42nd Street Page #4

Synopsis: Renowned Broadway producer/director Julian Marsh is hired to put together a new musical revue. It's being financed by Abner Dillon to provide a starring vehicle for his girlfriend, songstress Dorothy Brock. Marsh, who is quite ill, is a difficult task master working long hours and continually pushing the cast to do better. When Brock breaks her ankle one of the chorus girls, Peggy Sawyer, gets her big chance to be the star. She also finds romance along the way.
Director(s): Lloyd Bacon
Production: MGM Home Entertainment
  Nominated for 2 Oscars. Another 1 win.
 
IMDB:
7.6
Rotten Tomatoes:
95%
UNRATED
Year:
1933
89 min
2,065 Views


What you need is a good night's rest.

Good night.

Will you hand me my bag, please?

- Oh, which one?

- That one.

- Here you are.

- Thank you.

Good night.

What do you do when you've

got left feet like mine?

- Just pick them up and lay them down.

- I'm doing the best I can.

Get a load of the juvenile.

Didn't know we had

elephants in the show.

Wait a minute, hold it!

Hold it, Jerry!

Some director's gonna jail you for

taking money under false pretenses.

You're supposed to be a dancer!

You just need license plates

to look like a Model T Ford.

They've been going all night long...

I'll keep them here if it takes a week!

All right, get out!

- Take the last eight bars.

- Pick it up, Jerry.

Pick it up, Jerry.

- Hello, honey.

- Oh, Dot, how are you?

Tea for two.

Friend of mine dropped in.

Love me?

I wonder.

You're not going to get

serious on me, are you?

- You leaving town?

- Yeah.

Stock job in...

...Philadelphia.

Oh, Pat, without telling me?

Well, I thought it was the best way.

Maybe you're right.

Sit down, dear.

I want to talk to you.

I've done a lot of thinking

since the other night.

You know what's wrong with me,

or rather, with us?

We've grown too necessary

to one another.

You've been content in the shadows

while I basked in the spotlight...

...simply because

it's held us together.

- My success has been your failure.

- Well, dear...

...my failure, as you put it,

has been my happiness.

But, darling, you're capable

of such great things.

You're not a quitter.

I've only wanted to help,

but I've been hurting you instead.

I realize that now.

That's why I came here this morning.

We're not going to see

each other for a long time.

No more doorways.

No more secret meetings.

You're going out on your own

and make a success.

You're right, Dot. But you know...

...somehow, I can't imagine

going on without you.

Nor I without you...

...but it's got to be.

Yes, Dot. It's got to be.

And maybe, someday...

...someplace?

Maybe.

Bye, Pat.

Oh, Dot...

I love you.

Me too.

Up!

Up.

- How are you, Bluebeard?

- Okay, just a touch of scarlet fever.

Oh, that's fine. Maybe it'll

develop into something serious.

The curtain's just come down!

It's the end!

Is this what you call a finale?

What is this? Amateur night?

Have we been rehearsing for

five weeks, or did I dream it?

The show's ragged!

- What do you mean, the show's ragged?

- The numbers are ragged!

May I remind all you

shining lights that...

...this is the company

that opens tomorrow night?

I am in the right theater, am I not?

This is the Pretty Lady company,

isn't it?

The all-star show that...

...opens in Philadelphia

tomorrow night?

- Philadelphia?

- Quiet.

Quiet!

Philadelphia, PA.

Yeah, and on Sundays, it's P-U.

- Quiet!

- Quiet!

Julian...

- ...you mean Atlantic City, don't you?

- I mean Philadelphia.

Train leaves at 1 p.m., Penn Station.

Full dress rehearsal, 4:00.

Arch Street Theater.

But I don't want to go to Philadelphia.

Who does? We couldn't get

the house at Atlantic City.

But why Philadelphia?

Well, when you become

stage director...

...we'll open in your apartment.

But right now, it's Philadelphia.

Of all the cities in the United States,

he would pick Philadelphia.

All right now, listen to me.

