The Bridges of Madison County Page #7

Synopsis: The path of Francesca Johnson's future seems destined when an unexpected fork in the road causes her to question everything she had come to expect from life. While her husband and children are away at the Illinois state fair in the summer of 1965, Robert Kincaid happens turn into the Johnson farm and asks Francesca for directions to Roseman Bridge. Francesca later learns that he was in Iowa on assignment from National Geographic magazine. She is reluctant seeing that he's a complete stranger and then she agrees to show him to the bridges and gradually she talks about her life from being a war-bride from Italy which sets the pace for this bittersweet and all-too-brief romance of her life. Through the pain of separation from her secret love and the stark isolation she feels as the details of her life consume her, she writes her thoughts of the four-day love affair which took up three journals. The journals are found by her children after the lawyer was going over Francesca's will and all
Genre: Drama, Romance
Director(s): Clint Eastwood
Actors: Clint Eastwood, Meryl Streep, Annie Corley, Victor Slezak
Production: Warner Bros.
  Nominated for 1 Oscar. Another 6 wins & 14 nominations.
 
IMDB:
7.6
Metacritic:
66
Rotten Tomatoes:
89%
  The Bridges of Madison County Movie Quotes »
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PG-13
Year:
1995
135 min
3,802 Views

00:
38:57,429 -- 00:38:59,704 X1:188 X2:530 Y1:430 Y2:495

It's a very painfuI subject.

A very sore. . .

433

00:
38:59,949 -- 00:39:02,179 X1:169 X2:549 Y1:469 Y2:495

. . .sore subject matter, reaIIy.

434

00:
39:02,989 -- 00:39:04,945 X1:215 X2:503 Y1:431 Y2:495

-What happened?

-We became engaged.

435

00:
39:16,949 -- 00:39:18,541 X1:233 X2:486 Y1:469 Y2:495

You shouId reaIIy. . .

436

00:
39:19,789 -- 00:39:21,984 X1:178 X2:541 Y1:474 Y2:495

. . .write these stories down.

437

00:
39:22,229 -- 00:39:26,188 X1:149 X2:569 Y1:431 Y2:495

I wouId, except this is a femaIe

goriIIa. It had on eye shadow. . .

438

00:
39:26,429 -- 00:39:29,865 X1:196 X2:523 Y1:436 Y2:495

. . .and a IittIe Iip gIoss on

and it was so nice. . . .

439

00:
39:30,109 -- 00:39:31,337 X1:268 X2:451 Y1:474 Y2:495

We stiII write.

440

00:
39:34,029 -- 00:39:36,145 X1:209 X2:510 Y1:430 Y2:495

I don't want

to put this stuff down.

441

00:
39:37,549 -- 00:39:38,504 X1:278 X2:441 Y1:473 Y2:495

I'm afraid. . . .

442

00:
39:39,629 -- 00:39:42,462 X1:210 X2:509 Y1:435 Y2:495

I'm afraid my writing's

a IittIe too technicaI.

443

00:
39:42,749 -- 00:39:46,105 X1:198 X2:520 Y1:431 Y2:495

The troubIe with being a

journaIist too Iong is. . .

444

00:
39:46,349 -- 00:39:48,943 X1:172 X2:546 Y1:436 Y2:495

. . .you stop aIIowing yourseIf

to invent.

445

00:
39:49,949 -- 00:39:52,417 X1:148 X2:571 Y1:468 Y2:495

I'II just stick to making pictures.

446

00:
39:53,869 -- 00:39:55,507 X1:252 X2:466 Y1:469 Y2:495

Making pictures.

447

00:
39:56,789 -- 00:39:58,188 X1:293 X2:425 Y1:474 Y2:495

I Iike that.

448

00:
40:00,109 -- 00:40:02,304 X1:171 X2:547 Y1:469 Y2:495

You reaIIy Iove what you do.

449

00:
40:03,949 -- 00:40:05,940 X1:191 X2:528 Y1:468 Y2:495

I'm obsessed by it, reaIIy.

