Mikey and Nicky Page #7

Synopsis: Nick is desperate, holed up in a cheap hotel, suffering from an ulcer and convinced that a local mobster wants him killed. He calls Mikey, his friend since childhood, but when Mikey arrives, Nick won't let him in: his moods swing. So begins a long night as Mike tries to take care of Nick, calm him down and get him out of town. Their sojourn - on foot and in a city bus - takes them to a bar, a club, toward a movie theater, to the cemetery where Nick's mom is buried, and to Nick's girlfriend's apartment. Tempers fray and the friendship is tested. Meanwhile, a hit man who's getting information from someone is indeed looking for Nick.
Genre: Crime, Drama
Director(s): Elaine May
Production: Criterion Collection
 
IMDB:
7.4
Rotten Tomatoes:
86%
R
Year:
1976
119 min
2,577 Views


to have you killed.

Now you won't be able to spend

all your evenings with him.

Tell me what he used to do that was

so wonderful, and I'll try to copy it.

Jan.

No, I'm not gonna...

I did this for you.

I went to work for you.

I didn't do it for me.

- Thank you for supporting me.

- That's not what I meant.

I don't care what you meant.

Don't you get it yet?

I really don't care.

- I just want you to get out of here.

- You mean that.

Yes, I do. I mean it.

Okay.

Can I take a look at the baby?

Would it make any difference

what I said?

Yes. If you don't want me to,

I won't.

Do what you want. Do what you

want to, and then get out of here.

Ah!

Hiya!

Come here.

Come here, baby. I love you.

Are you Daddy's girl?

You wanna hold Daddy's thumb?

Yeah. Here, sweetheart.

Hold Daddy's thumb. Come on.

Here.

You love your daddy? Huh?

Come on. Hold Daddy's thumb.

Just once.

Here. Look at this.

Look.

All right. All right.

I guess she's mad at me too.

Wouldn't hold my thumb.

- Do you need any money? Huh?

- No, I'm all right.

I need a shot in the head,

and I'm gonna get that anyway.

Why don't you get ahold of Mikey?

He'll help you.

I can't get ahold of Mikey

'cause we had a bad fight.

What's the matter with you, huh?

He's the only friend you have.

Not anymore.

I did too much to him.

Yeah, well, you get outta town.

If you get outta town, you'll be...

Thanks for the advice.

What do you want me to do?

You want me to die for you?

I don't want anything.

I'm goin'.

Will you kiss me good-bye?

No?

Yes?

No. All right.

Oh, my God.

What are you doing?

Jan.

What are you staying here for?

They're gonna get you.

You've gotta get out of town.

I know it.

I had to see you.

But now you'll go, hmm?

Will you go?

Baby, everything's going to be okay.

You know that?

- Everything's going to be great.

- Okay.

It's going to be terrific.

I promise you, babe.

I can make you so happy.

- Sure.

- I don't want you to die.

- I'm going to write to you, sweetheart.

- I don't want you to die.

Everything's going to be okay.

Do you love me?

I do. I love you.

Three terrific deals

I could have had

and I took this 'cause

I thought it'd be quicker.

Could have used the money

to bankroll some machines.

Got another guy waitin'

with the other half.

Make a left.

Watch it. There's a guy

in this alley right here.

All right. Right there.

Is that him?

- Is he the guy?

- Wait a minute!

You dumb bastard.

Is that him?

No.

I'm warning you,

get out of here.

I'm really getting the treatment

tonight. Tonight's my night.

What do you want?

I thought we'd lie down

and talk about politics for a while.

You know, I could punch your face

right through the wall. You know that?

You have no right

to treat me like this.

- A lady like you.

- You better get out of here.

Why?

Why?

Why should I get out of here?

- I just came over to say I'm sorry.

- I'll bet.

I'm not kidding.

I was a little sore before about

Moe Schatz and Jack Diamond.

I thought you were my girl.

And then I find out that you're

putting it out for everyone.

Jesus Christ, this is...

Gee.

What is it?

You told them.

You told them to try it.

Both of them.

You think I would do that?

Are you crazy?

Don't. I know.

They told me.

Both of them.

I know all the things

that you say about me.

I know all about it.

Don't cry.

Please.

Don't cry.

- Don't be mad at me.

- Oh.

Are you mad at me now

because I told you I know?

I'm not mad.

Hell...

Hell, I don't know

what's wrong with me.

I guess I just like to show off.

- Dead end.

- I know.

Jesus.

This is the end.

By the time I've paid...

- Go right.

- Paid the fare, paid for meals

I ain't gonna make a thing on this.

Nah, we've seen that guy.

I look like a schmuck.

I only got about three,

four guys that use me.

I'll look worse 'cause it was

supposed to be easy.

It was easy.

If it didn't take you 45 minutes

to drive downtown

you would have gotten him

in the first bar.

The hell I could.

Oh, no, you don't.

45 minutes.

