## 🎬 A Song for Miss Julie (1945) Full Movie – American Musical Film
**A Song for Miss Julie** is a 1945 American musical film directed by William Rowland. Released on February 19, 1945, by Republic Pictures, this drama and romance film stars Shirley Ross, Barton Hepburn, and Jane Farrar. It's particularly notable for featuring ballet legends Alicia Markova and Anton Dolin in a significant pas de deux sequence.[6221]
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## 📖 Plot Summary
The story revolves around a Broadway writing team who travel to Louisiana to research a musical they are planning about a local Southern hero. Their quest leads them to the granddaughter and great-great-granddaughters of a renowned songwriter. They hope to uncover the songwriter's life story, believing it holds the key to their musical's success.
However, they encounter resistance from the family matriarch, who is fiercely protective of her family's reputation and reluctant to share the secrets held within an old diary. As the researchers delve into the past, they find that the diary contains intriguing tales, and a new romance blossoms amidst the uncovering of historical narratives, further complicating the family's carefully guarded secrets.
---
## 🎥 Style & Legacy
* **Musical Drama:** As a musical film, *A Song for Miss Julie* weaves songs into its narrative, reflecting the popular entertainment style of the mid-1940s.
* **Ballet Stars' Appearance:** The inclusion of internationally acclaimed ballet dancers Alicia Markova and Anton Dolin in a pas de deux performance is a unique highlight, offering a rare cinematic glimpse of their artistry. This ballet sequence is one of the few times these two renowned dancers appeared in a film together.
* **Post-War Entertainment:** Released during the final year of World War II, the film likely offered audiences a blend of escapism and romantic drama, typical of Hollywood productions aiming to entertain and uplift during challenging times.
---
#ASongForMissJulie #1945Film #FullMovie #MusicalFilm #Drama #Romance #ShirleyRoss #AliciaMarkova #AntonDolin #ClassicFilm
**A Song for Miss Julie** is a 1945 American musical film directed by William Rowland. Released on February 19, 1945, by Republic Pictures, this drama and romance film stars Shirley Ross, Barton Hepburn, and Jane Farrar. It's particularly notable for featuring ballet legends Alicia Markova and Anton Dolin in a significant pas de deux sequence.[6221]
---
## 📖 Plot Summary
The story revolves around a Broadway writing team who travel to Louisiana to research a musical they are planning about a local Southern hero. Their quest leads them to the granddaughter and great-great-granddaughters of a renowned songwriter. They hope to uncover the songwriter's life story, believing it holds the key to their musical's success.
However, they encounter resistance from the family matriarch, who is fiercely protective of her family's reputation and reluctant to share the secrets held within an old diary. As the researchers delve into the past, they find that the diary contains intriguing tales, and a new romance blossoms amidst the uncovering of historical narratives, further complicating the family's carefully guarded secrets.
---
## 🎥 Style & Legacy
* **Musical Drama:** As a musical film, *A Song for Miss Julie* weaves songs into its narrative, reflecting the popular entertainment style of the mid-1940s.
* **Ballet Stars' Appearance:** The inclusion of internationally acclaimed ballet dancers Alicia Markova and Anton Dolin in a pas de deux performance is a unique highlight, offering a rare cinematic glimpse of their artistry. This ballet sequence is one of the few times these two renowned dancers appeared in a film together.
* **Post-War Entertainment:** Released during the final year of World War II, the film likely offered audiences a blend of escapism and romantic drama, typical of Hollywood productions aiming to entertain and uplift during challenging times.
---
#ASongForMissJulie #1945Film #FullMovie #MusicalFilm #Drama #Romance #ShirleyRoss #AliciaMarkova #AntonDolin #ClassicFilm
Category
🎥
Short filmTranscript
00:00:27For more information visit www.fema.co.uk
00:00:37The End
00:00:39The End
00:00:40The End
00:00:40The End
00:00:55The End
00:00:55The End
00:00:55The End
00:00:59Mama?
00:01:02Why, why have you...
00:01:03Julie, my dear?
00:01:05It's something you might as well know before these terrible people from the North burst in on us.
00:01:11Well, why did you ask them to stay here?
00:01:13It was in the contract.
00:01:14Contract?
00:01:14I assure you, child, it was no pleasure for me to be forced to sell the story of your great
00:01:18-grandfather's life, for common actors to perform before the gaping public.
00:01:23I'm not blaming you, Mama. After all, great-grandfather Britt Conway's memory belongs in a way to all the world.
00:01:30It does nothing of the sort. Britt Conway's memory belongs exclusively to this branch of the family.
00:01:36Yes, of course.
00:01:38Is that about great-grandfather?
00:01:41It's his private diary.
00:01:43I didn't know that he...
00:01:45No one but I knows what it contains, and nobody else will know, especially those busybodies from New York.
00:01:52I intend to destroy it.
00:01:55Oh, Mama!
00:01:58If they wish to write about his songs, or the more respectable of his verses, that's their affair.
00:02:04But I refuse to have his indiscretions paraded before the public.
00:02:07Was my great-grandfather indiscreet?
00:02:09Everybody's great-grandfather was indiscreet.
00:02:12Your great-grandfather was indiscreet enough to write down his indiscretions.
00:02:15Yes.
00:02:16Mama.
00:02:17Mm-hmm.
00:02:18May I read the diary before you dispose of it?
00:02:22It would be of no interest to a well-brought-up young lady.
00:02:25Oh, yes, it would.
00:02:26And besides, I'm old enough to read almost anything now, except bits of Shakespeare.
00:02:31Anyway, how can I deny all those rumors in Battenville about great-grandfather, unless I know the real truth?
00:02:37And you know, I'll be the...
00:02:38Mr. Charteris, there's some foreigners here asking for you.
00:02:41Foreigners?
00:02:42Yes, and it's a sure thing they ain't from Louisiana.
00:02:44Oh, well, that must be Mr. and Mrs. Kimbrough and Mr. Montt.
00:02:47Yes, and that's what they say the names is.
00:02:49Show them in, Liza Henry.
00:02:51Yes, and Miss Charteris.
00:02:52I look awful.
00:02:54Mama, I promise to read only the nice bits.
00:03:00I'll go out this way so I won't run into any of Liza Henry's foreigners.
00:03:06And if we don't find it, there'll be no play.
00:03:10George.
00:03:12Oh, yes, my love.
00:03:13Straighten your tie.
00:03:15You look like something out of a circus.
00:03:16What's wrong with circuses?
00:03:18Nothing, old man.
00:03:19I barked with Freakshaw on the Rex Evans outfit last season.
00:03:22Wonderful people, and quite out of the ordinary.
00:03:25If you're looking for a plot for one of your pictures, Mr. Montt...
00:03:28Good Charteris, she receives you all now.
00:03:29Very kind of her, I'm sure.
00:03:32Keeping us all waiting like servants.
00:03:34An unfortunate simile, Valerie.
00:03:36Servants these days don't wait.
00:03:38Come on, George.
00:03:43There you are, mouthful man.
00:03:45Thank you, Mr. Kimbrough.
00:03:47And, uh, stick around.
00:03:50I have a hunch we'll be going back to the planter's house.
00:03:52Okay.
00:03:57How do you do?
00:03:58You must be Mrs. Kimbrough.
00:03:59Welcome to Battenville.
00:04:00How do you do, Mrs. Charteris?
00:04:02This is my husband, George.
00:04:05This is my husband, George.
