Viva Maria! Page #2

Synopsis: Somewhere in Central America in 1907: Maria II is the daughter of an Irish terrorist. After her father's death, she meets Maria I, a singer in a circus. She decides to stay with the circus, and on her debut as a singer, she unintentionally invents the strip-tease and makes the circus famous. Then they accidentally meet a socialist revolutionary and find themselves leading a revolution against the dictator, the capitalists and the Church.
Director(s): Louis Malle
Production: United Artists
  Won 1 BAFTA Film Award. Another 2 nominations.
 
IMDB:
6.4
NOT RATED
Year:
1965
119 min
160 Views


and gallant in all things...

a little awkward.

Go on.

We had to leave

by the next morning at dawn.

When I left, he was still asleep.

- I didn't even wake him.

- Why didn't you stay with him?

I hardly knew him. Are you mad?

That's how it is. That's show business.

Here today, gone tomorrow.

Still, if I ever do meet the man of my life...

I'm sure I'll know him at first sight.

What do you take me for?

Marie isn't back yet.

Mary? No.

Come on, come on.

Good morning.

I'm bushed.

You were right.

Love is too marvelous for words.

You left my life for no reason

You left my sight for no reason

In the fountain

In the fountain where the peacock slept

In the fountain where the peacock slept

You can chose between

two legs or two eyes

One must always have two

to seek a fortune

But blonde or brunette

In Paris they are better

One equals two

And two makes only one

Ah! Women

Parisian women

I multiply one

I multiply two

It's unfortunate

that they are such a problem

Ten times or a hundred times

It's too dangerous

God have mercy

Get rid of them both

Ah! Women

Parisian women

Holding a grudge

won't make you happy

Say goodbye

Because two is one too much

There's only one head left

Ah, no, there are two

Every one

will find his one

Lost a glove

A run in my stocking

My petticoats are in rags

Make no mistake, this stripping onstage...

doesn't help this wardrobe.

It's incredible.

The fashions have changed again in Paris.

- You don't care, do you?

- Not a whit.

I suppose you're right at that.

You are quite happy as you are?

Quite happy. You're not?

Me, happy? I don't know.

Do you understand? I'm bored.

You can't call these rubes a real public.

Country bumpkins.

What's the matter?

You're getting homesick?

Dirty blackguards.

The brutes.

Good shot, indeed!

Forgive me, please. I had to do something.

Ladies, what an unexpected pleasure.

And what unexpected marksmanship.

Welcome, Seor Flors.

Do we know each other?

My name is Flors.

I spoke to you one night.

When? Where?

Doesn't matter. It meant nothing to you.

All around me, I could see only misery...

injustice, and brutality.

And so I left my village.

I rode though the countryside.

I spoke to the villagers, and they listened.

Some of them joined me.

We had but a few weapons among us.

Most of them were captured or killed.

For two months,

I have been running from Rodriguez.

With a price on my head,

I know what to expect.

But what's it all for?

The revolution.

Well, what are you going to do with us?

Seor Rodriguez will decide.

Tomorrow, he will let you know.

Sleep, now. The sandman has passed.

You still smoking?

You're wasting your time with 12-caliber.

The casing's too short.

Try upping it to 30.

You'll increase your range.

Rodriguez!

They took both girls away.

What for?

With a man like Rodriguez,

we must expect anything.

Oh, it's the new Vickers.

Not quite, Mademoiselle.

It's the Skyton-Babbit, 1907.

The latest model.

I see that you are interested in guns.

Enough to be able to shoot my men.

Do you know who you are dealing with?

I have electricity. Padre.

I am the only one

within a radius of 50 miles.

Look.

Good.

I'm not a brute.

I am very modern.

I love art...

especially the School of Paris.

My little Parisians.

Now I'll teach you a little game.

That music...

The Lady in White.

What does it mean?

That means they are going to die...

but before they die...

Grant them eternal rest, O Lord...

and may everlasting light shine upon them.

Good.

Come here.

Come here.

Ah, you have certainly

messed that up, my son.

Look out!

I'm going to die. Take me back to my village.

