The Country Girl Page #5

Synopsis: Washed up singer/actor Frank Elgin has a chance to make a come-back when director Bernie Dodd offers him the leading role in his new musical. Frank however is very insecure, turns to alcohol and shuns even the smallest of responsibilities, leaving everything up to his wife Georgie who finds it harder and harder to cope with her husband's lack of spirit. Bernie tries to help Frank regain his self-confidence, believing that it is Georgie who's the cause of his insecurity.
Genre: Drama, Music
Director(s): George Seaton
Production: Paramount Pictures
  Won 2 Oscars. Another 5 wins & 11 nominations.
 
IMDB:
7.3
Rotten Tomatoes:
86%
UNRATED
Year:
1954
104 min
1,150 Views


Why should I care? They don't.

The producer doesn't come back

after the show...

- Leave the bottle.

- I need it for my cough.

- Leave it here.

- But I need it.

George, I need it.

- Frank's on stage.

- I know. I want to talk to you.

Last time we talked, Mr Dodd,

you reduced me to tears.

I promise you it won't happen again.

In fact, I'm glad you're here.

You ought to know he's getting a cold

and shouldn't be kept up late.

- We need stills. How's his spirit?

- Low.

- Why?

- Ask the Boston critics.

I've spent between

10 and 15 hours a day with Frank.

Nothing bothers him

except through your mouth.

We've been through that.

Either he laughs and makes bad jokes

or sits in silence and rots inside.

Either way, for your edification,

he's heading for a bender.

Why do women always think they

understand men better than men do?

Maybe because they live with them.

You'll have him full of whisky

before morning.

He's getting a cold. That's a reason

to jump down the well.

Why work so hard? You handle him,

and now you're trying to handle me!

And don't think I couldn't,

after handling a cunning drunkard.

If you loved this man, you could

never call him a cunning drunkard.

I have a greater love for the truth.

I'm a drunkard's wife.

That's the truth.

Stop looking at everything

as if it were a musical comedy!

I find you slightly grotesque.

You came here to tell me

something. What is it?

Cook's got a replacement for Frank

and a lot of money to protect.

I think Frank will improve.

Cook thinks he won't.

- Well, he won't unless you leave.

- You'll be sorry. He'll be helpless.

- I'll help him.

- You wouldn't know where to begin!

I'll begin by not calling him

a cunning drunkard.

I'll give him confidence

by rejoicing in his talents

instead of reminding him

of his weaknesses.

I'll let him face a decision

without fear.

I won't stifle him with bitterness.

I might bend the truth, but I'll get

a performance out of him.

That's the difference. You want him

to become the actor he once was.

I'm his wife. I want him once more

as the man he once was,

able to face responsibility, and you

don't do that by bending the truth!

You don't do it by stripping him

of self-respect.

I'll fight you for this man.

Not too hard. I may let you have him.

Oh, no. You want him wholly

and utterly dependent.

You realised, with all your fine

breeding, you were a failure.

It gave you a feeling of power

to control someone else's life.

Worse, you do it in the name of love.

You're as phoney as an opera soprano.

Did I forget to tell you I'm proud?

Make up your mind. Either you go

to New York alone, or you both go.

I'll go, on one condition.

Let me tell Frank in my own way,

in my own time.

As long as you're on that train

by tomorrow night.

- The traffic's a little heavy!

- Finished?

Got it all wrapped up.

Frank, I'd like to run through that

new scene after the matine tomorrow.

- You tired?

- Me?

How can you be tired playing a part

you've waited for all your life?

- Your energy was low again tonight.

- I know. It's this cold.

- Are you sure it's not nerves?

- Are you kidding?

- Tell him what's bothering you.

- What's bothering me?

- Cook and the notices, for instance.

- Oh, that.

I just wondered why

he didn't come backstage.

Is he mad or something?

Those weren't exactly money notices.

Mr Dodd believes in you. I can't

help you if you're worried. He can.

But I'm not worried.

Did you not tell me ten minutes ago

that you wanted

to hand in your notice?

I was just ribbing you, honey.

You got to be careful around here.

You can't open your mouth.

- Your wife's returning to New York.

- I said nothing of the sort.

- What do you mean, New York?

- We can talk about it later.

Would you leave us alone, Mrs Elgin?

Let's get one thing straight.

- What is that?

- It's cough syrup.

Pine, tar, cherries,

a whole bush in a bottle.

- This stuff is 22% alcohol.

- Alcohol?

I told Georgie to get something

to loosen my throat.

- Don't you know what these can do?

- She didn't look at the label.

Maybe she did. She's jealous

of the show and of me.

This is how far she'd go.

