Gycklarnas afton

Year:
1953
96 Views


1

SAWDUST AND TINSEL

- You see the wife and kids tomorrow.

- It's been three years.

Did you ever hear about Frost the clown

and his wife Alma?

- Was that in this town?

- Yes, I was there. A nasty business.

- Tell me about it.

- Poor old Frost.

It was a hot day, seven years ago.

The regiment had firing practice.

The officers lay on the grass, hot and bored.

They were drinking.

The soldiers in the quarry were cursing

because of the awful heat.

Then, along came Alma.

She was a handsome woman,

though a bit past her prime.

- The captain sends his greetings.

- What's his message?

- Your wife Alma...

- My wife Alma!

..is bathing naked with the regiment!

- Show you're a man, Theodore!

- We'll help you to give her a dressing-down!

Man the cannons!

Alma accused us

of destroying her husband.

We got angry and told her

it was her own fault.

We picked him up

and carried him back.

There's women for you.

Are you crazy?

Come here.

None of us have been paid,

and we have nothing to eat.

We had to leave the costumes.

Now we have nothing to perform in.

We know how hard it is for you.

You can't help the weather.

The Ekbergs, Asta

and all the kids have worms.

And there are fleas in the wagons.

I could start my own menagerie!

Bear steak is a delicacy.

Let's kill the bear before it starves to death.

We'd kill you before we'd do that!

Well, what do you think, Albert?

You haven't said a word.

You try hard to do the right thing.

Then it turns out to be foolish.

- But in America...

- This isn't America, it's Sweden.

In America circus folk ride through town,

bands play, elephants trumpet.

Everyone is merry, people cheer

and line the streets.

Then someone announces the programme.

Why don't we take the wagon,

dress up in our best costumes...

- The ones we left behind?

- Those we have.

The Ekbergs play,

and Anton does the announcing!

Not a bad idea!

- I'll wear my green costume!

- I'll not stand beside the dwarf!

I'll shout,

"Here comes the Alberti Circus!"

I have another idea.

Sjuberg's theatre company is in town.

I'll ask them to lend us costumes.

There'll be a grand gala tonight!

Then we'll throw a supper party -

schnapps, chateaubriand, caviar!

It's clearing up!

Dress up, curl your hair and put on make-up.

- We're going to pay Sjuberg a visit.

- The theatre director? You're mad.

Look what I've found.

You'd better wash behind your ears.

You won't leave me, will you?

- What do you mean?

- If the circus goes bust.

Then you make a plan.

- You won't leave me? You promised!

- Don't worry, Anne.

- You're going to see your wife.

- And my boys. It's been three years.

I'm scared you'll go back to them.

Don't worry.

May I shave now?

- Our luck will change.

- You think so?

Some circus owners are very rich.

They have houses, diamonds, cars.

That's in America, of course.

- That costume wasn't left behind!

- Nor was the parasol!

- What's wrong?

- Nothing.

- You seem worried.

- Me? Remember, I'll do the talking.

You just sit and smile.

Sjuberg fancies pretty girls.

Breathe deep to enhance your bosom

and show him your legs if he asks.

I won't abandon you.

If he tries it on, I'll slug him.

THE BETRAYAL:

THE MAD COUNTESS

A pure heart

is a woman's dearest possession.

It withstands all temptation.

Your words of warning, Father,

will bear fruit in my heart.

Your mother, lady,

would speak with you.

- My lord!

- Madame?

Leave us alone...

- Mr Fallander!

- Sir?

Please repeat from page 36.

- With pleasure, sir.

- Who do you want?

- The director.

- We're rehearsing! He's busy.

- Might we wait?

- No point. He's too busy.

What's all this babbling?

- A lady and a gent to see you, sir.

- Tell them to go to hell...

No! Bring them here.

- The director will see you.

- We can come back another day...

Good morning, Mr Sjuberg.

Isn't it a beautiful day?

I am Albert Johansson,

owner of the Alberti Circus,

presently in town.

My wife, Anne.

Drop a curtsy.

- How can I help you?

- We...

A chair for the lady.

Allow me, your ladyship.

- Well, Mr Alberti?

- The fact is...

an unfortunate mishap

ruined half our costumes.

