Sweet Adeline (1934) - full transcript
In 1898, composer Sid Barnett manages to get his sweetheart, Adeline the beer-garden singer, to sing the lead in his new Broadway operetta; this infuriates Elysia, the erstwhile star. But Sid frets as Adeline spends increasing amounts of time with the dashing Major Day.
- Subtitles -
Lu?s Filipe Bernardes
# Play us the Polka Dot #
# Come play a Polka Dot #
# Play a waltz #
# And play it sweet and slow #
# Play it till the day is out #
# Not many fancy engagements in town #
# Not a chance for her to get a beau #
# On a bright summer night #
# Under the moon #
# All the boys say to her #
# Oops, another tune #
# Play us the Polka Dot #
# Gotta have another Polka Dot #
# On with the dance and the piccolo #
# All night I stand here and blow #
# Upon an old piccolo #
# While all the other girls are dancing #
# Gay and free #
# Getting thrills that never come to me #
# I'm a girl men hear but never see #
# For this is all they ever say #
# from ten till three #
# Play us the Polka Dot #
# Gotta play a Polka Dot #
# Play a waltz #
# And play it sweet and slow #
# Play it till the day is out #
# Not many fancy engagements in town #
# Not a chance for me to get a beau #
# On a bright summer night #
# Under the moon #
# All the boys say to me #
# Oops, another tune! #
# Play us the Polka Dot #
# Gotta have another Polka Dot #
# On with the dance and the piccolo #
# Play us the Polka Dot #
# Gotta play a Polka Dot #
# Play a waltz #
# And play it sweet and slow #
# Play us the Polka Dot #
# Gotta have another Polka Dot #
# On with the dance and the piccolo #
Ja... coming.
Here, Schmidt, Schmidt, Shmidt...
- Hi, brothers!
- What, no enchiladas and chili?
- We want enchiladas and chili.
- We want enchiladas and chili!
We want enchiladas and chili!
Just a minute, please!
We are at war, yes?
- Yes, with Spain, ain't it?
- Look, he reads the papers!
If we serve enchiladas and chili,
is that patriotic?
No!
Till this war ends, chili
will be Liberty beans...
...and enchiladas will be
MacKinley Hash.
Good work, Oscar!
Now how about some Liberty beans
and MacKinley hash?
You betcha! Liberty beans
and Mackinley hash!
They tell me Roosevelt is ready
to charge San Juan Hill.
He'll never make it.
And Dewey is going to try
to capture Manila Bay.
Oh, he'll never do it.
What time do you expect
this... what is his name, composer?
Sid Barnett? He's due about 10:30.
- What time is it, Rupert?
- Oh, er, let's see...
I have 11 o'clock, that makes it
just 10:30.
- I don't follow you.
- Well, it's very simple.
My watch is a half-hour fast.
It's always been a half-hour fast.
It was a half-hour fast the day
I bought it and I've never changed it.
I'm not a fellow who likes
to tinker with anything.
Don't you have trouble
telling time by it?
Oh, no, I'm used to it.
You see, I just deduct a half-hour from
the total, and there you have it.
Except of course if the
chime starts ringing, oh!
That throws me completely off!
- Quite a story.
- Yes, thank you.
Ah, there he is.
There's what's his name, composer.
Hey, Sid!
- Got something on his mind.
- Yeah, probably my lyrics.
Fine friends!
- What's the matter, Sid?
- Why haven't you been playing my song?
Why, we played your number
six times last night.
- We've got to give the other boys a chance.
- I've got a new one I want you to try out.
Let me see it.
"There's a Rustle in Your Bustle
that Says I Love You."
Oh, that's sweet.
Play it for me, Sid.
Alright.
Stop! Stop!
Stop, I tell you, stop!
- Stop what?
- You loafer! Get out!
And I don't want you should ever
come around here again!
- Why, what's the matter, Mr. Schmidt?
- You, you, you song plugger, you!
- What's happened?
- You took my daughter Adeline out...
...once and I warned you!
You took her again out
and I warned you twice as much.
- And now last night...
- But we came in early.
After 9 o'clock, you call that early?
- My Adeline is a good girl!
- Now, Oscar, be reasonable.
Oscar? Oscar, eh?
People will think maybe we went
to school together.
Here, take the music and get
out of here!
Go on, play something!
Not his!
Hey, Barnett! Sid!
You know my new importation, Elysia?
Did you do anything about my lyrics?
- Which one?
- The one I called...
"There's a Brave Heart Waiting when
You Burn the Candle at Both Ends."
I'm working on it.
Get that scowl off your face,
I've got some good news for you.
- Such as what?
- Have you lost interest in your operetta?
You heard it six months ago,
you didn't like it then.
Well, these things take time.
I like it now.
I liked your music.
The book needs tightening,
but we can get somebody
to help you with that.
You can count on me.
- You mean you're going to do it?
- Yes, I'm mad about it!
And Rupert is going to
back me in it.
Aren't you?
Yes, you can't take your money
to the grave, I always say.
We're gonna start rehearsals Monday
morning with a few of the principals.
Elysia will be starring it,
how does that sound?
I was just going out to enlist.
Oh, you can enlist after
the show opens.
If you still want to.
I'll be right back.
- Where's Adeline?
- She's upstairs dressing.
Adeline, look!
- Nellie, put that paper away!
- Why?
Because if Pop ever saw it,
now go on, put it away.
But Adeline, look.
Tights!
Where?
Oh, look, there's Major Day!
Dewey is in Manila. The Spanish fleet
is bottled up.
Wood and Roosevelt in Cuba,
ready to drive the Spanish tyrant
from that enslaved island.
Are you men with us?
Yes!
Uncle Sam needs men like you,
and you, and you!
Fine, strong, healthy,
100% Americans!
Oh, he is handsome.
Oh, that's right, pretend
you don't care.
I suppose you'd rather go sparking
with Sid Barnett.
A song plugger.
He is not, he writes beautiful music.
Well? Well, well?
Now, what's the idea?
Business is good downstairs
so my daughters stay upstairs.
We were just coming down, Pop.
Maybe your father's Beer Garden
ain't good for you anymore?
She wants to be a fancy woman.
She wants to be an actress like...
Like this!
What is this, a Beer Garden
or a barber shop?
I've told you a hundred times already
I don't want this paper in my house.
- I brought it in, Pop.
- You?
No, Adeline, you're too sensitive.
But she wants to be an actress.
And she never will be as long
as I live to see the day.
But you, with that loafer
coming in after 9 o'clock.
That's a nice example to set
for your sister Nellie, ain't it?
Well, why are you still there?
Pop, what about Sid?
Ah, never mind Sid, he won't
bother us no more.
My Adeline is too good for him.
Look! Here comes Major Day!
Come, come, quick!
Hurry up down.
The Major always wants
my Adeline to wait on him.
Hooray para Cuba libre,
Hooray para los Estados Unidos!
- Hooray para el Major Day!
- Hooray!
Corre para Espa?a!
Corre para Espa?a! Hooray!
- Good evening, Oscar.
