Love Me or Leave Me Page #7

Synopsis: In 1920's Chicago, Ruth Etting wants to be a renowned singer, which is a far step away from her current work as a taxi dancer. Upon walking into the dance hall and seeing her, Chicago gangster Marty Snyder immediately falls for Ruth, and works toward being her lover, which he believes he can achieve by opening up singing opportunities for her. Ruth is initially wary of Marty, but makes it clear that she is not interested in him in a romantic sense. Regardless, he does help her professionally, and through his opportunities, which are achieved through intimidation and fear, Ruth does quickly start to gain a name as a singer, which she is able to do because of her talent and despite Marty's intimidation tactics. However, the greater her success, the more reliant she becomes on him. This becomes an issue in their relationship as she believes he can take her only so far before he becomes a liability, however he will never let her go that easily. The one person who tried and tries to get Rut
Director(s): Charles Vidor
Production: MGM Home Entertainment
  Won 1 Oscar. Another 1 win & 6 nominations.
 
IMDB:
7.2
Rotten Tomatoes:
67%
PASSED
Year:
1955
122 min
242 Views


a picture together. Really I am.

We always got along fine

when we worked.

And that's what we're here for, isn't it?

To work.

By all means. Let's get to work.

Have you looked over the songs?

Here are some choices.

Doesn't make any difference.

Whatever you think.

Shall we get started?

All right.

I think you know this.

It's an old one of mine.

I'll Never Stop Loving You. Yes, I know it.

Yes, you still care about it.

Are you always this unhappy?

Or is it just today?

Will this be a long session, Johnny?

Because I have other appointments.

No, all I'd planned for today

was to run through the songs.

Of course, I had thought you'd have

lunch with me afterwards, or a drink.

- Or a cup of coffee?

- Or a cup of coffee.

The last time you asked me that,

I didn't because I didn't want to.

But now I'll tell you

so that you'll never ask me again:

I can't.

- Hello, Barney.

- Hello.

I'm very tired, Marty.

I didn't want to go out tonight.

Relax. Don't be so sour.

You got to eat someplace.

- I ordered your steak medium, okay?

- Yes.

How was it today?

How'd you get along

with that piano player?

I suppose he feels

he's a pretty big shot now, huh?

Why shouldn't he? He's doing pretty well.

Working for somebody else, ain't he?

Still punching a time clock.

- Who doesn't?

- Not everyone.

Go ahead and tell her. Get it over with.

Garbage! Take it back!

- Tell the chef, Mr. Snyder said "steak. "

- I'm sorry, sir.

There was nothing wrong with that steak.

You can't go on acting this way.

Yes, I can. Here I can.

I can act any way I want.

This is my place. I own it.

- How do you like that?

- You what?

It's his, all right.

It's changed hands 10 times.

It's jinxed everybody who's ever had it.

But it's his.

What do you want with it?

I'll turn it into

the hottest nightspot on the Coast.

Don't you get worried. None of

your money's in it. Not one red cent.

In two or three weeks, when we open...

you can beg to buy in,

you and old lady Loomis.

In two or three weeks?

I'll be on this picture for months.

- I can't play any outside dates.

- Did I ask you?

This joint, I make a success.

Don't blame me.

I told him it was no cinch, this business.

I know it like the back of my hand.

Been around clubs for 14 years.

What do you think I was doing

when I ran that laundry? Washing socks?

What, you want everybody to think

I'm a dumb ox with no brains?

You want they should think

I'm getting handouts from you?

So busy making them think

you're something, they think I'm nothing.

You put it all in, Marty?

The dough from the laundry?

You getting scared, too?

Here's what I wanna do.

First, I close down the whole place.

Then I throw out everything.

Everything. Every stick.

I'm starting from scratch.

When I get through,

it's own mother won't know this joint.

And it's gonna look rich, like it costs.

Only in good taste.

Like you're always screaming,

nothing loud.

And the entertainment,

only headliners, personalities.

Am I bending your ear too much, Ruthie?

If I am, I'll shut up.

But I'm all steamed up

about this thing, you know?

