Madame Bovary Page #7

Synopsis: French author Gustave Flaubert is on trial for writing the "indecent" novel "Madame Bovary." To prove that he wrote a moral tale, Flaubert narrates the story of beautiful Emma Bovary, an adulteress who destroyed the lives of everyone she came in contact with.
Genre: Drama, Romance
Director(s): Vincente Minnelli
Production: MGM
  Nominated for 1 Oscar. Another 1 nomination.
 
IMDB:
7.1
PASSED
Year:
1949
114 min
759 Views


Madame Bovary,|why do I have to instruct you?

You are a clever woman.|Your husband is not a clever man.

All right, he's upset.

When he comes back from Daudeville,|share his burdens.

Save him from the sad business|of settling his father's estate.

Get him to give you his power of attorney.|Take it to your lawyer in Rouen.

Have the estate investigated.|If it's worth anything, sell it

and report back to your husband|that it was worthless.

Madame Bovary, you don't seem|to understand that you are in trouble.

That'll be all, thank you.

- Could I get you some...|- No. No, nothing. Thank you.

Oh, you're here.|I meant to be here when you arrived.

Well, I got here earlier than I expected.|I brought all the papers about the estate.

Oh, my partners will take care of it.|We have a whole week for that.

I think they're all here, let's see.

- Oh, yes, here's the power of attorney.|- Emma, aren't you glad to see me?

Of course I am.

I must apologize for the room.

It's hardly in the best of taste,

but I did have to find a place|where you wouldn't be known.

- I'm afraid the decorations...|- Leon.

I love it.

Put those things down and get out of here.

We don't want anything.

Wait, there is something we want.|Bring us some champagne.

Well, you heard the lady.|Champagne, quickly.

Dupuis.

Yes, sir?

Who is this Madame Emma Bovary?

Why, nobody, Monsieur Dubocage.|Nobody special.

Where have you been all this week?

Well, I was ill, sir.

lll? Have I a clerk in this office or haven't I?

- You have no right to be ill.|- I beg your pardon, sir.

- It won't happen again, sir.|- Get back to your desk.

The papers...|You said you wanted new business, sir.

New business? This?

I've had a report on it.|It's nothing but worthless trash.

I wondered, sir, an advance on my wages?

Physician's fees, you know.

Physician's fees. Let that be the last.

Thank you, sir.

Dupuis, tell the woman goodbye.

Oh, Leon, I waited and waited.

Our last day, I have to go back|to Yonville in the morning.

Aren't they worth anything at all?

We had endless conferences,|my partners and I.

They are very conservative men, of course,|but still, they agree.

The estate isn't worth anything.

The power of attorney's there|with the papers.

I'm afraid you won't need it.

Oh, Emma, let's forget it, what's money?

You can afford to say that,|you've got money.

Why is it that|I should suddenly be overwhelmed

with the vulgarity of this room?

Oh, Emma, some day, you and I,|we'll go to Paris.

You and I, Emma, I swear it.

Some day, Leon,|I'll probably stop hoping for anything.

Here, no more sadness. Go dress yourself.

We'll dine, the Caf de Paris.

We'll subdue our sorrows|with wine and music.

I'll go and dress.

Good evening.

- Morning, Monsieur Guillaumin.|- Morning.

- Morning, Monsieur Homais.|- Morning, Monsieur.

Goodbye.

- Good morning, Madame Lefrancois.|- Good morning, Monsieur Lheureux.

A pleasant day. Good morning, Hyppolite.

Why did you come here?|You can't come in.

I only wanted a few words|with your husband.

In there, please.

- You can't stay.|- Really, Madame Bovary...

I've pledged our house, our furniture,|everything we own.

- What more do you want?|- To see your husband. Just a few words.

You said that if I signed|his name to those notes

and gave you the power of attorney,|you'd leave me alone.

- You wouldn't say anything.|- I have no intention of saying anything.

- I am no talebearer.|- Then what do you want?

You want something more.

I come here|with nothing whatsoever to gain.

I ask to see your husband|out of a sense of decency,

in the spirit of justice,|as his friend and neighbor.

It seems only friendly|that he should know.

Monsieur Guillaumin|is preparing to take legal action.