- Good evening, Major Day.
See, I saved your table for you
and I can recommend the pig roast.
Adeline will be right here
to wait on you.
Thank you very much, Oscar.
Adeline!
- I've got to talk to you.
- Be careful, Sid, Pop's awfully mad.
I don't care about Pop,
I want to talk to you.
No... I can't right now.
Oh, I always wanted to meet
an actress.
I think you're gorgeous!
Would you write my album?
Oh, Mr. Rockingham! I followed your
career in the Sunday papers too.
I know you come from one of the
oldest Dutch families in New York.
Your great-great-grandfather
was Eric Rockingham.
He made a fortune just before
the Civil War selling slaves short.
You've got a brother too
Is he like you?
Well, he's a great, big, handsome fellow,
not quite as magnetic as I...
but of course, he has a great
personality too.
Oh, you're the one I'm interested in.
The paper said that you went to Europe
to propose to Sarah Bernhardt...
...and she turned you down.
Is that true?
Well, no, you see, I found out
there was another man...
...and I asked her if she preferred him
to me and she said yes.
- So, I rolled over.
- That's swell.
You look lovely tonight, Adeline.
- Thank you, Major.
- Won't you sing for us?
- Of course, anything you like.
- "Here am I", that's my favorite song.
It's my favorite song too.
Wait till you hear her sing.
# Here am I #
# Here I'll stay #
# Till you notice me #
# In your path #
# In your way #
# And if you'll open your heart to see #
# If you would only love me #
# How I'd love you #
# I'm very lonely #
# Maybe you're lonely too #
# Here is love #
# Here am I #
# Please don't pass us by #
Extra! Extra! Dewey captures Manila!
Extra! Extra! Dewey captures Manila!
Extra! Extra! Dewey captures Manila!
Paper, sir?
Dewey captures Manila!
I don't believe it.
# We were so young #
# The time was an evening in May #
# I wore the pale pink organdy #
# You thought so gay #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl #
# And you were a boy #
# From over the way #
# We were so young #
# The heavens were smiling above #
# I let you to keep my handkerchief #
# I kept your glove #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl #
# And you were a boy #
# And we were in love #
- That's great, Adeline.
- It's a beautiful song, Sid.
It comes in the second act.
It's a beautiful swing number.
You're swinging high above the heads of
the audience and the people on the stage.
It does sound exciting.
- Will you do it?
- What's the matter with Elysia?
Oh, she can't do it, she's not
a singer, she's a clothes horse.
My songs are different, Adeline.
They're written for you.
That sob quality, that's what I need.
No one else understands it.
Why, you'll be famous overnight.
We'll both be famous.
Oh, Sid, let's not go into
that again.
You know I can't do it,
that's all.
- You're afraid.
- Maybe, a little.
A New York audience might not
like me the way you do.
And then there's Pop.
It would kill him.
A painted woman, a stage actress.
Oh... it must be after nine.
- We'd better go.
- Oh, all right.
Oh, Adeline, you don't want to be stuck
in Hoboken all your life.
- Of course I don't.
- Then why don't you come with me?
I'll work with you every day,
every moment.
I'll make you the greatest
thing in New York.
Oh, you'll make me the greatest
thing in New York.
If I don't, my songs will,
they were written for you.
It's all very flattering, Sid,
but it's no use.
Then you're happy here,
a Beer Garden singer.
- Well, I'm not ashamed of it.
- Well I am.
I'm ashamed of seeing you throwing away
your talent on a bunch of beer drunks.
- You're just spoiling for a fight.
- No, I'm not.
You're just being stubborn,
that's all.
I'm not stubborn!
I won't leave Pop!
- What's wrong with that?
- You'll have to leave him some time.
You'll have to leave him
to become Mrs. Major Day.
Well, you don't have to look
at me like that.
You can see the wedding bells in your
father's eyes every time the major comes in.
And Nellie too, yes, even Nellie,
I saw her reading the society columns.
Well, I ought to slap your
face for that!
Yes, well I ought to slap yours.
- Let's stop soon, shall we?
- I wish you would.
Isn't it a shame we couldn't
bring Nellie with us?
Ah, it will do her good,
she's out all the time.
- Boys, always boys!
- But she's so young.
I know, but I want
my girls to be ladies.
- Like Adeline.
- Oh, Pop.
It will do Nellie good to stay
home for a while alone.
Oh, this is wonder... wonderful,
wonderful.
It's a little bit crooked...
it's crooked, isn't it?
No, it isn't. That's the leaning
Tower of Pisa.
Pisa, eh...
Well, I guess it must be the beer.
I think we could stand a little salt.
- I think we could.
- Yeah...
You know, I'm a fellow that's
very fond of salt, very fond of salt.
Plain food but plenty of salt. Most people
think I use too much salt.
- Oh, I like a little salt myself.
- You do?
Not too much, just right.
I just taste the food and see
how much salt there is on it...
...and if there's enough for me,
I never add any more.
- Is that so?
- And if there isn't, I just add a...
... pinch of salt.
That's fine, now how do you feel
about pepper?
- Oh, I like lots of pepper.
- You do? Oh, I don't care for pepper.
Plenty of salt. In fact I think I could get
along without pepper entirely.
- Well!
- Yeah.
You know, isn't it wonderful that two people
can sit in a room like this and just talk?
- Do you like to talk?
- Yeah, I think it's a pretty good thing.
You know, I used to sit at home
and just think...
...until one day a friend told me
about talking and I looked into it.
I wish you could see the look of surprise
come over my friends' faces...
...when they first heard me talking.
- Oh, Rocky, you're delicious.
- You're quite a fancy gal yourself.
Um, how do you feel about... kissing?
Kissing? Well... I think it brings
people closer together.
Sort of builds for a better understanding.
I think we could find a spot for it.
- Oh, there you are.
- Well... I thought I'd find you here.
Where have you been?
We haven't seen you at rehearsals.
Well... business, government business.
War, war, you know.
Elysia's been asking for you.
I have been rather neglectful
of late, but...
Will you do me a favor?
Will you mail this to Elysia for me?
Thank you.
- There's nothing on it.
- Oh, that's all right, we're not speaking.
Goodbye.
- Where's Adeline?
- Oh, you quarreled, didn't you?
- I know all about it.
- Where is she?
She went on a picnic with Pop
and the major.
And they left me here all alone.
- Where did they go?
- I don't know.
# Why was I born #
# Why am I living #
# What do I get #
# What am I giving #
# Why do I want a thing #
# I dare not hope for #
# What can I hope for
# I wish... #
Yes, sir, Mr. Rockingham,
you're in the right atmosphere.
The theater with its art
and glamor.
- You were born to be an impresario.
- Yes, yes, I thought so.
My, this production of young Sid's
is gonna make history,
Yes, sir, make history!
Just look at this production. The scenery
alone is the price of admission.
Very fine plant you have here.
And not only that everybody
working together.
Perfect timing.
I'm through! It won't do!
It never was right, it isn't right!
Dan! Dan! Dan Herzig!
Rupert! Rupert!
Rupert, darling!