00:04:07This is my husband, George Kimbrough, the playwright.
00:04:08How do you do?
00:04:09Oh, yes.
00:04:10And Stephen Mott, his assistant.
00:04:12How do you do, Mrs. Charteris?
00:04:13I can't tell you how grateful we are to you for allowing us to invade your privacy this
00:04:17way.
00:04:18Are you from the south, Mr. Montt?
00:04:19No, why?
00:04:20You have such nice manners.
00:04:22Thanks.
00:04:22My dear, you're going to be positively inspired in this quaint old room.
00:04:26Mrs. Charteris, your home is perfectly charming.
00:04:29It simply reeks with atmosphere.
00:04:31Of course, the first thing we have to do is move that writing desk over there.
00:04:35So the light comes over his left shoulder.
00:04:37My husband is so particular when he's working, everything has to be just so.
00:04:41But that's genius for you.
00:04:44I'm afraid, Mrs. Kimbrough, your husband will have to exercise his genius in some other room.
00:04:48The arrangement of this furniture has not been altered since my grandfather, Britt Conway's
00:04:53death.
00:04:53That's very interesting.
00:04:55Did the old boy die here?
00:04:57The old boy, as you choose to call him, was killed in a duel defending the honor of his
00:05:02family.
00:05:03How boring.
00:05:04None of my family were...
00:05:06Possibly none of your family had any honor to defend, Mrs. Kimbrough.
00:05:10Any day you want a job as a dialogue writer in Hollywood, Mrs. Charteris, just let me
00:05:14know.
00:05:14Thank you, young man.
00:05:15I'll remember that.
00:05:19I'll send for Liza Henry to show you to your rooms.
00:05:22I've given you and Mr. Kimbrough the blue bedroom.
00:05:24It used to be Britt Conway's.
00:05:26I bet you'll get a great kick out of sleeping.
00:05:28George!
00:05:29And you're in the restroom.
00:05:31It used to be my daughter Julie's school room.
00:05:33Sounds delightful.
00:05:34Charming.
00:05:35And where will my husband write?
00:05:37There's a perfectly good writing desk in the blue room.
00:05:40Well, it was good enough for Grandfather Britt to write his...
00:05:43His what, Mrs. Charteris?
00:05:45His verses, of course.
00:05:49I'm afraid there is no other spare room in the house except a small room in the attic that
00:05:52used to be the butler's when we had a butler.
00:05:56You wouldn't mind taking the butler's room, would you, Steve dear?
00:05:59You know how desperately important it is for George to be completely undisturbed.
00:06:03Really, Valerie?
00:06:04I mean, of course, for the two of you to be completely undisturbed.
00:06:08I don't mind a bit.
00:06:09That is, the switchover doesn't cause you too much trouble.
00:06:12Not at all.
00:06:14Would you kindly ring the bell, Mr. Kimbrough?
00:06:17And have Liza Henry prepare the room.
00:06:19I'm afraid it'll take her some little time.
00:06:21Well, that's perfectly all right.
00:06:22While the others are settling in, I'll take this opportunity, if I may.
00:06:26Just roll around your lovely garden.
00:06:28I'll come with you, Steve.
00:06:29There are one or two points of construction I must discuss with you.
00:06:32No, George.
00:06:33We must fix up your study, mustn't we?
00:06:36Men are such children, aren't they, dear Mrs. Charteris?
00:06:40Harmless, but children.
00:06:42I wish I could say the same of women.
00:06:46You rang, ma'am?
00:06:47Yes, Liza Henry.
00:06:49January 14th, 1859.
00:06:53Eleven more days until my beloved Marceline returns from her tour.
00:06:58Each day will seem a full year.
00:07:01But past this interminable period, I have started to compose a ballad to be danced.
00:07:07I have chosen the power of Lafitte as my subject.
00:07:10Marceline will be adorable as queen of the Mardi Gras,
00:07:14dancing enchantingly as Lafitte sings.
00:07:19The other by you call, saying love is all.
00:07:23Never think about tomorrow or yesterday.
00:07:26This madness we're sharing will live through the night.
00:07:29No thinking or caring.
00:07:32Sorry to disturb you.
00:07:33Oh, no, you didn't.
00:07:34Are you Mr. Kimbrough?
00:07:36No.
00:07:37I'm the Mont half of our disrepidable collaboration.
00:07:39Steve Mont.
00:07:40How do you do?
00:07:42I'm...
00:07:42Miss Charteris.
00:07:43Miss Julie Charteris.
00:07:44Not only the great-granddaughter of the famous Britt Conway,
00:07:47but obviously a very charming young lady in her own right.
00:07:50Won't you sit down?
00:07:51Thanks.
00:07:53Are you from the South, Mr. Mont?
00:07:55Does I have such nice manners?
00:07:56No, because you pay such fulsome compliments.
00:08:00You've inherited your mother's gift of her FRT.
00:08:02Say, that's an attractive tune.
00:08:04Britt Conway wrote it.
00:08:06Isn't the music box pretty?
00:08:07It was given to him when he married my great-grandmother.
00:08:10Lovely.
00:08:11How'd the words go?
00:08:12No one knows.
00:08:13Britt left no record of them.
00:08:15Mind if I take the music box with me and have a shot at writing lyrics to the tune?
00:08:19Of course not.
00:08:21Only...
00:08:21Only what?
00:08:22Mr. Mont.
00:08:24Steve, to a fellow author.
00:08:25Mr. Mont, I want to ask you a question.
00:08:27Which I'll do my best to answer, providing you call me Steve.
00:08:30Well then.
00:08:31Steve.
00:08:32What sort of a man are you going to turn my great-grandfather into?
00:08:36In the play, I mean.
00:08:37Well, an interesting one, I hope.
00:08:39Oh.
00:08:40Well, that's what I was afraid of.
00:08:42Why?
00:08:43Well, you see, Mother doesn't approve of interesting men.
00:08:46And you, Miss Julie?
00:08:48Oh, I like them.
00:08:50Well, isn't it possible to write a play about a good man and make it interesting, too?
00:08:55Like, well, like Jefferson Davis or Woodrow Wilson.
00:08:59Was Britt like Jeff Davis or Wilson?
00:09:01No, not very.
00:09:03What was he like?
00:09:04Well, you saw his portrait in the drawing room.
00:09:06I didn't believe for one minute that was Britt Conway.
00:09:10Well, I'll have you know that that portrait was painted by a gentleman who comes from one of the first
00:09:13families in Louisiana.
00:09:14It looks like it.
00:09:16I take it back.
00:09:17You're a typical Yankee.
00:09:19Good.
00:09:20I'd like to see a bit of the Conway flare up in you.
00:09:22It's very becoming.
00:09:23You know nothing about Britt Conway.
00:09:26Now, I have a feeling that nobody around here wants to give me any information about him.
00:09:30No scandal, if that's what you mean.
00:09:34Darling, don't you think those things are a trifle short?
00:09:37Well, long or short, they're better than the rags that were hanging here.
00:09:41Don't you think the whole effect is rob a chick?
00:09:43I guess it's very artistic.
00:09:45The only thing is, it makes me feel dizzy.
00:09:48Always the enthusiastic cousin.
00:09:51Always give the little woman a pat on the back.
00:09:53If you ever said anything halfway decent to me, I'd fall right on my face on the floor.
00:09:57You'll love it.
00:09:59This here's Miss Julie's schoolroom.
00:10:02Oh, my goodness.
00:10:03I mean, it was Miss Julie's schoolroom.
