In the Good Old Summertime Page #6

Synopsis: It's turn of the century America when Andrew and Veronica first meet - by crashing into each other. They develop an instant and mutual dislike which intensifies when, later on, Andrew is forced to hire Veronica as a saleslady at Oberkugen's music store. What the two don't know is that while they may argue and fight constantly throughout the day, they are actually engaged in an innocent, romantic and completely anonymous relationship by night, through the post office.
Director(s): Robert Z. Leonard
Production: MGM Home Entertainment
  1 nomination.
 
IMDB:
7.2
Rotten Tomatoes:
71%
APPROVED
Year:
1949
102 min
277 Views


Imagine being afraid to go to a table

because another man was sitting there.

He wasn't afraid.

He was just being tactful and sensitive.

You see, it's very hard...

to explain a man like him

to a man like you.

Why?

Where you would say white,

he would say black.

Where you would say "old maid," he'd say:

"eyes that sparkle with fire and mystery. "

- What else?

- "Vivacious, fascinating... "

There are a lot of things.

If you'll forgive me,

I have to answer this immediately.

I wouldn't stop you for the world.

I'll run along and I'll see you tomorrow.

- All right. Goodbye.

- Goodbye.

Why don't you ask your friend

to come to the party?

- Maybe I will.

- Bye.

Dear Friend...

Look at it flash.

It looks just like a rainbow.

Aren't you pleased?

I should think you'd be so happy.

Indeed I am. He wanted me

to have it in time for the party tonight.

Someday I'm going to have one

just like that.

Why, of course you will, dear.

You deserve it.

Why don't you ladies run along?

You'll be late for the party.

- I'll take care of the cash boX.

- That's very nice of you. Thank you.

- Allow me.

- Thank you.

May I escort you to the party tonight?

- Why, yes.

- Yes?

- I'll call for you at 8:00.

- Fine.

What about your friend?

- Isn't he coming along?

- No.

He prefers to have me all to himself.

I don't blame him.

Why, Mr. Larkin...

If you're really in love with a girl,

you don't take her to a big party.

You take her somewhere

where there's music...

get a little table, just the two of you.

- Yes?

- I know just the place.

You do?

I'll tell your friend about it

if I ever meet him.

Thank you very much.

Here you are.

Thanks.

- When are you going to break it to her?

- As soon as I get a raise.

- Yes, sir?

- Come in before you leave.

If you want a raise, now's your chance.

You'll never find him in a better mood.

- Wish me luck.

- I do.

Thank you.

Sit down. I want to talk with you.

Each day I have given you

a little more responsibility...

and each day you have proved

more worthy of my trust.

I've tried to do my best.

But I have never really eXpressed

my appreciation in any tangible way.

I wouldn't say that, sir.

Now I'm going to show you

how much faith I have in you.

Thank you, sir.

I am going to let you

carry my violin for me tonight.

- What?

- It is to be a surprise for Nellie.

- But, Mr. Oberkugen...

- I'm going to play it for her...

but I cannot carry it myself...

- or she will be, as you say...

- Wised up.

She shouldn't be wised up.

So you will take it for me, you know?

And then at the proper time,

you will ask me to play...

and I will say, "But I have no fiddle. "

And you will say, "Why, I just happen

to have one with me. " Good?

No, I couldn't possibly.

It's too much of a responsibility.

A Stradivarius is worth

thousands of dollars.

I know. I can say to you, "I trust you. "

- No, really.

- No, not another word.

Take care of it and guard it with your life.

- Yes, sir.

- Goodbye.

- It's going to be a lovely party.

- I hope so. I'll see you later.

- What have you got there?

- We were...

No.

He isn't going to play

for all those people tonight?

I'm afraid so.

You can't let him make a fool of himself.

You've got to do something.

Anything.

Ready?

- Please.

- All right.

- What's the matter with her?

- She's just feeling a little emotional.

Of course.

-8:
00. Don't be late, and remember.

- Yes, sir.

Louise, come in.

- I was afraid I'd missed you.

- You look nice.

- Thank you. Here's your card of admission.

- Don't forget, I might have to go...

