The Arrangement Page #4

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
265 Views


- Mr. Sawyer.

- Arthur.

- See if you can get Mr. Anderson-

- No.

- Edward.

- Arthur.

- This may be the most difficult-

- Just say it.

We all know, you, I'm sure,

as well as anyone...

...you've been behaving

in a highly eccentric-

Just say it, Arthur.

None of us knows what you might or-

Take a chance. Say what's on your mind.

Have you got your checkbook with you?

- Yes.

- Good.

Well, Florence, in her absolute panic...

...thinks that until

you become yourself again...

...that you should put whatever

you have that's liquid, your cash-

Mr. Sawyer, the power of attorney.

- and your negotiable bonds

into a joint safe deposit box.

What in the world amuses you?

It occurred to me

that this was your idea.

Edward, I only put into words and action

what is on her mind.

It's been my experience

that when women, particularly women...

- ... feel this way-

- I kept 200.

- that money...

...its transfer, has a soothing effect.

- What's this?

- Power of attorney.

- All right?

- Y es. Y es.

- Sure you want to?

- It's what I want, thanks.

Edward, may I remind you that while you

live high, you also live close to the line.

Have you ever considered

what would happen...

...if that weekly

Finnegan check stopped?

Because the rest of it wouldn't.

Your mortgage payments,

insurance, your taxes. Oh, my God.

You do know that Mr. Finnegan

is rather upset with you, Edward.

I got a call from him himself.

I'm off salary until I'm myself again.

- You find that amusing?

- I seem to.

You know, he's convinced that I'm...

Arthur.

- Give Florence a message for me.

- Of course.

Tell her to look out for herself,

because I'm...

What?

Edward, I must tell you, as your

family lawyer and as your friend...

...that there's one thing which

Florence will not and cannot tolerate.

I don't recall the young lady's name,

you can supply that.

- Fire hydrant in the hall.

- Hi, Gwen.

How you doing, Gwen?

Well, what did you expect?

Gloria. Glad to see you.

Glad to see me?

- Is Mom here?

- You finally got here.

- Michael?

- Mike?

Hey, Mommy. Doctor.

Eddie. This is Dr. Weeks.

He's been taking care of Pop.

- Hello, doctor.

- How do you do?

This is Father Draddy. Thought it'd be

a good idea if he met your father.

Is the old man that bad? Oh, I'm sorry.

It just makes it a heck of a lot easier

later on. May it never happen.

- Six-twelve, right?

- Right.

This gentleman is with our party?

I'm the dead man's brother.

Joe. Eddie.

Doctor, just how bad is he?

Well, fluid in his left lung,

which will clear up in a couple of days.

However, your father

is well advanced in arteriosclerosis.

His brain is deteriorating

at a speed you will find shocking.

At times, he makes complete sense.

At other times,

he's given to extreme paranoia.

Unfortunately, the target

at the moment is your mother.

- I'm going to surprise you.

- How's that, sir?

I'm not going die.

Oh, well, I firmly believe that.

Then why are you here?

- Well, I just-

- Who sent you?

- Well, no one in particular.

- One time in your life, tell the truth.

My wife sent you.

You tell my wife...

...when I want priest...

...I send for pope!

I'm not ready to die yet.

I want my son, here.

Evangelos!

Evangelos!

Bigshot.

Now, Miss Costello, here is famous man.

You're the one?

You're the only thing he talks about.

He listened to me, take my ideas

and make bigshot success.

Right, boy? You listened to me.

I sure did, Pop. Everything I am today,

he made me. Right, Pop?

Enjoy your lunch.

Door. Door.

- Here, Pop, you eat this now.

- Poison.

I eat nothing they cook.

Only white bread from package.

Hey, Papa, how you feel really?

I have no money. That's how I feel.

- But you have enough for both, right?

- Right, Pop.

I'm here now,

everything's going to be copacetic.

"Copacetic. "

Oh, my boy.

Why your hair's getting gray?

No reason. I'm getting old, Pop.

Beginning, just beginning.

You'll be many times a millionaire,

guarantee.

How much money you made this year?

Oh, I paid taxes on about 80 thou.

Eighty thou.

"Oh, I pay taxes on 80 thou. "

But how much you make? Right?

Smart. Smart.

Don't tell me.

Your money, your business.

I know you got plenty.

- You saw him out there?

- Who?

Her boyfriend?

- Her boyfriend? Mom's?

- Sure. That Irish.

When you come, he hides.

Now, quick. See who's at door.

See who is at the door, quick.

- No one.

- There was someone.

There was someone.

I sit in the living room.

He sits over there, that Irish.

Waiting.

I close my eyes one second-

He get up. She get up.

They go at each other like dogs.

Dogs, I guarantee.

At her age, 71, like dogs.

- Five hearts.

- I pass.

All right, Pop?

- Evangelos, lock the door.

- Come on, Pop.

Lock the door!

He's 76. No, for permanent.

Now, how much, including everything?

Nurses, medicine, how much?

You love your father, boy?

Get me out of here.

When?

I want to go Empire State Building.

Is there my bank.

We sit down Mr. Meyer.

Jewish, but very fine man.

Knows me 35 years. We make loan.

- Father, son, right?

- Right, Pop.

I bring carpets from Persia,

beautiful goods.

Tabriz...

...Teheran...

...Kashan, Sarouk.

Make fortune. Do I know this business?

Better than anybody, Pop.

What?

Is this a nursing home

or the Waldorf-Astoria?

T omorrow you come with taxi.

We go home.

I make nice bath, put blue suit,

beautiful shirt, banker-style tie.

Haircut, shave, shoeshine, manicure.

You'll see. You'll see. I'm not finished.

You see. You see.

Evangelos.

Don't turn against me.

Why, I won't ever, Pop.

Mr. Arness, your alcohol rub.

Alcohol rub.

- He loves his alcohol rub.

- Evangelos, bring here some grapes.

Little white seedless kind I like.

And, Evangelos, I want melon.

I like nice melon.

Everything ready.

How much money you make today,

my boy?

- Money?

- Y es, money.

Money. You heard of it?

Evangelos. Evangelos.

Go down delicatessen.

Bring half-pound ham, half-pound tongue,

half-pound Swiss cheese.

He's gone to sleep, Sam.

- Well, Eddie, what do you say?

- I'll think about it.

There are plenty of perfectly nice

nursing homes...

...where if your father does doo-doo,

your mother doesn't have to clean.

- Shut up, Gloria.

- Oh, all right.

She's right, Eddie.

You think so too, huh?

- Don't just sit there.

- Take it.

- Say something.

- Gloria, I'll think about it.

- What is there to think about?

- Gloria.

I'm going to bed now.

Michael, I would like to go to the house

to get some clothes in the morning.

All right, Mom.

I'm going too.

I- I gotta see somebody.

I'll bet.

I don't know how your wife stands you.

Actually, I'm glad to meet you.

Gwen would never talk about you,

but I like things in the open.

Now, I knew you'd been close.

Yeah. We'd been close.

This program is presented to you...

...by your friends

at the Golden Bear Insurance Company.

This is your music station,

WMUS New York.

Your music as you want it.

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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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