00:10:08Supposed at seven, if y'all feel strong enough.
00:10:13If you're all through with the decorating, ma'am, I have to be getting back to the planter's house.
00:10:16Yes, well, run along, young man.
00:10:18Oh, and, uh, thank you.
00:10:21Thank you very much, Mr. Kimbrough.
00:10:26You know, I've seen you somewhere before.
00:10:29It couldn't have been...
00:10:30No, it couldn't have.
00:10:32Besides, we hardly move in the same circles, do we?
00:10:35I don't move in circles at all.
00:10:37I come straight to the point.
00:10:41Looks like old times to see Valerie's drapes up again.
00:10:44You remember the last time, George?
00:10:45Sure.
00:10:46It was in, uh, Wilmington, Delaware, when we were trying out Tenderly Yours.
00:10:50And some old dame popped in and thought we were running a fortune-telling parlor.
00:10:54Oh, if that's the kind of humor you bought back from Hollywood, I only hope you won't persuade George to
00:10:58use it in the new play.
00:11:00And certainly not in my role.
00:11:02Talking of that, were you able to get any information out of the old dame?
00:11:05Not a thing.
00:11:06Either from the mother or the daughter.
00:11:07What's she like?
00:11:08Uh, the daughter, I mean.
00:11:10Oh, all right, I suppose.
00:11:11Not your type at all.
00:11:12What do you mean, not George's type?
00:11:15Well, I mean, not like you.
00:11:16You are George's type, aren't you?
00:11:18Oh.
00:11:19Well, come along, George.
00:11:20If supper's to be at seven, we have to tidy ourselves up.
00:11:23You go ahead, dear, and I'll be along in a minute.
00:11:25There's something about your part in the play that I must discuss with Steve before I forget it.
00:11:30Oh, all right.
00:11:31I'll allow you five minutes.
00:11:35Steve, you're not to give George anything to drink.
00:11:38He's given alcohol up completely since you went away to Hollywood, and I'm not going to have that starting again.
00:11:43Where would I have a drink on me to give George?
00:11:46I don't know.
00:11:47But I want you both to remember that we're going to leave normal, healthy, country lives as long as we
00:11:54have to stay in this quaint old morgue.
00:11:58And I haven't got a drink on me.
00:12:01Don't you bother your pretty little head about it.
00:12:04Say, she hasn't really reformed you, has she?
00:12:08I can work with almost anybody, but I draw the line at a reformed drunkard.
00:12:15Just a minute, brother.
00:12:17The gentleman in the audience asked for scotch, and here it is.
00:12:23Very ingenious, maestro.
00:12:25Any time you want anything to drink, just ask, name a drink Kimbro, and he will fix it for you.
00:12:31I can see neither your brains nor your throat have been rusting during my absence.
00:12:35Here's to you.
00:12:38Byron over there is full of gin.
00:12:40No kidding.
00:12:41Have another?
00:12:42Sure will.
00:12:44Now we're getting into the spirit of it.
00:12:46You know, Steve, I really believe that with Shakespeare and Byron to inspire us,
00:12:51we'll positively do the best work we've ever done right here in this very room.
00:12:55You can say that again.
00:13:05Hey, Marcel.
00:13:08Have you any absinthe of this dump?
00:13:10Absinthe is not permitted to be sold by law.
00:13:12And the Chez Marcel is not a dump.
00:13:14Yeah, what is it?
00:13:15It's a bistro.
00:13:16And what's a bistro?
00:13:18Bistro is the French for dump.
00:13:23You'll go a long way before you'll find a sweller gal in Marcel.
00:13:27Stands for no nonsense, either.
00:13:28Isn't she some relation of Britt Conway's?
00:13:31Sure.
00:13:32She's his great-granddaughter, just like Julie Charteris.
00:13:36Only the Charteris side of the family put on all the airs.
00:13:38Marcel runs the best dump, I mean bistro, in Battenville.
00:13:43Speaking of Britt Conway, have you run across those two Yankees that been stopping at the Charteris since last Sunday?
00:13:49Offirm drew up the contract with him for the old lady.
00:13:52What contract?
00:13:53It's supposed to be a secret.
00:13:55But these men are writing a play about Britt.
00:13:57And have paid well for the privilege.
00:13:59Oh, so that's how the long outstanding Charteris accounts have been settled.
00:14:07Hey, Marcel.
00:14:08Come here.
00:14:09Quick.
00:14:11What's the excitement, Pete?
00:14:13Was the planner's house burned down?
00:14:14No, Marcel, but get a load of this.
00:14:22Valerie Valupte, the black lace bombshell of burlesque now wowing the boys in vexations of 35.
00:14:29Who's she?
00:14:30She's the wife of Mr. Kimbrough, the dame who high-hatted me when I drove them over to the Charterises
00:14:34last Sunday.
00:14:35You mean the wife of Kimbrough who's writing the play about great-grandfathers?
00:14:38Sure, and it's a perfect setup for us.
00:14:40What is?
00:14:41Let's sit down and I'll explain it to you.
00:14:44Don't you see?
00:14:45These guys are down here to get the real dope on Britt and your great-grandmother.
00:14:49Only they've gone to the wrong house.
00:14:50They'll never get anything out of the Charterises and you can give them the real load down.
00:14:54So I walk up to Mrs. George Kimbrough and I say,
00:14:58Hey, babe.
00:14:59And she says, Young man, how dare you?
00:15:01And then I whip out this paper.
00:15:03Then she faints blackout and where are we?
00:15:05Ah, but I'm still there when she comes too.
00:15:07And then I say, Now you listen to me, kid.
00:15:09And she says, What is it, honey child, being more democratic because of this paper?
00:15:13And I say, There's a gal in this town called Marcel Conway.
00:15:16And she's a real descendant of old man Britt.
00:15:19What's more, she's got the real low-down on him too.
00:15:21She'll sell it to you, but for big dough.
00:15:24Then you people can write the play and I can act Britt Conway in it.
00:15:27Oh, she'll stall around a bit.
00:15:29And then I wave the paper in front of her face again and she'll say,
00:15:32Okay, pal. Curtain.
00:15:34And then what?
00:15:35Then we'll be married.
00:15:37No, Pete.
00:15:39It's swell of you to dream it up, but it can't be done.
00:15:42Why not?
00:15:43I've played bigger parts than that in tent shows.
00:15:45I know.
00:15:46It's not that.
00:15:47Well, is it because of him?
00:15:51Partly.
00:15:53More because of her.
00:15:54Oh, now you're talking like old lady Charteritz.
00:15:57Maybe I am, but somehow or other I can't sell Marceline or Britt to a trick like that.
00:16:02Well, the Charteritz side of the family have.
00:16:05Perhaps I have more pride about Britt's second wife than they have about his first.
00:16:08What's pride going to get you?
00:16:10It's going to keep me right where I am doing a decent job in this joint.
00:16:14Being looked down upon by the wise of the guys who slip down here every chance they get to have
00:16:18some fun and a little music and a lot of laughs.
00:16:22And if you want to know the real lowdown, Pete, I wouldn't trade my lot with that of cousin Julie
00:16:27Charteritz for anything in the world.
00:16:29Atta girl.
00:16:43To Britt Conway.
00:16:45To Britt Conway.
00:16:47The most mysterious human being the world has ever known.
00:16:49You ain't woofing, bud.
00:16:51Right.
00:16:56Well, boys, how's it going?
00:16:58Splendidly.