She'd even kick you off the wagon.

- I know she's high-strung...

- I want her back in New York.

We've got hard work ahead. I haven't

time for frustrated females.

Go back to the hotel and get some

sleep. I want you fresh tomorrow.

Mrs Elgin, Frank knows

exactly how I feel.

He appreciates what has to be done.

See you tomorrow, Frank.

He can be pretty arrogant

and insulting.

He had no right

to treat you like that.

Did you tell him that?

I poured it in the sink. If you

don't believe me, go and smell it.

- Where's the other bottle?

- What other bottle?

I'm tired. Where's

the other bottle of syrup?

I didn't buy another bottle. I wish

you'd take my word for something.

Never mind. I give up.

I'm not going to look.

- I apologise. He had no right...

- Stop putting on a front.

- Who's putting on a front?

- You are! You lie, you lie, you lie!

- Are you going back to New York?

- I don't know why not.

You want to leave me, don't you?

At the moment, I want you to get

dressed so we can get out of here.

Who's in New York? Who's the guy

you want to get back to?

I'm going to hit you

with the first thing I pick up!

- Now get dressed!

- If you're in such a hurry, go on.

I'll take a walk,

get something to eat.

- It won't do your cold any good.

- Let them worry about it.

- Do you want me to go?

- Yes, if you're in such a hurry.

Have you got the key to the room?

I'll get one from the hotel.

Don't wake me up when you come in.

I may be having a happy dream!

- 65, 75.

- That's for you.

Thanks.

Do you like me?

You're one of the most likeable guys

I've ever seen.

- Jackie, sing something!

- I'll sing if you'll be quiet.

- Yeah, Love And Learn.

- All right, simmer down.

It's my turn to holler.

Go, dad, go!

What about this guy?

Take me home, dad.

Hey, aren't you Frank Elgin?

I used to be. Not a word

or I'll tell them you're Harpo Marx.

- The Pump Song!

- I'm tired. Dance a while.

Order up. Buy something already.

- I'm sorry.

- It's all right. Another?

Yeah. Give me a double.

Pour, pour. Go ahead, fill it up.

Sorry about that drink.

It's all right. Could have happened

to anybody. Just an accident.

Yeah. Just an accident.

That's what the papers said.

It could have happened to anybody.

It was just an accident.

- Come in.

- Morning.

- Morning.

- How's it going?

- We got out 23 minutes.

- That's fine.

If we cut that chorus in half,

what will that give us?

- Another seven minutes.

- Good. That's where we need it.

Hello? Yeah.

What? When?

- Oh, no.

- I think you'd better come down.

I'll wait for you.

- Here's his keys, his belt.

- I know, I know.

75, 85, 90.

Here's your five dollars.

You promised me a couple of problems.

I see you made good your threat.

I didn't threaten you. I warned you.

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Clifford Odets

Clifford Odets (July 18, 1906 – August 14, 1963) was an American playwright, screenwriter, and director. Odets was widely seen as a successor to Nobel Prize-winning playwright Eugene O'Neill as O'Neill began to retire from Broadway's commercial pressures and increasing critical backlash in the mid-1930s. From early 1935 on, Odets' socially relevant dramas proved extremely influential, particularly for the remainder of the Great Depression. Odets' works inspired the next several generations of playwrights, including Arthur Miller, Paddy Chayefsky, Neil Simon, David Mamet, and Jon Robin Baitz. After the production of his play Clash by Night in the 1941–1942 season, Odets focused his energies on film projects, remaining in Hollywood for the next seven years. He began to be eclipsed by such playwrights as Miller, Tennessee Williams and, in 1950, William Inge. Except for his adaptation of Konstantin Simonov's play The Russian People in the 1942–1943 season, Odets did not return to Broadway until 1949, with the premiere of The Big Knife, an allegorical play about Hollywood. At the time of his death in 1963, Odets was serving as both script writer and script supervisor on The Richard Boone Show, born of a plan for televised repertory theater. Though many obituaries lamented his work in Hollywood and considered him someone who had not lived up to his promise, director Elia Kazan understood it differently. "The tragedy of our times in the theatre is the tragedy of Clifford Odets," Kazan began, before defending his late friend against the accusations of failure that had appeared in his obituaries. "His plan, he said, was to . . . come back to New York and get [some new] plays on. They’d be, he assured me, the best plays of his life. . . .Cliff wasn't 'shot.' . . . The mind and talent were alive in the man." more…

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Submitted on August 05, 2018

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    "The Country Girl" Scripts.com. STANDS4 LLC, 2024. Web. 18 Nov. 2024. <https://www.scripts.com/script/the_country_girl_19981>.

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