We open at the Arch Street

Theater tomorrow night.

So this is Philadelphia!

Why don't you stop that?!

Peggy.

- Getting a kick out of it?

- Of course, you?

I don't know. Do you suppose

anybody'll even know I'm in the show?

I will.

Does it make any difference to you?

Gee, Billy. I've been for you

since that first day.

Places, everybody.

I'll be seeing you.

You won't forget the modulation

on the last eight bars.

- You forgot your handkerchief.

- Go ahead.

Call those timers, hold them.

- Nice to the right people,

you'll get along.

When you walk downstage...

...just give it a little life.

You know, sort of...

Quiet! Please!

Well, it's...

...not good, it's not bad.

That's all for tonight.

- Wait.

- Hold it!

Come back here, girls.

I want you all to take

your minds off the show.

Get out and relax.

Forget it till 10:00 tomorrow morning.

I don't know. I think it'll do.

But I want you

to come back tomorrow...

...to give the best performance

that you ever gave in your lives.

Company dismissed.

- Dismissed, girls.

- Company dismissed!

Go on out and have a good time.

You really was elegant, Miss Brock.

Pansy, did anyone telephone me?

Phone?

No, ma'am. Nobody at all.

- You're sure?

- I certainly is. Yes, Miss Brock.

- Have a little supper with me, huh?

- I would have.

- But you thought of it too late.

- I've been thinking of it all day.

Well, I'm not a mind reader.

I've got a date.

- I'm free tomorrow night.

- Then it's a date.

Don't forget, now.

I gotta get the stuff for the party.

Do you mind?

I'll see you at the hotel,

room 1061, and make it snappy!

She says for you to wait.

She'll be out in just a minute.

Good night, Mr. Marsh.

I said, "What is it? A duck?"

Andy, you're terrible.

You know any more?

I've got a lot more...

Andy?

- Yes, sir?

- Go on, yes man. Papa give you liver.

Shut up. This may be important.

Oh, it can't be, darling.

He's calling you.

Hurry up!

Sit down, Andy.

Anything wrong, chief?

Everything's wrong, Andy.

No, you're a great director, Mr. Marsh.

Maybe I was, but...

...right now I'm a sick man.

They told me I was sick when

I started, but I started anyway.

Andy, I'm going to finish,

and I'm gonna have a show.

I know what they'll say.

They'll like it. They've got to.

"Marsh is a wizard.

He turns them out like clockwork.

The guy isn't human. He's a machine."

Well, I'm not a machine, Andy.

And for the first time, I'm counting

on someone else. I've got to.

I'm counting on you. And tomorrow

night, we're gonna give them a show.

The greatest show

Julian Marsh ever put on.

What are you doing?

Got a date tonight?

No.

Come on home with me, will you?

I'm lonesome.

Taxi.

Pat! What are you doing

in Philadelphia?

Got my passport and dropped over.

- Business or pleasure?

- I don't know yet, but it's a job.

Say, what about one of those cozy

midnight suppers one reads about?

I've been hoping you'd come out.

- Oh, dear, I have a date.

- Well, break it.

- I'd like to, but I can't.

- Well, you can try.

It's with the company and we open

tomorrow. I really should be on hand.

I understand. Let me drive

you to the main event.

All right.

Taxi.

Congress Hotel.

Forget something, Dorothy?

Congress Hotel.

Oh, Abner. Isn't this car big

enough for two? Move over.

You ain't gonna have

another spell, are you?

I'm tired. Dress rehearsal is no picnic.

A little party'll do you good.

Don't just being with me cheer you up?

Oh, tremendously.

I'm practically hysterical right now.

Oh, don't be afraid of me.

I got strength.

I used to be the intercollegiate

champion hop, skip and jumper.

- Come on now, hurry up.

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Rian James

Rian James (né Julian Herbert Rothschild; October 3, 1899 – April 26, 1953) was an American screenwriter and author. He wrote for 39 films between 1932 and 1947. more…

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Submitted on August 05, 2018

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