The Arrangement Page #3

Synopsis: Eddie is a very rich man who has everything he wants; money, family, success, but a car crash causes him to reevaluate the life he leads. Searching for the happiness he lost, he remembers his one-time lover, Gwen, even as his wife conspires to take his fortune...
Genre: Drama, Romance
Director(s): Elia Kazan
Production: Warner Home Video
  1 win & 2 nominations.
 
IMDB:
6.6
Rotten Tomatoes:
14%
R
Year:
1969
125 min
264 Views


- That's killing you.

- "That's killing you. "

- And that's killing you.

- "That's killing you. "

Who the hell were you talking to?

I- I can't sleep. I think I'll get a drink.

Oh, Eddie, you don't have to pretend

you need a drink.

Eddie.

I'm gonna tell you the truth.

The- The physical part,

that wasn't it really.

Somehow, by insulting me...

...got me mad...

...she made me look at myself

in a way I hadn't done for years.

That's why I held onto her the way I did.

Finally, when I wouldn't leave you,

she got fed up.

What do I have to do to convince you

I'm not your girl anymore?

It was at Collier's house in Connecticut.

That night,

we were both out of our heads.

Why don't you put that thing away,

let me interview you for a change?

- What are you, Syrian?

- No.

Well, you' re some kind of wog.

I'm a Greek.

And what's your name?

It certainly isn't Evans Arness.

That's my pen name.

I started out as a writer and then...

- In the office, I'm called Eddie Anderson.

- What the hell's your real name?

- Depends on how far back you wanna go.

- T o when your name meant something.

Me, for instance. Collier. Coal miner.

Topouzoglou.

- How's that again?

- That's my name, Evangelos Topouzoglou.

Now, that is one hell of a name.

We've been together almost a year.

"Give you time"?

She said, "We were together a year.

'Give you time'? "

Now, you listen to me.

Go back to your original name.

You never really meant it.

The truth is, you thought

you were too good for me.

I knew like you did Finnegan quick,

you'd do me quick.

Then what the hell were you

stringing me along all those months for?

- Lying to me all those months.

- Gwen. Gwen.

Okay. Okay.

Okay, you're too good for me, right.

Mr. Collier, I'll be going to bed now.

- Is there anything else?

- Let's go, Gwen.

No, thank you, Sheila. Good night.

- Good night.

- Gwen.

I think I'll stay here.

Do you mind?

Welcome.

Gwen, we're leaving.

That is for the lady to say.

Mr. Collier...

...she came with me

and she's leaving with me.

Sit down, Gwen.

I walked away

and left her with him, like that.

Why?

I've often wondered.

Was I glad to be out of it?

I don't know.

The strangest thing happened.

All I could think of...

My mother, the way she used to-

I don't know what one thing has to do

with the other, but I left her there...

...and went back to the city.

About 2:
00 in the morning,

I was in a bar, dead drunk.

And for no reason in the world...

...I picked a fight

with an absolute stranger.

And you don't wanna make a complaint?

No, officer. I had it coming.

Since that night, Florence,

I don't like my life.

I don't like the way we live, this house.

I don't like-

Then change it!

If you don't like the way we live,

then change it!

I'm not here because I like it here,

I'm here because of you.

Goddamn it, Eddie, goddamn it.

I mean, Eddie, be just.

Be fair.

I guess what I don't like

is the person I am.

Can't do anything about that, can I?

But, darling, you can.

With help, you can change who you are.

Can a 44-year-old man who doesn't

like himself go back and start again?

That's the plot of our true romance,

my faithful reader.

And you don't have to wait

till next month's issue for the answer.

She spoke the truth, Gwen.

I'll never change.

This is me, let's face it.

Our hero hasn't got

the courage to leave his wife...

...even though- Even though

he knows it would save her life.

Florence.

Thanks.

Darling, if I didn't see you through this,

what would I be for?

Well, I'll go back to work

tomorrow morning.

Touch up my sideburns,

grow my mustache back.

I don't know

if I can take that scene anymore...

...but I'm going to try.

Eddie, I'm so glad.

I think a lot of you, Florence,

you know that.

I know you do, baby.

We'll do the best we can.

Oh, we'll do better than that.

Why are you all that glad I'm going back?

Oh, I don't know.

I guess because I get the bills...

- ... and I write the checks.

- I wish I had more.

We have enough money.

No, no. I meant something else.

More stomach.

Courage.

I'm awfully tired.

Yes, yes.

Yes, of course you are.

I'll just hold you.

Oh, Eddie...

...I know it's going to be good again.

Like it was in the beginning.

I have faith in that.

Yes.

You sleep.

Sleep, baby.

Sleep.

Sleep.

What happened to you, Eddie?

- What?

- What you could have been.

- What?

- A wonderful man.

Eddie.

- Here, have one of mine.

- Okay. What is it?

It's a Zephyr.

I'm sorry, Florence.

I'm awfully sorry.

So this is a Zephyr?

- Isn't bad.

- I like them.

Tastes clean.

And when are you gonna

change to Zephyr?

I'm going to work now.

We now bring you the local news...

...followed by sports

and the latest weather report.

