The Swan Page #7

Synopsis: Princess Beatrice's days of enjoying the regal life are numbered unless her only daughter, Princess Alexandra, makes a good impression on a distant cousin when he pays a surprise visit to their palace. Prince Albert has searched all over Europe for a bride and he's bored by the whole courtship routine. He is more interested in the estate's dairy than Alexandra's rose garden. And then he starts playing football with the tutor and Alexandra's brothers. Invite the tutor to the ball that night and watch how gracefully Alexandra dances with him.
Genre: Comedy, Drama, Romance
Director(s): Charles Vidor
Production: MGM
 
IMDB:
6.5
APPROVED
Year:
1956
104 min
443 Views


Each of them

is an immense world

of its own.

Each of them?

Each one.

Don't you think some of them

merely imagine it?

I'm sure it's difficult

for the rulers of this earth

to appreciate.

They speak of their

10 million population

or their army of 2 millions.

It never occurs to them

that each single one

of all those millions

is a sovereign world...

A world that is

not to be destroyed.

I am quite sure, my son,

that none of us

wants to destroy

any of your worlds.

Oh, I'm sure not.

Why don't you have a canape?

There are women who can do it...

With a single smile.

Don't you like

what I say, your highness?

Perhaps I do.

I'm afraid her highness doesn't.

I'm a little unaccustomed

to anything of the kind--

very unaccustomed--

and I do not

care for it.

I think

he talks delightfully.

They're meaningless

phrases, most of them,

but charming--

every star a sovereign world.

Not every one.

No?

No.

A planet, for

all the importance

of its title,

has no light of its own.

It shines only

with the reflected

glory of the sun,

the imperial sun.

I'm sure you're right,

professor.

I hardly know about such things.

No, your royal highness,

you don't know,

and you don't want to know.

This is wonderful...

A man who dares to

tell me there is something

I don't understand.

No, you don't.

Professor!

Albert, I must apologize--

for 20 years,

I've been waiting for

a turn of voice like that.

At last a man who

talks to me as an equal.

I'm enchanted

with the professor.

Whether you're

enchanted or not

doesn't interest me.

And such candor, delightful.

I'm having

an unforgettable evening.

Albert, perhaps

you'd like to go

to bed.

Ohh...

Beatrix, use

your smelling salts.

No use! Beatrix!

Mother, what is it?

Oh, go away, go away.

What's the matter,

cousin Beatrix?

Tu Te trouves mal?

Ma tete.

Tout d'un coup, ma tete.

Beatrix, dear.

I'll take you

to your room.

No, no.

I want Albert.

His French is better.

Albert.

I'm here, cousin Beatrix.

Ici est Le prince.

Merci.

Merci, Albert.

Non, Symphorosa.

Allez-vous-en!

Oh, Beatrix.

Ne me laissez pas,

Albert.

Ne me laissez.

No, my son.

Wait.

Karl, how can you stand there?

It may be genuine.

My dear aunt Symphorosa,

the genuine trouble

is still in this room.

I saw it coming

at the very start

of the evening.

Oh!

Please.

Well, my boy...

Have you had

enough of madness

for one night?

It's my fault.

I'm to blame for every--

All right, my dear.

Now, don't get excited.

Let's take this quietly.

That's why I stayed behind.

I couldn't stand

it any longer,

father.

I couldn't.

God knows I meant to keep

a hold on myself,

but I'm a man, and I'm in love.

How could I

stand there and

listen to him?

How could I let him--

are you angry with me, too?

No, father.

Then why do you shout at me?

I cannot only hear what you say.

I understand it.

Can you understand

how anyone could be

such a simpleton,

how anyone could be fool enough

to believe in that invitation,

believe

that a miracle

could still happen?

When I found that it hadn't,

something in me...

I had to do what I did.

I needed it.

I need even more.

More?

Yes! More!

This is our

serious, studious

young professor.

Well, my dear.

How do you

like this?

Oh, uncle Karl.

I like it very much.

Why,

this is even worse

than I thought.

If only he'll forgive me.

I'll forgive you for him.

Oh, don't be ashamed, my dear.

These things happen.

We can't help them.

That's not why I'm crying.

Why, then?

I'm so sorry for him.

I had no idea

how much he was hurt,

much more than I thought.

When he looks at me, I...

I feel so...

How do you feel, Alexandra?

Tell me.

I asked him

if I had hurt him

so much,

and he said,

"no. It was just

a box on the ear."

The way he said that,

I suddenly saw him

as a little boy

down on

the plains where

he used to live

in those little

low-roof cottages

with wide acacia trees

and the mother who loved him

and was so proud of him...

