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Curro Jiménez, haciéndose pasar por un indiano, trata de apoderarse de los tributos que una bella marquesa recauda para un general francés.
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00:28The Church of Jesus Christ of Latter-day Saints
00:57Thank you!
01:00The Great Battle of Andalusia, sketch of a cinematic debate on imperialism.
01:13The small town of Villamansa, nestled in the heart of Andalusia,
01:18He never had anything extraordinary about him except his extraordinary insignificance.
01:24It never appeared in the chronicles or in history books.
01:27It had no strategic importance nor memorable monuments.
01:34Its people were peaceful and poor, very poor.
01:40His life was hard and routine.
01:43The men worked land that was not theirs and drank in the tavern.
01:52The women worked land that was not theirs and washed clothes.
02:00There was a mayor, a priest, and a potter, Don Paco, who is the protagonist of our story.
02:17Thank you!
02:19Thank you!
02:24Thank you!
02:39Thank you!
02:47Thank you!
02:49Thank you!
03:09Thank you!
03:10Like all the towns in the region, Villamansa is subject to a feudal regime.
03:16And like all of them, he has to pay heavy annual tributes to the landed nobility.
03:23The French have invaded Spain and the Spanish nobility has moved to Bayonne.
03:27where he tries to ingratiate himself with the French monarch.
03:30The mayor is very worried.
03:33This year the harvest has been bad.
03:37The people are poorer than ever.
03:41The dreaded moment of tax collection has arrived.
03:45For this reason, their arrival from Bayonne is awaited with apprehension.
03:50of the Marquises of Monte de Oro,
03:53within whose territory Villamansa is located
03:57and under whose feudal tutelage its people live, work, and go hungry.
04:13Stop! Stop!
04:16Stay still!
04:19Come on, get down!
04:21Come on!
04:25Come on!
04:27Money!
04:29The bracelet too!
04:33Hands up, abrimones!
04:35Drop your weapons!
04:37You, throw away the blunderbuss!
04:40Return the jewelry and the money, or I'll blow your brains out.
04:46And now the race, and fast!
05:00You saved me, sir.
05:03Don Britos de Rivadereigas.
05:05Are we crossing their lands, perhaps?
05:07No, ma'am, I'm from the Indies.
05:16Allow me to escort you with my servant.
05:18You're never free from robbers.
05:25Come on, let's go!
05:27Come on, let's go!
05:37So you're coming from the court.
05:39We have temporarily settled in Bayonne.
05:42But every year we visit our homeland in this beloved Andalusia.
05:47We've come to see our people.
05:49We're a bit like their parents, a bit...
05:51A little bit their owners.
05:54Let's say their parents.
05:55This better expresses our feelings.
05:58But the marquis was unable to come this time.
06:00He has a lot to do in court.
06:02And here I am, alone.
06:05Fortunately.
06:07For me, who was able to provide my services.
06:10It won't be the last time.
06:14I hope so.
06:21This wine isn't bad, is it?
06:23I prefer Bordeaux.
06:24I've gotten used to it in Bayonne.
06:25And what are you doing in Bayonne, ma'am?
06:27We have rented a palace.
06:29We give great plows.
06:30Sometimes we also have to bribe some officials and the odd minister.
06:34Life at court costs a fortune.
06:36And you come to Andalusia to look for her?
06:37Of course, like every year.
06:39What do you think we live off of in Madrid, and what do you think we'll continue to live off of in Bayonne?
06:43Uh-huh.
06:46Ever since I was a child, I've always liked eating fruit this way.
06:49I never ate it from anyone else.
06:52Good for you, Mr. Britos.
06:54Court is so boring.
06:56So full of labels and formalities.
06:58When you put fruit in your mouth with so many forks and knives, you don't get any juice out.
07:06I'm going to bed.
07:09Don't even think about knocking on my door in an hour.
07:11Not even very gently.
07:14One hour.
07:16Very gently.
07:19But don't do it yourself.
07:21I am a very light sleeper.
07:36Three shotgunners have just arrived in the kitchen.
07:38And with them was the lieutenant, that chubby guy with the mustache.
07:40Let's go!
07:40Wait, they haven't seen us.
07:41We will leave at dawn.
07:42You're crazy.
07:43That man is a pointer.
07:45It will recognize your horse in the stable and your snores through the wall.
07:47Am I not going to sleep?
07:49Curro.