450

00:
40:07,349 -- 00:40:09,226 X1:184 X2:534 Y1:469 Y2:495

Why is that, do you think?

451

00:
40:09,709 -- 00:40:11,028 X1:272 X2:447 Y1:473 Y2:495

I don't know.

452

00:
40:11,269 -- 00:40:15,547 X1:108 X2:610 Y1:430 Y2:495

I don't think obsessions have reasons.

That's why they're obsessions.

453

00:
40:19,029 -- 00:40:20,781 X1:199 X2:519 Y1:474 Y2:495

You sound Iike an artist.

454

00:
40:21,269 -- 00:40:22,827 X1:230 X2:488 Y1:468 Y2:495

I wouIdn't say that.

455

00:
40:23,069 -- 00:40:26,186 X1:175 X2:544 Y1:431 Y2:495

NationaI Geographic

Iikes their photos in focus. . .

456

00:
40:26,429 -- 00:40:30,468 X1:099 X2:619 Y1:431 Y2:495

. . .and not too much personaI comment.

I don't mind reaIIy.

457

00:
40:30,789 -- 00:40:32,108 X1:275 X2:444 Y1:473 Y2:495

I'm no artist.

458

00:
40:32,669 -- 00:40:36,662 X1:140 X2:579 Y1:430 Y2:495

That's one of the curses of being

too weII-adjusted, too normaI.

459

00:
40:36,909 -- 00:40:39,025 X1:160 X2:559 Y1:468 Y2:495

I don't think you're so normaI.

460

00:
40:39,749 -- 00:40:40,738 X1:314 X2:404 Y1:469 Y2:495

ReaIIy?

461

00:
40:40,989 -- 00:40:43,139 X1:170 X2:548 Y1:468 Y2:495

I didn't mean it in the way. . .

462

00:
40:43,389 -- 00:40:45,266 X1:167 X2:552 Y1:469 Y2:495

. . .in the way that it sounded.

463

00:
40:47,629 -- 00:40:50,939 X1:223 X2:495 Y1:430 Y2:495

We'II just chaIk it up

to a compIiment. . .

464

00:
40:51,189 -- 00:40:52,668 X1:257 X2:462 Y1:474 Y2:495

. . .and move on.

465

00:
40:55,509 -- 00:40:57,386 X1:182 X2:537 Y1:469 Y2:495

Did you just Iove teaching?

466

00:
40:58,829 -- 00:41:03,857 X1:087 X2:632 Y1:436 Y2:495

Yes, when there was a particuIar student

who can make a difference. . . .

467

00:
41:06,189 -- 00:41:09,420 X1:097 X2:621 Y1:435 Y2:495

They're aII supposed to, but they don't.

You tend. . .

468

00:
41:09,669 -- 00:41:14,789 X1:119 X2:600 Y1:431 Y2:495

. . .to singIe out 1 or 2 who you think

you can contribute something to.

469

00:
41:15,029 -- 00:41:18,817 X1:091 X2:627 Y1:431 Y2:495

-And did you?

-I hope so. One went to medicaI schooI.

470

00:
41:20,589 -- 00:41:21,908 X1:252 X2:467 Y1:468 Y2:495

Why'd you quit?

471

00:
41:23,669 -- 00:41:25,864 X1:220 X2:499 Y1:469 Y2:495

My chiIdren, my kids.

472

00:
41:26,349 -- 00:41:27,941 X1:319 X2:399 Y1:474 Y2:495

And. . .

473

00:
41:28,549 -- 00:41:31,017 X1:141 X2:577 Y1:468 Y2:495

. . .Richard didn't Iike my working.

474

00:
41:32,109 -- 00:41:33,861 X1:186 X2:533 Y1:469 Y2:495

But you miss it, obviousIy.

475

00:
41:34,389 -- 00:41:35,902 X1:218 X2:501 Y1:474 Y2:495

I never think about it.

476

00:
41:36,149 -- 00:41:39,221 X1:154 X2:564 Y1:430 Y2:495

What's the most exciting pIace

that you've ever been?