00:17:00Act one, scene one.
00:17:02Garden of the Conway's estate.
00:17:04As the curtain rises, the chorus of Negroes are harmonizing Britt Conway's famous spiritual sweet Sunday.
00:17:10God, I'm already yawning.
00:17:12Ah, but you ain't heard nothing yet.
00:17:14As the voices finish to thunderous applause, a magnificent specimen of young manhood emerges from the house.
00:17:22Passing among his faithful servitors, he, uh, uh, pats a few children on the head.
00:17:28Just to show what side he would have been on in the Civil War, had he lived that long.
00:17:33Well, what does he say?
00:17:34That's what we don't know.
00:17:36Oh, great.
00:17:38I must say, that's a fine week's work.
00:17:42Well, my dear, don't forget that the walls of this house reek with romance and dramatic intrigue.
00:17:49You remember, dear, the walls of this house may have ears, but they don't talk.
00:17:52It's really not our fault, Valerie.
00:17:55We've been completely hamstrung by the contract Mrs. Charteris made with us.
00:17:59We're not allowed to put anything in the play that can't be proven to have happened.
00:18:02And the old lady, who apparently is the only living person who can give us that proof, point-blank, refuses
00:18:07to do so.
00:18:08And as you very well know, compared to Madame Charteris, the Sphinx is a positive chatterbox.
00:18:14Well, it's up to you, Steve.
00:18:16What do you mean?
00:18:17The old lady may not talk, but the daughter will if she's given the right approach.
00:18:23Nonsense.
00:18:24Julie's a swell kid, but in the first place she knows nothing.
00:18:27How do you know?
00:18:29George.
00:18:29Well, I mean, has Steve tried to get anything out of her in the way of information?
00:18:34Of course I have.
00:18:35But there's a certain limit.
00:18:37One cannot treat a Southern girl as though one were a district attorney.
00:18:41And on the other hand, one cannot write one's play if one has nothing one can put in it.
00:18:46Can one?
00:18:47One cannot.
00:18:49And it looks as though two cannot either.
00:18:51Seriously, George, I think we ought to go back to Lord Byron.
00:18:55Great idea.
00:18:57Uh, well, I mean to say I think that Steve and I ought to have one more go at licking
00:19:01the Conway proposition.
00:19:02Well, all right, boys.
00:19:04But if we don't get anything out of the committee meeting this afternoon...
00:19:08Gee, I forgot.
00:19:08I look awful.
00:19:09I have to change my dress.
00:19:11Do we have to go downstairs?
00:19:13I can think of nothing drearier than a group of club women laboriously discussing
00:19:17how to make this year's Brit Conway Festival more lugubrious than last year.
00:19:22We certainly do have to go downstairs.
00:19:24And furthermore, here's our plan of campaign.
00:19:26I shall dazzle the club ladies and endeavor to extract something from them.
00:19:31Steve, you concentrate on Julie Charteris, and George...
00:19:35What can George do?
00:19:36I shall commune with Shakespeare.
00:19:38I'm sure I can get something out of him, if there's any left.
00:19:42What's that?
00:19:44Who's that now?
00:19:45Probably the ghost of Brit Conway.
00:19:50Oh, come in.
00:19:52Oh, I'm sorry, I thought that...
00:19:54Nonsense, my dear child.
00:19:55Come right in.
00:19:56What a perfectly charming dress.
00:19:58It's exactly like the one I came out in.
00:20:01Remember, George?
00:20:02The only dress I ever saw you come out in was the one you came out of in the follies
00:20:06of...
00:20:06Let me see that.
00:20:07Ah, come on, George.
00:20:08We must tidy ourselves up, mustn't we?
00:20:11And when do your dear mother's charming guests arrive?
00:20:13Well, the meeting begins at 4.30.
00:20:15That's what I came here to tell you.
00:20:16Oh, then we must rush.
00:20:18Steve, aren't you lucky you don't get all messed up and untidy the way George does?
00:20:22Of course, George does work much harder.
00:20:24Of course.
00:20:25I should go and help Liza Henry with the lemonade.
00:20:28Nonsense, my dear child.
00:20:29Now, you two young people stay right here and have a cozy little chat.
00:20:33Get Steve to show you how his model theater works.
00:20:36It's perfectly fascinating, isn't it, George?
00:20:38Isn't it, George?
00:20:39Oh, yes, of course, if you have anything to play in it.
00:20:45Are you sure I haven't interrupted your work?
00:20:47Well, of course not.
00:20:49Anyway, there's nothing I can work out.
00:20:52Oh, I thought writers just sat down and wrote.
00:20:56That's in on a little secret, Miss Julie.
00:20:58Unless they have something to inspire them, writers just sit down.
00:21:01Period.
00:21:02And you have nothing to inspire you here.
00:21:04I have enough inspiration right here for at least a dozen love songs.
00:21:08But not about Britt Conway.
00:21:10Oh, I see.
00:21:12I'm sorry.
00:21:13As a matter of fact, in the past week, I've been inspired to write one little thing.
00:21:17Oh, really?
00:21:19Would you like to see how we work out love scenes in our little model theater?
00:21:22I'd love to.
00:21:23That's well.
00:21:23You stand over here.
00:21:25You'll be the audience.
00:21:27I'll work out the set.
00:21:28What are you going to use for scenery?
00:21:30Oh.
00:21:31Here's the tree.
00:21:35Here's the well.
00:21:36Now all you need are the actors.
00:21:38Here they are right here on this bench.
00:21:41And you work out the love scenes right here on the stage?
00:21:44Mm-hmm.
00:21:45Here's where the boy and girl have the inevitable little quarrel.
00:21:48We're going to do this in dance form.
00:21:49Quarrel?
00:21:50Well, just a lover's misunderstanding.
00:21:53When this happens, the boy is very hurt.
00:21:55He's falling in love.
00:21:57Well, what does happen?
00:21:59You'll see.
00:22:29We'll see you next time.
00:22:36THE END
00:23:10THE END
00:23:38THE END
00:24:05THE END
00:24:16THE END
00:24:46THE END
00:25:01THE END
00:25:15THE END
00:25:43THE END
00:25:53THE END
00:25:55THE END
00:26:10THE END
00:26:11THE END
00:26:20THE END
00:26:21THE END
00:26:42THE END
00:26:44THE END
00:27:03THE END
00:27:05THE END
00:27:05THE END
00:27:14THE END
00:27:17THE END
00:27:20THE END
00:27:28THE END
00:27:30THE END
00:27:30THE END
00:27:33at the Conway Festival, intelligently and soberly.
00:27:37Atta girl.
00:27:47George, dear.
00:27:49Yes, darling.
00:27:55How do I look, darling?
00:27:57It's simple, but somehow I think it has chick.
00:27:59Oh, it's a knockout.
00:28:01Yeah, I'll see it is.
00:28:03What have you been doing hanging around that punch bowl?
00:28:06Uh, waiting for you, my love,
00:28:08because I wanted to make my entrance
00:28:09with the best-looking woman in the place.
00:28:11Well, if that's intended as a compliment,
00:28:13take a look at what's inside.
00:28:15Get a load of Lady Macbeth.
00:28:17Yes, but Mrs. Charter was this outdone Shakespeare.
00:28:21What do you mean?
00:28:22There were only three witches in Macbeth.
00:28:34Ladies, I want you to meet Mr. and Mrs. George Kimbrough.
