Riptide Page #3

Synopsis: Park Avenue party-girl Mary (Norma Shearer) and staid English nobleman, Lord Phillip Rexford (Herbert Marshall) are married on a lark, they live happily in London. He must travel to America on business leaving her home alone. Lord Rexford's aunt invites Mary on a trip to the Riviera where she runs into an old flame, Tommie Treal (Robert Montgomery). Under the spell of the sea breezes and the Mediterranean moon (a semi-excuse for adultery to keep Queen Norma's image clean, as this was a post-Production Code film), Mary is the "innocent" victim of a romantic escapade that makes headlines as well as the scandal sheets. None of Mary's explanations can soothe Lord Phillip, his cold indifference drives Mary, who fights against it (a minor and feeble struggle at best), closer to Tommie. As the two lovers surrender to their ardor, Lord R. learns from his lawyer that Mary had been telling the truth, and he calls for her to join him in Cannes with a clean slate. O.K, but as Chief White Eagle tol
Genre: Drama, Romance
Director(s): Edmund Goulding
Production: Warner Bros.
 
IMDB:
6.5
PASSED
Year:
1934
92 min
176 Views


I think as I please,

you're telling the story, I'm listening.

It's just that I don't seem

to amuse him these days.

He's like the conductor of an orchestra in a theater,

who doesn't laugh at the poor comedian's jokes any more.

No sense of humor. He never had any.

He looks at me in that funny dry way of his

and I feel more like crying than laughing.

I seem to have developed an unconscious fear

of displeasing him somehow or other.

My dear girl, come with me to Cannes.

What ?

Come and stay with me at Cannes.

That sounds divine, but...

You need sunshine, and laughter and a coat of tan.

Get thee behind me, Satan...

You need music.

Hi to yourself.

Lovely, gracias seorita.

Thank you, Brooklin, New York.

I must say...

Oh, do your best. Go and find Tommie...

Look at you.

My dear, I'm furious I'm living !

You know, you're missing all the fun.

The heartlessness of youth !

Now what's the matter ?

Have you forgotten Nina Pourtals' mad party tonight ?

You were invited.

A mad party ? Why aren't we there ?

This is a mad party right here...

Oh, but where is Tommie ?

He's upstairs in bed.

Who's in bed ?

Tommie Trent.

Tommie what ?

Tommie, you know...

He's from New York, so are you, aren't you ?

Am I ? And do I know Tommie ?

Why, the old slouch, where is he ?

In bed with his miseries.

With whom.

No names, please. Even among cads.

He's in bed with his sorrows, his miseries,

he won't see a doctor, he won't even take a drink any more.

He says he's world weary.

Poor Tommie. Misery and too much fun.

He promised faithfully. We must get him.

Dynamite wouldn't get him out of bed tonight.

He has skull pains up to here. No kidding.

I bet I could get him out of bed, we're old friends.

My dear, I promised Nina Pourtals.

You know that Tommie can make any party.

Yes, so I've heard.

I'm gonna get him.

No, no, then you won't come.

Tommie can bend anyone to his will.

I'm not bending this season.

Come on you, chaperone me. I'll get him out.

He looked my way once in New York.

Lucky you.

Now what does that mean in American ?

That means making a pass, my darling. Making a pass.

Come on, what's your name ?

You tell me yours first...

Easy, easy.

At's all the ice balls, there ain't no mo'.

Well, go and get some more ice.

Yessum.

Don't slam the door.

Tommie, I have a lady to see you.

Tommie ! Peek....

... a-Boo !

What, no Tommie.

Tommie.

Where's the lovely heir ?

Tommie ?

See if he's in there.

Thomas.

Tommie !

Not in bed.

I think he's gone out.

He must be here, the music's still on ?

Here Tommie, here Tommie....

What ? No Tommie.

Perhaps he's out on the balcony.

Tommie Trent, you old son-of-a-gun !

Madam, these old eyes fail me somewhat.

But that voice has a ring...

... that brings back memories of better days.

Take a look stranger, Mary Watts, New York City.

Collonade, 21. Man who hit on my roof and went to sleep

and woke me up in the middle of the night

when it started to rain. Who ?

Who ?

No one but you-hoo.

Madam, pray be seated.

Come on, Hetty is furious.

You've stood her up and kept the old gal waiting.

Erskine, you in your rude sound shattter me.

You're playing on my one raw nerve.

Leave me, Erskine, leave me.

I'm so sorry, sire.