Could you come to our rescue

and lend us cloaks, breeches, hats?

- As a colleague.

- What if our costumes get infested?

Lice, strange diseases, who knows?

I know nothing about circuses.

- I assure you, sir...

- How much can you pay?

Well, tonight we were thinking of...

How much do you want?

- More than you can pay.

- Why are you insulting me?

Why?

Because we're part of the same riff-raff

and because you allow it.

You live in wagons, we in sleazy hotels.

We make art, you artifice.

The humblest of us

despises the best of you. Why?

You risk your lives, we our vanity.

Your attire is ridiculous.

And the lady would look better

without her finery.

You could mock our shabby elegance,

painted faces and studied speech.

- Why shouldn't I insult you?

- I don't understand.

That's your strength.

- What about the costumes?

- You may borrow them.

- But as payment...?

- Invite us to the circus tonight.

- The honour would be too great...

- You're right.

Blom, show them the wardrobe.

Goodbye.

Let's do that scene again.

You've driven me mad.

Will you marry me?

How can you stay with that old ass?

Do you sleep with him?

Whisper sweet words in his ear?

Come with me.

Don't torture me.

I love you.

I want you now.

Come, or I'll ravish you

in front of your asinine circus director!

- Let me go!

- I won't let you go!

Don't say that to me!

Don't say that about my husband.

If we were alone...

I'd slap you.

I'd flatten your resistance

into a scrap of smudged paper.

What play is that from?

You snort like a bull.

I'm not your cow!

Try one of those pale, flat-chested

little actresses who swoon over you!

What is your ladyship's price?

Tactless of me not to mention that.

You're too pretty, you poor thing.

You could be a girl.

I'll bet you've never satisfied a woman.

Mind what you say, you little ass.

You're not so pretty with red ears.

If you touch me, I'll bite you again.

I'll make mincemeat of your mouth.

I may not be beautiful, but you are.

Forgive me for what I said.

You must love me. I beg you!

On your knees then.

Bang your head on the floor.

Again. Harder.

I'll kiss you - just once.

Go away! You've hurt me!

Magnificent! The Alberti Circus

is holding a grand gala tonight!

Blom's become our friend.

He's offering us schnapps!

Ladies and gentlemen!

Listen and marvel!

At great cost and sacrifice,

the Alberti Circus now visits your town.

Tonight it will present a gala show

the likes of which you never saw!

Beauty and thrills...

to say nothing of laughter!

The greatest laugh of your life!

Magnificent costumes and dcors.

Artists who have gained renown

in the major capitals of the world!

Hush!

Do you hear?

What's going on?

Don't you know this is illegal?

- We're just advertising a bit...

- Do you have a permit?

- Permit? We thought...

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Ingmar Bergman

Ernst Ingmar Bergman (Swedish pronunciation: [ˈɪŋmar ˈbærjman] ( listen); 14 July 1918 – 30 July 2007) was a Swedish director, writer, and producer who worked in film, television, theatre and radio. Considered to be among the most accomplished and influential filmmakers of all time, Bergman's renowned works include Smiles of a Summer Night (1955), The Seventh Seal (1957), Wild Strawberries (1957), The Silence (1963), Persona (1966), Cries and Whispers (1972), Scenes from a Marriage (1973), and Fanny and Alexander (1982). Bergman directed over sixty films and documentaries for cinematic release and for television, most of which he also wrote. He also directed over 170 plays. From 1953, he forged a powerful creative partnership with his full-time cinematographer Sven Nykvist. Among his company of actors were Harriet and Bibi Andersson, Liv Ullmann, Gunnar Björnstrand, Erland Josephson, Ingrid Thulin and Max von Sydow. Most of his films were set in Sweden, and numerous films from Through a Glass Darkly (1961) onward were filmed on the island of Fårö. His work often deals with death, illness, faith, betrayal, bleakness and insanity. Philip French referred to Bergman as "one of the greatest artists of the 20th century [...] he found in literature and the performing arts a way of both recreating and questioning the human condition." Mick LaSalle argued, "Like Virginia Woolf and James Joyce in literature, Ingmar Bergman strove to capture and illuminate the mystery, ecstasy and fullness of life, by concentrating on individual consciousness and essential moments." more…

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