00:28:40What a clever idea of yours, Mrs. Kimbrough,
00:28:43to come to the meeting dressed for the festival.
00:28:47Oh, what a delightful bon mot.
00:28:51Oh, I must write that down for the Gazette.
00:28:53Mr. Montt, how did it go?
00:28:54Right over everybody's head.
00:28:58Oh, you're all so brilliant and witty.
00:29:00Poor little me.
00:29:01I feel quite out of it.
00:29:03Not at all.
00:29:04Liza, would you give Miss Lanning some lemonade?
00:29:07Yes, sir, Mr. Montt.
00:29:08Liza Henry's Lemonade Punch is famous in Battenville, I'm told.
00:29:12Oh, really?
00:29:12Yes, ma'am.
00:29:13I reckon this Lemonade Punch is going to make history.
00:29:17Why so pensive, Miss Julie?
00:29:19The lovers did get together, didn't they?
00:29:22At the end of the band.
00:29:23Lovers always do if they're honest with each other.
00:29:25Yes, I know, but you can't always...
00:29:27Yes, you can.
00:29:27And you're truly in love.
00:29:28As these two are.
00:29:31How do you know they are?
00:29:32I'm the author and the characters in my play
00:29:34are not truly imaginary.
00:29:37Oh, there you are, dear Mr. Montt.
00:29:39This is the most delicious punch.
00:29:41Oh, silly me.
00:29:44Punch.
00:29:48In my opinion, this year's Britt Conway Festival
00:29:52should be conspicuous above all for its dignity.
00:29:58Precisely.
00:30:01Oh, thank you, I will.
00:30:03Is there some lemonade, darling?
00:30:05No, thank you.
00:30:06Once I'd like a real drink and a stiff one at that.
00:30:09I'm perfectly satisfied with this.
00:30:12Oh, Mr. Kimbrough, the delightful Mr. Montt has just told me
00:30:15that you and he are writing a most fascinating play
00:30:18about our own Britt Conway.
00:30:19I'm Miss Lanning.
00:30:20Oh, Mrs. Kimbrough, I do hope you're going to allow me
00:30:23to describe your scrumptious gown in the Battenville Gazette.
00:30:25On Sunday, perhaps.
00:30:27Somehow or other, on Sunday, they allow us to be just a little more,
00:30:30how shall I put it, risque.
00:30:33If Battenville can take it, I can.
00:30:36Oh, and Mr. Kimbrough, I suppose Mrs. Charters has told you
00:30:39all the details of Britt Conway's fascinating life story?
00:30:43Oh, yes.
00:30:44Mrs. Charters has confided in me, confidentially, of course,
00:30:47that Britt Conway was born, was married and died.
00:30:51I was even able to wheedle the dates out of her.
00:30:53Oh, how fascinating.
00:30:55And I suppose you were able to obtain material
00:30:57from the other Conway descendants?
00:30:59Who's that?
00:31:00Oh, a young woman by the name of Marcel Conway.
00:31:02She runs a, oh, how shall I put it, cafe in the other part of town, of course.
00:31:07It seems that Britt had a, oh, how shall I put it, romance
00:31:11with the girl's great-grandmother.
00:31:14After his first wife died, of course, Britt Conway was a gentleman.
00:31:18And where did you say this young lady lives?
00:31:21Oh, I wouldn't know that, really.
00:31:23We young ladies of, how shall I put it, breeding,
00:31:27never patronize a place of that, how shall I put it...
00:31:30What, um, ilk?
00:31:31Uh, just so.
00:31:36And now, ladies, I think it's time for the committee meeting to commence.
00:31:41George, you stay here, I'm slipping out.
00:31:44Can't take it anymore, huh?
00:31:45Well, I don't blame you.
00:31:47Somehow I'm going to find this Marcel Conway girl.
00:31:50Wonder where she hangs out.
00:31:51Why don't you ask my boyfriend, Pete?
00:31:53He knows everything.
00:31:54Pete?
00:31:55Yeah, you know the boy at the hotel.
00:31:57The one who thought he knew you when.
00:31:58The first bright idea you've had in a week.
00:32:01Now listen, I'll take Steve and we'll find this dame if it takes all night.
00:32:05You stay here and amuse these ghouls.
00:32:08Amuse them?
00:32:09I'll have them rolling in the aisles.
00:32:14Let's forget about tomorrow or yesterday.
00:32:19This magic we're sharing will live through the night.
00:32:25Bravo!
00:32:26V's exquisite, my dear child!
00:32:29She's lovely.
00:32:29Isn't she, though?
00:32:30Say, folks, how would she be playing her own great-grandmother opposite me as Brit?
00:32:34Well, who ever told you my husband would cast you as Brit?
00:32:37Well, it's like this, Miss Volupte.
00:32:43You see, it's just like I said, only she forgot to say-
00:32:46Young man, how dare you!
00:32:47I'm sorry, Mrs. Kimbrough.
00:32:49I told Pete not to play that trick on you.
00:32:51How did you know?
00:32:52Stage and sports, black lace bombshell, vexations 1935.
00:32:57Oh.
00:32:59Well, I want you to know I was the greatest band dancer on 42nd Street.
00:33:04I used to come out in a little black lace job.
00:33:08Of course, I never used swing.
00:33:09I always had my own music.
00:33:11Classy stuff, you know.
00:33:13I used to start out with a little, just a little teeny bump.
00:33:17And then I really got going.
00:33:19And by the time I hit center stage...
00:33:22Yeah.
00:33:24Oh, Miss Conway, this young man brought us around here
00:33:28because we understand that you're a lineal descendant of the divine Brit Conway
00:33:32about who, about whom my husband is writing a play.
00:33:35And you want the real dope on great-grandfather.
00:33:38I'll say we do.
00:33:39Your cousins the Charterers family may be very excellent people,
00:33:43but they seem to know remarkably little about their own ancestor.
00:33:46Yeah, and what they do know they're not telling.
00:33:48I'm sorry, but I'm not selling ancestors this year.
00:33:51Oh, that's too bad.
00:33:53That means that George and Steve will be forced to use the rather dull story
00:33:58provided by Mrs. Charterers.
00:34:00Dull? Why, the fellow was dynamite.
00:34:02You bet he was.
00:34:03Well, not according to your cousin Julie.
00:34:05She paints him as a saintly bore
00:34:07whose only romance was a rather insipid Victorian courtship of her great-grandmother.
00:34:11That's a lie.
00:34:12Brit had one great romance, and that was with Marceline.
00:34:15Well, there were other romances in his life,
00:34:17but his first wife probably meant less to him than any of them.
00:34:20He didn't fight jewels over her as he did over Marceline,
00:34:24and he didn't write love songs to her,
00:34:26but he did to my great-grandmother.
00:34:28He wrote a song to Marceline?
00:34:29Sure he did.
00:34:30Valerie, this is something else Mrs. Charterers hasn't given us.
00:34:33We don't need her now.
00:34:35Miss Conway, would you...
00:34:36I'm sorry. I wish I could help you.
00:34:38But you can. You have Brit's song.
00:34:40Pete, you mustn't.
00:34:42Now we're getting somewhere.
00:34:43Here it is.
00:34:46Just as I saw you the first time,
00:34:48you're still a part of my heart.
00:34:53Valerie, this is terrific.
00:34:55Just what we've been looking for.
00:34:56It's perfect for the finale.
00:34:59Brit, piano, singing to Marceline.
00:35:01Please, Mr. Mont.
00:35:02I know I could play Brit for you.
