Major Barbara Page #6

Synopsis: A young and idealistic woman, who has adopted the Salvation Army and whose father is an armament industrialist, will save more souls directing her father's business. A comedy with social commentary.
Genre: Comedy
Production: Criterion Collection
  1 nomination.
 
IMDB:
7.0
Rotten Tomatoes:
86%
APPROVED
Year:
1941
121 min
353 Views


But I'll teach her to drop me as if I was

dead, and I'll teach him to meddle with my Judy.

- What's his bleeding name?

- Sergeant Todger Fairmile.

I'll go with him, miss. I

want to see them two meet.

And I'll take him to the

infirmary when it's over.

Here. Is, uh... Is that him

what you were speaking of?

- That's him.

- Him what wrestled with the Jap?

That's him. He's given up fighting for religion,

so he's a bit fresh for want of exercise.

But he'll be very glad

to see you. Come along.

- Here. What's his

weight? - Fourteen-five.

Go and talk to him,

Bill. He'll convert you.

He'll convert your head

into a mashed potato.

I ain't afraid of him.

I ain't afraid of nobody.

But he can lick me.

She's done me.

You ain't going?

I thought not.

- Jenny. Jenny!

- Yes, Major?

Send Rummy Mitchens

out here to clear away.

- Oh, I think she's afraid.

- Nonsense. She'll do as she's told.

Rummy! Rummy, the major

says you must come.

[Rummy] Oh, all rightl I'm coming then.

Poor little Jenny. Are you tired?

- Does it hurt?

- No, it's all right now. It's nothing.

But as hard as he could hit, I expect.

Poor Bill. You don't feel

angry with him, do you?

Oh, no, no. Indeed I don't, Major.

Bless his poor heart.

Now, come on, Rummy. Bustle.

Take in these mugs and plates to be washed

and throw those crumbs about for the birds.

There ain't got to be no crumbs.

This ain't the time to

waste good bread on birds!

[Snobby] Major. Majorl

[Shouting]

- Major Barbara! [Crying]

- Well, my dear.

Hello, Papa. So you kept your promise.

I'll get the law on you, you flat-eared,

pig-nosed potwallopper, you...

if she'd let me!

You're no gentleman, you ain't,

to hit a lady in the face!

Here. In with ya, before ya

get yourself into more trouble.

Ha! I ain't never had the pleasure

of being introduced to you...

as I can remember.

- Welcome to the shelter, sir.

- [Boy] Look at the old beaver!

[Children Laughing]

- What's the matter?

- Don't talk to me, you hear?

You leave me alone, or

I'll do you a mischief.

- I ain't dirt under your feet anyhow.

- Don't you be afeared.

You ain't such prime company as

you need expect to be sought after.

- Get out, will you!

- Oh, there you are, Mr. Shirley.

This is my father. I told you

he was a secularist, didn't I?

Perhaps you'll be able

to comfort one another.

A secularist? Not the least in the world.

On the contrary, I'm a confirmed mystic.

I'm sorry. By the way, Papa...

what is your religion in case

I have to introduce you again?

My religion? My dear, I'm a

millionaire. That's my religion.

Then I'm afraid you and Mr. Shirley won't

be able to comfort one another after all.

You're not a millionaire,

are you, Peter?

No. And proud of it.

Poverty, my friend, isn't

a thing to be proud of.

Who made your millions for you?

Me and my like.

What kept us poor? Keeping you rich!

I wouldn't have your conscience,

not for all your income!

And I wouldn't have your income, not

for all your conscience, Mr. Shirley.

You wouldn't think he was

my father, would you, Peter?

Will you go into the kitchen

and lend the lasses a hand?

Oh, yes, I... I'm in their

debt for a meal, ain't I?

No, not because you're in their

debt, but for love of them, Peter.

For love of them.

There now, don't stare

at me. In with you.

And give that conscience

of yours a holiday.

Oh, never mind me, my dear.

You just go about your work

and let me watch it for a while.

Very well, Papa.

For instance, what's the matter

with this outpatient over here?

Oh, we'll cure him

in no time. Just wait.

[Train Engine Chugging]

[Horn Honking]

It would be nice just to stamp on Mog

Habbijam's face, wouldn't it, Bill?

It's a lie. I never said so!

- Who told you what was in my mind?

- Only your new friend.

- What new friend?

- The devil, Bill.

When he gets round people, they

get miserable, just like you.

- I ain't miserable. - Well, if you're

happy, why don't you look happy, as we do?

I'm happy enough, I tell ya.

Why can't you leave me alone?

What have I done to you? I ain't

smashed your face in, have I?

- It's not me that's getting at you, Bill.

- Who else is it?

Somebody that doesn't intend you

to smash women's faces, I suppose.

Somebody, or something, that

wants to make a man of you.

Make a man of me? Ain't I a

man, eh? Who says I'm not a man?

Well, there's a man in

you somewhere, I suppose.

