Tonight and Every Night Page #4

Synopsis: A photographer for Life magazine comes to London to do a story on a local theater troupe which never missed a performance during World War II. Flashbacks also reveal the backstage love affair between star Rosalind Bruce and a British flyer.
Genre: Drama, Musical
Director(s): Victor Saville
Production: Columbia Pictures
 
IMDB:
6.4
APPROVED
Year:
1945
92 min
41 Views


can sleep in them. Good night.

Good night!

You feeI you'd

like to drop

But you must never stop

Just go on with the fight

Tonight and every night

When all is said and done

Let's have some fun

Tonight and every night

Everybody up!

Come on, girls.

Eight o'clock. Up you get. Show a leg.

ROSALIND:
Oh, have

a heart, Sam.

Can't we even sleep

on Sunday morning?

Not this Sunday,

you can't.

You've got a date with

the Air Force. All of you.

Well, I've seen

better landings.

Sorry, sir. Not bad,

we made it in 55 minutes.

We're in luck, sir.

The show's still on.

Yes. I'm afraid my devotion to the

drama isn't as great as yours, Lundy.

I suppose you want me to take

these reports to Control, sir.

No. Never mind.

The war's taken up quite enough

of your time this evening, Lundy.

Thank you very much, sir.

Before the bugle blows

Lights out

We have some time

to think about

The many chaps that

we have left behind us

There's one

especially I recall

There's one I miss

the most of all

We've placed them

on the wall Just to remind us

And I snapped

my favorite pin up

As he waved goodbye

at the train

He started to cry

I yelled, "Chin up"

One of us has to remain

I'm a lonely girI

I readily admit it

I was merely patriotic

when I signed

And I'm very frank

to say I did it

For the boy I left behind

Some men in uniform

have tried to sway me

They all faiI because

he's always on my mind

And I'm saving most of

what they pay me

For the boy I left behind

Yes he was first

in line to enlist

Shouting V for victory

They looked but found

no pulse in his wrist

So maybe that's why

they took me

If they need me then

I'm glad to be of service

But there's one thing

that I wish they had defined

Oh, they should have

told me, I get nervous

For the boy I left behind

I get aches all over

and it's getting chronic

I take medicines and pills of every kind

But they'll never

substitute our tonic

For the boy I left behind

The other day I got

the sweetest letter

All my love and kisses,

that's the way he signed

So each night

I wear his favorite sweater

For the boy I left behind

He goes down to

the blood bank each day

Shouting V for victory

He takes more blood

than he gives away

So maybe that's why

they took me

I'm supposed to be content

and Just keep dreaming

If they think that I'm

content they must be blind

'Cause I go to sleep

and wake up screaming

For in every dream

I've pined

For the boy I...

We're the victims of

a thousand regulations

That's a military strata

Just designed

They can't regulate

a girI's sensations

There's no rule

that they can find

For the boy I left behind

Hello.

I couldn't wait until

after the show to see you.

You are going to

talk to me, aren't you?

What about?

Rosalind, please.

So I acted like an idiot.

But you can't rule a man out

for trying, can you?

After all, even a dog

is entitled to one bite.

Now, wait a minute.

I don't mean that literally.

I Just mean that...

I know exactly

what you mean.

"We're grown up, we're modern,

we know what it's all about.

"And remember, darling,

there's a war on. "

Routine number three.

That isn't a routine,

it's true.

There is a war on.

And it gives us

so little time.

Don't let's waste it,

Rosalind.

Please don't

let's waste it.

Aren't you convinced yet that I'm...

I'm convinced of this,

I've had a very bad time

since you walked out on me.

Too bad about you.

I tried to phone you, I've

apologized a dozen times in letters.

Which I never opened.

Well, there you are.

Is that fair?

I've tried to tell you

how I feel, I...

Rosalind,

you've got to listen.

I might not have

another chance.

Why not?

If there is a tomorrow

it's so much velvet, Roz.

Don't talk like that.

Please like me.

At least like me.

This is Miss Bruce, sir.

How do you do?

How do you do?

Sorry, Lundy, but there's

something big on tonight.

For you?

Evidently.

I'm sorry to have to

interrupt this excellent show,

but I have

an announcement to make.

All crews of Squadrons 1082, 1083

and 1084 will assemble at once

in the lecture room

of this building.

The rest of you,

as you were.

Please carry on with

the show. Thank you.

Well, so long.

Paul!

Come back safely.

Do you want me to?

I want you to.

Come on, Paul.

Okay.

You'll let me know when...

I'll telephone you tomorrow.

In the meantime, say it over

to yourself 100 times,

"Paul loves me. "

And when I get back,

you'll be used to the idea.

I'm used to it right now.

I catch on awful quick

when I want to.

All right,

stand at ease.

You're from the Music Box,

aren't you?

Yes.

You'll be late.

Morning, ladies.

Well, that's the first time

I ever saw our Mr. Tommy take a nip.

It's the Blitz.

Everything's topsy-turvy.

My old man

stopped drinking.

The doctor calls it

shell-shock.

Quaint, ain't it?

Hi, Judy,

top of the morning.

Hello, Tommy.

Tommy creates the most

original new steps.

ROSALIND:
I'm sorry

to keep bothering you.

Yes, I know you're not permitted

to give out any information but...

Well, last night,

Squadron Leader Lundy said...

Well, he said he would

telephone me

and I haven't heard from him.

All I wanna know is,

did he get back?

Can't you tell me

that, please?

And all the time I thought

Tommy was going for you.

Oh, shut up.

I can't keep up with the

love life of this opera house.

Now, when I want a man,

I go after him.

Thanks for the trade secret.

Judy, you're on!

Coming, Sam.

I'm betting on Paul, Roz.

Do you think I'm not?

On with you, Judy.

If you're all used to

The Pathe rooster

Crowing the news

of the world

If you've come to doubt

I'm here all Paramount

for news events

Unfold

Oh, sorry.

Here's a news reeI made

strictly for smiles

And dedicated

to the British Isles

Hi there, mister

Mean me, sister?

Would you step down here

and also bring the gals?

A word with you, there

I'd like to talk

to you two, there

Would you Join me, please?

And bring along your pals

Say, men, you with the wren

Can't you see your

train's a little late?

I'd like to have you

come down here

For a little tte--tte

Pardon me, I think I see

a friend of mine in the ARP.

Hi there, pal!

Is that you, Al?

Yes, come on down

and bring your gal.

Just a few more

one or two more

And the row's complete

Here stands all...

The guy in the scarf

The boy on the phone

And the man on the street

We would like to ask you

why we're gathered here

The reason

you've been invited

Is to show the world

That we're united

If you've a faith like mine

The stars are about to shine

The skies will all be bright

Tonight and every night

Every night

So keep your spirits high

The clouds will all go by

We've got a goaI to sight

Tonight and every night

Every night

Say, hi there, chum

why so glum?

Things could be much worse Be worse

And how about you lad

Why so sad?

How could we go forward

when you're in reverse?

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Lesser Samuels

Lesser Samuels (26 July 1894 - 22 December 1980) enjoyed a 20-year career as a Hollywood screenwriter. He is best known for back-to-back Oscar nominations for the racial drama No Way Out in 1950 and Billy Wilder's lacerating critique of tabloid journalism Ace in the Hole the following year. Samuels also wrote and served as associate producer on the notorious Biblical flop The Silver Chalice - a film which its star Paul Newman deemed one of the low points of his career - in 1954. Samuels co-authored the book for the 1960 Frank Loesser musical Greenwillow. more…

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Submitted on August 05, 2018

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