477

00:
41:41,109 -- 00:41:45,466 X1:153 X2:565 Y1:430 Y2:495

-UnIess you're too tired to taIk.

-Most exciting. . . .

478

00:
41:49,269 -- 00:41:54,297 X1:099 X2:619 Y1:430 Y2:495

You're asking if a man's tired of

taIking about himseIf? Been out much?

479

00:
41:56,709 -- 00:41:59,223 X1:216 X2:503 Y1:435 Y2:495

Didn't mean to make

it sound Iike a dumb--

480

00:
41:59,469 -- 00:42:01,619 X1:151 X2:568 Y1:468 Y2:495

Maybe it's a IittIe duII for you. . .

481

00:
42:01,869 -- 00:42:05,259 X1:147 X2:572 Y1:436 Y2:495

. . .teIIing this to some housewife

in the middIe of nowhere.

482

00:
42:07,869 -- 00:42:10,508 X1:233 X2:485 Y1:436 Y2:495

This is your home.

This isn't nowhere.

483

00:
42:13,629 -- 00:42:15,028 X1:249 X2:470 Y1:473 Y2:495

And it's not duII.

484

00:
42:18,269 -- 00:42:19,588 X1:296 X2:422 Y1:473 Y2:495

Let's see.

485

00:
42:22,869 -- 00:42:27,659 X1:114 X2:605 Y1:430 Y2:495

I guess I'd say that the most exciting

pIace I've been to was Africa.

486

00:
42:28,069 -- 00:42:29,866 X1:180 X2:538 Y1:473 Y2:495

Because it's another worId.

487

00:
42:30,109 -- 00:42:33,226 X1:200 X2:519 Y1:430 Y2:495

It's not just the cuItures

and the peopIe.

488

00:
42:33,469 -- 00:42:35,539 X1:171 X2:548 Y1:468 Y2:495

That's great, but it's the air.

489

00:
42:35,789 -- 00:42:38,098 X1:157 X2:561 Y1:474 Y2:495

The coIors from dawn to dusk.

490

00:
42:38,349 -- 00:42:40,738 X1:122 X2:597 Y1:468 Y2:495

There's something tangibIe about it.

491

00:
42:41,349 -- 00:42:45,627 X1:125 X2:593 Y1:436 Y2:495

The cohabitation of man and beast,

and beast and beast.

492

00:
42:45,869 -- 00:42:47,905 X1:158 X2:561 Y1:473 Y2:495

Who'II survive and who won't.

493

00:
42:48,629 -- 00:42:51,063 X1:115 X2:604 Y1:468 Y2:495

There's no judgement about it either.

494

00:
42:51,309 -- 00:42:53,379 X1:169 X2:549 Y1:468 Y2:495

There's no imposed moraIity.

495

00:
42:53,629 -- 00:42:56,097 X1:218 X2:501 Y1:468 Y2:495

It's just the way it is.

496

00:
42:56,349 -- 00:42:58,419 X1:228 X2:491 Y1:468 Y2:495

It's beautifuI, reaIIy.

497

00:
43:01,469 -- 00:43:03,744 X1:232 X2:487 Y1:436 Y2:495

Just nothing Iike it.

It's. . .

498

00:
43:03,989 -- 00:43:06,378 X1:214 X2:504 Y1:468 Y2:495

. . .a voyeur's paradise.

499

00:
43:08,789 -- 00:43:10,745 X1:230 X2:488 Y1:473 Y2:495

I'd Iove to see that.

500

00:
43:14,829 -- 00:43:17,821 X1:182 X2:537 Y1:430 Y2:495

There's safaris.

You can ask your husband.

501

00:
43:20,109 -- 00:43:21,337 X1:323 X2:396 Y1:474 Y2:495

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Richard LaGravenese

Richard LaGravenese (born October 30, 1959) is an American screenwriter and film director, best known as the writer of The Fisher King. more…

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Submitted on August 05, 2018

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