- Rupert! Rupert! Rupert!
- Oh, take it easy!
Rupert! Rupert! I cannot stand it!
I will not go on!
Now, now, now. Now, don't make
me nervous.
I won't let her do it. My music
and my lyrics...
...are written for girl with
a sob in her voice.
Son in her voice, blah! We want somebody
who'll pull them in the theater.
- Elysia will do that.
- Maybe, but she won't keep me in.
- I'm through.
- Well have you someone in mind...
...to take her place?
And if so...
Have you got somebody to put up
the money for her?
Now don't be a fool!
Try it again for my sake.
Everything I've got is staked
on this troupe.
If it's a bust?
All right.
I'm sorry I lost my temper, Elysia.
Let's try it again.
We'll pick it up from where you say to
Mondego, "So this, sir, is what you mean."
Here... you! You be Mondego.
Me? Mondego?
Yes, just stand there,
don't do a thing.
Just read these two lines,
undertsand?
- Oh, yes, sure.
- Stand over there.
Back! Back!
On your life, stand back!
Oh... um... "Penelope, I love you."
And you would prove your love
by an act of valiance?
Um, "You are wrong. I would only
persuade you to be my wife."
Hear me, Lyman Treadwell,
I am but a poor shopgirl.
My present life is a struggle for
a scant existence.
My future, a life of toil.
But rather death a thousand times
than a life of horror with you!
# Why was I born #
# Why am I living #
# What do I get #
# What am I giving #
# Why do I want a thing #
# I dare not hope for #
It's no use, Herzig, it's no use!
Sid! Sid!
Oh, Sid!
- Adeline!
- Something awful's happened!
Nellie ran away.
She's somewhere in New York.
She just walked out of the house
and she didn't say anything to anyone.
We thought you might help us.
Do you hear me?
Here's the girl who should play the lead!
I wrote the music for her!
I heard her sing at the Beer Garden.
Won't you sing one of my songs
for them?
You know, the one where you face
the world friendless.
Your... your sweetheart's left you.
But, Sid, I'm worried about Nellie.
- She's here!
- Where?
She's all right, honey, perfectly safe.
Oh, take me to her,
I want to see her.
If I promise you to take you to Nellie,
will you do something for me?
Sing the song for Mr. Herzig
and I'll take you to Nellie.
- You promise?
- Of course, honey.
I'll play it for you, right down here.
Oh... I can't sing now.
I'm all choked up.
Fine, that's just what I want.
# Spending these lonesome evenings #
# With nothing to do but to live #
# In dreams that I make up #
# All by myself #
# Dreaming that you're beside me #
# I picture the prettiest stories #
# Only to wake up #
# All by myself #
# What is the good of me by myself #
# Why was I born #
# Why am I living #
# What do I get #
# What am I giving #
# Why do I want a thing #
# I daren't hope for #
# What can I hope for #
# I wish I knew #
# Why do I try #
# To draw you near me #
# Why do I cry #
# You never hear me #
# I'm a poor fool #
# But what can I do #
# Why was I born
# To love you #
# Why was I born #
# Why am I living #
# What do I get #
# What am I giving #
# Why do I want a thing #
# I daren't hope for #
# What can I hope for #
# I wish I knew #
# Why do I try #
# To draw you near me #
# Why do I cry #
# You never hear me #
# I'm a poor fool #
# But what can I do #
# Why was I born
# To love you #
You see, that's what we need,
a throb on the voice!
She's great, but who's gonna
back us?
Who ever heard of Adeline Schmidt?
- They'll hear plenty after opening night.
- Perhaps it'll be too late.
Just a moment, my good fellow.
- If it's a question of money...
- And it is.
You'd like Miss Adeline
to sing in your show?
- I certainly would.
- Wait a minute!
In that case, I should be delighted
to underwrite the show.
My good man, do you know
what you're doing?
If you'll consent to play,
I'll consent to pay for the show.
Sid... now take me to Nellie, please.
All right, Addie, come on.
Well, now that you're going
to be with us,
Um, Miss Elysia and I have had
a little chat, and...
...and unless she's the star uf the show,
I'll withdraw my financial support.
- We got a new backer.
- You have, who? Let me meet him.
Well, now, I'll tell you, honey,
it's this way.
Alright, girls, come on, places.
Where Elysia is concerned,
there is only one way.
- That is Elysia's way.
- Yes, yes, I know.
We'll let her have all the songs
in the show. You still got the great part.
All that smart chatter that
the critics rave about.
A Beer Garden singer to take
my place.
She will never do it! You understand?
Never, never, never, never!
Oh, yes she will.
Dan Herzig's newest operetta
"The Love Song"...
...has now been in rehearsal
three weeks.
It's rumored along Broadway that
Major Jim Day is backing the show.
Since the handsome major's frequently seen
in the company of Miss Adeline Schmidt,
the newly discovered prima-donna,
the rumors are probably correct.
Come in.
Oh, hello, Rupert.
- Agh, how did you know it was me?
- What's the idea?
Read that.
"Mr. Rupert Rockingham, New York City,
Dear Sir, you will consider this letter
your official appointment...
...as operator number 666 in the Intelligence
Department of the Department of Justice.
Your patriotism in volunteering
your services...
...is duly appreciated and you are hereby
assigned to investigate and report...
...upon the activities of one Estella
Espinoza, known on the stage as Elysia.
Information has reached us that the said
Elysia is engaged in attempted espionage.
The Department awaits your
detailed reports.
Respectfully yours."
- Is that on the level?
- Certainly, I want to serve my country.
- But why the shrubbery?
- Ah, so no one will know me, you see?
- I get it.
- Hm, what a situation!
Here I am, a Secret Service operator
and the woman I love is a spy.
What drama! What theater!
Come in.
I'm lonesome all alone in my room.
May I come in and visit?
Yes, come in.
Oh, Sid, Addie said she might
not be home till quite late.
She'll have to skip her rehearsal.
Very well, I will return later.
Oh, don't go, Rupert.
You didn't know it was me!
Is he rehearsing something?
Did she go out with the major?
Oh, sure, she goes out with him
every Sunday.
He sent her orchids this morning.
Is Rupert crazy?
Elysia, Elysia... Can you give me
a word that rhymes with Elysia?
- Oh, go away.
- No, no, Elysia, Elysia...
I must have a word, preferably
in one syllable.
I don't think there is a rhyme.
There's simple words like
that, you know.
Like, um, orange. No rhyme.
Orange, that's good, that's good.
That's fine, orange!
That's it, orange.
Well, things are coming to a pretty pass
with Adeline and the major.
- So I hear.
- Are you going to sit there and sulk?
Well, what else am I
supposed to do?
Why don't you take me out?
That'll make her jealous.
Great. Now you run a long
and play with Rupert.
Oh, just because Rupert is infatuated
with Elysia doesn't bother me.
Sid, why don't you take her out?
Now, say, listen to this,
how do you like this?
There... "Sweet little girl,
sweet little girl,
my head's in a whirl,
so send me a curl.
You're the only girl for me.
