The Strange Love of Martha Ivers Page #2

Synopsis: In 1928, young heiress Martha Ivers fails to run off with friend Sam Masterson, and is involved in fatal events. Years later, Sam returns to find Martha the power behind Iverstown and married to "good boy" Walter O'Neil, now district attorney. At first, Sam is more interested in displaced blonde Toni Marachek than in his boyhood friends; but they draw him into a convoluted web of plotting and cross-purposes.
Director(s): Lewis Milestone
Production: Paramount Pictures
  Nominated for 1 Oscar. Another 1 nomination.
 
IMDB:
7.5
Rotten Tomatoes:
100%
UNRATED
Year:
1946
116 min
794 Views


I want to talk to you both.

Sit down.

Now, when the police come,

you will tell them...

exactly what you told me.

- Do you understand, Martha?

- Yes, Mr. O'Neil.

- And you, too, Walter?

- Yes, Father.

You poor child.

You'll be all alone in the world now.

Except for Walter and myself.

But you needn't be afraid.

We'll always be with you, Walter and I.

We'll never leave you.

Thank you, Mr. O'Neil.

... competition at the Fair Grounds last week.

In a handicap,

Chestnut King looks like an odds-on favorite.

That guy doesn't know what he's talking

about. Chestnut King's a dog.

He was losing races to cow ponies

years ago in Tijuana.

Well, what do you know?

What do you know about that?

How do you like that, sailor?

Leave a place when you're a kid, maybe 17,

18 years ago, and you forget all about it.

Then, all of a sudden, you're driving along...

and smacko, your own hometown

up and hits you...

right in the face.

End of the line, sailor. Come on, wake up.

- Where are we?

- In a small accident.

- What happened?

- The road curved, but I didn't.

Come on, I've got to put into Iverstown

for repairs.

Next time, I pick me a guy

that don't fall asleep.

Welcome to Iverstown.

Well, maybe this time they mean it.

You got anybody here

to fix this wreck, mister?

Roll her in.

- $10 more, you don't make it.

- Bet.

- $5 more, you don't.

- Bet.

- $5 to you.

- Shoot.

- How long will it take, pop?

- Can't tell till we look her over.

- Come back tomorrow.

- Open game?

Nope.

- Four.

- Right back, little Joe.

- 20-10 no four.

- You got a bet.

Come on, Harry, make four.

- Seven. You shoot, Joe.

- Thanks.

Shooting 20.

- $10 more, you don't make it.

- $10, I do.

- $10 more, you don't make it.

- $10, I do.

- How much will it cost, pop?

- Won't know till it's done.

- Hey, now, look, I want to know now.

- Take it someplace else.

Welcome to Iverstown.

We interrupt this program of dinner music

to bring you a special broadcast...

in the interest of the re-election

of District Attorney Walter P. O'Neil.

- Leave that on, will you?

- Ladies and gentlemen...

it is with deep regret that we are forced to

announce that...

Mr. O'Neil will not be able to address

this citizens' forum tonight.

Mr. O'Neil was suddenly taken ill.

But we are fortunate to have

the best loved civic figure of Iverstown...

the gracious Mrs. O'Neil, here in the studio

tonight to speak for him.

Citizens of Iverstown,

the issues in this election are simple.

- That's enough of that malarkey.

- This Walter P. O'Neil...

isn't that the kid

that used to live on Sycamore Street?

- His father used to be a school teacher?

- Yeah, that's him.

- You know him?

- Yeah, I used to.

A little, scared kid on Sycamore Street.

Now he's running for the district attorney.

- What's the odds?

- On what?

- The election.

- No odds. No takers.

This is a sure bet, mister.

Gonna be re-elected. Gonna be governor.

And I'm making book right now

that some day he'll run for president.

Gonna be whatever his wife

wants him to be.

- Some gal. Who'd he marry?

- You from this town?

- Used to be.

- You ought to know her then.

Old lady Ivers' niece.

- Martha Ivers?

- Yep.

Came into the whole works

after the old lady died.

Well, what do you know?

What do you know about that? Martha Ivers.

I don't know. You still look like

a scared, little kid, to me.

- Hello, Gallagher.

- Hey, wait a minute!

- Do I know you?

- Sure.

I'm the guy who tossed a rock

through that window once.

- And you're the guy who chased me.

- lf I chased you, I'll bet I caught you.

Come to think of it, I believe he did.

- Hello.

- Hello.

- You live here?

- Used to.

- Who runs this place?

- Lady, the name of Mrs. Burke.

- She's not home.

- You waiting for her?

Just came back to get my things.

I've been away for awhile.

- I'm waiting for a taxi.

- I used to live here, in this house.

Seventeen, eighteen years ago.