What are we going to do

when we do get to the other side?

We told you already.

We are going to take Flors home.

For the moment, we've two objectives:

To give Rodriguez and his men the slip...

and to keep ourselves fed.

Sh*t! Notre Dame!

- You'll be home in a few hours.

- Maria...

No, don't speak.

- Maria, I am dying.

- Don't say that, please.

No, listen to me, Maria.

Continue with my cause when I'm dead.

- Swear to me you'll go on fighting.

- Fighting, me?

- Flors, how could I?

- Go on, swear.

Yes.

I swear.

I swear it.

There it is.

Hurry. Quick.

The doctor is not home.

- They have all gone.

- That is strange.

The village is completely deserted.

Rodolfo!

He's getting worse. What can we do?

Ave Maria

Long live the rosary

Long live Saint Dominic

That he founded

Ave Maria

Well, there are your villagers.

He has a family here. He will speak to them.

Mama.

Dolores.

What are you doing here, Domingo?

Did you come to see your wife?

Your mother?

Your children?

Or did you forget that you left them here...

left them alone...

to follow your hero Flors...

like a dog, loyal and stupid.

Get out!

Get out and do not come back.

All of you.

There is no place for you here.

All of you followed Flors...

down the path of crime and revolution.

Now go back to him...

wherever he is hiding...

and tell him never to return again.

Flors was alive.

I loved him.

Flors is dead.

I mourn him.

I am not here to revenge one man...

but to bring a nation justice.

What is she up to?

It's her big scene.

Flors is dead.

His last noble thoughts were for you.

These will I now undertake...

to faithfully transmit.

Yet what do I see?

A flock of lowly sheep...

who cringe and dare not raise their heads.

Oh, judgment...

thou art fled to brutish beasts.

Alas, have all men then lost their reason?

Shakespeare, Julius Caesar.

Act 3, Scene 2.

Are you not exploited, degraded, whipped?

Yet you say thank you...

and you bow to your oppressors.

Rise...

and freedom will answer you.

Stand up and let the mountains ring

with your anger.

Always hate, hate and more hate.

You speak like Flors, you will end like him.

Is there any man here so base

that he is willingly a slave?

Let that man now speak...

for him I have offended.

I'm waiting for an answer.

She was very good.

Congratulations.

Quite a show.

Everybody thought you were sublime.

Madame Diogne was about to cry.

All I felt for you was shame.

I've done as Flors requested.

Don't you dare speak of Flors.

So what do you expect to do?

I have sworn to carry on the revolution.

The revolution?

You're a fool.

Perhaps.

And how? With who?

With them.

But stop and think.

You are only courting trouble.

I've already given my word.

Well, don't count on me.

Give me your lighter.

She doesn't have a chance.

Climb up there and cover me.

All right.

Don't move! Stay where you are.

Shoot anything that moves.

You others keep cover. I'll take care of this.

Thank you, Marie.

The pleasure was all mine.

Well, it looks to me

as if we've got ourselves into a revolution.

What did you say? It's a revolution?

It is now.

Take me to the Father Superior.

The Father Superior.

- Domine benedictu.

- Padre!

- What happened, my son?

- Maria.

Maria?

No. Maria and Maria. Two.

- The revolution.

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Louis Malle

Louis Marie Malle (French: [mal]; 30 October 1932 – 23 November 1995) was a French film director, screenwriter, and producer. His film Le Monde du silence won the Palme d'Or in 1956 and the Academy Award for Best Documentary in 1957, although he was not credited at the ceremony with the award instead being presented to the film's co-director Jacques Cousteau. Later in his career he was nominated multiple times for Academy Awards. Malle is also one of the few directors to have won the Golden Lion multiple times. Malle worked in both French cinema and Hollywood, and he produced both French and English language films. His most famous films include the crime film Ascenseur pour l'échafaud (1958), the World War II drama Lacombe, Lucien (1974), the romantic crime film Atlantic City (1980), the comedy-drama My Dinner with Andre (1981), and the autobiographical film Au revoir les enfants (1987). more…

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Submitted on August 05, 2018

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