- What did you do that for?

- I'm sorry.

I'm just so nervous.

The rehearsals and everything

starting tomorrow...

Yeah, that's what it is.

Sure, you're bound to be...

I need a good night's rest.

Yeah, you're right.

I'll hit the hay in the other room.

You go on and go to bed.

Good night.

Good luck with the club, Marty.

Don't say it like you're a stranger.

Here's the layout, Mr. Snyder.

Here. Yeah, look.

In the middle,

MS with a wreath, you know?

- And green and gold.

- Yes, sir.

How do you like that for a name, Barney?

MS Club. Marty Snyder. Get it?

Yeah, I got it. Look, Marty,

I still think you're making a mistake...

about Frankie Desirio and his orchestra.

- They're gonna cost you a fortune.

- Book them. Don't give me no headaches.

- You the waiters?

- Yes, sir.

Okay, don't get excited. Wait.

All right, come on, girls.

Come on.

Come on, get them up.

All right, you, you, and you.

The rest of you can blow.

You three, I want you

to remember something.

This is strictly legit.

You ain't selling nothing but cigarettes.

Back tomorrow morning at 10:00

for a fitting.

Barney, you get over to the studio?

- Sure.

- See Ruth?

- Yeah.

- She's coming over. We're having dinner.

You know, we've been so busy lately,

we've hardly seen each other.

How was she? In a good mood?

Sure. This picture's been

a real shot in the arm for her.

Never saw such a change in a girl.

- She listens to me, she don't go wrong.

- Hi, Marty.

- Where's Ruth?

- She had to work again.

She didn't have no call for tonight.

What are they trying to pull?

Marty, this happens all the time.

They find out a recording stage is free

or something. It's just routine.

Yeah, sure, Barney.

I know you're anxious to get home.

I won't need you no more.

- Okay. Good night.

- Good night, Barney.

How do they act together, them two?

Ruthie and the piano player?

I watched, just like you told me.

There's nothing to watch.

She's more friendly with lots of them

than him:

the wardrobe girl, the make-up man...

an old geezer, "a grip," they call him.

Him, she's always talking to.

But Johnny, nothing.

24-04, Take 3.

24-04, Take 3.

Okay?

All right.

You dumb jerk!

I could've sung all night, Johnny.

It was a good session, wasn't it?

- You were great and you know it.

- Thank you.

I am getting some help

from the score and conductor.

- Thank you.

- You're doing a wonderful job.

I know. I can't understand it.

I'm usually not this good.

Good night, Johnny.

- Hello, Ruth.

- Hello, Mr. Hunter.

- All through for the night?

- Just finished.

I've heard all the recordings so far.

They're beautiful.

- Thank you.

- Just beautiful.

I'm delighted.

Mr. Snyder just dropped in on me.

He tells me that you're dissatisfied

with Johnny Alderman.

I'm not.

That you want me

to take him off the picture.

That's not true.

He said that either Johnny goes,

or you go.

I can't fire a man for no reason, Ruth.

I'll be here in the morning, Mr. Hunter.

Don't worry.

- There won't be any problems.

- Good.

- Good night.

- Good night, Ruth.

You said you would finish tonight,

and that's how it's gonna be!

I don't care if it is double time!

Get it done!

Why did you lie to Hunter?

- All in an uproar?

- He's staying on the picture, Marty.

Fine, then they're pulling you off.

Hey, buster...

Have you gone crazy?

Are you out of your mind?

What have you got against him?

What has he done to you? Why?

You're going off, and that's that.

Marty, listen to me, please.

This is important.

Don't do this. Don't spoil this picture.

It's the first thing I've cared about

since New York and I don't want to lose it.

I have to work, do you understand?

I've got to. It's all I've got.

Shut up! You're gonna work.

Who said different?

Only where I can keep an eye on you,

so you don't get so many ideas, get so big.

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Daniel Fuchs

Daniel Fuchs (June 25, 1909 – July 26, 1993) was an American screenwriter, fiction writer, and essayist. more…

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Submitted on August 05, 2018

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