In Greendale yesterday,

a local man, Frederick Beck...

...went berserk, killing his wife

and three children.

No comment.

Glad to see you, Eddie.

Glad to be back.

Glenn, get him a drink.

Here's the computerized for you.

We've gotta do something about it.

It's up to you.

Bullshit.

You know what we're gonna put

on the tip of everybody's tongue.

Mustn't say the dirty word here, but

it's not the "clean" one, it's the big C.

That's it, huh?

Thanks.

Now listen, Anderson, $5 million.

You better get a hold of yourself.

You're about to cost this company

$5 million in billings.

Hello, Frank? Finnegan. Yes.

First, I wanna say that Eddie Anderson...

...does not represent

the thinking of this company.

I'm taking over

the Zephyr account myself.

Damned if I know.

He ought to see a psychiatrist.

Baron, zero, zero, Romeo.

Baron, zero, zero, Romeo.

Leave area immediately.

You 're in violation

of federal and city regulations.

Here he comes.

- You all right?

- Of course.

Hey, mister, we' re here.

Eddie?

Eddie, dear?

I don't know what's the matter with him.

What's the matter with you, mister?

- Hello, all. Arthur, how are you?

- Eddie.

Hey, cabbie, this is my lawyer,

Mr. Arthur Houghton.

Take care of the gentleman, Arthur, huh?

Eddie. Eddie, your brother

called from Connecticut.

It's about your father.

And Mr. Finnegan called.

He owes me 62.70.

Sixty-two seventy?

Gentlemen, Mr. Anderson has been under

severe emotional stress recently.

I'm the consulting doctor here.

I can attest to the fact

he's not been himself recently.

He told me to wait

while he went up in the plane.

Have you got a pilot's license?

They want to see

your pilot's license and ownership.

They're waiting, Eddie.

- In the bottom drawer.

- Thank you.

Mike?

What's that, Mike?

I was just coming east.

Pop?

When? When did that happen?

Sure.

Did he ask for me?

When did it-? Yeah.

Okay.

United Airlines flight 16

nonstop to New York...

...now departing Gate 75.

All aboard, please.

I'm out of breath. I called your brother.

He told me about your father.

Pneumonia?

- Seems to be under control.

- Good.

Now, if I could persuade you

to take a later plane.

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Elia Kazan

Elia Kazan (; born Elias Kazantzoglou; September 7, 1909 – September 28, 2003) was a Greek-American director, producer, writer and actor, described by The New York Times as "one of the most honored and influential directors in Broadway and Hollywood history".He was born in Constantinople (now Istanbul, Turkey), to Cappadocian Greek parents. After attending Williams College and then the Yale School of Drama, he acted professionally for eight years, later joining the Group Theatre in 1932, and co-founded the Actors Studio in 1947. With Robert Lewis and Cheryl Crawford, his actors' studio introduced "Method Acting" under the direction of Lee Strasberg. Kazan acted in a few films, including City for Conquest (1940).Noted for drawing out the best dramatic performances from his actors, he directed 21 actors to Oscar nominations, resulting in nine wins. He directed a string of successful films, including A Streetcar Named Desire (1951), On the Waterfront (1954), and East of Eden (1955). During his career, he won two Oscars as Best Director, three Tony Awards, and four Golden Globes. He also received an Honorary Oscar. His films were concerned with personal or social issues of special concern to him. Kazan writes, "I don't move unless I have some empathy with the basic theme." His first such "issue" film was Gentleman's Agreement (1947), with Gregory Peck, which dealt with anti-Semitism in America. It received 8 Oscar nominations and 3 wins, including Kazan's first for Best Director. It was followed by Pinky, one of the first films in mainstream Hollywood to address racial prejudice against black people. In 1954, he directed On the Waterfront, a film about union corruption on the New York harbor waterfront. A Streetcar Named Desire (1951), an adaptation of the stage play which he had also directed, received 12 Oscar nominations, winning 4, and was Marlon Brando's breakthrough role. In 1955, he directed John Steinbeck's East of Eden, which introduced James Dean to movie audiences. A turning point in Kazan's career came with his testimony as a witness before the House Committee on Un-American Activities in 1952 at the time of the Hollywood blacklist, which brought him strong negative reactions from many liberal friends and colleagues. His testimony helped end the careers of former acting colleagues Morris Carnovsky and Art Smith, along with ending the work of playwright Clifford Odets. Kazan later justified his act by saying he took "only the more tolerable of two alternatives that were either way painful and wrong." Nearly a half-century later, his anti-Communist testimony continued to cause controversy. When Kazan was awarded an honorary Oscar in 1999, dozens of actors chose not to applaud as 250 demonstrators picketed the event.Kazan influenced the films of the 1950s and '60s with his provocative, issue-driven subjects. Director Stanley Kubrick called him, "without question, the best director we have in America, [and] capable of performing miracles with the actors he uses." Film author Ian Freer concludes that even "if his achievements are tainted by political controversy, the debt Hollywood—and actors everywhere—owes him is enormous." In 2010, Martin Scorsese co-directed the documentary film A Letter to Elia as a personal tribute to Kazan. more…

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Submitted on August 05, 2018

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