00:35:10I know you will be pleased to hear that those eminent men of letters,
00:35:16Mr. George Kimbrough and Mr. Stephen Montt...
00:35:20I'd like him for Christmas.
00:35:27Have kindly consented to supervise this year's Brit Conway...
00:35:37...fessional...
00:35:38...fest.
00:35:44Meeting...
00:35:45...adjourn.
00:36:10Good-bye, Mrs. Charterish.
00:36:13I must say, I never tasted...
00:36:16...oh, good-bye, Mrs. Charterish.
00:36:16A more delicious lunch.
00:36:19I shouldn't have come here.
00:36:20They don't come into my place.
00:36:22Why should I barge into there?
00:36:23Oh, don't be silly.
00:36:35Oh, you're late.
00:36:37The meeting's over.
00:36:39And you should try the lush.
00:36:41Oh, it's de pinches.
00:36:44Oh.
00:36:45Uh-oh.
00:36:46I haven't seen anything like that since I was a bootlegger in Cedar Rapids, Iowa.
00:36:50Well, come on, kid.
00:36:52Is there anything left to tidy up?
00:36:55Only Miss Calhoun.
00:37:00Looks to me like she gonna be here to Judgment Day.
00:37:03I can't understand what could have gotten in the mother's gift.
00:37:06I can.
00:37:08So can I.
00:37:11What is the meaning of this?
00:37:15How dare you bring this woman into my house?
00:37:19Well, from the looks of your guests, you should be flattered to receive anybody who can still stand up.
00:37:24Introducing the contestants in tonight's main event.
00:37:26On my right, battling Charterish.
00:37:28On my left, Kid Kimbrough.
00:37:30Be quiet, George.
00:37:31This is serious.
00:37:32We found Marcel Conway, a real descendant of Brits.
00:37:35Well, I'm very happy to know you.
00:37:37How do you do?
00:37:38Any luck?
00:37:39She can tell you the true story of Britt Conway.
00:37:41Yeah, and it's a pip.
00:37:43Ms. Conway can tell you any story she chooses to fabricate, Mr. Kimbrough, but not in my house.
00:37:48I've no reason to invent a story about Britt Conway and my great-grandmother.
00:37:52And I've no reason to conceal anything.
00:37:54I'm proud of her.
00:37:56And I'd be obliged if you'll take your pride and your gossip back to the disreputable place you run, wherever
00:38:02it is.
00:38:02Mother, please.
00:38:03Mrs. Charterish, can't we sit down and discuss this thing rationally?
00:38:07There's nothing further to discuss.
00:38:09Oh, yes, there is.
00:38:11We made a contract with you to tell us everything about Britt Conway.
00:38:15You took our dough and didn't deliver.
00:38:17Naughty, naughty.
00:38:18That doesn't excuse you from bringing an unwelcome guest to my house.
00:38:21Mrs. Charterish is right.
00:38:23Even the lowest joints have the right to refuse service.
00:38:26I'm sorry.
00:38:27If Miss Conway goes, we're going too.
00:38:30That's right.
00:38:30That's your privilege, Mr. Monk.
00:38:32But before you go, may I remind you that by our agreement, you're forbidden to put anything in your play
00:38:38about Britt Conway that cannot be proved in writing.
00:38:41Would it be too much to expect of southern hospitality to see that our bags are packed and sent to
00:38:47the planter's house, where we shall be taking up residence?
00:38:51Pete!
00:38:52Yeah, I know.
00:38:53You want me to take down all that junk you hung up upstairs.
00:38:56What do you mean, junk?
00:38:57That's priceless fatigue.
00:38:59Have it your own way, bombshell.
00:39:02Steve, George, Marcel, dear.
00:39:05Since none of us are welcome in this house, we'll wait outside until Pete comes downstairs.
00:39:25You know, George, I think I'll hang the drapes in here before I put the batik over my bed.
00:39:30Oh, Valerie, why bother about drapes and batiks at a time like this?
00:39:35Why not?
00:39:36You boys are all set now, thanks to me.
00:39:38Marcel gave you enough material for three operettos.
00:39:42Incidentally, I think she'd be swell as Marceline.
00:39:45What's the good of that, Valerie?
00:39:47You heard what Mrs. Charterer said.
00:39:49Unless we have proof in writing, she'll never give her consent.
00:39:52Don't be too sure.
00:39:53Get a look at this.
00:39:57Plans for Britt Conway Festival by Eurydice Lanning, Society Editor.
00:40:02At the magnificent home of the genial Mrs. Ambrose Charterers and her delightful daughter, known to her intimates as Miss
00:40:06Julie,
00:40:07the advisory committee for the Britt Conway Festival was royally entertained on Tuesday afternoon.
00:40:12The food was sumptuous and the punch was pernicious.
00:40:20The highlight of a remarkable afternoon was the announcement by our hostess that this year the festival will be supervised
00:40:25by none other than those two celebrated Broadway dramatists,
00:40:28Mr. George Kimbrough and Mr. Stephen Mott.
00:40:31What's so wonderful about that?
00:40:34Well, you didn't finish it.
00:40:36The cooperation of the two famous authors who are preparing a play on the life of Britt Conway based on
00:40:41the intimate tales of his life,
00:40:43as recounted by Mrs. Charterers,
00:40:45guarantees that the festival will be the most successful in the annual series.
00:40:50And for this we have to thank Battenville's leading citizeness in social life, Mrs. Ambrose Charterers.
00:40:57Ho ho!
00:40:58What difference will that make?
00:41:00Obviously you've never lived in a small town.
00:41:05Hey, folks, guess who's here?
00:41:07Miss Julie?
00:41:09No, no, the old dragon herself.
00:41:14How nice of you to drop by, Mrs. Charterers.
00:41:17Won't you sit down?
00:41:19Thank you, I will.
00:41:20I'm not as young as I was.
00:41:22We've just been reading about you in the Battenville Gazette.
00:41:25Yes.
00:41:25It was because of that I came here.
00:41:28The learning woman is obviously mentally defective,
00:41:31but the fact remains this idiotic article has placed me and my daughter in a most difficult position.
00:41:36How true, how true.
00:41:38I've no intention of mincing words.
00:41:40I was guilty on Tuesday of an unpardonable breach of etiquette under, I must say, extremely provoking circumstances.
00:41:48You ordered us out of your house.
00:41:50That's not quite true.
00:41:52We offered to leave and Mrs. Charterers agreed.
00:41:55Let us say that I acted hastily.
00:41:58To put my cards on the table, I need you to ensure the success of the festival.
00:42:06And in what way do we need you?
00:42:09I happened to be rummaging in an old bureau today and I found some papers in Britt Conway's handwriting.
00:42:15Unpaid bills, no doubt.
00:42:17On the contrary, they contain what I believe you Broadway people refer to as some hot stuff.
00:42:23So the deal is, we come to the festival, you give out the dirt.
00:42:29That is so.
00:42:30It's a deal.
00:42:31Okay by me.
00:42:32Uh-uh.
00:42:33On one condition, Mrs. Charterers.
00:42:36My husband and Mr. Martyr are being in complete charge of the festival, including the songs that are sung and
00:42:41danced.
00:42:42Provided they're genuine songs by my grandfather.
00:42:44Oh, they'll be the real McCoy.
00:42:47And over the choice of performers.
00:42:50You mean?
00:42:51Those are my terms.
00:42:52Take it or leave it.
00:42:59You leave me no alternative.