07:51Alright.
07:52What have you found out?
07:53That's what we thought.
07:54The marquis has come to collect the money to take back to France.
07:56And you?
07:58He likes to eat fruit by biting into it.
08:18Madam Marchioness, pardon me for interrupting your rest,
08:20But I am obliged to inform you that the gentleman with whom you dined tonight...
08:24My God, what has happened?
08:26Nothing to him, but he's not a gentleman, he's Curro Jiménez.
08:29the most dangerous outlaw in the region.
08:32You see, Madam Marchioness, it is you to whom something very serious could have happened.
08:36I don't doubt it, Lieutenant.
08:38I don't doubt it, Lieutenant.
09:30Thank you!
09:55But what are you saying?
09:56I can't believe my ears.
09:59Did you really say that you cannot guarantee the collection of taxes?
10:02It's unheard of.
10:03Unheard of, Madam Marchioness, unheard of.
10:05Understandably, the harvests have been terrible.
10:07People are without money.
10:09But why should I be the victim?
10:10No, the victims are your tenants, ma'am.
10:13Don't give me any of that nonsense.
10:14I have never failed to get paid on time.
10:16And this year will be no exception.
10:18I am not prepared to tolerate these innovations that seem very natural to you, from what I can see.
10:23It's inconceivable.
10:24We trust you.
10:26We support him in his position as mayor, and he repays us by allowing such things...
10:29But this is a revolution.
10:31Madam Marchioness, for God's sake, don't say those words.
10:33Let's call things by their name.
10:35Ah, I understand now.
10:36The proximity of the French.
10:38I was surprised not to find a guillotine installed in the square.
10:41Will you be the one to make it fall on my neck, Don Manuel?
10:44For God and the Virgin, Madam Marchioness.
10:45What horrible things is he saying?
10:48Are you Serena?
10:48Okay, I'll calm down, but listen to me carefully.
10:52I am not willing to return to Bayonne without the money.
10:55I can't stay here forever, in the middle of nowhere.
10:59You can tell everyone.
11:03You know how much I love you and...
11:05And that's precisely why I detest this kind of...
11:08Of problems.
11:09I'll see what I can do, Madam Marchioness.
11:11Look at it, Don Manuel.
11:12But it's very simple.
11:15Just one thing.
11:16Charge!
11:16Charge!
11:20Charge!
11:30Charge!
11:53Calm down, man, everything can be fixed.
11:55It doesn't have this.
11:56Calm down, man, everything can be fixed.
12:26Why on earth did they put us on the map?
12:33General Pregui, a highly cultured and intelligent man, is heading towards the town of Villamansa.
12:39In the past campaign in Poland, the harshness of his repression against those resisting the Napoleonic flags earned him
12:45the nickname Jackal of Poland and also the promotion to general.
12:49To wash away his reputation as a bloodthirsty man, General Pregui is willing to refrain from using violence in Spain.
12:54He does not want to appear as an invader, but as a spokesperson for the French revolution, for liberal and democratic ideas.
13:01that will help Spain emerge from the dark and unjust feudal system in which it lives.
13:04He is accompanied by Posadas, a liberal South American journalist, whose objective is to study the tactics of the Spanish guerrillas in order to apply them in
13:12his country and make it independent from oppressive Spanish imperialism.
13:16Dear neighbors, as the priest just told us, God did not endow us all equally when He created us.
13:23He gave some more, others less, in an admirable diversity.
13:27And in a world of poor and rich, more poor than rich, in my opinion, but already
13:33We will all be rich in paradise.
13:35Therefore, the priest says that it is your moral obligation to pay taxes as has always been done.
13:40life.
13:41I doubt that the arrival of General Flery, as some of you hope, can change the determination of the
13:48Madam Marchioness.
13:49According to the priest, the French are heretics.
13:52For the pharmacist, the champions of enlightenment and progress.
13:56For many, a hope.
13:58But for me, a problem.
14:08I'll tell you once again.
14:10The French army has not come to Spain to bring war, but freedom and peace.
14:15A peace that has already cost you some battles.
14:17Asthma affects me.
14:19Not everyone understands our intentions, but you Americans have suffered firsthand the rigors of Spanish absolutism.
14:47Thank you!
15:03Thank you!
15:11As mayor of Villamancha, I address the residents on behalf of General Flery, of the French occupation troops.
