Has Anybody Seen My Gal Page #3

Synopsis: Wealthy Samuel Fulton is getting older and has no family of his own. He decides to leave his estate to the family of his first love, who turned down his marriage proposal years ago because he was poor. But he wants to test the family before leaving his money to them. He takes a room in their home and a job in the father's shop. He anonymously grants them $100,000. Harriet Blaisdell moves the family into a mansion and makes plans to marry her daughter Millicent off to a socialite rather than her soda jerk boyfriend Dan. The money goes to their heads, and they soon find themselves broke, back in their old house, and back to their old lives. Father back in his shop, Millicent engaged to Dan, and everyone seemingly much happier. Hoping they learned their lesson, Fulton takes his leave of the family.
Genre: Comedy
Director(s): Douglas Sirk
Production: Universal
 
IMDB:
7.2
APPROVED
Year:
1952
88 min
107 Views


I once saw a picture of Mr Fulton.

You should see that beard he's got.

I bet if Grandma had married him

I'd have a beard now.

- Roberta, it's time you went to bed.

- But it isn't even eight o'clock yet.

She seemed happy with your father,

and he never made more than $35 a week.

You must remember

things were much cheaper then.

Look at how much it costs to live today -

steak 35 cents a pound, bacon 32...

...eggs 33 cents a dozen... Why, a person

has to be a millionaire to make ends meet.

That must be Dan. I'll get it.

- Hi, Dan.

- Hello. Millicent ready?

She's already left.

Millicent asked me to apologise. She had

a previous date and forgot about it.

- A date? With who?

- Carl Pennock.

That cake-eater. I counted

on going to the movies with Millicent.

I guess I'll have to go alone.

Don't be discouraged, Dan.

Only the brave deserve the fair.

From what I've observed, only the brave

can live with some of them.

Good night.

You've a lovely family, Millicent.

Could've been mine

if you hadn't been so darned obstinate.

What time is it? Oh...

So I am supposed to sleep with you, eh?

- Scare you?

- No, it amuses me to be almost run over.

That's what I like about you -

you've got a great sense of humour.

She has to have,

or she wouldn't go out with you.

Quiet, brat. Hop in, we'll go for a spin.

No, I'm sorry,

my mother expects me home.

Not any more. I was just there.

I told her I was coming to get you.

Well, all right.

Roberta, tell Mother

I'll be home in an hour.

Tell her she won't be home for dinner.

Skidoo.

# When the red red robin

comes bob-bob-bobbin' along...

- Hi, Mr Smith. Where are you going?

- I thought I'd go for a walk.

But you promised to take me painting.

I know what:
You get your easel

and I'll get mine. We'll go up to Indian Hill.

Well, I don't think we'd better do it today.

I suddenly feel tired.

I think I'd better stay home.

Even better. We can paint from

your balcony. You have a wonderful view.

Come on.

# I'm just a kid again

Doing what I did again...

# Singing a song...

# When the red red robin

comes bob-bob-bobbin' along...

# When the red red robin

comes bob-bob-bobbin' along, along...

# There'll be no more sobbing

when he starts throbbing...

# His old sweet song...

# Wake up, wake up, you sleepy-head...

# Get up, get up, get out of bed

Cheer up...

- How about that barn?

- You start and I'll copy everything you do.

No, I think everyone

should try to be original.

- You paint it your way, I'll paint it mine.

- OK.

# Rain may glisten, but still I listen...

# For hours and hours...

# I'm just a kid again,

doing what I did again...

# Singing a song...

# When the red red robin

comes bob-bob-bobbin' along...

Gosh, I like being with you.

I'm gonna miss you tomorrow.

- Why, won't you be home?

- I will, but you won't.

Poppa told Mother you must go tomorrow,

hot or cold - whatever that means.

Penny'll miss you too, even though he'll

have his bed back. Won't you, Penny?

Penny!

There.

How do you like it so far, Mr Smith?

That's splendid. I never could've

done that when I was your age.

Course not. That barn

was only built three years ago.

Now let's see what you've done.

Why, Mr Smith, whatever is it?

- That is surrealism.

- Sir what?

Surrealism. A new school of painting

founded in Paris.

Instead of painting what you see,

you paint what you feel inside.

At least, that's what they say it means.

- Is this what you feel inside?

- Yes.

Gosh, you must be all mixed up. You

gonna frame it and hang it in your room?

No. Hanging's too good for it.

Whatever are you doing?

It's no good.

Especially compared to yours.

That's a waste. This paper costs two cents

a sheet. You could've used the other side.

