Bullfighter Juan Gallardo falls for socialite Dona Sol, turning from the faithful Carmen who nevertheless stands by her man as he continues to face real danger in the bullring.Written by
Ed Stephan <firstname.lastname@example.org>
Twentieth Century-Fox intended to prepare "a special edition" of the picture for "circulation in South American countries." The purpose of the alternate version was to "include certain bullfighting scenes, which while they would not be acceptable in the American version, will, nevertheless, be accepted in countries where bullfighting is permitted." See more »
When John Carradine's character "dies" his carotid pulse is clearly visible. See more »
What do you ask for?
Señora Augustias Gallardo:
I pray to him to let my son be gored in the ring. Not to die! But, to be hurt. So, he may cheat the end which every torero meets. Yes, that's what I pray for. And I pray to him not to send you a son. For he'll only grow up to torment and let you die every Sunday afternoon - just as you are dying now.
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It was planned to add more bullfighting scenes for distribution to South American countries, where the sport of bullfighting was much more acceptable. No details are available. See more »
Tyrone Power in the Valentino role...Hayworth as the siren...
20th Century Fox gave Tyrone Power one of his most famous roles as the bullfighter torn between the love of a noble woman, his wife (Linda Darnell), and the tempestuous "other woman" (Rita Hayworth). A technicolor remake of the 1922 classic with Valentino, the studio spared no expense in making this a lavish, well-paced version of the tale depicting the rise and fall of a great bullfighter.
While establishing Power as a romantic hero of swashbuckling roles, it made a star of Rita Hayworth who, up until this time, was seen mostly in low-budget films. If anything, 'Blood and Sand' assured of the stardom she sought.
Especially interesting in one of his more flamboyant character roles is Laird Cregar as the critic of the art of bullfighting, alternately praising and damning the hero and eventually getting his comeuppance from Power.
Directed with great style by Rouben Mamoulian, it is still the best version of the story to date, photographed in the lush technicolor of the 1940s.
You may be interested in looking at my article on Laird Cregar that appeared in the March 2001 issue of CLASSIC IMAGES.
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