The Rose Tattoo Page #5

Synopsis: An Italian-American neighborhood in Louisiana is disturbed when truck driver Rosario Delle Rose is killed by police while smuggling. His buxom widow Serafina miscarries, then over a period of years draws more and more into herself, trying to force her lovely teenaged daughter Rosa to do likewise. On one eventful day, Rose finally breaks away; Serafina learns of Rosario's affair with another woman; and a new carefree, handsome Italian truck driver enters her life...
Genre: Comedy, Drama, Romance
Director(s): Daniel Mann
Production: Paramount Pictures
  Won 3 Oscars. Another 7 wins & 7 nominations.
 
IMDB:
7.2
Rotten Tomatoes:
80%
UNRATED
Year:
1955
117 min
1,262 Views


Give me a sign.

Get your ice-cold lemonade.

Fine soft drinks.

N-37.

N-37.

Thirty-one. N-31.

B-46.

B-46.

Serafina Delle Rose, come sta, cara?

Come and sit down.

I got to see Father De Leo.

Where is Father De Leo?

- Sit down, please.

- No, I must find Father De Leo now.

- Have a seat, lady.

- I want you to meet my brother.

- Pleased to...

- Hello, hello.

- Take my chair.

- No, just find me the Father now.

This is the bachelor brother

I talk to you about.

He is working.

He is in his work clothes.

I am sorry you should meet him

like this in his work clothes.

Yeah, I got a big load of bananas

in my truck.

- I bring the folks here, now I go.

- Later, later.

Later I come back to pick up the folks.

Silence. Shut up, stupid.

Speak English.

You look tired.

Here, sit down in the chair.

Father De Leo!

I'm sorry.

- B-10!

- Me, me. Bingo. Bingo, me.

Bingo, bingo. Bingo.

Father De Leo...

- I got to see you, Father.

- Why, Serafina?

Let me talk to you, Father, please.

Come away from here.

You know these ladies.

- I know, I know. Hello.

- Serafina.

But this is private, Father.

You ladies, please, go.

Play with the bingo.

Thank you.

Bingo! I can't talk here, Father.

Come away from here.

Calm yourself, Serafina.

- We can talk in my office.

- Yes, thank you.

No. No, Father.

Not through the church, please.

- What's the matter?

- Where I was married, no.

Where you were married, where

your child was baptized and confirmed.

No, Father, please.

Not through the church.

Here.

We can talk here.

I fell down when I was married.

Do you remember, Father?

You collapsed at the altar.

I had just come to this country.

Do you remember?

Yes, I remember.

The marriage had been

arranged by letter,

exchanged between you and...

You remember.

I thought he would be ugly.

I couldn't speak.

I couldn't speak

from the moment I saw him

till the night after the marriage.

Then I said only, "Oh, love. "

"Oh, love. "

I had married a rose.

I didn't know I was

going to marry a rose.

I couldn't speak nothing in English

except, "Oh, love. "

"Oh, love. "

"Oh, love. " Oh, Father!

I can't breathe in this building.

I can't breathe in this building

where I was married, Father.

Serafina. Serafina.

I am not going to spare

your feelings, Serafina.

I'm gonna talk to you honestly,

as your spiritual father.

I am shocked. I am shocked

at the change in your...

In your appearance and behavior

since the loss of your husband.

Grief is a natural and dignified thing,

but like every other emotion, Serafina,

it can become excessive.

Then... Then it becomes

a sort of self-indulgence.

I knew this was going to happen

when you refused to obey

the laws of the church

and had your husband cremated.

I remember you dressed in blue silk.

Yes, yes. Like a lady wearing

a piece of the weather.

You walked tall and proud.

Now, you crouch and you shuffle.

You... You live and dress

like a convict.

You have no companions.

You're rude to your neighbors.

You don't mix with the women who...

They make the life without glory.

They make the life without glory.

I gave my husband much glory.

I was the peasant,

but I gave him glory.

I came to him with one dress,

but I brought him glory.

He was a baron,

and I brought him glory.

I brought him glory, glory.

Glory.

I don't believe that he took this glory

I gave him and gave me horns.

I don't believe he gave me horns,

Father!

What do you want from me?

Go to the bingo.

- Per I'amor di Dio.

- Go!

Serafina, the ladies only want

to be your friends.

Friendly?

They think they know something

that Serafina don't know.

