Alexander's Ragtime Band Page #5

Synopsis: Roger Grant, a classical violinist, disappoints his family and teacher when he organizes a jazz band, but he and the band become successful. Roger falls in love with his singer Stella, but his reluctance to lose her leads him to thwart her efforts to become a solo star. When the World War separates them in 1917, Stella marries Roger's best friend Charlie. Roger comes home after the war and an important concert at Carnegie Hall brings the corners of the romantic triangle together.
Director(s): Henry King
Production: 20th Century Fox Film Corporation
  Won 1 Oscar. Another 6 nominations.
 
IMDB:
7.0
Rotten Tomatoes:
80%
APPROVED
Year:
1938
106 min
79 Views


Miss Kirby.

All right, boys.

- Thank you, Miss Kirby.

- You're welcome.

- Has anyone a cigarette?

- Will you try one of mine?

- Alex!

- Hello, Stella.

- Well, where in the world...

- I saw your name out front.

Thought I'd just drop in and say hello.

When did you get back?

Oh, a couple of days ago.

- Are you all right?

- Sure, sure.

- Did you get up to the front?

- Oh, off and on.

But you... you didn't get hit?

Oh, this? No, no.

Just a fad I picked up on the other side.

Without my stick, I'd feel completely

undressed. No, no. I didn't get a scratch.

Oh, it was all so horrible

and useless, wasn't it?

Not altogether. It did me a lot of good.

Made me see what a stupid ass I've been.

Kicked my silly little world

right out from under me.

- Will you forgive me, Stella?

- Why, of course, Alec.

- I've never stopped loving you.

- Alec.

Come on. Let's get out of here.

I can't just stand here talking to you.

I've gotta kiss you,

I've gotta put my arms around you.

Alex, please.

You don't know what it's been like,

wanting you every second.

You've never been out of my mind, ever.

I don't care what's happened before,

and neither do you.

We belong to each other.

- But... don't you know?

- Know what?

Well, Charlie and I have been married

for more than a year.

Oh, I'm sorry.

I thought you knew.

No, I... I didn't know.

Stella!

Down here, Charlie.

- Mr. Dillingham...

- Here's Alec.

Alec!

Hello, Charlie.

- How are you?

- Fine.

Say, you fellas put on

a great show over there.

Yeah, that's what the Kaiser thinks.

I got as far as Hoboken

and they called the whole thing off.

Yeah. I see you've done the songs

for Stella's new show.

- Congratulations.

- Oh, thanks, but... blame it on Stella.

She cracked the whip.

It's been great seeing you two again.

- Well, can't you have lunch with us?

- No, sorry. I, uh...

I got two fellas waiting

out front for me.

Oh.

- Well, goodbye.

- So long.

Goodbye.

- Well, he hasn't changed much, has he?

- No.

- Cigarette?

- No, thanks.

What did you say Mr. Dillingham wanted?

Boy, have I been busy.

I got a hold of Jim and Dirk and Reagan and

the others. We're all set for rehearsal.

We can use the sample room in the

basement, but that's not the half of it.

Wait till you see the

surprise I got for you.

Uh, Jerry!

Hit it, babe.

- What a pair of pipes.

- Jerry Allen's the name.

How do you do?

- Wait till you hear her put over a song.

- It'll probably knock you out.

It did all the agents.

Out every time I called.

- Sit down, Jerry.

- Thank you.

Well, we're practically set. Alexander's

Ragtime Band back in the running.

- Bigger and better than ever.

- What's all the hurry?

What do you mean, what's the hurry?

We gotta get jobs.

- Why?

- Well, we've gotta eat.

- Why?

- Well... What?

Say, what is this?

Listen, the bankroll is getting thin.

Time enough to worry about that

when it's all gone. Here.

Ice?

Here, drink this.

- Are you crazy?

- Yes.

- Do you mind?

- Certainly not. I'm a little cracked myself.

Oh, there you are.

You see, she understands.

She knows that we heroes have to have

a little time to adjust ourselves.

A lot has happened while we've been

making the world safe for democracy.

Oh, cut it. You know very well

those guys won't sit down and wait for

you to get in the mood. They'll get

other jobs. Then where'll we be?

I'll bite. Where will we be?