15:19And I tell you that, having learned that peace and order reign in our town, he does not intend to alter them,
15:26but on the contrary, it will support the established authorities.
15:29He will limit himself to leaving a small garrison here, with orders to respect the life and property of the inhabitants.
15:36And he will study ways for his people to collaborate with ours, in the purpose of promoting our industry and
15:43to reach the highest levels of progress and freedom.
15:46And now, on behalf of all of you, I welcome General Flery and his entire escort.
15:54Long live King Joseph!
15:55Long live the alliance between Spain and France!
15:58Viva!
16:08Sir, do you know where the inn is?
16:10Crossing Lavera Square.
16:11Are you a stranger?
16:12Indian.
16:13Wow, what a coincidence, me too.
16:15Where are you from?
16:16From Havana.
16:17I'm from Valparaíso.
16:18We're a bit far apart, but we're not brothers.
16:20What a coincidence.
16:22Shall I come with you?
16:22No, thank you, see you later.
16:36Wait a minute, wait a minute, you're not getting the melody right.
16:39Come on, sing with me.
17:01Madam Marchioness, what does Contrenu mean?
17:04Well, more or less this.
17:06Against us, tyranny raised its bloodied flag.
17:11And who is the tyranny?
17:13What questions do you ask?
17:16Let's sing first and leave the explanations for later.
17:19Come on.
17:20To the Saint Johns of the Fatherland
17:24In the south of Maré
17:28I arrived
17:30Contrenu of tyranny
17:35We give it...
17:36We give it...
17:47Bonjour, Monsieur Lé Lé Lé Ténan.
17:52Tell the lieutenant that I will have the greatest pleasure in receiving the general tonight.
17:56Come on, come on, kids.
17:58To the Saint Johns of the Fatherland
18:02In the south of Maré
18:04I arrived
18:06Contrenu of tyranny
18:10We give it...
18:18You must understand, General, that I want to return to Bayonne as soon as possible.
18:21The marquis was all alone there, surrounded by so many beautiful French women.
18:25The marquis has no memory either.
18:26How could anyone forget in just a few days that he has the most fascinating woman in Europe?
18:30I'm going to blush with so much flattery.
18:33As if you were the ones who were going to ask me for something.
18:36And not me to you, general.
18:38Please intercede for me.
18:40Exert your influence on the mayor.
18:42Perhaps with the help of his soldiers.
18:44My taxes could be collected.
18:47More effectively.
18:49And more speed.
18:52I cannot occupy my soldiers with certain tasks, Madame la Marquise.
18:56I'm sorry.
18:58Besides, you know it.
19:01The ideas of the French government do not align with certain situations.
19:06Right, Posadas?
19:08The truth is that feudalism still prevails in Spain, Madam Marchioness.
19:12Even if she has a face as seductive as his.
19:16I know what you're talking about.
19:17Of ideas.
19:18But, general, I have friends in France who also live off the income from their properties.
19:26Yeah.
19:27Not everything has been fixed yet.
19:31Oh, don't think I don't understand what they call equality and all that stuff.
19:35But I've had my arguments with King Joseph himself.
19:39Do you know the king personally?
19:41He has come to our dances several times.
19:44He plays backgammon with the marquis.
19:46And I have had the honor of receiving this pandantiz from his own hands.
19:51On one side, Napoleon.
19:53On the other side, Isabella the Catholic.
19:55Absolutely beautiful.
19:56How curious.
19:58Do you see, General?
20:00Our greatest queen and your emperor.
20:03It's always possible for great people to reach an understanding.
20:08You'll help me, won't you, General?
20:12It's difficult to say no to you.
20:15Thank you so much.
20:22By the way, would you like some cigars from the colonies?
20:25Delighted.
20:27Come on.
20:31Excuse me, I'll be right back.
20:36If I were the marchioness, I would be very worried.
20:38Because?
20:40Because we already know what the French generals have done throughout Europe.
20:44Right here in Andalusia, His Excellency Marshal Sul, for example.
20:49And what have they done?
20:51Loot churches and palaces and take everything to Paris.
20:56What a bad reputation we're acquiring.
20:58It cannot be denied that some of my colleagues have taken their passion for art too far.
21:04But I would never take those paintings, my dear Posadas, because they are imitations and not very skillful ones.
21:27In contrast, this portrait of the marchioness is extraordinary.
21:31It is unsigned.
21:34The general is very impressed with your portrait, Madam Marchioness.