I watched the clock.

Okay, you tell it your way,

and I'm gonna tell it my way.

'Cause all I know is I spent an hour

in both places, I never saw the guy.

Jesus.

That's him!

- Let me out of the car.

- Just take it easy, will ya?

Let me out of the car.

Let me out of the car.

Let me out of the car.

It's not him.

- Got any ice cream?

- No ice cream.

We got egg cream, soda

Popsicles,

magazines, candy

cigarettes...

just what you see.

What kind of a candy store is this,

you don't have ice cream?

It's a candy store

without ice cream. Just what you see.

Got Neccos?

Look on my counter, mister.

What you see there is what I got.

I'll take some of these.

Some of these.

- Caramel creams.

- I'll take some of these lollipops.

- All right.

- I'll eat this one in the store.

- Put the rest in the bag.

- Right.

All right.

- Got any comic books?

- On the rack.

I promised my nephew

that I would find him a comic book.

All right. Yeah, sure.

So I'm just gonna browse for now.

Mm-hm. But don't get 'em

sticky, please.

I don't think they

make Necco anymore.

So, any estimation of time

which I may have given him

is dependent on the fact that

he knows what I've got to get through.

Okay, okay.

So you both had problems.

Well

he didn't ask me for any

directions on the phone.

He just asked me where it was.

I gave him the address.

- Yeah.

- You know what I think?

I think if I want to find this buddy of

yours, I should stay on your ass

maybe for the next 24 hours.

I'll let you do what you think is best.

I have a lot of respect for your mind.

- Mr. Resnick...

- Okay.

Let's put...

Go home. Ah...

You wanna drive him home?

- Warren?

- I'll drive him home if you want.

He'll drive you home.

Maybe he could even park

in front of his house.

- That nut could show up there.

- He's not gonna come to my house.

We had a fight. He hit me.

- He broke my watch, insulted me.

- Oh-ho-ho.

He said you didn't like me.

Go home, Mikey.

It's very late.

- So, go home and...

- He's not going to come to my house.

- Take him home.

- Yes, sir. I'll watch him.

- You want me to stay outside his house?

- Yeah.

- Okay, I'll do that.

- You can't stay in front of my house.

- What?

- There's no parking there.

- There's no parking?

- You can't park there.

The owners have hired

their own private patrol cars.

It's an exclusive neighborhood.

They had to vote on me

before I could buy the house.

So, all right, he won't park there.

He'll circle the block.

- Yes, sir.

- Dave.

Huh?

If he keeps circling the block,

they're gonna notice.

We have our own

private patrol cars.

Then circle two blocks.

How's that?

They're gonna notice him

driving around there.

- I think I can handle that.

- Yeah. All right.

Uh, take him home.

I'm tired. You're tired, he's tired.

You're gettin' on my nerves, Mike.

- Take him home.

- Yes, sir.

- Dave?

- What?

You know, I'm sorry

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Elaine May

Elaine Iva May (née Berlin; born April 21, 1932) is an American screenwriter, film director, actress, and comedienne. She made her initial impact in the 1950s from her improvisational comedy routines with Mike Nichols, performing as Nichols and May. After her duo with Nichols ended, May subsequently developed a career as a director and screenwriter. Her screenwriting has been twice nominated for the Academy Award, for Heaven Can Wait (1978) and the Nichols-directed Primary Colors (1998). May is celebrated for the string of films she directed in the 1970s: her 1971 black comedy A New Leaf, in which she also starred; her 1972 dark romantic comedy The Heartbreak Kid; and her 1976 gritty drama Mikey and Nicky, starring John Cassavetes and Peter Falk. In 1996, she reunited with Nichols to write the screenplay for The Birdcage, directed by Nichols. After studying acting with theater coach Maria Ouspenskaya in Los Angeles, she moved to Chicago in 1955 and became a founding member of the Compass Players, an improvisational theater group. May began working alongside Nichols, who was also in the group, and together they began writing and performing their own comedy sketches, which were enormously popular. In 1957 they both quit the group to form their own stage act, Nichols and May, in New York. Jack Rollins, who produced most of Woody Allen's films, said their act was "so startling, so new, as fresh as could be. I was stunned by how really good they were."They performed nightly to mostly sold-out shows, in addition to making TV appearances and radio broadcasts. In their comedy act, they created satirical clichés and character types which made fun of the new intellectual, cultural, and social order that was just emerging at the time. In doing so, she was instrumental in removing the stereotype of women being unable to succeed at live comedy. Together, they became an inspiration to many younger comedians, including Lily Tomlin and Steve Martin. After four years, at the height of their fame, they decided to discontinue their act. May became a screenwriter and playwright, along with acting and directing. Their relatively brief time together as comedy stars led New York talk show host Dick Cavett to call their act "one of the comic meteors in the sky." Gerald Nachman noted that "Nichols and May are perhaps the most ardently missed of all the satirical comedians of their era." more…

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