Frankie and Johnny Page #8

Synopsis: Johnny on his release from his jail joins the restaurant where Frankie works. Johnny discovered his talent for cooking when in jail. Love at first sight bites Johnny on seeing Frankie. He makes direct attempts to get her heart. But deep a wound in Frankie's heart would not let her give her heart to Johnny. Johnny's divorced wife and kids have moved to a new world of a different person. Frankie opens up her tragic story and Johnny promises to be with her in difficult times.
Genre: Comedy, Drama, Romance
Director(s): Garry Marshall
Production: Paramount Home Video
  Nominated for 1 Golden Globe. Another 4 wins & 1 nomination.
 
IMDB:
6.7
Metacritic:
66
Rotten Tomatoes:
78%
R
Year:
1991
118 min
2,448 Views


Clair de Lune, you got that?

Why are you doing this?

Everything I want is in this room.

Hello, Marlon?

I know you don't take requests

but could you just listen to me?

Now, there's a man and a woman.

He's a cook, she's a waitress.

Now, they meet

and they don't connect,

only she noticed him,

he could feel it, and he noticed her

and they both knew

it was gonna happen.

They made love

and for maybe one whole night,

they forgot the 10 million things

that make people think

"I don't love this person,

"I don't like this person,

I don't know this..."

Instead, it was perfect

and they were perfect

and that's all there was

to know about it.

Only now, she's beginning

to forget all that

and maybe he'll forget it, too.

So could you play an encore

for Frankie and Johnny

in the hope of something that ought

to last and not self-destruct?

Why don't you just

think about it? Thank you.

I want to show you something.

That guy I didn't want to talk about,

he did this with a belt buckle.

It's gone.

It'll never go.

It's gone. I made it go.

No, Johnny, you can't make it

go away. Nobody can.

He's the reason I can't have...

kids.

He knocked me around

when I was pregnant and...

I lost the baby.

There were complications.

He's gone now.

I would never hit you. Never.

You don't have to be afraid any more.

I am. I'm afraid.

I'm afraid to be alone,

I'm afraid not to be alone.

I'm afraid of what I am,

what I'm not,

what I might become,

what I might never become.

I don't wanna stay at my job

for the rest of my life but I...

I'm afraid to leave.

And I'm just tired, you know,

I'm just so tired of being afraid.

Honey, listen.

I know I can't make the bad go away.

You're right, I can't.

But when the bad comes again...

I'm gonna be next to you.

I can't, Johnny.

I'm sorry.

This is WNYL in New York

and you're listening to

Midnight With Marlon.

As you know, it's not my policy

to take requests

but there's always

an exception to the rule.

I don't know if this is the most

beautiful song, Frankie and Johnny.

I wish they

really were your names

but I know when

my leg's being pulled.

God, how I wish you two

really existed.

Maybe I'm crazy, but I'd still

like to believe in love.

Why the hell do you think

I work these hours?

Anyway, you two moonbeams,

whoever, wherever you are,

whatever you're doing,

this one's for you.

Here's an encore.

You wanna brush?

That means you want me to brush?

Take the blue one,

it's never been used.

I'm not gonna ask whose robe this is.

Good.

You should get toothpaste

with fluoride.

Listen.

No matter what?

I'm 36.

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Terrence McNally

Terrence McNally (born November 3, 1938) is an American playwright, librettist, and screenwriter. McNally has been described as "a probing and enduring dramatist" and "one of the greatest contemporary playwrights the theater world has yet produced". He has received the Tony Award for Best Play for Love! Valour! Compassion! and Master Class, as well as the Tony Award for Best Book of a Musical for Kiss of the Spider Woman and Ragtime. His other accolades include an Emmy Award, two Guggenheim Fellowships, a Rockefeller Grant, four Drama Desk Awards, two Lucille Lortel Awards, two Obie Awards, three Hull-Warriner Awards, and a citation from the American Academy of Arts and Letters. He is a recipient of the Dramatists Guild Lifetime Achievement Award as well as the Lucille Lortel Lifetime Achievement Award. In 2016, the Lotos Club honored McNally at their annual "State Dinner," which has previously honored such luminaries as W.S. Gilbert and Arthur Sullivan, George M. Cohan, Moss Hart, Richard Rodgers and Oscar Hammerstein, Saul Bellow, and Arthur Miller. In addition to his award-winning plays and musicals, he also written two operas, multiple screenplays, teleplays, and a memoir.He has been a member of the Council of the Dramatists Guild since 1970 and served as vice-president from 1981 to 2001, and was inducted into the American Theater Hall of Fame in 1996. In 1998, McNally was awarded an honorary degree from The Juilliard School in recognition for reviving The Lily Acheson Wallace American Playwrights Program with the playwright, John Guare. In 2013, he returned to his alma mater, Columbia University, where he was the keynote speaker of the graduating class of 2013 on Class Day. He is a 2018 inductee of the American Academy of Arts and Letters. The honor of election is considered the highest form of recognition of artistic merit in the United States.He has a career spanning six decades, and his plays, musicals, and operas are routinely performed all over the world. The diversity and range of his work is remarkable, with McNally resisting identification with any particular cultural scene. Simultaneously active in the regional and off-Broadway theatre movements as well as Broadway, he is one of the few playwrights of his generation to have successfully passed from the avant-garde to mainstream acclaim. His work centers on the difficulties of and urgent need for human connection. For McNally, the most important function of theatre is to create community by bridging rifts opened between people by difference in religion, race, gender, and particularly sexual orientation.In an address to members of the League of American Theatres and Producers he remarked, "I think theatre teaches us who we are, what our society is, where we are going. I don't think theatre can solve the problems of a society, nor should it be expected to ... Plays don't do that. People do. [But plays can] provide a forum for the ideas and feelings that can lead a society to decide to heal and change itself." more…

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Submitted on August 05, 2018

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