21:38Are you serious?
21:40Completely serious.
21:43It is undoubtedly the work of a great artist.
21:46It could be painted by Goya, but it reveals a higher degree of maturity.
21:52Who painted it?
21:53Imagine that.
21:55Don Paco, the village potter.
21:57I accepted this portrait from him as a favor.
21:59He offered it to me in exchange for his lease.
22:01But I thought it was beautiful.
22:04Manuel, Manuel, do you know what they're saying in the plaza?
22:07The general and the marchioness are visiting the potter's house.
22:11Holy Virgin, we are lost.
22:13What's happening?
22:13You don't know that that crazy old man has started painting the horrors of war.
22:16And that in his paintings he portrays the French as murderers.
22:23Superb.
22:32Fantastic.
22:52In my opinion, Mr. Maître, your painting is politically biased.
22:57We French have not committed these atrocities on your land.
23:01Perhaps you and I, sir.
23:05No different stories have arrived.
23:07Could be.
23:09That was a superficial objection, monsieur...
23:12Paco.
23:12Paco.
23:13Monsieur Paco.
23:15I'm referring only to the issue of the painting.
23:17In the background.
23:19In contrast, the light, the color, the technique, the form, are admirable.
23:24We agree on that.
23:27Thank goodness.
23:28And so that you can begin to understand the French a little better...
23:31I understand them very well.
23:33And see that the values of the spirit are above all else.
23:37I am going to buy this painting from you and hang it in my house in Paris.
23:41Like a document of the invasion.
23:43No, sir.
23:44Like a work of art.
23:46Art has no borders.
23:49Mine did.
23:51My paintings are not for sale.
23:53On the other hand, you can buy whatever gadget you want.
23:58I make a living from this.
24:00Toñín, he serves these gentlemen well.
24:13Don Paco, who is the gentleman in the portrait?
24:17A man who has returned from the Americas and is just passing through.
24:19In the village?
24:20Yes, I met him the other afternoon.
24:22He comes from Havana.
24:23Yes, yes, this is what he told me about Havana.
24:25Ah.
24:28Excellent portrait.
24:29Do you know the model?
24:31Yeah.
24:32I think I found it on one of my trips.
24:43This portrait has given me an idea, monsieur...
24:46Monsieur Paco.
24:47Paco.
24:47Monsieur Paco.
24:48Yes, yes, paint my portrait.
24:51It's a great idea.
24:54I plan to make a die-hard anti-Frenchman famous in Napoleon's own court.
24:59An enemy of liberty, equality, and fraternity.
25:03A man with ideas contrary to ours.
25:06But a man of genius.
25:09What a great example for the world!
25:11The liberality of France.
25:13Universality in its culture and in its noblest expression.
25:16And what do I gain from this?
25:20As?
25:21I plan to pay him handsomely.
25:25One hundred times more than what I will pay that Indian.
25:28I don't need that much money.
25:31But what about fame?
25:34Thank you.
25:35I'm already too old.
25:38I will show the world that hidden in a corner of Andalusia there is a painter who can compete with David and with
25:45Goya.
25:45I'm not interested in him proving anything.
25:49Even though I am better than them.
25:52Is this man joking?
25:54In addition, my eyesight is tired.
25:57And now there are only two hours of good light left.
26:01And I want to work.
26:04Well, I think we should leave.
26:08Monsieur.
26:13Goodbye, Don Paco.
26:25I don't understand you.
26:27Pancho will lose his mind, and don't go skiing.
26:30That's why, Juan, they've never given you any money.
26:31Okay, okay, but.
26:33Stand here.
26:34Stay still.
26:36I want to paint.
26:37Okay, okay, but I don't understand you.
26:39And I have my secrets, just like you have yours.
26:43I ask you what you have come to the village to do.
26:45Or maybe it won't be so that I can paint you.
26:49I'm not telling you because I don't want to involve you in my affairs.
26:51You are an honorable man.
26:55Excuse me, Don Paco, I forgot...
26:58Oh, Mr. Britos.
26:59Sorry to interrupt.
27:03I forgot my fan.
27:05Marqués has planned to visit her at any time.
27:07I owe you my apologies for not having given those gentle knocks.
27:12But I had to leave unexpectedly.
27:14I don't know if I should forgive him.
27:16But I don't want to get bored.
27:19Come have dinner with me tomorrow.