00:43:04I accept.
00:43:08I can only say this of you, Mrs. Kimberer.
00:43:11You represent the triumph of mind over manners.
00:43:24Hear the bayou call
00:43:29Saying love is all
00:43:34Let's forget about tomorrow or yesterday
00:43:45This magic we're sharing
00:43:50Delicious!
00:43:51We'll live through the night
00:43:53Somehow I feel Britt wrote this with his heart
00:43:56Thinking not caring
00:44:00If it's long or right
00:44:04We old chatting words
00:44:10Tell us this is sore
00:44:15Only fools refuse the spell of the bayou call
00:44:25Love is ours tonight
00:44:31Let it flame when bright
00:44:35We'll obey the bayou call
00:44:43The bayou call
00:44:43The bayou call
00:46:47Free of chanting, Lord, tell us this is so.
00:49:03That's all.
00:49:04Can't waste any more time.
00:49:07I'm going back to the Chez Marcel where your husband's, that is, if any of you ladies are
00:49:12lucky enough to have husbands, are probably waiting to have a drink and some laughs with
00:49:17me. I'm sorry, Steve, if I've messed up the chances for your play. Well, that's all right. Julie. Yes, Mama?
00:49:25Finally escort me to the house. I must remind you, Mrs. Charteris, we made a little deal with you the
00:49:30other day at the hotel. I advise you to consult with my lawyers about that. And what about the
00:49:35Britt Conway papers you promised us? Your memory must be playing you tricks, Mr. Kimbrough. Good
00:49:43something I must tell you. I'm afraid there's nothing you could tell me, Mrs. Charteris,
00:49:47that I'd believe. Come on, let's go to Marcel's place. We need some fresh air.
00:50:01Just walking around and moping, honey, won't do no good. Don't you want to come over and
00:50:06cut for your wish? Might come out.
00:50:13I wish I were dead. When you tell your wishes, they don't come true. I tell you,
00:50:21Miss Julie, what we'll do. We'll make it your fortune instead. Look, honey, now here's how
00:50:29your fortune starts. Now this here's your picture, the Queen of Hearts. Look at how she crowns.
00:50:37That means your heart is aching. And if I ain't mistaken, it's on account of this
00:50:43you're jack. I do believe it's Mr. Steve. Miss Julie, honey, the reason why you're
00:50:51feeling bad is because you're holding back something you ought to have. This two of hearts.
00:50:58Now that means a man and woman story. A man and woman that long ago done gone to glory.
00:51:06I reckon it's about Mr. Britt. Miss Julie, you just won't admit to Mr. Steve, your grandpa
00:51:15was a natural man. And honey, ever since the world began, men folks has been men folks.
00:51:22Don't you understand? Well, that story would bring shame on the family name.
00:51:28Well, there ain't many men the Lord picked out to write real music. The Lord is forgiven
00:51:35if mistakes a man like that that made him living. And if it's Mr. Britt's life you begrudging,
00:51:42then honey, you cause yourself better judging than the good Lord himself.
00:51:47You're right, Liza Henry. I must get Britt's diary to him. But how?
00:51:52Oh, I don't want Steve to think I'm chasing him.
00:51:58I guess the Lord will forgive me for what I did. So here's the old diary. And for hiding.
00:52:06I'm ever provided.
00:52:09Boy, I'd have given anything to have heard you give that old dragon the works.
00:52:13It was a dumb thing to do, really. The boys lost the chance to do the play, and now I
00:52:17won't
00:52:17be able to show people what Marceline was really like.
00:52:20Yeah, and Broadway will never see me as Britt Conway.
00:52:23I know. It's tough on you, Pete.
00:52:26It's tougher on Broadway. Guess I'll have to go back to the Trapeze Act.
00:52:30Is there anything you haven't been?
00:52:33Yeah. Married. But we'll fix that, won't we, honey?
00:52:39Excuse me.
00:52:42Marcel, I had to come to see you.
00:52:43Why?
00:52:44I have something for you.
00:52:46I can get along quite nicely without hush money, thank you.
00:52:48Oh, no, it's not that. Anyway, I don't have any money.
00:52:52Marcel, I have to speak to you. Privately.
00:52:56Privately meaning without me?
00:52:57Pete, would you mind running downstairs?
00:52:59Yeah, I know. I've played these scenes with tent shows.
00:53:04Why did you come here?
00:53:10I want you to give that to Mr. Montt.
00:53:14This looks like the real thing.
00:53:16It is.
00:53:19And writing's the same.
00:53:23Here's all about the first time he and Marceline met.
00:53:28Why did you bring this to me?
00:53:30Why not to Steve himself?
00:53:33Because...
00:53:33Oh, I can't begin to explain and you wouldn't understand.
00:53:38But please, please promise me one thing.
00:53:41That you'll never, never tell Steve, Mr. Montt,
00:53:44that you got it from me.
00:53:46Will you promise?
00:53:48It's a deal, Cousin Julie.
00:53:50Thanks.
00:53:53Marcel, please believe me.
00:53:56I...
00:53:58I must go.
00:54:00Do you know what I believe?
00:54:02For the first time,
00:54:03I believe that Britt Conway really did marry your great-grandmother.
00:54:07Thanks.
00:54:09Oh.
00:54:10Oh, well, thanks anyway.
00:54:21Britt, dear Britt.
00:54:24As I was singing your song,
00:54:26I suddenly realized that it was written not for me,
00:54:30but for Marceline.
00:54:31You can be saved with words,
00:54:34but melody cannot lie.
00:54:36No, Valerie.
00:54:38Try and get a little real feeling into it.
00:54:40You're supposed to be a dame
00:54:42who suddenly discovered that the boy she loves
00:54:43has gone sour on her.
00:54:45If these ridiculous words you've written,
00:54:48there's no poetry in them.
00:54:49As, for instance...
00:54:51As, for instance,
00:54:52as you were singing your song.
00:54:55Well, what's wrong with that?
00:54:57Except the way you sang it.
00:55:00An artiste does not sing a song.
00:55:02She renders it.
00:55:04I'm right, aren't I, Steve?
00:55:06What?
00:55:07Oh, sorry.
00:55:08Afraid I wasn't paying attention.
00:55:10That's been the trouble ever since we left Battenville.
00:55:12You'll pay attention to nothing,
00:55:14contribute nothing,
00:55:16do nothing except play that one tune
00:55:17that you won't even let us use in the show.
00:55:19Yes, Steve.
00:55:20Why can't I sing that song?
00:55:23You mean render it, Valerie, dear?
00:55:25Sorry, Valerie, but no.
00:55:27The song isn't right for you.
00:55:29It's a song...
00:55:30A song for...
00:55:31For Miss Julie, I suppose.
00:55:33Precious Miss Julie.
00:55:34Who did her darndest to keep us from doing this show.
00:55:39If we're going to open Thursday,
00:55:40we'd better get on with the rehearsal.
00:55:43Sorry, George.
00:55:43Haven't been much help to you lately.
00:55:45Oh, that's all right.
00:55:46Say, by the way,
00:55:47I saw the rest of Marcel's costumes this morning.
00:55:50They're terrific.
00:55:51They should be.
00:55:52It'd be in a heck of a mess
00:55:53if it weren't for Marcel.
00:55:55Now, where were we?
00:55:57Playing songs for Miss Julie?
00:55:59Raving about Marcel's costumes?
00:56:02Completely ignoring your leading lady?
00:56:04Okay.
00:56:05We'll go to your next entrance.
