are.

Ain't a very big army coming to our rescue.

There's one thing I sure regret...

that I ain't never got to Wichita

and had me...

that glass of beer.

Is it pain to die?

We ain't gonna die.

We're gonna live.

We're gonna lick those Kiowas.

We got to take a trip to Wichita.

Me, too?

All of us. You, me, Mama, Andy, all of us.

- We'll do it up real good.

- Yeah.

We're gonna fit you out in a fancy dress.

A white one, with veils.

Veils?

That's what they wear

for the occasion, ain't it?

We gonna have a wedding?

We're gonna get ourselves a town preacher.

We're gonna hire some music.

We're gonna have a fine old time.

Hear that, Mama?

Hear that?

We're going to Wichita

and have ourselves...

Get in the root cellar.

Mama!

Andy!

Back in the root cellar. Hurry.

Hole in her side.

Never said a word.

More coal oil.

He's coming to.

The fire won't hold them off much longer.

How's your arm?

Fine.

Can you handle your gun?

I guess so.

Never was much good left-handed.

It's a six-gun.

Could it be Cash? Could it?

It's gotta be Cash.

I knew he'd come back. I told you!

Whoa, hoss. You stay here with Rachel.

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Ben Maddow

Benjamin D. Maddow (August 7, 1909 in Passaic, New Jersey – October 9, 1992 in Los Angeles, California) was a prolific screenwriter and documentarian from the 1930s through the 1970s. Educated at Columbia University, Maddow began his career working within the American documentary movement in the 1930s. In 1936 he co-founded the short-lived left-wing newsreel The World Today. Under the pseudonym of David Wolff, Maddow co-wrote the screenplay to the Paul Strand–Leo Hurwitz documentary landmark, Native Land (1942). He earned his first feature screenplay credit with Framed (1947). Other screenplays include Clarence Brown's Intruder in the Dust (1949, an adaptation of the William Faulkner novel), John Huston's The Asphalt Jungle (1950, for which he received an Academy Award nomination), Johnny Guitar (1954, credited to Philip Yordan, God's Little Acre (1958, an adaptation of the Erskine Caldwell novel officially credited to Philip Yordan as a HUAC-era "front" for Maddow), and, again with Huston, an Edgar Award for Best Mystery Screenplay) and The Unforgiven (1960). As a documentarian he directed and wrote such films as Storm of Strangers, The Stairs, and The Savage Eye (1959), which won the BAFTA Flaherty Documentary Award. Maddow made his solo feature directorial debut with the striking, offbeat feature An Affair of the Skin (1963), a well-acted story of several loves and friendships gone sour and marked by the rich characterisations which had distinguished his best screenplays. In 1961, Maddow and Huston co-wrote the episode "The Professor" of the 1961 television series The Asphalt Jungle. In 1968 he wrote a screenplay based on Edmund Naughton's novel McCabe; while a film adaptation of the novel was ultimately produced as McCabe & Mrs. Miller (1971), Maddow wasn't credited on the film. His final screenplay was for the horror melodrama The Mephisto Waltz (1970). more…

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