How about lunch?
You know what I'm going to call it?
- No, what?
- Elysia.
- I'll be right out.
- Now hurry, don't keep me waiting.
I knew she'd come back.
Oh, Rupert, look at the automobile.
It'll never take the place
of a horse.
Hey, you children, get away
from there.
Little boy, don't touch anything.
Honey, I was afraid you wouldn't
get back in time.
Oh... I'm sorry, Sid.
I just came in to change.
I'm going to the ball game
with Major Day.
And I'm dining with him tonight.
Little girl, be careful.
I shall call an officer, go away!
Hey, love, your serve, dearie.
Don't let him get away!
I thought you were going to spend
the day with me.
But I see you every day
at the theater.
You just scowl and shout at me.
On Sundays I want to have some fun.
I guess the major knows
his way about.
He certainly does.
Delmonico's, Rector's, Canfield,
Saratoga.
I'm having the time of my life.
It must be fun doing those things...
with the person you love.
Coming.
Oh.
Bye, Sid, Nellie.
Good-bye, Rupert.
Hey, Sid! Sid!
We're all ready with the
Sultan's palace.
You gonna spend the rest
of the night with that number?
No, waiting for you.
Alright, boys, back to the opening
in the palace scene.
- Everybody ready back there?
- All ready!
Alright, Sid, music!
Late again, huh?
- Now!
- Alright, I know, I know!
# When the lights are low #
# In the Eastern sky #
# When the night grows dark #
- Don't bring that prop through here!
What's the matter with you?
That goes over there!
# When Uriah Bey #
# Meets a maiden fair #
# There's perfume in the air #
# And moonbeams in her hair #
Hey, bring that column there downstage!
# Like a paper moon #
# Burning in the sky #
- George!
Bring a pink spot on the Sultan.
I didn't know he was an angel!
Do it for me or you'll be down here!
# Like the glow of the moon #
# While some voices croon #
# Love will never die #
Get that Irish center ready!
- Get that Irish center ready!
- Get that Irish center ready!
- Hello.
- Hello, Rupert.
Hello.
- Who hit you?
- Nellie.
Oh, it was Sid's fault.
He told me I could cure Nellie
of her infatuation...
...by kissing her until she couldn't
see straight.
I must have stopped too soon,
her aim was perfect.
You don't need that thing,
your eye's alright.
Yeah?
Can you imagine? Putting a black patch
over my eye when it's perfectly alright?
That brother of mine has
no brains at all.
Come on, let's get going!
# Patrick Michael Shamus O'Brien #
# Could never stop sighing #
# For sweet Mollie O' #
# Every morning up like a sparrow #
# And out like an arrow just leaving a bow #
# Off to her house by the spring #
# He'd whisk to her window and sing #
# It's good morning to you #
# Mollie O'Donahue #
# It's yourself that I'm asking #
# To go for a bit of a walk #
# There's a sun in the sky #
# There'll be one in my eye #
# If you'll say that you'll go #
# Molly O', Molly O'Donahue #
Are they supposed to be Irish girls?
- Yeah.
- Why don't they shake their heads?
You see that step?
It's a very hard step to do.
It is? Then why do they do it?
Elysia, where's Elysia?
Go make yourself useful, Rupert,
get Elysia.
Elysia? Oh, Elysia...
Yes?
It's me.
- What is it?
- Oh, well, I, I...
I can't tell you through a closed door.
Come in.
Hello.
What do you want?
Well, I haven't given it any thought.
Maybe you could suggest something.
Miss Elysia, you're wanted
on the stage.
Hm, that reminds me, I was to tell you
that you were wanted on the stage.
Will you do me a favor?
You have to but ask.
Run across the street
to the little cobbler at the corner.
The heel is loose. Leave it with him.
Hm, quite a coincidence, we had a lot
of trouble with loose heels in our famliy.
The cobbler will know what
to do with it.
I hate to see you waste money.
You know, my uncle's a cobbler.
Please, Rupert, darling,
take this at once across the street.
Oh, well... if you put it that way.
Only I didn't want to see you
waste your money.
Once my uncle is a cobbler.
# Lonely feet #
# While others are gliding by #
# Here are my lonely feet #
# Waiting to dance #
# Lonely waist #
# We...
Alright. Let's go some place
where we can talk this over quietly.
We can do out talking here.
Well, for one thing, you might
have studied your lyrics.
Furthermore, you've got
to feel it, give it heart.
Were you ever in love with a man?
No!
Well... well, pretend then.
Try and pretend that the man you're
in love with, madly in love with,
is turning you down for
another woman.
Now, shall we try it again?
Oh, wait a minute!
Now remember, shake your heads.
Your head's that thing on your
shoulder, in case you forget.
How do we look?
- Eddie!
- Yes, Mr. Herzig?
Where did you get these
two tramps?
They're not tramps, they played
six weeks at Tony Pastor's.
Well, they won't play no
six weeks for me.
Well, what's wrong with them?
They only want $30 a week.
- Yes, sir!
- That's what's wrong with them!
I can get that Jolson kid
to sing for ten.
Can't we have some quiet here,
how can we rehearse?
We've got to have some quiet!
Quiet, everybody!
- Tell that Jolson kid to stand by.
- Right.
Alright, Sid.
- Out!
- Come on, boys, get your photographs.
We'll try it again, Adeline.
Now remember, none of the boys
on the stage want to dance with you.
Music.
# Lonely feet #
# While others are gliding by #
# Here are my lonely feet #
# Waiting to dance #
# Lonely waist #
# Intended for arms to hold #
# Lonely waist unembraced #
# Longs for a dance #
# If I could find someone #
# Some mother's awkward son #
# Wouldn't we dance #
# And wouldn't I think him simply divine #
# Oh, to feel #
# The thrill of a joy that's new #
# Feeling two other feet #
# Stepping on mine #
That's fine, Adeline.
I'm sorry I... I shouted.
It's quite all right, Mr. Barnett!
You were superb, my sweet.
Thank you, Major.
Bring on that Jolson kid.
Uh, how are you fixed for heels?
Fine.
Miss Elysia, Hammerstein's
Opera House.
Alright, mister. Leave it,
I'll fix it and send it over.
Here?
Thank you.
# I'd leave my happy home for you #
- He's cute, isn't he?
- Oh, yes, very.
He's going to get some place
one of these days.
- Who's that fella?
- A kid I picked up, Al Jolson.
- # I'd leave my happy home for you #
- He'll never get anywhere.
Quiet!
Alright, children, that's all
for tonight.
Final dress rehearsal at 10 o'clock
in the morning.
Now go home and get a good
night's sleep and don't worry.
Ladies and gentlemen, you're all invited
to a champagne supper at McGowan's Tavern.
Wait a minute, Major,
just a minute!
Tomorrow, rehearsal, Adeline's
got to get some sleep.
Nonsense, Herzig, best thing
for her, a little party.
- No, no, you don't understand.
- Oh, don't take it so seriously.
- Adeline, tell the major...
- I don't think I'd better go.
Why, it's a crazy idea.
You need plenty of rest.