27:20Without fail.
27:21How should I hit this time?
27:23Anyway.
27:25But please, I knocked.
27:37You need verse.
27:40Come on.
27:46Come on.
27:47Come on.
27:49Come on.
27:51Come on.
27:53Come on.
27:55Come on.
27:56Thank you!
28:33I could take your refusal as an insult, sir...
28:36Paco.
28:37Monsieur Paco.
28:39I understand that you feel wary of a Frenchman, a liberal.
28:44He sees me as a bearer of dangerous ideas.
28:47You, enemy of the French revolution.
28:50Undoubtedly a defender of traditional and feudal ideas.
28:55And if I may say so, reactionary.
28:59Sit down and deceive him, general.
29:01I'm going to tell you something that many people don't know about this town.
29:06I lived in Paris for eight years, a long time ago.
29:10Those were the years of the revolution, the good times.
29:14Do you know how my passion for painting began?
29:18The day the doors of the Louvre were opened to the people of Paris,
29:23If you had seen that, it was a party.
29:27Everyone was excited.
29:29And I was mixed in with them.
29:32So, you're not an enemy of freedom?
29:35I was with Marat, with the friend of the people.
29:38Marat.
29:38Monsieur General.
29:40Marat.
29:41C'est Tom Sankiner.
29:42Let me finish.
29:44Many years have passed.
29:45I am very old now, and so is the revolution in France.
29:50I don't see you as a revolutionary.
29:54I see him for what he is, as a general of the empire.
29:58You claim to defend freedom.
30:01And he has come to Spain to oppress it.
30:05What you are defending is the absolutist regime.
30:09And with their help, the Marchioness is collecting the taxes.
30:15You want a lot of freedom for France, and very little for the conquered countries.
30:21I am a liberated man.
30:23The French are not like the men of Cádiz.
30:27You want to use the portrait as a political symbol.
30:31You are a general of the empire, and I don't paint a portrait of a general of Napoleon's empire.
30:40So, is there nothing more to discuss?
30:43I don't think so.
31:00He spoke of resistance, of conspiracy, of threats to repress it with an energetic hand.
31:04All the rhyming has gone to hell.
31:06French soldiers have begun to arm themselves and are in the taverns.
31:10And with the girls.
31:11All because of his refusal to make a deal.
31:14I swear.
31:15Reconsider your decision.
31:17If he agrees to paint the general's portrait, everything will go back to the way it was before.
31:20For now, it's just a tantrum.
31:22But if the tantrum grows, it can turn into fury.
31:25Please, Don Paco, you'll want it on a whim.
31:29I admit it, first of all.
31:31To endanger the fate of Villamansa.
31:33Oh, Don Paco, Don Paquito.
31:35What admirable pride he has, the kind that is no longer found in Spain.
31:38But there is that practical sense and that shrewdness.
31:41You are asking for that portrait.
31:42Please appease that complete fool who has put himself in your hands.
31:45Paint him with the face of an idiot, for example, or a bird of prey.
31:49And he'll have more money than he's ever seen.
31:51Goya himself.
31:52He is portraying one French general after another.
31:54And that doesn't stop him from being Goya.
31:57Oh, the Spanish court is in Bayonne.
32:00Wouldn't you rather be more realistic than the king?
32:03You'll have your reasons, and that's your problem with him.
32:05But I am afraid for you, my stubborn son.
32:08That American journalist told me that the general is furious, that he is prepared to do anything.
32:12That he has made that portrait into a matter of gold.
32:13How are you going to defend yourself? With your palette and brushes?
32:16How are you going to deal with it?
32:17Throwing water jugs at soldiers' rifles?
32:21You have never lost the gun in your hands.
32:23You've never ridden a horse.
32:24You can't just go up into the mountains.
32:25A potter can never challenge a general to a duel.
32:31Even if he has as a friend a big-time flag willing to risk his life for him.
32:35Come on, you old devil.
32:38Test your strength and paint that portrait.
32:51Do you understand me, pal?
32:53No.
32:55Meanwhile, in Cádiz, besieged by the French,
33:00where the Spanish courts are located and where they fight against Napoleon's imperialism,
33:04although they defend a liberal constitution inspired by the French Revolution,
33:08A chronicle of inns is received, sent clandestinely from the small town of Villamansa,
33:13which tells of the confrontation between Don Paco the potter and General Frey.