Even when she had

to box his ears,

and somehow

I felt the same way

about him, too.

What do you say

to that, uncle Karl?

I ought to box your ears.

Oh, darling.

You see, I understand women.

I don't...

But I don't care.

Poor mother.

I'd better get up to her.

You'd better do nothing

of the sort.

What your mother did

was very cruel.

Yes, she was cruel,

and I was cruel,

and out of it, I'm so happy.

Oh, uncle Karl.

How is it you

understand so well?

My dear, you don't

think I was born

in these robes.

Oh!

A fine position

your mother put me in.

When the horses shied,

she jumped clean

out of the carriage.

Now, I suppose, it's up

to me to take the reins.

It--

don't look at me so tragically.

How can I be severe with you?

I look at you--

Both of you--

and how can I say

anything to you

as you stand here?

Two children in such

a desperate predicament,

and yet so happy.

You'll never again

be as happy as you are now.

Perhaps it's started

to go already.

By the time we feel it,

it's gone.

I know because I once

had to face it myself.

And now you're

going to take leave

of each other,

quietly and

sensibly, like 2

intelligent people,

and forgive

each other and

say good night.

God be with you.

What's your first name?

Nicholas.

How old are you?

And your village,

what was it called?

Siglette.

Princess,

at last we're alone

for a few moments,

and you ask me for

facts and figures.

I want to know you.

I want to know

everything about

you all at once.

I--

I don't know where to start.

But this may be

the last time we can

ever see each other.

If you love me...

Tell me.

If it's love...

Then it's

very like once

when I was little

with the emperor.

I had seen so many

pictures of him

in his robes

with a golden crown on his head,

all splendor and magnificence.

And when he came to visit us

in an ordinary suit, I...

I didn't know him.

You're so sweet...

And so beautiful.

Don't come any closer, Nicholas.

I--I've never seen

a man in love,

and he happens

to be in love

with me.

Are you so afraid of me?

Oh, if I am,

then I want always

to be afraid.

I want to be so good to you.

Oh, I want a hundred things.

I want to tell you

everything that's

in my heart,

all my secrets.

I adore Napoleon, too.

Little Princess.

I want to hear you

call me by my name.

Alexandra.

Alexandra.

I want to be everything to you.

I want to look after you

and spoil you.

Eat something.

I'm not hungry, Alexandra.

I'm thirsty.

You want some wine?

I'm thirsty for your lips,

for your eyes,

for that moment

when we can't

even speak.

You mustn't talk like that or...

Or look at me like that.

Alexandra...

I want to. I...

I want to look into your eyes,

deep into your eyes,

and see the lashes close.

Please. You're...

You're frightening me.

I never dared to think

that you could give

your love to me.

Can you blame me now

if I want to take it?

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Ferenc Molnár

Ferenc Molnár (born Ferenc Neumann, 12 January 1878 – 1 April 1952, anglicized as Franz Molnar) was a Hungarian-born author, stage-director, dramatist, and poet, widely regarded as Hungary’s most celebrated and controversial playwrights. His primary aim through his writing was to entertain by transforming his personal experiences into literary works of art. He was never connected to any one literary movement but he did utilize the precepts of Naturalism, Neo-Romanticism, Expressionism, and the Freudian psychoanalytical concepts, but only as long as they suited his desires. “By fusing the realistic narrative and stage tradition of Hungary with Western influences into a cosmopolitan amalgam, Molnár emerged as a versatile artist whose style was uniquely his own.” As a novelist, Molnár may best be remembered for The Paul Street Boys, the story of two rival gangs of youths in Budapest. It has been translated into fourteen languages and adapted for the stage and film. It has been considered a masterpiece by many. It was, however, as a playwright that he made his greatest contribution and how he is best known internationally. "In his graceful, whimsical, sophisticated drawing-room comedies, he provided a felicitous synthesis of Naturalism and fantasy, Realism and Romanticism, cynicism and sentimentality, the profane and the sublime." Out of his many plays, The Devil, Liliom, The Swan, The Guardsman and The Play's the Thing endure as classics. He was influenced by the likes of Oscar Wilde, George Bernard Shaw, and Gerhart Hauptmann. He immigrated to the United States to escape persecution of Hungarian Jews during World War II and later adopted American citizenship. Molnár’s plays continue to be relevant and are performed all over the world. His national and international fame has inspired many Hungarian playwrights to include Elemér Boross, László Fodor, Lajos Biró, László Bús-Fekete, Ernö Vajda, Attila Orbók, and Imre Földes, among others. more…

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Submitted on August 05, 2018

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