Certainly!
I'd go home and study my lines
if I were you.
Of course I'll go, Major.
Don't worry about me, Mr. Herzig,
I'll be fine tomorrow.
I'll just go in and change
my dress.
Oh, you've got a lot of influence
with that girl.
Major, I'll be your guest
on one condition.
That you'll allow me to be the host.
Nonsense, my boy, I'm giving this
party in honor of Adeline.
Well, then I'll toss you, because I want
to give a party in honor of Elysia.
Ah, here we are, my dear.
Say, say, where is everybody?
I just came from the ferry,
I saw all these cabs here
and got worried.
What is this, a funeral?
Yes, of my show.
The major's giving your daughter
a so-called party tonight.
He is? Where is she?
In that cab.
Oh, Sid, where is everybody?
Where's Addie?
Where's Rupert?
He's outside, I guess,
waiting for Elysia.
He is? Oh, dear!
I've made up my mind, Rupert,
I've made up my mind.
Just generally or about any
particular thing?
I'm not going to be cautious anymore.
I love you!
I love you! I love you!
Come on! Come on!
Come on, Rupert!
Well, come on, let's go!
Yes, that's a thought.
On your marks, go!
Oh, Sid!
- So you got left.
- I knew you were not going.
Oh.
Come in, Sid, sit down.
Have a drink.
Just what you need.
- Here. Sit down, Sid.
- Thanks.
Here's luck.
Thank you.
Interested?
No.
Shall we try it again?
Not interested just a little bit?
# 'Twas not so long ago #
# That Pa was Mother's beau #
# And though their styles and fads #
# Have gone like old sach?s #
# The things Pa said to Ma #
# Was quite the same #
# As all the things that lovers say today #
# Though new young blossoms #
# Are born each May #
# They pass their pods #
# In the same old way #
# So love that's true #
# Is a story told #
# As ever new in a world that's old #
# 'Twas not so long ago #
# That Pa was Mother's beau #
# And though their styles and fads #
# Have gone like old sach?s #
# The things Pa said to Ma #
# The things Ma said to Pa #
# Were quite the same #
# As all the things that lovers say today #
Major Day's party!
Major Day's party!
Major Day's party!
Major, everything's been prepared
with the exception of your wine order.
- Let champagne flow like water.
- Yes, sir.
- Adeline, this is my favorite table.
- Oh, it's beautiful.
Ladies and gentlemen, I want you
to order whatever you like.
The party's on me and
the sky is the limit.
Two mint julips, a brain-duster,
a Happy Moment and a New Orleans fizz.
- Hey, that's on me!
- What'll you have, boys?
# Pretty Jennie Lee #
# Please come back to me #
# I am waiting all alone #
# You know I yearn for your return #
# Come back and be my own #
Hey... how are you fixed for a tenor?
# Jennie how I miss you #
# Will I see you soon #
# How I long to kiss and spoon #
- Oh, you're flat, you're flat...
# Please come back to me #
# You're just the girl for me #
# Pretty little Jennie Lee #
To you, Adeline, and champagne!
They make my world arouse.
Thank you, Major.
- Shall we dance?
- Yes, I love this waltz.
- Table for two?
- Yes.
I'll see that you folks are
served immediately.
Thank you.
Listen, listen, folks.
You know, I don't trust Sid Barnett.
It's disgraceful, look at him.
Look at that.
Yeah, that's nice, huh?
Poor Sid, you are such a sweet boy.
A toast to the success of the love song and
the belle of New York, Miss Adeline Schmidt!
Speech!
Speech!
You must make a speech!
Oh, I don't know what to say.
- I'm so happy!
- That's great! Encore!
But I love you all. And tomorrow
night I'll do my best.
Let's drink a toast to Major Day!
- To Major Day!
- To Major Day!
To Adeline Schmidt.
You're making a little fool of yourself!
- How dare you talk to me like that.
- Young man, you're forgetting who you are!
- Waiter! Waiter!
- Oh, no, I'm not!
You're the one who's to blame, you think you
can treat her like you treat all your other women!
- Get away, get away!
- You!
Throw that man out!
Get him out of here!
You can't do that!
You can't do that!
Hey, you can't do that!
Just can't do it!
You can't throw anybody out!
You can't throw anybody out!
Hey, you can't do this!
You can't, do you hear?
- Did he hurt you?
- Why, he hardly touched me.
I'll never speak to him again.
Making a scene like that.
Oh, there you are.
Sweet of you to come, my dear.
Let me take your wrap.
- Oh, you look lovely tonight, Adeline.
- Thank you.
- Do you forgive me?
- Forgive you? What for?
For asking you here unchaperoned to dine
with an unattractive, crusty old bachelor.
- Oh, you don't mean a word of that.
- Tonight New York will acclaim you.
Tomorrow the world will be your stage.
- Do you begrudge me this hour alone?
- Of course not.
- Are you hungry, my dear?
- No, I couldn't eat a thing.
I'm too nervous.
Do you really think they'll like me?
Like you? They'll adore you.
How do you like the new place?
Oh, it's beautiful!
Adeline, I want to show you something
that you've never seen before.
- What is it?
- Edison's newest invention, my dear.
The phonograph.
- Phonograph.
- Yes, my dear.
- What does it do?
- It plays sweet music, my sweet.
Oh, but you'll hear that later.
Come, and sit down.
Well, have you any improvements
to suggest?
No, it's perfect.
- I'll take it just as it is.
- Good!
It's yours.
Oh, but Adeline, my sweet,
I'm serious.
You mean...
Oh, I... I like you, Major, but I'm not
dreaming of getting married yet.
Married? Nor am I, my dear.
Why, I haven't given marriage
a serious thought not in years.
Surely, Adeline, you don't expect
me to believe you're that naive.
- I don't expect you to believe anything.
- Excellent.
You can move in tonight if you like.
After your triumph, my dear.
And I shall betake myself back
to my musty old den.
But I felt certain you'd let me borrow
your lovely little apartment...
- ...just for the occasion.
- Just a moment.
Did you really think that I...
I thought only what all New York is
thinking, my dear, is convinced of, in fact.
Well, then all New York is wrong.
How did you... How dared you?
Dared? Oh, stop acting, Adeline.
I dared take you out of a Beer Garden,
back a show for you,
spend a fortune on you.
Well then, I'm sorry if you've
wasted all that time and money.
I haven't wasted them!
Don't be silly, Adeline,
there are thousands of girls who'd
give anything to be in your place.
Think. A beautiful apartment,
ample spending money,
clothes, all New York at your feet.
- Let me go, please.
- After the show tonight, Adeline.
There won't be any after!
I won't go on!
Oh yes, you will.
At any rate, don't be foolish.
Think it over!
I have thought it over.
Good evening, Miss Schmidt.
Well, this is a fine time to be coming in
on your opening night.
It isn't my opening night.
Who's is it, Rupert's, Nellie's?
I've just come down to tell you
that I'm out of the show.
- I'm going to get my things.
- What do you mean?
Major Day will supply you
with the details.