I was born here.

Don't kid me. You're older than that.

Well, I didn't move right after I was born.

Got one to spare?

- Got some more matches?

- You can have these.

Got the time?

- It's 11:
15.

- Now, ain't that just dandy?

- And I've got an 11:30 bus to catch.

- You can still make it.

Not if the taxi doesn't show up fast.

Know anybody who lives around here,

name of Masterson?

No.

- Know anybody in town at all, by that name?

- No, I'm from Ridgeville.

- Is your name Masterson?

- Yeah.

You mean, you're just getting home

after 18 years?

Well, 17 or 18.

You're just getting around

to looking up your people?

No, not exactly.

I just happened to be driving through

on my way West...

and got more or less curious, that's all.

Well, good luck.

- What you going to do?

- What do you mean?

I mean about your people.

I don't know. Maybe nothing.

Maybe tomorrow I'll go down to the

courthouse and look up the deaths...

- in the last 18 years.

- Can you do that?

Yeah, I think so.

Good night.

Bus terminal, please hurry.

I've got an 11:
30 bus to catch.

Mr. Masterson.

- I thought it was you, Mr. Masterson.

- I'm glad to see you again.

I gave you my last match.

Want a lift any place on the way

to the bus station?

You talked me into it.

You've got my matches. Got a name?

Toni. Antonia. Antonia Marachek.

Ain't that a dilly, Mr. Masterson?

Sam.

Please hurry.

The depot's just across the tracks.

You still got four minutes.

We would have made it,

if you didn't stop to pick up your gent.

We might be able to chase it.

I can get a bus back to Ridgeville tomorrow.

Maybe I won't get a bus back to Ridgeville.

Maybe I'll go someplace else.

Maybe in another direction.

Chicago or further west, maybe.

- Have you ever been out West before?

- Yeah.

I've never.

But maybe I will.

What's it like?

Big.

- Well, do you want to go back?

- I can't go back there.

I'll have to go someplace else.

Do you drink, Sam?

- Yes, I drink.

- I'll buy you one.

Okay.

Too bad, you want me to check your bag

in the station here?

Too bad, you want me to check your bag

in the station here?

I don't know. I guess I'll want it at a hotel.

- You don't want me to take you there?

- Do you happen to be at the Gable Hotel?

- Yeah.

- Can I go there?

It's a public place.

Here, tell the clerk that Sam Masterson

wants a room for a young lady.

- She'll register when she gets there.

- Yes, sir.

- Thanks.

- Keep it.

Classy. Blue lights, music...

- everything.

- A cafe.

When I lived in this town,

there were nothing but saloons.

My father used to live in them.

- Mine, too.

- We're related.

I'll have the same thing you have,

if you don't mind.

Scotch. I take a plain water chaser

with that...

when the Scotch isn't so good.

Two water chasers.

Did you drive far?

About 600 miles since this morning.

You weren't driving anything tonight?

No, my Stanley Steamer's in the garage,

having her face lifted.

You'd better bring us a couple more

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Robert Rossen

Robert Rossen (March 16, 1908 – February 18, 1966) was an American screenwriter, film director, and producer whose film career spanned almost three decades. His 1949 film All the King's Men won Oscars for Best Picture, Best Actor and Best Supporting Actress, while Rossen was nominated for an Oscar as Best Director. He won the Golden Globe for Best Director and the film won the Golden Globe Award for Best Picture. In 1961 he directed The Hustler, which was nominated for nine Oscars and won two. After directing and writing for the stage in New York, Rossen moved to Hollywood in 1937. There he worked as a screenwriter for Warner Bros. until 1941, and then interrupted his career to serve until 1944 as the chairman of the Hollywood Writers Mobilization, a body to organize writers for the effort in World War II. In 1945 he joined a picket line against Warner Bros. After making one film for Hal Wallis's newly formed production company, Rossen made one for Columbia Pictures, another for Wallis and most of his later films for his own companies, usually in collaboration with Columbia. Rossen was a member of the American Communist Party from 1937 to about 1947, and believed the Party was "dedicated to social causes of the sort that we as poor Jews from New York were interested in."He ended all relations with the Party in 1949. Rossen was twice called before the House Un-American Activities Committee (HUAC), in 1951 and in 1953. He exercised his Fifth Amendment rights at his first appearance, refusing to state whether he had ever been a Communist. As a result, he found himself blacklisted by Hollywood studios as well as unable to renew his passport. At his second appearance he named 57 people as current or former Communists and his blacklisting ended. In order to repair finances he produced his next film, Mambo, in Italy in 1954. While The Hustler in 1961 was a great success, conflicts on the set of Lilith so disillusioned him that it was his last film. more…

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