Lili Page #2

Synopsis: Members of a circus troupe "adopt" Lili Daurier when she finds herself stranded in a strange town. The magician who first comes to her rescue already has romantic entanglements and thinks of her as a little girl. Who can she turn to but the puppets, singing to them her troubles, forgetting that there are puppeteers. A crowd gathers around Lili as she sings. The circus has a new act. She now has a job. Will she get her heart's desire?
Director(s): Charles Walters
Production: MGM Home Entertainment
  Won 1 Oscar. Another 6 wins & 8 nominations.
 
IMDB:
7.5
Rotten Tomatoes:
100%
PASSED
Year:
1953
81 min
324 Views


Keeps a very good time.

Only sometimes I forget to wind it.

It's gold-plated.

Yes.

Yes, it's very nice.

Now, uh, look, Lili...

Maybe I could get you

a job in the carnival.

Well, what kind of job?

Well, uh...can you dance?

No.

Uh...sing?

Well, I...I can carry a tune, but...

What can you do?

I kept house for my father, you see.

I have an assistant

who keeps house for me.

Now, I want you to get yourself

something to eat,

and I'll go and see what I can do

for you with Mr. Corvier.

Oh!

-Don't do that.

You mustn't throw yourself at men

that way. It isn't nice.

Well, it's nice. I mean, it's nice,

but you shouldn't do it.

I'll be back.

Whew.

[ Hammering sound ]

Have you seen old Corvier?

-They're setting up.

What are you going

to do about that girl?

She's very young.

She'll get older.

Before her time.

The female soul is like a chestnut.

It must go through fire

before it becomes delicious.

Very clever.

How's Rosalie?

I could learn to dislike him.

I already have.

She needs the job.

I could use another waitress.

Fine.

Good figure?

Just take her on for a while.

You don't have to

keep her, you understand?

I understand very well.

Take her off your hands.

Fine. Thanks.

Thanks a lot.

[ Organ musie ]

[ Calliope plays

carnival music ]

[ Cheers and applause ]

[ Middle Eastern music plays ]

[ Applause ]

Ladies and gentlemen, we present

for your enjoyment now,

that master of mystery,

Marcus the magnificent.

[ Applause ]

[ Drumroll ]

[ Applause ]

[ Applause ]

[ Applause ]

[ Laughter ]

Hup.

Hup.

[ Laughter ]

Hup.

Hup.

No, please, no.

Hup.

No.

[ Gasps ]

No. No.

[ Gasps ]

Hup.

[ Finale music plays ]

[ Women talking ]

Ha ha ha ha.

Oh.

Monsieur Marc, I...

Hello.

I...I saw you do the trick.

Yeah?

It was...beautiful.

Well, thank you.

Thank you very much.

But aren't you working?

No more.

Oh.

Well...um...here.

Have some fun at the carnival.

Oh, thank you,

but Monsieur Corvier paid me.

Oh, well, that's fine, then.

Come on. Let's eat.

In a minute.

Wh-wh-what shall I do now?

Well, uh...why don't you go

back to that shop?

That was a pretty good job you had.

Job?

Yeah. That fellow wasn't so bad.

He meant well.

He was very jolly.

That's the kind of job

you should have.

Oh, but I...I...I want

to stay near you.

You cannot.

You don't want to make

trouble for me, do you?

Oh...

I-I'd rather die.

Good girl.

Well, good luck.

[ Dogs barking ]

But, Monsieur Marc...

Must be rushing along now.

Talk to you later.

[ Women talking ]

[ Man ] Hey, look what

we have here, John.

[ Other man ] Sorry.

You'll have to get out.

The carnival's closed for the night.

Hi. Hey, why don't you

go back home?

Let's go. Let's go.

And hurry.

[ Voice ]

- Hey.

[ Whistles ]

Lili.

Hey, Lili.

[ Whistles ]

Lili.

Yoo-hoo.

Yes, it's me,

Carrot Top. Come over here.

Lili.

Come on down.

Come on down.

I have all sorts of things

to discuss with you,

and they can't wait.

I can't imagine what

you're doing over there,

but I wish you'd stop it.

It'll have to wait until later.

This is much more important.

Come along now.

It's nicer over here.

Much nicer.

And I'm a very interesting fellow.

Don't forget your purse.

Pick it up, Lili dear.

[ Humming ]

La la la la la la la la

Leave the suitcase.

You can get it later.

Now hurry. Walk over here.

Right foot. Left foot.

Faster, please.

I'm frightfully impatient.

Come along now.

Well, come on. Come on.

Closer.

Well, now then.

How ya been, Lili?

Lose your job

over at the cabaret?

Forget it.

Let me see your locket.

Ah, it's a watch.

Does it run?

Well, let me hear.

Mmm, my.

Very fine.

Grr!

Do I frighten ya?

Grr!

Oh, be quiet.