You'd better get Elysia ready.
I'm sorry, Mr. Herzig.
Sid!
- Well, this is a fine situation!
- What's the matter?
In my five years of Dean of the
American theater...
...nothing like this ever happened
to me before!
- What is it?
- You would bring me a Beer Garden singer,
- you've ruined my show!
- What are you talking about?
Go to Major Day for the details,
she says.
- Will you tell me what's happening?
- Adeline, she's in her dressing room.
She won't go on, it's your fault.
The fight last night!
She won't? Why...
Herzig tells me you're not going on.
- No.
- What's happened?
Nothing.
Didn't Major Day's butler bow
low enough for you?
Or was there too much rum
in your salts?
Have you anything else to say?
Adeline, I admit I made a fool of myself
at McGowan's Tavern.
And I'm sorry.
And if I embarrassed you or made
you feel uncomfortable,
I'm doubly sorry.
But this is no way to take
it out on me.
I don't want to talk about it.
All right.
- Then you're going on with the show?
- No.
I'm not going to beg,
I'm not going to plead with you,
I'm not going to crawl on my hands and knees
and say please, Miss Adeline Schmidt,
will you save my show.
I'll let it rot first.
- Will you get out of here!
- No!
What makes you think I'm going to
stand by while you walk out on me...
...and let some fourth-grade
understudy ruin my work?
Why, Adeline, this show meant
a lot to both of us once.
If you don't care anything
about yourself,
if you want to be selfish
and childish, all right.
But think of me. I've spent years
waiting for this chance.
- It means everything in the world to me.
- Yes, but how about me?
Have you ever thought what
it might mean to me?
Mean to you?
Why, what can it mean,
except more fame, more glory,
more champagne?
And... and more Major Days.
Yes, Major Days!
That's right, more Major Days.
Bring them on, more Major Days,
one at a time!
What's the matter, Adeline?
Nothing.
I'll go on.
I'll do your show for you.
But don't you ever come near
me again, do you hear?
Never, never, never!
- Oh, Elysia.
- Yes?
- Here, Renaldo.
- I can't. I can't do it.
So, you would have me, you would love me,
you would die for me.
But would you serve me? No.
Well, then get out. I'll do it myself.
Why should you hurt her,
she's done you no harm.
She's claimed the part that
should be mine.
Her name is in electric lights,
it should be mine.
Now get out!
Out, out, out, out!
I will fix her.
Rupert, are you not ashamed
of yourself?
- But it's my duty.
- Your duty?
Oh, it's awful, just to think of it.
The woman I love is a spy!
It's my painful duty to place
you under arrest.
How can you arrest me?
Because I'm an operator in the
Department of Justice.
Put your clothes back on
and come with me.
You cannot take me now,
not before the show.
Why not, I have nothing else to do.
But you cannot. It would ruin the show.
And the show must go on.
- Why?
- I do not know.
It is a tradition.
Everybody say that.
- The show must go on.
- Hm, I see, the show must go on.
The show must go on!
# Music is softly playing #
# And girls in the arms of their boys #
# Join in the dances #
# I would be dancing if I were there #
# Timidly I am swaying #
# The music has started me dreaming #
# Whistfully dreaming #
# Whistfully wishing #
# I could be there #
# I know a lot of steps #
# But they're no use, I fear #
# Without a partner near #
# Lonely feet #
# While others are gliding by #
# Here am I, lonely feet #
# Waiting to dance #
# Lonely waist #
# Intended for arms to hold #
# Lonely waist unembraced #
# Waits for a dance #
# If I could find someone #
# Some mother's awkward son #
# Wouldn't we dance #
# And wouldn't I think him simply divine #
# Oh, to feel #
# The thrill of a joy that's new #
# Feeling two other feet #
# Stepping on mine #
# Lonely feet #
# While others are gliding by #
# Here am I, lonely feet #
# Waiting to dance #
# Lonely waist #
# Intended for arms to hold #
# Lonely waist unembraced #
# Waits for a dance #
# If I could find someone #
# Some mother's awkward son #
# Wouldn't we dance #
# And wouldn't I think him simply divine #
# Oh, to feel #
# The thrill of a joy that's new #
# Feeling two other feet #
# Stepping on mine #
# Oh, to feel #
# The thrill of a joy that's new #
# Feeling two other feet #
# Stepping on mine #
# If I could find someone #
# Some mother's awkward son #
# Wouldn't we dance #
# And wouldn't I think him simply divine #
# Oh, just to feel #
# The thrill of a joy that's new #
# Feeling two other feet #
# Stepping on mine #
Yes, yes, yes, that's my
daughter, Adeline.
I'm so proud.
My daughter Adeline.
A wonderful actress, ain't she?
You see... how wonderful?
That's my daughter.
Is it you, beloved?
I adore you.
And I've learned a bit of truth.
I'm more of a man than I am a patriot.
I cannot arrest you.
I love you too much.
I love you...
Oh, hello, Nellie.
I thought you were Elysia.
You were grand, Adeline.
Curtains! Curtains!
# At the highschool cotillian #
# There were dance cards to fill #
# And I met the one boy in a million #
# And his name was Bill #
# Here you are, a shy boy #
# But you were my boy #
# And the highschool cotillion #
# Was my first big thrill #
# We were so young #
# The time was an evening in May #
# You wore the pale pink organdy #
# I thought so gay #
# Life was a thing of eager #
# Spring and moonlight #
# And you were the girl #
# And I was the boy from over the way #
# We were so young #
# The heavens were smiling above #
# I let you keep my handkerchief #
# I kept your glove #
# Life was a thing of eager #
# Spring and moonlight #
# And you were a boy #
# And you were a girl #
# And we were in love #
# We were so young #
# The time was an evening in May #
# I wore the pale pink organdy #
# You thought so gay #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl #
# And you were a boy from over the way #
# We were so young #
# The heavens were smiling above #
# I let you keep my handkerchief #
# You kept your glove #
# Life was a thing of eager #
# Spring and moonlight #
# And you were a boy #
# And I was a girl #
# And we were in love #
# We were so young #
# The time was an evening in May #
# I wore the pale pink organdy #
# You thought so gay #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl #
# And you were a boy from over the way #
# We were so young #
# The heavens were smiling above #
# I let you keep my handkerchief #
# I kept your glove #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl and you were a boy #
# And we were in love #
# We were so young #
# The time was an evening in May #
# I wore the pale pink organdy #
# You thought so gay #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl #
# And you were the boy from over the way #
# We were so young #
# The heavens were smiling above #
# I let you keep my handkerchief #
# I kept your glove #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl #
# And you were a boy...
Get a doctor!
Hurry up, get a doctor!
Adeline!
Adeline!
Take it easy now, Addie.
Take it easy.
There you are... Well, you're coming
along fine.
Aren't these beautiful flowers
the major sent.
Have you heard from Sid?
Oh, at first we did.
He sent flowers and notes,
and Pop threw them all out.
That's what you wanted,
wasn't it?
Yes, I suppose so.
