Sweet Charity Page #5

Synopsis: Taxi dancer Charity continues to have Faith in the human race despite apparently endless disappointments at its hands, and Hope that she will finally meet the nice young man to romance her away from her sleazy life. Maybe, just maybe, handsome Oscar will be the one to do it.
Genre: Comedy, Drama, Music
Director(s): Bob Fosse
Production: MCA Universal Home Video
  Nominated for 3 Oscars. Another 3 nominations.
 
IMDB:
7.0
Rotten Tomatoes:
83%
G
Year:
1969
149 min
1,801 Views


Um...

No.

Ask me some more

questions.

Well, look,

Miss, uh, Valentine...

How about, uh,

stenotypist?

Oh. Are you

a stenotypist?

Well, not at the moment.

But you do stenotype?

- Maybe.

- Uh-huh. What do you mean?

What is it?

Um, where did you

go to school?

Uh, public

elementary school #84.

I mean after that.

After what?

This isn't goin'

too good, is it?

Have you ever had

any formal training...

in any field whatsoever?

Well, nothing

that comes to mind.

Well, then, what do you

expect me to do?

I told you,

find me a nice job.

But you can't do anything.

B- But I must be able

to do somethin'.

Well, I mean, everybody

knows how to do somethin'.

Don't they?

I used to think so.

Look, miss, uh...

Valentine. Oh, please, Mr. Nicholsby,

you gotta find me somethin'.

I don't wanna go back to that

place where I'm workin', you know?

I mean, I want a nice job where

I can meet some nice people.

I w... I want very much

to change my life.

I'll work hard. I'll work awful

hard. And I'll learn quick.

Find me somethin',

Mr. Nicholsby, please.

Ohh, is this a gag?

- Huh?

- I'm right, aren't I?

It is a gag. Those guys down

the hall put you up to it.

Like the time they sent over a guy that

stuttered for a radio announcer's job.

They should know by now

I can spot 'em.

You can tell them

you really had me going.

But it took you a while,

didn't it?

Well, you're a very good

sp-sport, Mr. Nicholsby.

Listen, you're

pretty good yourself.

Well, I gotta be goin' now.

I have a job, you know.

I got a swell job.

I was just

helpin' 'em out.

That stuff about "public elementary

school #84"... That was perfect.

Yeah, it was good.

Miss? Are you

going down, miss?

Miss, I'm afraid I'm

going to be awfully late.

I didn't mean to rush

you. I hope I wasn't rude,

but I have an appointment, and

if I'm late, they'll blow a fuse.

- What was that?

- We stopped.

Why did I have to say that?

About blowing out a fuse.

What a dumb thing to say.

Press the button over there.

We'll get started again.

We're stuck.

Yeah.

Oh, boy.

Kind of st...

Kind of stuffy in here.

Isn't it

kind of stuffy?

Maximum weight in pounds:

Yeah, we're all right.

Course we're all right.

Yeah, we're fine. We're fine.

Yeah.

We're just stuck in the...

the little old elevator.

Hey, are you okay really? Who, me?

Yeah.

Oh, yes, I'm fine.

I'm fine. L-I have to get used to it,

that's all, 'cause this is the first time...

I've ever been trapped

in an elevator.

Trapped, trapped, trapped.

Hey.

Hey, do you have that thing, you know,

where you're scared of small, tight places?

Claustrophobia? No, no, no. Yeah.

Nothing like that.

Claustrophobia?

No, no, no, no, no, no.

No, I-I just,

uh, can't stand...

small, tight places.

But I can handle this all right, because I know

we'll get out of here in a couple of minutes.

- Well, sure, we will.

- You really think so?

- Of course I think so.

- If you thought we're really trapped, what would you say?

But we're not

really trapped.

Yeah, I know, but if you thought

we were, what would you say?

Then I'd say,

"We're really trapped. "

My God! I knew it!

I knew it!

Dear, you shouldn't

get so excited.

Yeah. Look.

Isn't this awful?

'Cause I never act this way, really.

I'm a very calm, organized person.

I want you to know that if-if-if-if

it really comes down to it,

you can depend on me.

You understand that?

Yeah, I understand.

Yeah. I just hope

it doesn't come down to it.

Maybe I should yell for help. Why not?

Help.

Help.

Help!

Oh! Here. My name is

Charity Hope Valentine, and...

Hey, you're shaking!

All over.

Let me rub your wrist.

You know what I feel like doing now?

I mean, you know what my impulse is?

To take off

all my clothes.

I don't think that

would do very much good.

You'd think they'd have a telephone

in here, wouldn't you? Never again.