33:19A newspaper publishes the news.
33:21He titled it The Great Battle of Andalusia.
33:24A village potter faces the most fearsome of the French generals.
33:28A great example for the fight against oppression.
33:31The news and the example spread rapidly throughout Spain.
33:36General Frey receives an urgent dispatch from his superior,
33:39Marshal Sult, of the occupying army.
33:41Marshal Sult is outraged.
33:44He considers the confrontation between General Frey and the potter to be a stupid matter, a matter of personal vanity.
33:50But now, Don Paco's reluctance to paint the portrait is known throughout Spain.
33:54It is used as an example to fuel resistance in occupied countries.
33:58It has even become known in Paris.
34:00Now, the honor and prestige of Napoleon's army are at stake.
34:04That confrontation has become a very important political battle.
34:08Marshal Sult orders General Frey, under threat of dismissal and degradation,
34:14that he gets that portrait by any means necessary.
34:16Otherwise, he demands that the potter receive an exemplary punishment.
34:21An urgent letter from the Marquis of Monte de Oro from Bayonne.
34:26Don Paco's name has become famous, and even in Paris they say he's a genius.
34:30the painting.
34:31Those paintings, ignored and despised until recently, are now worth a fortune.
34:36Its price is rising rapidly.
34:39The Marquis orders the Marchioness to appropriate the paintings by any means necessary.
34:48Enough is enough.
34:49Do you think I'm so weak, so stupid?
34:52Do you think you can defy a French general with impunity?
34:55I'll show him who can kill me.
34:56In Spain.
34:58In his workshop!
35:00Either you paint that portrait, or you'd better prepare for the worst.
35:05Now it's an order.
35:07Either you fulfill it, or you destroy in an instant the work of your entire life.
35:11I ordered it to be burned in the town square, in full view of the entire town.
35:15I brought you out of the cream and gave you fame.
35:20If I destroy your work, it's as if you never existed.
35:24You're forcing me.
35:26I need to make a change.
35:29What is your answer?
35:31No.
35:45By order of General Flery, all paintings found in this house are hereby confiscated.
36:15He's not going to burn the paintings.
36:16He is neither a barbarian nor an idiot.
36:18But he probably plans to take them with him to Seville and then to Paris.
36:22I cannot allow it, Britos.
36:25And you must stop him from doing it.
36:29Help.
36:31Are you suggesting I steal the paintings?
36:34Are you scared?
36:37Don Britos de Riva de Neira knows no fear.
36:41But respect private property.
36:44I am not suggesting that you steal from Don Britos de Riva de Neira.
36:48I'm proposing it to Curro Jiménez.
36:56It takes time to become who you are.
36:59I always suspected what you were up to with your charade.
37:02Steal me.
37:04Waiting for him to collect the tax money.
37:07And then fall with your whole gang.
37:12I faked it all.
37:14I can vouch for that.
37:16You have played fair in this matter.
37:20Good coin.
37:23The best.
37:26Good.
37:27You were proposing an alliance to me.
37:29That I steal the paintings.
37:31Let him win with that.
37:33I'll give you some money to comfort you.
37:35Let's say 20% of the taxes.
37:41We sealed the deal.
37:45There is no time now.
37:50Don't take it away.
37:52Don't take it away.
37:58This measure will not help to make the French more likeable.
38:01Don't forget to send the news to Cadiz as soon as possible with the first post office.
38:07Post it.
38:17Alon, part.
38:23I hope you have been.
38:29They can also be seen.
38:48Come on!
38:55I'm sorry, Mr. Britos.
38:59Stop!
39:11My God, Mr. Britos.
39:13Spain oppresses us
39:14and France oppresses the Spanish.
39:17So, what hope do we have left?
39:19I don't live on hope, Posadas.
39:21What do you do for a living?
39:23You don't want to know.
39:40Do you want me to be absolutely frank?
39:43I don't think you're from Havana.
39:45Frankly, neither do I.
39:47I don't think you're what you seem either.
39:50I've seen you send many letters
39:52And suddenly all of Spain has started talking about Don Paco.
39:55It's strange, isn't it?
39:57Do you think I'm a spy?
40:00Let's say a friend of the Spanish.
40:02Therefore, a friend of yours.
40:03Because that's what you are under your Indian disguise.
40:06A patriot.
40:08Or not?
40:14Now you'll know who I am.
40:26Curro Jiménez, bandit.
