The Baron of Arizona Page #6

Synopsis: The U.S. government recognizes land grants made when the West was under Spanish rule. This inspires James Reavis to forge a chain of historical evidence that makes a foundling girl the Baroness of Arizona. Reavis marries the girl and presses his claim to the entire Arizona territory.
Director(s): Samuel Fuller
Production: Criterion Collection
 
IMDB:
7.0
Rotten Tomatoes:
86%
APPROVED
Year:
1950
97 min
49 Views


Only a fool would waste

his time on old books...

when he has a beautiful, young woman to love.

Please, don't leave with the others.

Stay here in Madrid so

we can be together often.

It's too dangerous here.

I'll meet you near the fountain.

I'll go first. You follow.

Promise?

I promise.

I've known many women...

but with you, I'm afraid.

But he never kept the

rendezvous with the Marquesa...

because he had more important things to do.

He now was ready to come out into the open.

Sofia was traveling in Europe.

He wrote her to meet him in Paris.

- How do you like Paris?

- Is good, but I like Arizona better.

Aha. And, uh, Sofia?

In there, counting the hours.

- And Loma?

- Helping her with the dresses.

Pepito, the Bonaparte sails

from Le Havre next week.

Book a passage and reserve the bridal suite.

We go home!

Bridal? You married? You?

- Not yet.

- Now, you tell me everything.

What you do, where you go, how you live...

how you send so much money.

You found a senorita in Spain,

huh? At a bullfight maybe.

- No, I found her outside of Phoenix.

- Huh?

I'm going to marry Sofia.

Mr. Reavis...

is good all you do for

Sofia, for me - is good -

but is only right for a man to take

a woman as wife when he loves her.

- Don't you believe that I love her?

- I do not mean it that way.

But, uh, she's not a girl now.

She's a woman.

You don't know Sofia as woman.

I know her better than

anyone else in the world.

But you cannot put together cake to iron...

or a girl to an old man.

- Old man?

- Well, uh -

Well, why not leave the decision up to her?

Yes. She has a good head.

- We leave it

to her. - Uh-huh.

Is she still singing Dolores to sleep?

Call the lucky little mother.

Call her.

Sofia.

Sofia.

Well, aren't you happy to see me?

I cannot see you for the tears.

Are my cheeks flushed?

You can't see in the dark.

I'm so excited.

Did you notice my necklace?

You sent it from Mexico.

- And the comb - do you

remember? - From Sevilla.

The one I like best is

- is the music box from -

From, uh, Madrid.

Sofia, how does it feel

to be a woman of dignity...

and

- and beauty?

Why don't you ask how it feels to be lonely?

You too?

All my life, I've known two men:

the one who came out of the

rain in the long black cape...

the other one who is always in my dreams.

Sofia...

am I too old for your affections?

Too old?

I am grateful to have

learned in all my travels...

what so few women ever learn:

how to recognize love.

I could never explain why...

but...

it would fill my heart if

you would become my wife.

Oh, I've

- I've wanted it this way...

ever since I realized what I wanted.

Oh, Sofia, Sofia.

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Samuel Fuller

Samuel Michael Fuller (August 12, 1912 – October 30, 1997) was an American screenwriter, novelist, and film director known for low-budget, understated genre movies with controversial themes, often made outside the conventional studio system. Fuller wrote his first screenplay for Hats Off in 1936, and made his directorial debut with the Western I Shot Jesse James (1949). He would continue to direct several other Westerns and war thrillers throughout the 1950s. Fuller shifted from Westerns and war thrillers in the 1960s with his low-budget thriller Shock Corridor in 1963, followed by the neo-noir The Naked Kiss (1964). He was inactive in filmmaking for most of the 1970s, before writing and directing the war epic The Big Red One (1980), and the experimental White Dog (1982), whose screenplay he co-wrote with Curtis Hanson. more…

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Submitted on August 05, 2018

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