No, now, don't you go.

You're going to a party.

What ?

Yes. That's what I said. Now wait a minute... wait...

this is mad...

Madam, I am glad to see no one, but from afar

pilgrims do come to dip their fingers

in the magic fluids of my dome.

And what must I do ?

What can I do but submit ?

It got to you at last. I knew it would.

Listen, I'm going, you're frightening.

Call me up when you come out of it, will you ?

Mary.

Well, that's something like it.

Mary, darling, I'm glad to see you.

How are you ?

I'm a little hung over, but I'm glad to see you.

You're just a teddy bear with a sore head.

What is this I read about you in the newspapers ?

Are you a duchess or something,

or is that just a press stunt ?

You guess.

Corn in Egypt, oasis in the desert,

but you are a sight for sore eyes.

Very touching, but we're going places.

Erskine, come on let's get some clothes on him.

You're going to a party.

Whither thy goeth, so will I follow on.

Allez, tout de suite, vite, marche !

I will be bathed, perfumed, dressed, earled...

What shall I wear ?

Something quite simple and a small hat.

A tuxedo ?

My old lace.

See that the lady has nothing she wants, Erskine.

I'll return in a jiffy.

You'll never be missed.

He's a scream.

See these gray hairs ?

Try living with him for a week.

Might be stimulating.

Look at me. I'm stimulated.

Is that what you call it ?

Nobody swiped them.

For me !

For you.

Will you introduce me ?

That's George.

Charming little fellow, George.

Here's to George.

George.

Have you ever seen anything

quite as mad as that Rexford girl ?

She's awfully pretty, isn't she ?

She's quite drunk.

Did you see her on the floor with those men just now ?

Shocking !

That was fun.

Mary. Don't do that. Mary !

It's full of water !

Mary.

Mary !

You're not gonna swim again, are you ?

What, this ? No, it's just for effect.

My hair is soaking.

Well friend Thomas, what now, what now ?

What now, Lady Mary, we are outcasts.

What now ?

Please, what makes you think

you can get away with that ?

You said please.

Now you've spoiled everything.

All right, now wait a minute.

Have a little drink. I mixed it all by my little self

over at the little bar.

Drink up.

Good.

Oh my, oh my, oh, my.

What an age, what a world.

What's wrong with it ?

I find it a very pleasant world.

It's all part of the coming of the great catastrophe.

What is ?

When girls like you turn out to be prudes.

What ?

What's gonna become of men like me,

that's what depresses me.

What do you mean, prude ?

You're pretending to be one

and you're being pretty convincing about it.

Just because I didn't let you...

You're crazy.

Where is she ?

With Tommie.

He's on an edge for days.

Give him a break.

Something must be done.

We must find them.

Bertie, they'll be all right.

Hetty's responsible for her.

Oh, Bertsie. You have no romance.

No. Come.

I'd love to.

You must admit that

if there wasn't a certain reason

for your saying no...

... that this moon, this place, this moment,

me, might not be quite so...

... repugnant.

Did I say anything about anything being repugnant ?

If it had been, I'd have left.

Then why the pose ?

What pose ?

A leopard cannot change its spots.

No more can you, ducky.

Can't a woman forget a past whatever it's been

when she marries and settles down ?

You settled down, all right.

That's an insult.

All right, be insulted then.

I am.

Bushes ? Tommie never goes in the bushes.

One of us must keep our senses.

Hetty goes absolutely pottie.

No thought of tomorrow, only thought of today.

I'm going to get up.

What will it look like if you do ?

Let's keep on looking.

I f we don't find them,

at least we shall have done our duty.

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Edmund Goulding

Edmund Goulding (20 March 1891 – 24 December 1959) was a British film writer and director. As an actor early in his career he was one of the 'Ghosts' in the 1922 British made Paramount silent Three Live Ghosts alongside Norman Kerry and Cyril Chadwick. Also in the early 1920s he wrote several screenplays for star Mae Murray for films directed by her then husband Robert Z. Leonard. Goulding is best remembered for directing cultured dramas such as Love (1927), Grand Hotel (1932) with Greta Garbo and Joan Crawford, Dark Victory (1939) with Bette Davis, and The Razor's Edge (1946) with Gene Tierney and Tyrone Power. He also directed the classic film noir Nightmare Alley (1947) with Tyrone Power and Joan Blondell, and the action drama The Dawn Patrol. He was also a successful songwriter, composer, and producer. more…

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Submitted on August 05, 2018

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