You don't frighten anybody.

Well, I try.

You must admit I try.

Shake hands with Lili.

I call her...Lili dear.

Golo the Giant.

Oh, my. I'm always so brave

until they get close to me.

Girls frighten him.

It's because I like them so.

Ho ho ho ho ho

ho ho ho ho ho.

He'll be all right when

he gets to know you better.

Well, hello, baby.

Go away, Reynardo.

I saw her first.

Be careful.

He'll steal your watch.

Go away.

Not a chance.

Let's ignore him.

Maybe he'll go away.

[ Humming ]

He's jealous of me

because I'm cleverer than he is,

and ever so much more

handsome, don't you think?

No, she don't.

I think my eyes

are my best feature.

Come a little closer

and look into them.

Ahh.

I'll tell Marguerite.

Tell me, do you

like champagne, hmm?

Wait till Marguerite sees this.

Marguerite.

May I have the next waltz?

Reynardo, behave yourself.

Uh-oh.

Don't listen to him,

my dear. He is a seducer.

With a heart like a kitten.

Ho!

I don't know why

nobody trusts me.

I know why.

Well, keep it to yourself,

you old hag.

WHAT did you say?

Uh...what did you hear?

Reynardo, I must insist

that you address me

more respectfully.

Introduce us.

Introduce us?

Introduce us?

She has to be introduced to a girl,

but, believe me, when it's a man, she...

Reynardo, introduce us.

Lili, Marguerite.

How do you do, Lili?

How do you do?

He's a dreadful wolf.

I thought he was a fox.

Ha! That's the worst

kind of wolf.

And as for you,

I know your kind.

So innocent.

Ha ha. Oh, yes,

so innocent.

But making goo-goo eyes

at Reynardo. Really!

Oh, my. What'd you

do to Marguerite?

What'd you say to her?

She's disturbed.

I...I didn't say anything.

Well, you'd better make it up.

Be nice to her.

How?

Hmm. Well, let's see, now...

I've got it.

Flatter her.

What?

Flatter her.

Say she's pretty.

Oh, Marguerite's very pretty.

Louder.

I'll do it.

Marguerite is very pretty.

She has a face

like a mountain goat.

[ Gasps ]

And she's witty.

She has the brains

of an angleworm.

[ Marguerite ]

- I heard that, Reynardo.

Uh-oh.

I heard what you said, Reynardo.

You're a wicked, insulting no-good,

and I'll have nothing more to do with you.

She's very upset now.

Be nice to her.

Ask her to dance for us.

Uh...uh...will you dance

for us, Marguerite?

What?

Ah. Ah. Ha ha ha.

Well, thank you.

I don't have my ballet slippers,

but I'll try.

Sing something, my dear.

Anything, you know?

Oh, well, I...

Any old thing.

Oh. I remember

hi-Lili, hi-lo.

Sweet?

It's just an old song, but..

I used to sing it with my father.

It'll do.

'On every tree,

there sits a bird.'

[ Accordian starts to play ]

Come on.

You know it.

Come on.

Let's hear it.

On every tree there sits a bird

singing a song of love.

On every tree there sits a bird,

and every one I ever heard

could break my heart without a word.

Singing a song of love

Ahem.

A song of love is a sad song.

hi-Lili, hi-Lili, hi-lo.

A song of love is a song of woe.

Don't ask me how I know.

A song of love is a sad song,

for I have loved,

and it's so.

hi-Lili, hi-Lili, hi-lo, hi-lo

hi-Lili, hi-Lili, hi-lo.

hi-Lili, hi-Lili, hi-lo, hi-lo

hi-Lili, hi-Lili... hi-lo.

[ Audience joins in ] A song of love

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Helen Deutsch

Helen Deutsch (21 March 1906 – 15 March 1992) was an American screenwriter, journalist and songwriter. Deutsch was born in New York City and graduated from Barnard College. She began her career by managing the Provincetown Players. She then wrote theatre reviews for the New York Herald-Tribune and the New York Times as well as working in the press department of the Theatre Guild. Her first screenplay was for The Seventh Cross (1944). She adapted Enid Bagnold's novel, National Velvet into a screenplay which became a famous film (1944) starring Elizabeth Taylor. After writing a few films (Golden Earrings (1947), The Loves of Carmen (1948) and Shockproof (1949) ) for Paramount and Columbia Pictures, she spent the greater part of her career working for Metro-Goldwyn-Mayer and wrote the screenplays for such films as King Solomon's Mines (1950), Kim (1950), It's a Big Country (1951), Plymouth Adventure (1952), Lili (1953), Flame and the Flesh (1954), The Glass Slipper (1955), I'll Cry Tomorrow (1955), Forever, Darling (1956) and The Unsinkable Molly Brown (1964). Her last screenplay was for 20th Century Fox's Valley of the Dolls (1967). more…

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Submitted on August 05, 2018

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