Nope, nothing doing.

- Sorry, Jerry, no jobs today.

- Well, that's all right with me.

I'll always compromise for a good steak.

Boy, didn't I tell you

that Jerry could put over a song?

That's right.

Well, anyway, it's swell music. It sure has

changed, though. It's got a new rhythm.

- Nice and slow.

- Yeah, like syrup.

- And it's sweet and sticky.

- What do you do with a guy like that?

Oh, just relax

and put your mind on your drinking.

Stop trying to maneuver him

into talking business.

Business? What's that?

You know, the thing you do

to take your mind off your drinking.

- Come on, Alex. Doesn't that adjust you?

- Sorry.

- Would a dance adjust you?

- Sorry.

Don't mention it.

Good evening, Mr. Buyer. Mrs. Buyer.

- Isn't that Bill?

- Looks like him.

- Bill!

- Bill!

- My goodness! And he's a father!

- What do you know about this!

Say, what are you doing in New York?

- And outwith a baby this time of night.

- Oh, nothing.

Say, how are you folks getting along?

You look fine.

Well, the same to you, Bill.

Let's have a look at him.

- Might be a her.

- Oh, not Bill.

- He wouldn't have any feminine offspring.

- I don't think it's much to look at.

"It"?

Why, I bet she looks just like her...

Oh, why, Bill, it's the image of you!

- How old is it?

- Well, there ain't no way of telling that.

- Imported?

- Yeah. All the way from Hoboken.

Right off the boat. Probably scraped off.

You folks have sure been doing fine,

haven't you?

I caught your show, Stella.

You've come a long way.

Right up on top.

- And your music's all right, too.

- Thanks, Bill.

Don't forget, Bill. You had a hand

in all this, way back in the beginning.

Say, it's funny, ain't it.

You and Charlie over on Broadway

and me and Alec

down in Greenwich Village.

- Alec in the Village?

- Sure! Him and Davey.

They got a swell band down at Scarbi's.

I got 'em the job. Run across them

once when they was broke.

Come on down sometime when you think about

it. Ask for me. I'm there every night.

"Bill Mulligan, interior decorator."

My nom de plume.

Anytime you feel like you'd like

to play with the baby, just give me a call.

- I can be over in about 15 minutes.

- All right, Bill.

- We certainly will. Well, goodbye.

- Goodbye.

- Been grand seeing you, Bill.

- Likewise.

Take care of yourself. Goodbye.

Imagine Bill in New York.

And bootlegging.

He's probably making plenty of money at it.

It's kinda funny at that.

Him and Alec and Davey together again,

down in the Village.

I thought they were

going back to San Francisco.

So did I.

What do you say we drop down and see

them sometime, just for old times' sake?

Oh, I'd rather not.

Those old times are over and... there's

no use trying to rake them up again.

It never works.

Would you like a highball?

No, just some milk.

All right, I'll get it.

Here you are.

Oh, this is fine.

Make me sleep like a baby.

So will this, if you drink enough of it.

Tired?

- I'm all right.

- Come on, Charlie. What is it?

Well... I've been doing

a lot of thinking lately.

Making up a lot of pretty speeches

about marriage, life and fate.

Very profound stuff.

But it all seems kinda silly now that

I'm sitting here talking to you like this.

Somehow doesn't go with you.

You're too honest and direct.

Come on. Out with it.

All right.

Here goes.

What do you say we call this marriage off?

- Charlie!

- Mark it up as... experience.

A grand adventure while it lasted.

But let's not spoil it by beginning to

pretend a lot of things we don't feel.

You're still in love with Alec, aren't you?

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Kathryn Scola

Kathryn Scola (1891–1982) was an American screenwriter. She worked on more than thirty films during the 1930s and 1940s. Scola worked in Hollywood for a multitude of prominent production companies during the studio era, including Warner Bros., Paramount Pictures and 20th Century Fox. Scola’s career took place during the transition from unregulated Pre-Code films to the implementation of the Motion Picture Production Code, and was frequently involved in writing screenplays that were deemed too controversial by the Motion Picture Association of America. Three of Scola’s films were included in the Forbidden Hollywood film series, including Baby Face, Female and Midnight Mary. more…

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Submitted on August 05, 2018

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