# Sweet Adeline #
# My Adeline #
# At night, dear love #
# For you I pine #
# In all my dreams #
# Your fair face beams #
# Your fair face beams #
# You're the flower of my heart #
# Sweet Adeline #
- It didn't work.
- No.
I told you she wouldn't like it.
That song has no appeal.
As a producer I can safely tell you
they won't sell a dozen copies of it.
Hm, beer!
Yeah, we sing another chorus,
we might get some pretzels.
Let's do it.
# Just order two seidels #
# Of lager or three #
# If I don't want to drink it #
# Please force it on me #
# The Rhine may be fine #
# But a cold stein for mine #
# Down where the Wurzburger flows #
I got a little number here I'd like
to try out.
- Go right ahead, the place is yours.
- Thanks.
Hey!
Here, hey, wait a minute!
- Hey, what are you doing here?
- Just trying out a song.
Ja, well, we don't want your songs
and we don't want you!
That's all for tonight, girls.
- We?
- Ja, we!
Adeline and me together
we don't want you.
Oh, then I guess Adeline's
well again.
She's fine.
And she's going to marry
a gentleman.
- The major?
- Ja, the major.
Now get out.
When you see Adeline, tell her
I wish her all the luck.
I'm sorry, Sid.
# Don't ever leave me #
# Now that you're here #
# Here is where you belong #
# Everything seems so right #
# When you're near #
# When you're away #
# It's all gone #
# I'm so dependent, when I need comfort #
# I always run to you #
# Don't ever leave me #
# 'Cause if you do #
# I'll have no one to run to #
Well, what are you waiting for?
Clinch! Take her in your arms!
Oh, that's old stuff, Dan.
This is 1898. You've got to give your
audience something new.
Listen, Sid, you're a nice boy,
you write nice music,
but you don't know your stage.
The clinch is older than you are.
It was old in 1860, it's old in 1898
and it'll be old in 1935.
But your audiences still want
to see you do it.
Well, if you insist.
But I'll have to write some dialogue.
Dialogue? Listen, son,
this is a love scene.
Boy and girl love each other.
You love her but you don't know
whether she loves you.
She defies her father, she comes in,
she sings a love song to you!
To you, you poor sap, not to me!
You say nothing, you take her
in your arms...
...and the audience go out without
a dry tear in the house.
But you stand there like
a cigar-store Indian.
Why don't you kiss her? What's the matter
with her, is she poison ivy?
Well, don't blame me.
She holds back, she won't give.
Well, if he doesn't take me in his arms
as though he meant it,
what am I supposed to do?
I mean it just as much as you do.
I don't care anything about
your private lives,
I want you to play this scene for me and
you can't do it unless you get together!
Company dismissed. Rehearsal at 10 o'clock
in the morning sharp!
Ten o'clock in the morning.
I don't know why I bother
about this sort of thing.
- Oh, hello.
- It's all right, Pop.
- We're just rehearsing.
- Well, get your lines right.
- Good night.
- Good night, Pop.
Good night, Pop.
- Sid.
- What?
# Don't ever leave me #
# 'Cause if you do #
# I'll have no one to run to #
- Subtitles -
Lu?s Filipe Bernardes
Lu?s Filipe Bernardes
# Play us the Polka Dot #
# Come play a Polka Dot #
# Play a waltz #
# And play it sweet and slow #
# Play it till the day is out #
# Not many fancy engagements in town #
# Not a chance for her to get a beau #
# On a bright summer night #
# Under the moon #
# All the boys say to her #
# Oops, another tune #
# Play us the Polka Dot #
# Gotta have another Polka Dot #
# On with the dance and the piccolo #
# All night I stand here and blow #
# Upon an old piccolo #
# While all the other girls are dancing #
# Gay and free #
# Getting thrills that never come to me #
# I'm a girl men hear but never see #
# For this is all they ever say #
# from ten till three #
# Play us the Polka Dot #
# Gotta play a Polka Dot #
# Play a waltz #
# And play it sweet and slow #
# Play it till the day is out #
# Not many fancy engagements in town #
# Not a chance for me to get a beau #
# On a bright summer night #
# Under the moon #
# All the boys say to me #
# Oops, another tune! #
# Play us the Polka Dot #
# Gotta have another Polka Dot #
# On with the dance and the piccolo #
# Play us the Polka Dot #
# Gotta play a Polka Dot #
# Play a waltz #
# And play it sweet and slow #
# Play us the Polka Dot #
# Gotta have another Polka Dot #
# On with the dance and the piccolo #
Ja... coming.
Here, Schmidt, Schmidt, Shmidt...
- Hi, brothers!
- What, no enchiladas and chili?
- We want enchiladas and chili.
- We want enchiladas and chili!
We want enchiladas and chili!
Just a minute, please!
We are at war, yes?
- Yes, with Spain, ain't it?
- Look, he reads the papers!
If we serve enchiladas and chili,
is that patriotic?
No!
Till this war ends, chili
will be Liberty beans...
...and enchiladas will be
MacKinley Hash.
Good work, Oscar!
Now how about some Liberty beans
and MacKinley hash?
You betcha! Liberty beans
and Mackinley hash!
They tell me Roosevelt is ready
to charge San Juan Hill.
He'll never make it.
And Dewey is going to try
to capture Manila Bay.
Oh, he'll never do it.
What time do you expect
this... what is his name, composer?
Sid Barnett? He's due about 10:30.
- What time is it, Rupert?
- Oh, er, let's see...
I have 11 o'clock, that makes it
just 10:30.
- I don't follow you.
- Well, it's very simple.
My watch is a half-hour fast.
It's always been a half-hour fast.
It was a half-hour fast the day
I bought it and I've never changed it.
I'm not a fellow who likes
to tinker with anything.
Don't you have trouble
telling time by it?
Oh, no, I'm used to it.
You see, I just deduct a half-hour from
the total, and there you have it.
Except of course if the
chime starts ringing, oh!
That throws me completely off!
- Quite a story.
- Yes, thank you.
Ah, there he is.
There's what's his name, composer.
Hey, Sid!
- Got something on his mind.
- Yeah, probably my lyrics.
Fine friends!
- What's the matter, Sid?
- Why haven't you been playing my song?
Why, we played your number
six times last night.
- We've got to give the other boys a chance.
- I've got a new one I want you to try out.
Let me see it.
"There's a Rustle in Your Bustle
that Says I Love You."
Oh, that's sweet.
Play it for me, Sid.
Alright.
Stop! Stop!
Stop, I tell you, stop!
- Stop what?
- You loafer! Get out!
And I don't want you should ever
come around here again!
- Why, what's the matter, Mr. Schmidt?
- You, you, you song plugger, you!
- What's happened?
- You took my daughter Adeline out...
...once and I warned you!
You took her again out
and I warned you twice as much.
- And now last night...
- But we came in early.
After 9 o'clock, you call that early?
- My Adeline is a good girl!
- Now, Oscar, be reasonable.
Oscar? Oscar, eh?
People will think maybe we went
to school together.
Here, take the music and get
out of here!
Go on, play something!
Not his!
Hey, Barnett! Sid!