40:37My dear, Mr. Britoz.
40:40According to confidential information
40:42that I have received,
40:44You are Curro Jiménez,
40:46a famous bandit wanted by the law.
40:49I can imagine where that confidential information comes from.
40:52My dear friend,
40:54to be, let's say, betrayed
40:56for a beautiful woman
40:58It is no dishonor.
41:00May I ask if that betrayal was selfless?
41:03I see that we understand each other.
41:05Beautiful and intelligent women,
41:07like our mutual friend Balaam the Marquise,
41:10They don't usually act for the love of art.
41:13Although in this case, perhaps so.
41:15He betrayed you
41:16in exchange for my promise
41:18that he would give her the paintings of Messie Paco.
41:20She is a good woman,
41:22business.
41:23He wanted to save 20%.
41:27And do you intend to keep your promise?
41:29I cannot, my dear friend.
41:31Until I have what I need,
41:33my portrait.
41:34And then she
41:35He can't help me.
41:37I would call that a betrayal.
41:40Let's call it strategy.
41:41It's true.
41:42Apparently, he was betrayed by a general
41:44It is no dishonor.
41:46You have wit.
41:48And how can I help you?
41:50Messie Curro,
41:52I have nothing against you.
41:54His crimes are not within my jurisdiction.
41:56But I want him to convince Messie Paco
41:58so that he can paint my portrait.
42:01You are his friend
42:02And he can do it.
42:04You can make him see
42:05that an old man like him,
42:07without weapons,
42:08He cannot confront a general.
42:10You are a man of action like me
42:12and he will understand my reasons.
42:14I understand them very well.
42:16And what do I get in return?
42:17The satisfaction of helping a friend.
42:20You and I are not friends.
42:22I'm referring to Messie Paco.
42:24Good.
42:25What else?
42:26I offer you the paintings.
42:29They are very valuable right now.
42:31That way we're all happy.
42:34Madame la Marquise has her tributes.
42:36You the paintings.
42:38And my portrait.
42:39And Don Paco?
42:41Messiah Paco?
42:43He has the fame.
42:44The Frenchman has asked me to convince you
42:46so that you can paint his portrait.
42:47This time it won't cost you too much.
42:50What are you saying?
42:51I am full of doubts.
42:53I wanted to fight for an idea,
42:55as a matter of principle.
42:56But he's right.
42:58I'm a stubborn old man,
43:00stubborn,
43:01dominated by pride.
43:03A village potter
43:05dares to challenge
43:07to the most fearsome
43:08of the great French.
43:10What's the point of that?
43:11It's useless.
43:13Only to cause harm
43:14to this town.
43:15Are you crazy, old man?
43:17Do you know that at the beginning
43:18I didn't understand?
43:19I'm not saying the value of your paintings
43:20I still don't understand it,
43:22but the value of your negatives
43:24to paint in French.
43:25But that
43:25It has spread like wildfire
43:27gunpowder throughout Andalusia.
43:28And the people in this town
43:30It has another side,
43:30He says other things,
43:31Look at the French differently.
43:33For many Spaniards
43:34the French
43:35They are less fearsome,
43:36less untouchable.
43:37All because a poor man
43:38village potter
43:39has dared to confront
43:41with a general
43:41without soldiers,
43:43without weapons,
43:43without cannons.
43:44Only with its value.
43:46That's the price
43:47From the portrait, right?
43:48That's the price
43:49that you put on it,
43:50stubborn old man.
43:51That's me,
43:51a stubborn old man.
43:52You're a stubborn old man,
43:53But don't be a cowardly old man.
43:55How has it changed
43:56Curro Jiménez?
43:57You have changed me,
43:58listen.
43:59I am an outlaw.
44:01I will die someday
44:02on the gallows
44:03or on the gallows
44:03like all outlaws.
44:05But now I can serve
44:06for something.
44:07To convince you
44:08that you continue to resist,
44:09Don't give in,
44:10Don't paint the portrait.
44:12And so
44:13You have to do it yourself.
44:14You alone, do you understand?
44:17Because if I help you
44:18with my weapons,
44:19then I wouldn't have it anymore
44:20the same value.
44:21You have to have
44:22courage to resist.
44:23And I'm not going to help you.
44:25Can you help me?
44:26in something else.
44:27Steal the paintings.
44:28He can't do that.