Oh, Poppa will buy me more.

Wish I had a rich poppa.

Hi, George.

See, Mr Smith?

That's the frame I told you about.

It'd make a wonderful frame for your

painting and wouldn't cost anything.

- That's a very good frame.

- Isn't it?

Yes, sir, a very nice frame indeed.

Poppa, can I have that Circe Soap frame

for Mr Smith's painting?

- Just a moment, darling.

- How long are we supposed to wait?

- Sorry to keep you.

- What kind of a fountain is this?

Be patient, will you, fellas?

Here is my latest import.

Poppa, can I have it, please?

- Yes, dear.

- Oh, boy!

- Come on, let's go to the Cherry Pit.

- At least somebody'll wait on us there.

Thank you.

Come again, Mrs Gates.

- Why isn't Dan behind the soda fountain?

- I sent him out to deliver medicine.

Then I had to wait on some customers,

so there was no one to tend the fountain.

- You should hire a soda jerker.

- I've tried to...

...but all I can pay is $12 a week

and nobody wants to work for that.

- Although in my day it was a good wage.

- In my day it was even better.

Too bad. You're losing a lot of business.

I know. Why don't you work for Poppa?

Me, a soda jerker? I don't know the

difference between a parfait and a soda.

The difference is a nickel.

Dan can teach you soon enough.

I'll give you $12 a week. How's that?

I'll make you a proposition.

Instead of you giving me $12 a week...

I continue boarding at your house

and you give me $5 a week in cash.

But that's the equivalent of $13 per week.

That's a dollar more than I contemplated.

- Take it or leave it.

- Take it, Poppa.

Now you can buy a lot of paper

and we can paint on your day off.

You drive a hard bargain, but it's a deal.

You'll have to sweep up

and run errands to customers.

- Sweep up and run errands?

- Take it or leave it.

Take it, Mr Smith.

- OK, I'll take it.

- Good. Hi, Dan.

I wish you'd get a new bicycle. Either

it's too short or my legs are too long.

- Meet our new soda jerk.

- Him?

Well, I guess you're better than no one.

All right, come around here, gramps.

Get rid of that smokestack, take off

your coat and I'll show you the ropes.

One Tutti-Frutti Delight, coming up.

Right back here. Come on.

Cheater. OK, gramps.

One Tutti-Frutti Delight, coming up.

Watch me. One Strawberry Surprise.

Now your turn.

Watch me. One Strawberry Surprise.

All right, once again. One Strawberry...

Surprise.

One Vesuvius.

All right, come on.

One Vesuvius.

- Coming your way, Tony.

- Got it, Gramps.

Gramps, I'll have a choc malt,

heavy on the choc, plenty of milk...

...four spoons of malt, two scoops of vanilla

ice cream, one mixed in and one floating.

Would you like to come in Wednesday

for a fitting? Thank you.

- Hello, Mr Smith.

- Hello, Millie.

- Is Dan in the back?

- No, he's off today.

Oh.

Oh, Millie... Try the library.

Thank you, Mr Smith.

- Hello, Dan.

- Millie!

What are you reading?

It Something which

I evidently haven't got.

Why, I think you have, Dan.

- I think you have lots of "it".

- But not as much as Carl.

I get the heebie-jeebies

when I think you're his Sheba.

But I'm not.

I mean, well, I'm not any more.

No kiddin'? So you finally found out

what an Airedale he is.

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Joseph Hoffman

Joseph Hoffman (1909–1997) was an American screenwriter. Mr. Hoffman was born February 20, 1909 in New York City. He began his career as a screenwriter coming to the West Coast in the mid-‘30s and was installed as a junior screenwriter at 20th Century-Fox. He is credited with writing the story, dialogue or screenplay for 57 movies from the adaptation of "Your Uncle Dudley" in 1936 to screenwriter of "The King's Pirate" in 1967. His screen credits illustrate the diversity of his writing including “swashbucklers”, comedies, mysteries and westerns. From the mid-'50's into the '60's, Mr. Hoffman wrote for episodic television including - "Leave it to Beaver", "My Three Sons", "The Smother's Brothers Show", "Bonanza", "The Virginian", "Family Affair", The Patty Duke Show" and many more. From 1954 on, he also worked as a Television Producer at Screen Gems on - "Colt 45", "Ford Television Theatre", "Michael Shayne, "Private Detective" and the "Audie Murphy" Series. He died in Los Angeles on May 25, 1997 at age 87. more…

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Submitted on August 05, 2018

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