The Arrangement Page #6

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


- Sooner or later you will.

- Why are you so violent?

Because you and I have got

a huge reconstruction job to do...

...and because...

Why?

Because where were you last night?

Where were you, all night, last night?

All night.

I was with Gwen last night.

All night, last night.

You-

What are you whispering about?

Eddie, come with us.

Gloria has a list of homes,

we're going to drive and look at some.

- We've decided that-

- In this case, I decide.

In this case, your mother

has the last word and she agrees with us.

Well, ask her.

Oh, by the way,

I just spoke to Gloria on the phone...

...and she said that they've found

a very nice home for Mr. Arness.

No, Father. Old folks' homes

are for people who have nobody.

He has me.

I remember day I arrived this country.

I was 19. Beautiful boy.

Can you believe it?

First time I saw shore.

- Dr. Weeks.

- Long Island.

T ell me, isn't there anything

that can be done for him, really?

Make him as happy as you can

for as long as you can.

First time I saw shore, then-

- I was thinking-

- Actually, Gloria said-

- I was thinking of taking him to Florida.

- Oh, Mr. Arness.

There's a town of Greek sponge fishermen

down there.

You mean kidnap him?

I'm sorry.

You'd have to give permission,

wouldn't you?

- Yes. And, of course, I couldn't do that.

- Father Draddy?

Mr. Willis is looking for you.

What if I were to?

Kidnap him?

I couldn't give permission.

But despite that...

...if you were to,

the best time would be around midnight.

I'll be giving the nurses on the floor

some special instructions.

Going down.

Thanks, Charles.

Come on, Pop. Upstairs to bed for you.

- I sleep here.

- Pop, you can't stay here.

- I sleep here.

- Pop, you-

She give my keys certain persons.

You understand?

All my business papers.

Don't repeat that.

Who knows what kind, God knows,

monkey business going on?

My feet cold.

Yeah, I'll get something for you.

There, feel that?

You're gonna be warm

in a couple of minutes.

- Tomorrow, first thing, we go to bank.

- Right, Pop.

Tomorrow I'm gonna buy you

those little white grapes you like, huh?

I hear that before too.

Are you really gonna take him

to the bank tomorrow?

What else can I do?

His feet were like ice.

- What's his name?

- Sam Arness.

Sam, it's good to see you. Come in.

But after I'm married,

we could see each other.

Get a place, fix it up

and I'd take care of you there.

That's all you want of me anyway,

the night stuff, everything perfect.

And that's all I want of you.

You say you want the truth. That'd be it.

Isn't that what you've always wanted?

Money is a little tight right now.

Gwen.

- T omorrow.

- Right.

What time is it?

Morning. I don't know.

Gwen, I'm gonna marry you.

I don't hear a sound out of you...

...for a year and a half.

Now you come on

with that marriage salami.

- What the hell do you think I am?

- Gwen, I'm going to marry you.

Did you expect to find me waiting here,

my tail on ice, with your-

- I expected what I got.

- Let me tell you what you got.

After you dropped me at Chet's, I made

up my mind to clean you out of me.

The next night I went to Downey's.

A guy said, "Have a drink. "

- I said, "You're in luck. "

- And?

To finish you off,

I called up Jack Schnee.

- The poster man?

- That's right.

- What was his attraction?

- You didn't like him.

That was his attraction,

that's the way I went.

And I'll tell you the best of all.

An Italian.

A movie producer: fat, pig rich, arrogant.

An old man with a nothing body.

But he'd look at me

and he'd smile that soft Italian smile...

...and he'd hold me

with those soft Italian hands.

Like the hands of one of those old saints.

No poetry about love...

...but such affection.

The purest, the most honest,

the most believable thing-

- I don't care. You're gonna marry me.

- People aren't that way.

They pretend, lie, like you do, because

they can't take it the way they really are:

Faithless.

You can't take it the way

you really are, faithless.

And the way I really am.

And love? For songs.

"Love" is the word they say

before they pull your guts out.

What are you doing here?

- You can lie to me but I'm not gonna-

- You're here because you love me.

- I don't love you, you son of a b*tch!

- Don't lie to me!

Stop it, son of a b*tch! Stop it! Stop it!

Taxi here? I'm ready.

Get out of here!

Did you see that? He was raping her!

I mean he's insane, literally.

Literally insane.

All right, go. Fix breakfast.

- I talk to boy alone.

- Don't talk to her that way.

It's okay.

How about some scrambled eggs?

- I don't want make trouble.

- He wants eggs.

Evangelos, don't get fresh with me.

Pop, how'd you sleep

on that couch last night?

- Your grandfather was here last night.

- What'd he say?

He was angry with me.

He said, "Seraphim.

Seraphim, you are not finished. "

What'd he mean by that?

Everybody trying to bury me.

- Come on, now.

- You too.

- Pop, I don't wanna bury you.

- We soon find out.

- You keep doubting me.

- Because I want you to give me money.

I'm going into business again.

Now then.

How much you got?

I don't know.

You ever hear anything like this?

Grown man doesn't know

how much he has in bank.

Amen, amen.

Now, how much you got?

- You and Frances?

- Florence, Pop.

I- I really don't know.

Miss, I find my life, all conversation

change when subject money.

You find same thing?

Evening before, everything

"Sweetheart, honey, lollipop"...

...plenty chop-chop monkey business.

Next morning, cold behind, right?

- That's life.

- But from your son, you should expect-

Yeah, you boy.

All my life, I ask favor nobody.

- For chrissakes, Pop.

- Forget it.

Gold isn't everything, right?

Pennies from heaven, falling down.

Guarantee, falling down,

guarantee. Right?

Pop.

Please, Pop, why don't you sit down?

The truth is, I do have some property,

but I don't think I have any cash.

Miss, you ever hear anything like that?

Grown boy lying to his father?

I'm not lying, Pop. That's the truth.

Evangelos, why you make me beg

like this in front of stranger?

This is my last chance.

Everybody laughing at me.

Everybody says, "He's finished.

- Sam's finished. No brains. "

- You've got plenty of brains.

- If you don't get this, no brains.

- That's not the point, Pop.

I know, the point is gelt, gelt, gelt

is more important than your own family!

I'm just like my father.

Evangelos, my last hope is on you.

You owe me.

Look at me.

You see those Irish, those Armenians,

send their sons college?

I worked my way through college.

You did everything you could to stop me.

If it wasn't for Mother-

Where do you think she got money?

From my pockets!

Send good-for-nothing, hopeless-case son

Shakespeare-and-so-forth college.

But then you found out what life is

and you make bigshot success...

...because you got merchant blood

here, here, here.

Don't give me that merchant-blood sh*t!

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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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