Valley of the Dolls Page #3

Synopsis: Anne Welles, a bright, brash young New England college grad leaves her Peyton Place-ish small town and heads for Broadway, where she hopes to find an exciting job and sophisticated men. During her misadventures in Manhattan and, later, Hollywood, she shares experiences with two other young hopefuls: Jennifer North, a statuesque, Monroe-ish actress who wants to be accepted as a human being, but is regarded as a sex object by all the men she meets, and Neely O'Hara, a talented young actress who's accused of using devious means by a great older star (Helen Lawson) to reach the top, pulling an "All About Eve"-type deception in order to steal a good role away from her.
Genre: Drama, Music, Romance
Director(s): Mark Robson
Production: 20th Century Fox
  Nominated for 1 Oscar. Another 4 nominations.
 
IMDB:
5.9
Rotten Tomatoes:
31%
PG-13
Year:
1967
123 min
1,892 Views


Theatre and you look exactly like her.

Well, not exactly, I hope.

And when your uncle died,

you took over his business.

Oh, good old Steinberg.

Well, what would you like to have?

- Sherry, please.

- Good. Two sherries.

Did she also tell you that I once

thought that I could write?

Oh, I'm sure you could. You turn

a very neat phrase when you dictate.

Oh?

You know, I'm beginning

to like the agency business.

Every man a potential Henry Higgins

waiting to discover his Eliza Doolittle.

Thank you.

Thank you.

It's funny.

I used to come here weekends,

but tonight it's not the same.

No noisy students,

no drinking songs.

It seems the two of us

are alone in the world.

We are. You know that.

I've known it for a long time.

Beautiful.

Now, you call this acting?

Actually, this is a celebration.

I've been talking with the Coast.

They wanna test you

and Tony out there next week.

Oh.

I have the scenes right here.

And a song, a really good one.

- Yes?

- Excuse me.

- Telephone for you. It's your Aunt Amy.

- I'll call back.

She says it's very important

she speak to you.

Something must be wrong.

Excuse me.

Mother's not been well.

Miriam, here's a copy for Tony.

Incidentally, where is Tony?

Well, I know who he's with, but I don't

know where. I can't reach him.

Well, find him.

I know you owe Miriam a lot, Tony...

...but I wish we didn't have to meet

in such out-of-the-way places.

I'll bet I'm the only showgirl who's

ever been inside the Statue of Liberty.

Honey, it's just that Miriam

doesn't want me to get serious.

Are you serious, Tony?

You know I am, baby.

But Miriam's got this thing

about marriage.

She thinks it'll destroy

what she calls my image.

And there's something else.

I've never quite been able

to put my finger on it.

Maybe she's jealous.

No, not Miriam. She raised me.

Did without.

Worked like a dog

to get me my singing lessons.

Maybe that's why

she's so careful with money.

We always had so little.

Yeah. It's the same with us.

When my father died, my mother and

grandmother thought I was such a drain.

All I ever heard was how much I ate

and how much it cost to buy me shoes.

It got so I panicked when I thought

my shoes were getting too small.

- It's freezing here.

- It certainly is.

Let's go to your place. We'll unhook

the phone so Miriam can't bother us.

How's that? Come on.

Oh...

My mother said

I should've held out...

...and made you marry me.

- Oh, baby.

But when did I ever do anything

my mother told me to?

A telegram for a Miss Polar.

One second. You have to sign this.

Thank you.

Dr. Eberhart, this is Miriam Polar.

Yes. I called you

because I'm worried.

Tony just got married.

No, I never told him.

I know I should have, but I couldn't.

I couldn't do that to him.

After all, it might not ever happen.

Well, the point is that...

...we'll be leaving for California

next week and...

...you'd better give me the name

of a doctor there.

I wanted to come for your

mother's funeral. Why didn't you let me?

It's my own grief.

I didn't wanna put you through it.

From what you said,

she's a wonderful woman.

Yes, she was.

Anne, it's a dream town.

I can almost hear

Paul Revere's hoofbeats.

He passed us by.

There was a scandalous rumor

going around we were pro-British.

I'm sorry you missed Aunt Amy. She's

gone to the cousins' in New Hampshire.

Everything is better here. It

really is. I don't know how you ever left.

- Be careful.

- Hot!

I have an idea. Why don't we leave

the rat race and move up here?

I could write my book.

Or at least try.

- You really think you'd be happy?

- Of course I would.