44:29If I do,
44:30Franchu will take you
44:31retaliation
44:31with your skin.
44:33prefer
44:34my squad
44:34to my skin.
44:35Bass.
44:37He's a bad bandit.
44:39Listen.
44:39Yeah.
44:43I am a bad bandit.
44:46But a good friend,
44:47stubborn old man.
44:50You will draft a proclamation
44:51condemning Bessiepaco
44:53for the crime of subversion
44:54and punishing him by burning him
44:56of all his paintings
44:57in the public square.
45:01Did I think the French
45:02Were they against the Inquisition?
45:05I cannot draft that proclamation.
45:07Are you disobeying me?
45:09Do whatever you want with me.
45:11But I can't do it
45:12accomplice of such a massacre.
45:14I need to escalate.
45:16You are the mayor.
45:18Precisely.
45:19Don Paco is a good neighbor.
45:58I need to escalate.
46:24I need to escalate.
46:28I need to escalate.
46:31I cannot escalate.
46:39I need to do a climb.
46:43But I can't.
47:12How does he want to be remembered in general history?
47:15Like the man who has committed such an infamy.
47:17I accept that risk.
47:20For the last time, will you paint my portrait?
47:23No.
47:26He will be shot at dawn.
47:57What's happening?
48:04What's happening?
48:05What's happening?
48:12What's happening?
48:40What's happening?
48:41What's happening?
48:42That's what I said!
48:49Come on, let's go downstairs.
48:53There.
49:01That's right, stay still.
49:12You can't do this to me, after what's happened between us.
49:16A game, Marchioness, nothing more than a game.
49:18In the last move you showed the cards to the general.
49:21Now the last card is mine.
49:23You don't use the informal "tú" with me anymore.
49:24A bandit never addresses the lady who carries his suitcase informally.
49:28That would be incorrect.
49:29You're wasting your time stealing from me instead of defending a friend.
49:31What do you mean?
49:32Go back to the village and you'll see it.
49:47Go back to the village!
50:12High!
51:09Uprising.
51:11Posadas, the word "sublevación" is correct.
51:13Put, put emancipation.
51:15That's it, that's it.
51:16Emancipation.
51:17The time for emancipation has arrived.
51:19We will fight as best we can.
51:22He will not defeat us.
51:23We will fight as best we can, but we will never be a defeated people.
51:29That's it, that's it.
51:30But we will never be a defeated people.
51:43We have decided that this gold is for the people of Villamansa.
51:46But this belongs to the marchioness.
51:48It belongs to the people.
51:50Enough with my scruples, Manuel.
51:51But we're not talking about emancipation.
51:54That's it, emancipation.
51:56Good.
52:04Residents of Villamansa.
52:06Until now I had asked you for submission and respect towards the French.
52:09We had been promised collaboration and help to promote our industry.
52:14and reach the highest levels of progress and freedom.
52:17But we have been deceived.
52:19They have responded with the cruelty of the invader.
52:23We have been overwhelmed.
52:24We have been trampled on.
52:27Finally, they have tried to end the life of one of our best neighbors.
52:33That is why, people of Villamansa, the time has come for our emancipation.
52:40We will fight as best we can.
52:42With whatever weapons are available.
52:45But I swear to you that we will not be a defeated people.
52:48Thank you!
53:11Thank you!
53:27The general learns that the people of Villamansa have risen up in arms and razed the small town.
53:32French guardian.
53:34Subsequently, all the other towns in the region have done so.
53:37And that once peaceful region, which had been so easy to dominate, is now one of the biggest centers of rebellion.
53:46in Spain.
53:48For some future historians, that small battle, which began with a poor old potter refusing to paint a portrait of
53:56a French general, and that ended with an entire region on a war footing,
54:00It had a more decisive importance for the Spanish victory for independence than the famous battle of the
54:06toads.
54:15General Flegui could never understand it.
54:18In the years that remained of his life, he never came to understand that defeat, the most important of his career.
54:30Don Paco continued working as a potter.
54:35In the months he had left to live, he never painted again.
54:39All his work was destroyed by Flegui.
54:43Except for his portrait of the Marchioness of Monte de Oro, which is currently preserved, attributed to Goya, in the Museum
54:50of the City of Chicago Art Museum, United States of America.
55:29In the months he had left to live, he never painted again.
55:58In the months he had left to live, he never painted again.
56:27In the months he had left to live, he never painted again.
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