They think I have these on my head.

But I ain't. No, I ain't!

Serafina, I think you

imagine too much.

The ladies want to be

your companions.

Companions. Them ladies.

The dummies I got in my house,

they make much better companions,

because they don't make up no lies.

No, no. What kind of ladies

are them women, huh?

At 30 years old, they got

no more use for the marriage,

except for the money,

the shoes, the food.

- What do you call this kind of ladies?

- Attenzione.

To me the marriage was beautiful,

like a religion.

Now my marriage

is dreams and memories only.

And I don't believe that the man

I keep in my heart gave me horns.

I don't believe, no!

I don't believe!

I don't believe he gave me horns!

The whole village is... Well,

the whole village is laughing at you.

Me too, I'm laughing.

- Listen to me! I'm laughing too!

- Serafina.

- Laughing!

- Serafina Delle Rose.

- Why aren't you laughing anymore?

- I think you had better go home.

- Serafina.

- No.

I think you had better go home.

Yes, I'll talk to you later.

No. Later's too late, Father.

You've got to tell me now.

Tell you what?

You used to... You used to hear

the confession of my husband.

Father, please,

did my husband ever speak of a...?

- Of a woman to you?

- Serafina.

Oh, Father, rispondetemi...

...this one question.

Did he ever speak of a woman to you?

- Serafina, how...?

- Tell...

- How can I tell you something I...?

- Tell me, Father. You got to tell me.

Serafina...

- Father, tell me. Please, tell me.

- Serafina.

You know better than to ask me

such a question.

The secrets of the confessional

are sacred to the priests.

- I know.

- They are never...

- They are never repeated.

- I know, but tell me.

You got to tell me.

- Tell me, Father.

- Please, Serafina. Let go of me.

Not till you tell me this question,

this answer. I want it. I want it.

Let go of me. Let go of me.

- Tell me, I let go.

- Let go of me.

- You don't tell, I never let go.

- Please.

I go mad! I go crazy! I never let go!

I never let go, Father.

- I tell you, Father.

- Mr. Mangiacavallo.

Mr. Mangiacavallo, please help me

calm this woman down.

I'll speak to her later,

when she's more calm.

Father! Father!

Oh, please. Please.

Father De Leo!

Father De Leo!

Father De Leo, tell me please.

Tell me, please. Tell me, please.

Tell me. Tell me.

Come on.

You'll be all right.

- Where am I?

- This... This is my truck.

It's OK.

- No, where...?

- You're OK.

I drive you home from the church.

You rest.

I'm sorry I couldn't take

you home in a taxicab.

But I'm a bachelor

with three dependents,

I can't afford no cab fare.

And you didn't have a purse with you.

Oh, yeah. Where is my purse?

- Did you have a purse with you?

- I think so. I don't know.

You want to go back and get it?

- We'll look for it?

- No, no, no.

- You sure?

- I want to go home, please.

That's almost where you are now.

When somebody else

is crying I gotta cry too.

I'm sympathetic.

I got too much of a heart.

Don't cry. Why should you cry?

I know. It ain't like a man.

Oh, a man sometimes

has to cry like anyone else.

You're very understanding.

Sometimes a man has to cry

the same as a woman.

A man is not so different

from anyone else.

- Take it.

- Oh, grazie.

You stop that, then I'll stop too, huh?

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Tennessee Williams

Thomas Lanier "Tennessee" Williams III (March 26, 1911 – February 25, 1983) was an American playwright. Along with Eugene O'Neill and Arthur Miller, he is considered among the three foremost playwrights of 20th-century American drama.After years of obscurity, at age 33 he became suddenly famous with the success of The Glass Menagerie (1944) in New York City. This play closely reflected his own unhappy family background. It was the first of a string of successes, including A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955), and Sweet Bird of Youth (1959). With his later work, he attempted a new style that did not appeal to audiences. Increasing alcohol and drug dependence inhibited his creative expression. His drama A Streetcar Named Desire is often numbered on short lists of the finest American plays of the 20th century alongside Eugene O'Neill's Long Day's Journey into Night and Arthur Miller's Death of a Salesman.Much of Williams' most acclaimed work has been adapted for the cinema. He also wrote short stories, poetry, essays and a volume of memoirs. In 1979, four years before his death, Williams was inducted into the American Theater Hall of Fame. more…

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Submitted on August 05, 2018

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