Moontide Page #4

Synopsis: After a drunken binge on the San Pablo waterfront, longshoreman Bobo fears he may have killed a man. In his uncertainty, he takes a job on an isolated bait barge. That night, he rescues lovely Anna from a watery suicide attempt and installs her on the barge. But Tiny, Bobo's longtime pal and parasite, hopes to drive Anna away before domestic bliss tears Bobo away from him; the still unsolved murder may be just the wedge Tiny needs. There's fog on the water and evil brewing...
Director(s): Archie Mayo, Fritz Lang
Production: 20th Century Fox Film Corporation
  Nominated for 1 Oscar. Another 2 wins.
 
IMDB:
6.9
Year:
1942
94 min
104 Views


No place. I'm free.

I'll never be tied down.

Never.

Perhaps. I'm only pointing out

why I think you hate to leave here.

A gypsy is dying

and a peasant is being born.

So I'm turning into a peasant.

- Mm-hmm.

- Oh, you're wrong.

But tell me.

Why is this gypsy dying so quickly?

Who knows?

Anything might have done it.

A word remembered from a dream.

Or the sight of some washing on a line.

Or most likely,

something you saw in this pathetic child.

- Hello.

- Hello, Sunny-side.

- Is it all right?

- Sure it's all right.

It's nice to see you again.

We didn't mention your name,

but Nutsy and I-we were thinking about you.

- Yeah?

- Yeah.

Go on.

- Chair for the lady.

- Ah.

You change the whole

atmosphere of the place.

You cheer it up, brighten it.

Oh, yeah, I'll bet, in this outfit.

Is this all right?

Gee. Service, huh?

I want you to be very comfortable.

Always.

I got some doors to try.

- Good night, you two.

- Good night.

Good night, Nutsy.

Hello, Bobo.

Hello, Anna.

It's a fine night, isn't it?

Yeah, it's swell.

Swell.

Where's the music coming from?

Oh, that's the phonograph

on the other barge.

Sounds nice, doesn't it?

Yeah.

Yeah, it sure does.

Why did you come back?

Well...

why did you look at me

the way you did when I left?

Yeah.

Right.

- Bobo.

- Mm-hmm?

You want me to go?

No.

I'm the one who's going.

Bobo.

What is it, Bobo?

What did I do wrong?

You didn't do anything.

You're a swell girl,

and I like you very much.

No, but it's time for me to go.

That's all.

But why, Bobo?

Well, because I'm not a man

who can stay long in one place.

I'm not a...

peasant.

I'm a gypsy.

And I have no intention of dying just yet.

Wait a minute, Bobo.

You aren't making any sense.

Ask Nutsy when you see him.

He'll tell you all about it. Bye, Anna.

And good luck.

Oh, Bobo.

- Having a good time, ain't ya?

- Yeah.

Come on. Let's have a drink, baby.

Ah.

I'm awful glad you came back.

- Oh, yeah?

- I thought about you a lot.

Every time I put on this dress,

I thought about you.

I like it.

Oh, waiter.

Some more music,

and press all the buttons.

I never see that Mac no more,

you know.

- That's good.

- We broke up ever since that night.

He's a dopey kind of guy.

I should have given him

the air long ago.

With a fella like you it's different.

A girl wouldn't have any trouble

falling for a fella like you.

What's the matter, Bobo?

What is it?

What's the matter, Bobo?

What's happened?

- I like this one.

- You like it?

- Yeah.

- I like it too. How much is it?

- Ten cents a yard.

- Well, how much do we want? About, uh, 50 yards?

Oh, no. We could wrap

the whole barge up in 50 yards.

Let's see.

About 10.

No, no. It's not enough.

How much you got there?

Twenty-six yards.

Well, we'll take it all.

I like a lot of it.

- Okay. What's left over I'll make pillow covers.

- Anything else?

- Oh, well, uh, paint. You got paint?

- What color?

- Blue and white?

- Yeah.

- Blue and white.

- Blue paint and white paint?

No, one paint. Blue and white.

One paint, one color.

I don't understand.

Ajoke, see?

But it's over his head.

- Yeah. His, and mine too.

- Oh, yeah?

I'm sure they haven't

any better curtains in the White House.

You know, I think they could stand

some kind of a trim.

Has the United got any trim?

- Yeah, a little blue border.

- Okay. Tomorrow we get blue border.

Ah, you know, it's not bad at that.

Oh, uh...

you-you want blue border here too?

Oh, sure. All over.

Well-

It gives me a feeling

I never had before in my life.

Home?

Is that it?

Uh, I guess you know, hmm?

Know what?

We'll get married.

Do you want to?

I mean, honest?

Don't you?

Oh, look, Bobo.

You don't have to, you know.

I wouldn't hold you up

or anything like that.

Don't say that, Anna. Ever.

Aw, gee, don't get sore.

I didn't mean anything.