Woods to tramp, river to fish.

This wonderful old house.

And you beside me on that marvelous

old four-poster upstairs.

Well, it's a marriage bed, Lyon.

- You were thinking of marriage?

- Well, you know how I feel about that.

When you fall in love,

you belong to someone else.

We've gone through this before.

How do you think I feel sneaking out of

your apartment at 4:00 in the morning?

But you don't have to sneak.

And don't tell me I knew

what I was doing.

But you did. You knew.

But I loved you.

Does it make any difference how

or why it happened? It happened.

And for that I'm grateful.

Come on.

Come on.

You think I could sleep with you,

here in this house?

No, I guess you couldn't.

I guess I should've known.

You're afraid of ghosts.

I'm not. And none of them ever loved

each other more than I love you.

- But not enough to marry me.

- But that's beside the point.

I'll get you a cab.

You can stay at the hotel.

All right.

You do that.

- Lyon Burke, please.

- I'm sorry, Miss Welles. He checked out.

He left this for you.

Johnny was just going to bring it over.

Dear Anne, thank you

for the moment of reckoning.

You once said I knew

who I was and what I wanted.

I've always wanted to write.

So I'm going back to England...

... find the counterpart

of Lawrenceville and see if I can.

Somewhere in your wonderful New York

there is the right man...

... just waiting for you to find him.

Thank you for the loveliest winter

of my life.

Lyon.

- How was lunch?

- I wasn't very hungry.

- Mr. Bellamy wanted cigarettes.

- Oh, not now.

He's got a big new account in there.

Say, I still have one of Queeny's kittens

left. Would you like to have it?

It's a male, honey.

It won't give you any trouble.

A male in the

Martha Washington Hotel for women?

You could always move.

- Yes, Mr. Bellamy?

Send in Miss Welles.

- Who's he with?

- Kevin Gillmore.

He made a mint

with that new hairspray.

Miss Welles.

Take this down, please:

Point number one.

The girl who introduces our products

on our show will be called the Gillian Girl.

Two.

She must be beautiful,

but more important, she must be refined.

Cultured.

A girl like Miss Welles here.

- That's not a girl. That's my secretary.

- We don't want artificial beauty.

We want the kind

that our audience can identify with.

College girl.

Young matron will think she'll

look like you if she uses our product.

- I'm flattered, Mr.?

- Gillmore.

- But I'm not an actress.

- I don't want an actress.

I want an unknown. A girl to be identified

with Gillian products exclusively.

- I will start her off at $300 a week.

- Gillmore, that's sabotage.

It's also very tempting.

Why don't we have dinner

and talk it over?

Okay, but bring the contract to me

before you sign it.

KNBC, Los Angeles.

Celebrating the second anniversary

of the Gillian Girl...

... Gillian products offers

a Gillian Girl's birthday special.

Gillian high-fashion makeup.

Gillian high-fashion lipstick.

Helps soothe natural curls

as it sets your hair.

After your shampoo just comb,

roll up, then brush out.

Gillian makeup gives grace and elegance

to that high-fashioned look.

Gillian makeup gives you just enough

accent to that flawless complexion.

Hello?

Yes, I'll accept the charges.

Hello, Mother? How are you?

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Helen Deutsch

Helen Deutsch (21 March 1906 – 15 March 1992) was an American screenwriter, journalist and songwriter. Deutsch was born in New York City and graduated from Barnard College. She began her career by managing the Provincetown Players. She then wrote theatre reviews for the New York Herald-Tribune and the New York Times as well as working in the press department of the Theatre Guild. Her first screenplay was for The Seventh Cross (1944). She adapted Enid Bagnold's novel, National Velvet into a screenplay which became a famous film (1944) starring Elizabeth Taylor. After writing a few films (Golden Earrings (1947), The Loves of Carmen (1948) and Shockproof (1949) ) for Paramount and Columbia Pictures, she spent the greater part of her career working for Metro-Goldwyn-Mayer and wrote the screenplays for such films as King Solomon's Mines (1950), Kim (1950), It's a Big Country (1951), Plymouth Adventure (1952), Lili (1953), Flame and the Flesh (1954), The Glass Slipper (1955), I'll Cry Tomorrow (1955), Forever, Darling (1956) and The Unsinkable Molly Brown (1964). Her last screenplay was for 20th Century Fox's Valley of the Dolls (1967). more…

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Submitted on August 05, 2018

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