The professional mercenary Sir William Walker instigates a slave revolt on the Caribbean island of Queimada in order to help improve the British sugar trade. Years later he is sent again to...
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Two scam artists prey on women for their money. They clash in a Mediterranean hot spot. Will the cultured, high-class con artist come out on top, or will the rough small-change scammer rise to win the wager?
As 1973 winds down, Franco is still governing Spain with an iron hand. Opposition parties are forbidden; labor movements are repressed; and Basque nationalists are mercilessly hunted down. ... See full summary »
Gian Maria Volontè,
Valentine "Snakeskin" Xavier, a trouble-prone drifter trying to go straight, wanders into a small Mississippi town looking for a simple and honest life but finds himself embroiled with problem-filled women.
The professional mercenary Sir William Walker instigates a slave revolt on the Caribbean island of Queimada in order to help improve the British sugar trade. Years later he is sent again to deal with the same rebels that he built up because they have seized too much power that now threatens British sugar interests. Written by
The film's original title was "Quemada" (the spanish word for "burnt"), as the action took place in a Spanish colony. When the Spanish government officially complained and threatened a boycott of the film (objecting to the script's supposedly anti-Spanish bias), Gillo Pontecorvo agreed to alter the setting to a Portuguese island, and the release title became "Queimada" ("burnt" in Portuguese). See more »
Portugal never had any colonies in the Caribbean. Its only American colony, Brazil, has no coast in the Caribbean. See more »
Sir William Walker:
Gentlemen, let me ask you a question. Now, my metaphor may seem a trifle impertinent, but I think it's very much to the point. Which do you prefer - or should I say, which do you find more convenient - a wife, or one of these mulatto girls? No, no, please don't misunderstand: I am talking strictly in terms of economics. What is the cost of the product? What is the product yield? The product, in this case, being love - uh, purely physical love, since sentiments obviously play no part in ...
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"If a man gives you freedom, it is not freedom. Freedom is something you take for yourself."
Marlon Brando's involvement in the making of "Burn" came about directly as the result of his politician idealism and his desire to make films with a comment on the human situation In 1968 he was deeply concerned in supporting civil rights causes, particularly those to have reference to black and Indian conditions, and, according to his friends, he was greatly disturbed and depressed by the assassination of Robert Kennedy and Martin Luther King
"Burn" begins in 1845 as Sir William Walker (Brando) arrives on the island of Queimada, truly as far as can be judged as a harmless traveler but actually an agent of the British government ordered to incite a revolution that will shatter the Portuguese control on the island and permit the British to put their hand on the valuable sugar-cane total product Queimada has a population of two hundred thousand, of whom only five thousand are Europeans The main town is a well-protected port with a fort and a garrison, a governor's palace, a cathedral, a bank, a hotel and a brothel
The English gentleman recognizes he must play the part of a political Pygmalion He looks around for a suitable subject to train as a revolutionary and he selects José Dolores (Evaristo Marquez), a large, handsome black dock-worker with an air of confidence Walker also recruits Teddy Sanchez (Renato Salvatori), an almost-white clerk with political ambitions Walker persuades José Dolores to steal the bank of the island, and once he does, Walker reveals his name to the government, thereby turning Dolores into a hunted bandit The ingenious Walker then teaches Dolores and his followers in the use of firearms and gradually absorbs in them ideas and feelings to overthrow the Portuguese government
The film is quite obviously political in tone, and is a passionate piece of propaganda in the anti-colonial struggle Brando's interpretation of Sir William Walker is apt to call up memories of his Fletcher Christian This is another Englishman, whose gentle speech and soft manners disguise with courage and determination Walker is not a villain but a cold, inflexible pragmatist with a hard work to accomplish
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