Tonight and Every Night Page #5

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
42 Views


If you agree with me

Let's have some harmony

Do-re-mi-fa-so-mi

So, what if it's not right

Whatever song is played

Will help your worries fade

And make your cares

take flight

Tonight and every night

We're gonna win

Come on, grin

Therein lies our might

We'll go on

and on and on

Tonight

And every night Tonight,

tonight, and every night

Tonight

And every night

The skies will all be bright

Tonight and every night

Be bright tonight

And every night

You keep your

spirits high

The clouds will

all go by

We're gonna win

Come on, grin

Because therein

lies our might

Our might

We'll go on

and on and on

Tonight

We're going to fight

because we're right

And every night

Tonight, and every night

Tonight, and every night

Tonight

And every night

Hello? Yes, this is

the Music Box.

Who?

Oh, yes. Just a moment,

I'll get her.

For you.

Hello.

Paul!

Oh, Paul!

Are you all right?

I didn't know

what had happened.

I thought you were...

I was afraid that...

Of course I've been saying it.

Yes, it sounds wonderful.

Where are you?

I'm here, in London,

on my way back to my unit.

I ran into a little trouble,

force landed in Scotland.

I'm going to

see you, aren't I?

You're not going

back right away?

There's an eight o'clock train

tomorrow morning.

I've got to be on it.

That'll give us

10 whole hours, darling.

Hello.

Hello.

Begging your pardon, sir, but we

are going somewhere, aren't we?

Oh, yes, yes.

I'm sorry. We...

Where to?

We've never been by

ourselves in our whole life.

Do you realize that?

Do I realize it?

Well, once.

Bu we don't

talk about that, do we?

No, we don't

talk about that.

Thanks.

Besides, you're forgiven.

How about me forgiving you

too, governor, and let's be off.

Oh, yes, yes. Uh...

There must be

somewhere we can go.

There's only one place

we could be by ourselves,

isn't there?

Can't we go there?

My place?

Why not?

I love you.

I love you.

It's all so beautiful

it fair makes me heart bleed.

Can't we

love and trust each other

and still drive

around the park a bit?

No, cabby, my place.

I don't want to

be nosy, governor,

but it would be much easier

if I had your address.

Now, wouldn't it?

Oh, I'm sorry,

Temple Gardens.

DRIVER:
Thank you, sir.

Would you like to

take cover, sir?

No, thanks, we'll go on.

ARMY OFFICER:
Sorry, sir, would you

mind giving up this cab? It's urgent.

Certainly,

go right ahead.

It's not very far

to my place.

I don't suppose you can make

it though, in those high heels?

I go everywhere

in high heels.

Come on, let's go!

What a climate! The one

night you'd beg for fog,

and look at that silly moon,

absolutely blazing away!

Isn't that your flat?

That was my flat.

Have you ever been asleep

with the girl you love

on the embankment,

in the early morning?

Quite frankly,

I haven't.

Opens up a whole

new line of thought.

I'm going to marry her,

you know.

Does she know

anything about it?

I suppose so.

I haven't actually mentioned

it to her yet, but...

Good heavens! You don't

suppose she wouldn't?

Well, it's happened,

I imagine.

Hey, what's your hurry?

What's my hurry? I'm

going to telephone her.

Oh, no you don't.

The old man

wants to see you.

Now!

Now?

Now.

Don't worry, Roz.

If something had happened to

Paul, you'd have heard by now.

Bad news travels...

Yes, I know.

But it's been

nearly two weeks, Judy,

and they're always back

in six or eight hours, if...

If they're coming back.

Judy, look!

It's Paul's observer.

Yes. That means...

Hello, Leslie.

Oh, Miss Bruce,

Miss Kane.

When did you get back?

Is Paul all right?

I imagine

he's quite all right.

We haven't

seen him, exactly.

You haven't?

No. You see, we've

been on 14-days leave.

Yes, and as you can imagine, we've

been putting it to pretty good use.

Yes. Well, have you all been on leave?

Yes.

Yes.

All the squadron,

in fact.

We've sent

the second team in.

Well, I think we've

got to be getting along.

Yes, goodbye.

Goodbye.

Goodbye, Miss Bruce.

Goodbye.

Oh, and have

a nice time.

Thank you. Goodbye.

Thank you.

Now, wait a minute, Roz.

Perhaps Paul had to help

the second team or something.

You know better than that.

If they're on leave,

he's on leave.

You saw how they acted,

didn't you?

Men are so

beautifully loyal.

Oh, Miss Bruce.

Here's a message for you.

Oh.

"Oh," what?

Read it.

"Dear, Miss Bruce.

I'm Paul's father.

"I'm in town and shall come

to see the performance tonight.

"I would like very much to have

a few words with you afterwards

"if it is convenient.

"Yours faithfully,

Gerald Lundy. "

What does he want?

It's very simple, darling.

He wants to explain to me that

he's allergic to grocers' daughters

who go on the stage.

Well, I'll give him

that pleasure.

I'll explain to him that I

have a few allergies myself.

And one of them is

weak-kneed squadron leaders!

Third row, center.

It's too bad I have

this costume on.

I'd like to have made his

visit really worthwhile.

Life's up and down

It's smile and frown

It can either be a place

To laugh or weep in

The fact is you're the one

Who makes

the bed you sleep in

Cry and you cry alone

Your smile is gone

And so you're on your own

Remember the

weeping willow, my friend

It's such a lonely tree

Just look and see

All the birds have flown

Laugh, make it

long and loud

That Joke you crack

Will soon attract a crowd

You'll find my logic

well founded

Laugh, you're surrounded

But cry

and you cry all alone

Cry, and you cry alone

Your smile is gone

And so you're on your own

Remember the

weeping willow, my friend

It's such a lonely tree

Just look and see

All the birds have flown

Laugh

Laugh

Laugh

Make it long and loud

That Joke you crack

Will soon attract a crowd

You'll find my logic

well founded

Laugh, you're surrounded

Take care of that one, Fred.

You come with me.

Take it easy. There.

Have off with his cloak.

Sam, you'd better set

the Gypsy number.

It's no good. There's

no room for them to work.

The rigging's stuck.

I can't fly the drop.

We'll have to stop the

show for 15 minutes.

Very well.

Oh, Mrs. Tolliver!

You don't have to stop

the show. Let me go on.

What?

Oh, let me do my act.

I have all me props here.

I've always had them here.

Oh, Fred.

But, Mrs. Tolliver,

20 years ago...

I know.

You knocked them cold.

What do you think, Sam?

Well, what have

we got to lose?

All right, Fred.

I'm on. I'm on!

Don't worry, miss.

He was a bit of

all right in his day.

How do you know?

I cleaned the theater

where he worked 20 years ago.

Of course, it won't be

the same without Lucy.

Lucy?

Oh, she was

the other half of the act.

The better half.

Do you remember

what they did?

Oh, like it was yesterday.

Come with me.

Will you tell Bert

to follow me,

and we'll finish

with Anywhere.

Bert, Fred's going on

to do his act.

Now, follow him and

finish up with Anywhere.

Now, how do you know

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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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