Never go in an elevator again without

checking for a phone! Always check for a phone!

Hey.

Listen, I have an idea.

What do you think of this?

Climbing out the top of the elevator,

shimmying up the cable and then forcing

the door open on the floor above.

Well, it might work, but I do

think it sounds a little dangerous.

Then don't try it.

Stay here with me.

Hey, come on down there! We

don't think it's funny anymore!

If I could just get out

for a few minutes.

Just a few minutes outside,

and then I'd be all right.

Then I'd come back inside. Listen.

I really think the best thing to do

is keep talking about something else.

Then you won't think about it, okay? What's

your name? Your name. What's your name?

Don't ya have a name?

I don't think so.

Well, sure you have a name. Everybody's

got a name. Bruce, Howard, Richard...

Oscar. My name

is Oscar Lindquist.

Oscar Lindquist?

It's stuffy in here.

No, no, no, let's keep our clothes

on, Oscar. Now, where do you live?

Who? Oscar Lindquist. Where

do you live, Oscar Lindquist?

Keep talking. Where do

you live? In an elevator!

You don't live in an elevator.

You live in a house. Now concentrate!

breathing so much. I'm gonna use up all the air.

Keep talking, Oscar.

Keep talking.

That's not fair. You should

breathe some of the air.

I can breathe. Now

listen. Where do you work?

The Excelsior Life Insurance company. "Your

life is our business. " I'm an actuary.

What's an actuary? I figure out

premiums based on the probabilities.

Good, Oscar. Now what's

a probability? The odds.

The odds on what? Keep talking.

Suppose you wanted a policy.

Yes, I want a policy. Go on. It's my

job to study your particular situation...

Yes. And then figure out the odds...

on your meeting with

an unfortunate accident...

like... like suffo...

suff...

suffocating in an elevator.

Oscar! Mr. Lindquist!

Are you all right?

Boy, this is really

my lucky day.

Of all the millions of guys in town, I

wind up with a candidate for the funny farm.

Not too bad-lookin' though.

For a fruitcake.

It's a nice face

As faces go

It's a very nice face

With a place

for every feature

Every feature in its place

Not a commonplace face

His eyes

Blue

His chin's stubborn and strong

His ears

They're ordinary ears

His nose

A little long

Still

It's a gentle face

A little square

A little corny

It's a sentimental face

If he'd smile

He'd look like so

When he's mad

He'd look like so

So

Don't make this

a federal case

It's just another pretty face

But you know:

It's a very, very

Very nice

Face

Where am I? Do you remember

where you were before?

No. Well, you're still there.

Oh, my God! Don't leave me!

I won't leave you, Oscar.

I promise. I'll stay right here

in this elevator with you,

and everything's

gonna be just fine.

What happened? I think

the lights went out.

Oh, boy!

Help.

Help.

Help.

Help.

Help.

Help! Help!

Help.

Help.

Help.

Oscar, Oscar!

The lights are on.

Push the button. Push the button! Yes.

Oh! It's moving. It's moving!

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Neil Simon

Marvin Neil Simon (born July 4, 1927) credited as Neil Simon, is an American playwright, screenwriter and author. He wrote more than 30 plays and nearly the same number of movie screenplays, mostly adaptations of his plays. He has received more combined Oscar and Tony nominations than any other writer.Simon grew up in New York City during the Great Depression, with his parents' financial hardships affecting their marriage, giving him a mostly unhappy and unstable childhood. He often took refuge in movie theaters where he enjoyed watching the early comedians like Charlie Chaplin. After a few years in the Army Air Force Reserve, and after graduating from high school, he began writing comedy scripts for radio and some popular early television shows. Among them were Sid Caesar's Your Show of Shows from 1950 (where he worked alongside other young writers including Carl Reiner, Mel Brooks and Selma Diamond), and The Phil Silvers Show, which ran from 1955 to 1959. He began writing his own plays beginning with Come Blow Your Horn (1961), which took him three years to complete and ran for 678 performances on Broadway. It was followed by two more successful plays, Barefoot in the Park (1963) and The Odd Couple (1965), for which he won a Tony Award. It made him a national celebrity and "the hottest new playwright on Broadway." During the 1960s to 1980s, he wrote both original screenplays and stage plays, with some films actually based on his plays. His style ranged from romantic comedy to farce to more serious dramatic comedy. Overall, he has garnered 17 Tony nominations and won three. During one season, he had four successful plays running on Broadway at the same time, and in 1983 became the only living playwright to have a New York theatre, the Neil Simon Theatre, named in his honor. more…

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Submitted on August 05, 2018

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