But why did he let you go and

smash little Jenny Hill's face?

Now, that wasn't very

manly of him, was it?

Have done with it, I tell you! Chuck it! I'm

sick of your Jenny Hill and her silly face!

Then why do you keep thinking about it?

Why does it keep coming up

against you in your mind?

You're not getting

converted, are you, Bill?

- Not me! Not likely!

- That's the spirit!

Hold out against it. Put out your

strength. Don't let us get you cheap.

Todger Fairmile said he wrestled

against his salvation harder...

than he ever wrestled with

the Jap at the music hall.

He gave in to the Jap when

his arm was going to break...

but he didn't give in to his salvation

till his heart was going to break.

Oh, perhaps you'll escape that. You

haven't any heart, have you, Bill?

Why ain't I got a heart,

same as what anybody else has?

Well, a man with a heart wouldn't have

smashed poor little Jenny Hill's face, would he?

Leave me alone, will ya?

Have I ever meddled with you?

Naggin' and provokin' me like this!

It's your soul that's

hurting you, Bill, and not me.

We've been through it all ourselves.

Come with us, Bill, to brave manhood

on earth and eternal glory in heaven.

Come.

Oh, there you are, Dolly.

I want to introduce a new

friend of mine, Mr. Bill Walker.

Bill, this is my bloke, Mr. Cusins.

- What? Going to marry him?

- Yes.

Heaven help him. Heaven help him.

Why? Don't you think

he'll be happy with me?

Well, I've only had to stand it for an

afternoon. He'll have to stand it for a lifetime.

That is a frightful reflection, Mr. Walker,

but I can't tear myself away from her.

Well, I can. Here. Do you know where

I'm going to and what I'm gonna do?

Yes. You're going to heaven, and you're coming

back here before the week's out to tell me so.

You lie. I'm going to Tower Bridge

to spit in Todger Fairmile's eye.

I bashed Jenny Hill's face in.

Well, now I'll get me own face bashed

and come back and show it to her.

He'll hit me harder than what I

hit her. That will make us square.

Is that fair, or is it not? You're

a gentleman. You ought to know.

But two black eyes won't

make one white one, Bill.

Can't you never keep your mouth

shut? I asked the gentleman.

Yes, I think you're right, Mr.

Walker. Yes, I should do it.

It's curious. It's exactly what

an ancient Greek would have done.

But what good will it do?

Well, it'll give Mr. Fairmile some exercise,

and it will satisfy Mr. Walker's soul.

There ain't no such thing as a soul.

How can you tell whether I've got a

soul or not? You ain't never seen it.

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George Bernard Shaw

George Bernard Shaw (26 July 1856 – 2 November 1950), known at his insistence simply as Bernard Shaw, was an Irish playwright, critic, polemicist, and political activist. His influence on Western theatre, culture and politics extended from the 1880s to his death and beyond. He wrote more than sixty plays, including major works such as Man and Superman (1902), Pygmalion (1912) and Saint Joan (1923). With a range incorporating both contemporary satire and historical allegory, Shaw became the leading dramatist of his generation, and in 1925 was awarded the Nobel Prize in Literature. Born in Dublin, Shaw moved to London in 1876, where he struggled to establish himself as a writer and novelist, and embarked on a rigorous process of self-education. By the mid-1880s he had become a respected theatre and music critic. Following a political awakening, he joined the gradualist Fabian Society and became its most prominent pamphleteer. Shaw had been writing plays for years before his first public success, Arms and the Man in 1894. Influenced by Henrik Ibsen, he sought to introduce a new realism into English-language drama, using his plays as vehicles to disseminate his political, social and religious ideas. By the early twentieth century his reputation as a dramatist was secured with a series of critical and popular successes that included Major Barbara, The Doctor's Dilemma and Caesar and Cleopatra. Shaw's expressed views were often contentious; he promoted eugenics and alphabet reform, and opposed vaccination and organised religion. He courted unpopularity by denouncing both sides in the First World War as equally culpable, and although not a republican, castigated British policy on Ireland in the postwar period. These stances had no lasting effect on his standing or productivity as a dramatist; the inter-war years saw a series of often ambitious plays, which achieved varying degrees of popular success. In 1938 he provided the screenplay for a filmed version of Pygmalion for which he received an Academy Award. His appetite for politics and controversy remained undiminished; by the late 1920s he had largely renounced Fabian Society gradualism and often wrote and spoke favourably of dictatorships of the right and left—he expressed admiration for both Mussolini and Stalin. In the final decade of his life he made fewer public statements, but continued to write prolifically until shortly before his death, aged ninety-four, having refused all state honours, including the Order of Merit in 1946. Since Shaw's death scholarly and critical opinion has varied about his works, but he has regularly been rated as second only to Shakespeare among British dramatists; analysts recognise his extensive influence on generations of English-language playwrights. The word "Shavian" has entered the language as encapsulating Shaw's ideas and his means of expressing them. more…

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