00:56:08Act 2, Scene 3.
00:56:11Valerie, this is where you come down the stairs.
00:56:13There are no stairs in this set.
00:56:16I know, my love,
00:56:17but if you have an ounce of imagination
00:56:19or even a modicum of memory,
00:56:22try and picture the charter's household
00:56:24and imagine yourself walking down the steps.
00:56:28Well, if there's one thing I do know,
00:56:30it's how to walk.
00:56:32All right.
00:56:34The chorus has just finished
00:56:36the reprise of Sweet Sunday.
00:56:38Take a split second for the applause
00:56:40and then walk down quite simply stage center.
00:56:44Off we go.
00:56:50Oh, oh, oh, what have I done to deserve this?
00:56:54You've written a very silly play
00:56:56and what's wrong anyhow?
00:56:57I said walk,
00:56:59not slither, slide, and squirm all over the place.
00:57:02You're supposed to be a southern lady,
00:57:04not a snake charmer or a coney.
00:57:06Listen, George Kimbrough, and listen good.
00:57:09I did plenty okay with fans and bubbles and doves,
00:57:13and long after your gallant balladeer is back in the warehouse,
00:57:17I'll still be waving a fan, see?
00:57:20I shall now retire to my dressing room
00:57:22until you are ready to render your apology.
00:57:27Much as I admire my grandfather's compositions,
00:57:30don't you get a little tired
00:57:31of hearing that same tune all day long?
00:57:33I like it, my mom.
00:57:38Oh, thank you, Liza Henry.
00:57:41Let me come back in a little while
00:57:42and clear the tea things away.
00:57:44Yes, sir.
00:57:45What's the matter, Miss Julie?
00:57:47Ain't my molasses cookies good this time?
00:57:49Oh, they're delicious.
00:57:51I'm just not hungry, that's all.
00:57:53We ain't had enough to keep us fair alive
00:57:55since Mr. Steve left.
00:57:59My, Julie, there's a letter
00:58:00from your Uncle Horace in New York.
00:58:03Isn't that nice?
00:58:11Oh, what can this be?
00:58:15Gallant balladeer, new operetta
00:58:17based on the life of Britt Conway.
00:58:21On Thursday next at the Monarch Theater,
00:58:24Gilbert Wilson will present a new work
00:58:26from the prolific pens of George Kimbrough
00:58:28and Stephen Munt.
00:58:30The story of this musical is based on authentic data
00:58:33found in a diary
00:58:36written by Britt Conway himself.
00:58:39This diary was discovered only recently
00:58:43by the enterprising authors
00:58:45while visiting descendants
00:58:46of the famous southern balladeer
00:58:48in Battenville, Louisiana.
00:58:51There can only be one answer to this.
00:58:55Liza Henry must have been bribed for those creatures.
00:58:57That's not true.
00:58:58I took the diary.
00:59:00I, I gave it to you.
00:59:03You, my daughter.
00:59:07No, Mama.
00:59:09Britt Conway's great granddaughter.
00:59:12Oh, Mama, I know how you feel.
00:59:14But times are changing.
00:59:16It isn't that people are any less strict
00:59:17in their standards.
00:59:19Well, it's just that they're more human,
00:59:21more understanding.
00:59:22Nonsense.
00:59:23Humanity and understanding
00:59:25are modern words for laxity.
00:59:27Sloppy sentimentality.
00:59:30I presume you've temporarily
00:59:31taken leave of your senses.
00:59:33Until you recover them,
00:59:34go to your room
00:59:35and remain there.
00:59:49Planter's house.
00:59:51Yeah?
00:59:53Yeah, this is Pete.
00:59:54Who are you?
00:59:55Julie.
00:59:57Oh, Miss Julie Charteris.
01:00:00Why, yes, Miss Julie.
01:00:01I guess I know most everything.
01:00:04Where could you pawn
01:00:05an antique music box?
01:00:08Now, let me see.
01:00:11Why, yes, sure I know.
01:00:15Curtain going up.
01:00:17Take your seats, please.
01:00:19Curtain going up.
01:00:20Take your seats, please.
01:00:22Curtain going up.
01:00:24Take your seats, please.
01:00:26Curtain going up.
01:00:27You'd think after 15 years
01:00:29it would get better,
01:00:30but it doesn't.
01:00:31Remind me to close my eyes
01:00:33when Valerie makes that entrance
01:00:34down the staircase.
01:00:36I shall have passed quietly out
01:00:38long before that.
01:00:41Say, there's John Furbank
01:00:43of Morning Courier.
01:00:44Give an ear and find out
01:00:44what kind of a mood he's in.
01:00:46I'm so nervous
01:00:46I've gone stone deaf.
01:00:47Okay.
01:00:51Oh, I feel I'm going to enjoy this.
01:00:55What's wrong, dear?
01:00:56Never should have eaten
01:00:57those oysters.
01:01:04Well?
01:01:14Never again.
01:01:16Oh, it's ten past nine already.
01:01:18We'll never get there
01:01:19before the end of the play.
01:01:20It's tough on you, Miss Julie,
01:01:21but I guess it'll run
01:01:22more than one night.
01:01:23Even if I'm not playing
01:01:25Brett Conway.
01:01:26Attention,
01:01:27northbound passengers
01:01:28for New York.
01:01:29The bus has been repaired
01:01:30and is now ready to leave.
01:01:32Where will we get to New York?
01:01:34Your bus will arrive
01:01:35at the 42nd Street Terminal
01:01:36at approximately 10.55 p.m.
01:01:39Take your seats, please.
01:01:45Oh, if it's wrong or right
01:01:51We old chatting words
01:01:55Tell us this is so
01:02:02Only fools refuse the spell
01:02:06Love the bayou call
01:02:12Love is ours tonight
01:02:17Let its flame burn bright
01:02:22We'll obey the bayou call
01:02:28Oh, we'll obey the bayou call
01:03:06THE END
01:03:56THE END
01:03:58THE END
01:03:59THE END
01:04:01THE END
01:04:06THE END
01:04:06THE END
01:04:11THE END
01:04:24THE END
01:04:27THE END
01:04:33THE END
01:04:33THE END
01:04:35THE END
01:04:50THE END
01:04:52THE END
01:05:07THE END
01:05:08THE END
01:05:09THE END
01:05:13THE END
01:05:13THE END
01:05:13THE END
01:05:17THE END
01:05:17THE END
01:05:18THE END
01:05:19THE END
01:05:20THE END
01:05:21THE END
01:05:22THE END
01:05:23THE END
01:05:24THE END
01:05:24THE END
01:05:24THE END
01:05:27THE END
01:05:28THE END
01:05:28THE END
01:05:31THE END
01:05:31THE END
01:05:31THE END
01:05:31THE END
01:05:33THE END
01:05:33THE END
01:05:33THE END
01:05:37THE END
01:05:47THE END
01:05:49THE END
01:05:51THE END
01:05:54THE END
01:05:54THE END
01:05:55THE END
01:05:55THE END
01:05:56THE END
01:05:58THE END
01:05:59THE END
01:05:59THE END
01:06:00THE END
01:06:00THE END
01:06:02THE END
01:06:03THE END
01:06:03THE END
01:06:04THE END
01:06:04THE END
01:06:04THE END
01:06:05THE END
01:06:06THE END
01:06:07THE END
01:06:10THE END
01:06:15Get away, boys!
01:06:41Get away, boys!
01:07:11Get away, boys!
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