Listen. When I'm going to be married,

with my wife it must be different.

- You understand?

- Yeah.

Other girls, well, who cares?

But with my wife, the license,

the priest and the honeymoon.

- Yes, Bobo.

- Then the wife is different.

That makes her the wife.

The wife is the one you go on

the honeymoon with after the marriage.

Oh, gee.

I- I don't know whether to laugh or to cry.

Cry, cry? For what?

Because I want everything right?

Oh.

You crazy nut.

Come here.

Can I kiss ya?

Is that against the rules?

Kissing is okay.

Hey, hey, hey, hey.

Some kissing, but not all.

Oh, Bobo.

What?

Finish?

Yeah. Thank you.

Should knock, yes?

So sorry.

Today, two bottle sake.

All right?

Yeah.

Yeah, but I got a partner now.

Oh. Partner.

Good to have partner.

Very good.

Good for you, good for me.

- Here.

- She doesn't drink.

Oh, too bad.

Maybe you teach.

Oh, no. Never mind. Somebody's

gotta be able to count these fish.

Listen. From now on,

instead of a bottle of sake every day...

how'd you like to

pay me another dollar?

- No sake?

- No.

- Three dollar a day.

- Yeah.

- Okay.

- That's it.

We're in the dough already, huh?

Oh.

Very good.

You need some more bait?

Hey. We'd better hustle.

This guy ain't got a sardine left.

Good business. Yes?

Good-bye.

Blue borders.

Hey.

- You need some help?

- Sure. We can always use help.

- Well, I'll go with you.

- You sure you wanna?

I'm sure I don't want to, but I'm going.

I'm going out after bait.

- If that's what you want.

- Oh. Tsk, tsk.

I already answered that one.

We do it right, hmm?

- Sure.

- Bride and groom.

Bride and groom.

Well?

Oh, I love you, Bobo.

I love you.

I really love you.

- Hey. Make up your mind, will ya?

- Okay.

Okay.

Okay. Okay. Okay.

You're a funny guy.

Yeah, maybe you're right.

- That's Bobo, huh?

- Yeah.

- And he won't be back.

- Oh.

He won't be back tonight, huh?

That's right.

And I'm not at home either.

Here, wait a minute!

Wait a minute!

What's the rush?

Now listen.

Where's that sake

he's been talking about?

- Oh.

- Go on, and take it with you.

How about running

that dog out of here?

You run him.

You know him better than I do.

And evidently he knows you too.

Listen.

What about you leaving

for somewheres? Huh?

- Why don't you blow?

- Sure.

- You'll beat it?

- Sure. Anything you say.

Any time a guy comes along, I don't know him

from Adam, but anything he says do...

- I do it, of course.

- Huh.

One of them smart dames.

- Not dumb.

- Tough, huh?

- Why don't you come around when Bobo's here and ask him?

- I don't have to.

Look. Am I in your way?

Is that it?

Yeah. Yeah.

You're in my way,

and you're in Bobo's way.

- Oh.

- "Oh. "

A big "oh. "

A capital "O."

Like a rope around Bobo's neck.

Look. I'm tired.

I don't know what you're talking about.

And what's more,

I'm not interested in finding out.

Now how about taking

that bottle and beating it?

- I'll make you a present of it.

- You got it wrong.

You're the one to beat it, not me.

Okay, okay. I'm the one to beat it.

Now does that satisfy you?

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John O'Hara

John Henry O'Hara (January 31, 1905 – April 11, 1970) was an American writer who earned his early literary reputation for short stories and became a best-selling novelist before the age of 30 with Appointment in Samarra and Butterfield 8. His work stands out among that of contemporaries for its unvarnished realism. While O'Hara's legacy as a writer is debated, his champions rank him highly among the underappreciated and unjustly neglected major American writers of the 20th century. Few college students educated after O'Hara's death in 1970 have discovered him, chiefly because he refused to allow his work to be reprinted in anthologies used to teach literature at college level. "O’Hara may not have been the best story writer of the twentieth century, but he is the most addictive," wrote Lorin Stein, editor-in-chief of the Paris Review, in a 2013 appreciation of O'Hara's work. Stein added, "You can binge on his collections the way some people binge on Mad Men, and for some of the same reasons. On the topics of class, sex, and alcohol—that is, the topics that mattered to him—his novels amount to a secret history of American life." Five of O'Hara's stories were adapted into popular films in the 1950s and 1960s, yet, during his lifetime, O'Hara's literary reputation was damaged by the detractors he accumulated due to his outsized and easily bruised ego, alcoholic crankiness, long held resentments and by politically conservative columns he wrote in the 1960s, all of which at times overshadowed his gift for story telling. John Updike, a fan of O'Hara's writing and a fellow Pennsylvanian, said that the prolific author "outproduced our capacity for appreciation; maybe now we can settle down and marvel at him all over again." more…

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Submitted on August 05, 2018

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