Monsieur Guillaumin?

Well, what has he to do with it?

I needed money,|so I sold your papers to him.

So, you see,|it's really quite out of my hands now.

- You'd take our house?|- I?

Madame Bovary, I repeat,|I no longer have anything to do with it.

If Monsieur Guillaumin chooses|to take your house...

- You scoundrel!|- I beg your pardon.

- You monster!|- It's hardly becoming, Madame Bovary,

for a woman of your character|to start calling names.

I've tolerated your conduct for too long.|The things I have witnessed!

The cheating, the lying,|the insatiable greed.

What iniquities! What sordid passions!

Your child and your husband deceived.|All morals abandoned.

Every loyalty foresworn,

while you indulged yourself|with any man that came your way.

- Oh, don't, please...|- And now you call me names.

I am in the business of making money,|Madame Bovary,

a recognized, honorable profession,

a profession, which I am confident,|bears public comparison with yours.

Please, I beg of you, go.

I beg of you humbly. Please go.

- Good morning, Madame Tuvache.|- Good morning.

- Good morning, Monsieur Binet.|- Good morning.

- Is Monsieur Guillaumin in?|- Yes, he is.

- Monsieur Guillaumin.|- Why, Madame Bovary.

Please, do forgive me for coming so early,

- but...|- Quite all right. Will you join me?

Oh, no, thank you. Please go on.

You see, a dreadful matter|has just come to my attention.

Yes, yes.|Unfortunate, these matters of money.

I haven't wanted to bother|my husband about it.

Of course not. I can well understand.

Monsieur Lheureux, he said...

He said that you were going to take|some kind of legal action.

Now just what would that be?

Oh, the natural course of events,|a judgment against the property,

the bailiff, a seizure of said property,|a sale.

Oh, no, I can't believe you'd do that.

I would be happy if it could be avoided.

- I knew you weren't that kind of man.|- Of course not. Of course not.

- Nothing peremptory, shall we say?|- Of course, I... We can pay.

I have many rich friends who would be|willing to help us if it were necessary.

Yes, I understand a certain party|has recently returned from Italy.

He should have every reason to help you,|according to these details.

You see, I have asked our friend,|Lheureux, to put them in writing.

Amazing. My old friend, Leon Dupuis.

Oh, I'm quite discreet.|After all, it's business.

- This is monstrous.|- Quite the contrary. I find it fascinating.

Who would have guessed it?|Our own Madame Bovary.

Now come, come, come.|Let's not be shy about it.

Why, I found the details most appealing.

Now, my dear, I'm a reasonable man.|I'm not like that Lheureux.

After all, money's not everything to me.

Why, Madame Bovary, I'm sure you and I|can work some detail between us.

- Let go of me.|- Oh, what a sly little thing you are.

I didn't want to, Leon.|Who else do I have to come to?

- I didn't want to.|- Well, I am sure you didn't.

But, after all, 15,000 francs,|it's a fortune to me, yes.

But to you, with all your connections|and all your success...

Don't laugh at me, Leon.|Don't humiliate me.

- Humiliate you?|- Leon!

All my success.

I'm still a clerk. I'm still a clerk.|I've lied to you.

I'm still a stupid little clerk

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Robert Ardrey

Robert Ardrey (October 16, 1908 – January 14, 1980) was an American playwright, screenwriter and science writer perhaps best known for The Territorial Imperative (1966). After a Broadway and Hollywood career, he returned to his academic training in anthropology and the behavioral sciences in the 1950s.As a playwright and screenwriter Ardrey received many accolades. He was awarded a Guggenheim Fellowship in 1937, won the inaugural Sidney Howard Memorial Award in 1940, and in 1966 received an Academy Award nomination for best screenplay for his script for Khartoum. His most famous play, Thunder Rock, is widely considered an international classic.Ardrey's scientific work played a major role in overturning long-standing assumptions in the social sciences. In particular, both African Genesis (1961) and The Territorial Imperative (1966), two of his most widely read works, were instrumental in changing scientific doctrine and increasing public awareness of evolutionary science. His work was so popular that many prominent scientists cite it as inspiring them to enter their fields. more…

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Submitted on August 05, 2018

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