Yes, I know you have to go

to Mr. Oberkugen's party...

but you'll try to get there

for my part of the audition, won't you?

- They're taking the violins last.

- I'll try my best.

- All right, fine. Thanks.

- Bye.

You did it! You got a violin for me.

- I wanted to tell you...

- I know you said you would.

- This isn't Mr. Oberkugen's Stradivarius?

- Yes, it is.

- That's what I wanted to tell you.

- He'd let me use it?

How wonderful. How marvelous!

Now I know that I can win.

Yes, I'm sure you'll win.

- Wish me luck, won't you?

- Yeah.

- Good luck.

- Thanks an awful lot.

All right. Bye.

Wait till the sun shines, Nellie

When the clouds go drifting by

We will be happy, Nellie

Don't you sigh

Down Lovers ' Lane we'll wander

Sweethearts, you and I

Wait till the sun shines, Nellie

By and by

We will be happy, Nellie

Don't you sigh

Down Lovers ' Lane we'll wander

Sweethearts, you and I

Wait till the sun shines, Nellie

By and by

-9:
00 and no Andrew.

- Don't worry, he'll be here.

May I have the honor of this dance?

Why, yes.

Mr. Oberkugen...

may I have the honor of this dance?

Excuse me.

Andrew. Just a minute.

Hello. It certainly looks

like a wonderful party.

- Wait a minute. Where's my violin?

- I couldn't bring it.

- What!

- I just couldn't bring it.

I said to myself,

"Suppose I was to have an accident?

"Suppose I was to fall on the ice?"

Stop supposing, go home and get it.

Get it this minute.

It's safe and I'll bring it to you

in the morning.

- I'll go.

- No.

You stay here. I'll bring your violin.

My violin. My Stradivarius.

- Played yet?

- No.

I'm so glad you were able to make it.

I've got to get back.

How soon before you go on?

I don't know. I have no idea.

- Don't worry. I won't let it out of my sight.

- Where's your violin?

- I left it at home.

- I'm in a little bit of trouble.

- Have you got your key with you?

- Yes.

- Could I borrow your violin for a while?

- Certainly.

- It's all right, I'll eXplain later.

- All right.

Thanks. I'll be back.

The way you look, people will think

you don't want to marry me.

I'm sorry.

- Good night.

- It was a lovely party.

But you can't go yet.

Something else is going to happen.

- Veronica is going to entertain us.

- Of course we want to stay for that.

It's a surprise. She's rehearsed something

with the quartet.

May I have your attention, if you please.

Veronica... Miss Fisher

is going to entertain us.

Now, Veronica.

In the evening

by the moonlight

you should drop

you folks should drop

down to the old

barbershop

Old barbershop

Down in the great big rathskeller

where a swell colored fella

by the name of Bill Jefferson Lord

played the piano while he'd sing a song

He just sang and played

the whole night long

Till one night a starry-eyed lady

they call lovable Sadie

heard him playing that barbershop chord

When he finished Sadie drew a sigh

Oh, Lord

Every time that she would catch his eye

she'd cry

Mr. Jefferson Lord

play the barbershop chord

that soothing harmony

It makes an awful, awful, awful

hit with me

Play that strain

just to please me again

'Cause, mister

when you start that minor part

I feel your fingers slippin '

and a-grippin ' my heart

- Oh, Lord

- Oh, Mr. Lord

Play the barbershop chord

- Mr. Jefferson Lord

- Thomas Jefferson Lord

- play that barbershop chord

- play the barbershop chord

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Samson Raphaelson

Samson Raphaelson (1894–1983) was a leading American playwright, screenwriter and fiction writer. While working as an advertising executive in New York, he wrote a short story based on the early life of Al Jolson, called The Day of Atonement, which he then converted into a play, The Jazz Singer. This would become the first talking picture, with Jolson as its star. He then worked as a screenwriter with Ernst Lubitsch on sophisticated comedies like Trouble in Paradise, The Shop Around the Corner, and Heaven Can Wait, and with Alfred Hitchcock on Suspicion. His short stories appeared in The Saturday Evening Post and other leading magazines, and he taught creative writing at the University of Illinois. more…

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Submitted on August 05, 2018

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