You know my new importation, Elysia?
Did you do anything about my lyrics?
- Which one?
- The one I called...
"There's a Brave Heart Waiting when
You Burn the Candle at Both Ends."
I'm working on it.
Get that scowl off your face,
I've got some good news for you.
- Such as what?
- Have you lost interest in your operetta?
You heard it six months ago,
you didn't like it then.
Well, these things take time.
I like it now.
I liked your music.
The book needs tightening,
but we can get somebody
to help you with that.
You can count on me.
- You mean you're going to do it?
- Yes, I'm mad about it!
And Rupert is going to
back me in it.
Aren't you?
Yes, you can't take your money
to the grave, I always say.
We're gonna start rehearsals Monday
morning with a few of the principals.
Elysia will be starring it,
how does that sound?
I was just going out to enlist.
Oh, you can enlist after
the show opens.
If you still want to.
I'll be right back.
- Where's Adeline?
- She's upstairs dressing.
Adeline, look!
- Nellie, put that paper away!
- Why?
Because if Pop ever saw it,
now go on, put it away.
But Adeline, look.
Tights!
Where?
Oh, look, there's Major Day!
Dewey is in Manila. The Spanish fleet
is bottled up.
Wood and Roosevelt in Cuba,
ready to drive the Spanish tyrant
from that enslaved island.
Are you men with us?
Yes!
Uncle Sam needs men like you,
and you, and you!
Fine, strong, healthy,
100% Americans!
Oh, he is handsome.
Oh, that's right, pretend
you don't care.
I suppose you'd rather go sparking
with Sid Barnett.
A song plugger.
He is not, he writes beautiful music.
Well? Well, well?
Now, what's the idea?
Business is good downstairs
so my daughters stay upstairs.
We were just coming down, Pop.
Maybe your father's Beer Garden
ain't good for you anymore?
She wants to be a fancy woman.
She wants to be an actress like...
Like this!
What is this, a Beer Garden
or a barber shop?
I've told you a hundred times already
I don't want this paper in my house.
- I brought it in, Pop.
- You?
No, Adeline, you're too sensitive.
But she wants to be an actress.
And she never will be as long
as I live to see the day.
But you, with that loafer
coming in after 9 o'clock.
That's a nice example to set
for your sister Nellie, ain't it?
Well, why are you still there?
Pop, what about Sid?
Ah, never mind Sid, he won't
bother us no more.
My Adeline is too good for him.
Look! Here comes Major Day!
Come, come, quick!
Hurry up down.
The Major always wants
my Adeline to wait on him.
Hooray para Cuba libre,
Hooray para los Estados Unidos!
- Hooray para el Major Day!
- Hooray!
Corre para Espa?a!
Corre para Espa?a! Hooray!
- Good evening, Oscar.
- Good evening, Major Day.
See, I saved your table for you
and I can recommend the pig roast.
Adeline will be right here
to wait on you.
Thank you very much, Oscar.
Adeline!
- I've got to talk to you.
- Be careful, Sid, Pop's awfully mad.
I don't care about Pop,
I want to talk to you.
No... I can't right now.
Oh, I always wanted to meet
an actress.
I think you're gorgeous!
Would you write my album?
Oh, Mr. Rockingham! I followed your
career in the Sunday papers too.
I know you come from one of the
oldest Dutch families in New York.
Your great-great-grandfather
was Eric Rockingham.
He made a fortune just before
the Civil War selling slaves short.
You've got a brother too
Is he like you?
Well, he's a great, big, handsome fellow,
not quite as magnetic as I...
but of course, he has a great
personality too.
Oh, you're the one I'm interested in.
The paper said that you went to Europe
to propose to Sarah Bernhardt...
...and she turned you down.
Is that true?
Well, no, you see, I found out
there was another man...
...and I asked her if she preferred him
to me and she said yes.
- So, I rolled over.
- That's swell.
You look lovely tonight, Adeline.
- Thank you, Major.
- Won't you sing for us?
- Of course, anything you like.
- "Here am I", that's my favorite song.
It's my favorite song too.
Wait till you hear her sing.
# Here am I #
# Here I'll stay #
# Till you notice me #
# In your path #
# In your way #
# And if you'll open your heart to see #
# If you would only love me #
# How I'd love you #
# I'm very lonely #
# Maybe you're lonely too #
# Here is love #
# Here am I #
# Please don't pass us by #
Extra! Extra! Dewey captures Manila!
Extra! Extra! Dewey captures Manila!
Extra! Extra! Dewey captures Manila!
Paper, sir?
Dewey captures Manila!
I don't believe it.
# We were so young #
# The time was an evening in May #
# I wore the pale pink organdy #
# You thought so gay #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl #
# And you were a boy #
# From over the way #
# We were so young #
# The heavens were smiling above #
# I let you to keep my handkerchief #
# I kept your glove #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl #
# And you were a boy #
# And we were in love #
- That's great, Adeline.
- It's a beautiful song, Sid.
It comes in the second act.
It's a beautiful swing number.
You're swinging high above the heads of
the audience and the people on the stage.
It does sound exciting.
- Will you do it?
- What's the matter with Elysia?
Oh, she can't do it, she's not
a singer, she's a clothes horse.
My songs are different, Adeline.
They're written for you.
That sob quality, that's what I need.
No one else understands it.
Why, you'll be famous overnight.
We'll both be famous.
Oh, Sid, let's not go into
that again.
You know I can't do it,
that's all.
- You're afraid.
- Maybe, a little.
A New York audience might not
like me the way you do.
And then there's Pop.
It would kill him.
A painted woman, a stage actress.
Oh... it must be after nine.
- We'd better go.
- Oh, all right.
Oh, Adeline, you don't want to be stuck
in Hoboken all your life.
- Of course I don't.
- Then why don't you come with me?
I'll work with you every day,
every moment.
I'll make you the greatest
thing in New York.
Oh, you'll make me the greatest
thing in New York.
If I don't, my songs will,
they were written for you.
It's all very flattering, Sid,
but it's no use.
Then you're happy here,
a Beer Garden singer.
- Well, I'm not ashamed of it.
- Well I am.
I'm ashamed of seeing you throwing away
your talent on a bunch of beer drunks.
- You're just spoiling for a fight.
- No, I'm not.
You're just being stubborn,
that's all.
I'm not stubborn!
I won't leave Pop!
- What's wrong with that?
- You'll have to leave him some time.
You'll have to leave him
to become Mrs. Major Day.
Well, you don't have to look
at me like that.
You can see the wedding bells in your
father's eyes every time the major comes in.
And Nellie too, yes, even Nellie,
I saw her reading the society columns.
Well, I ought to slap your
face for that!
Yes, well I ought to slap yours.
- Let's stop soon, shall we?
- I wish you would.
Isn't it a shame we couldn't
bring Nellie with us?
Ah, it will do her good,
she's out all the time.
- Boys, always boys!
- But she's so young.
I know, but I want
my girls to be ladies.
- Like Adeline.
- Oh, Pop.
It will do Nellie good to stay
home for a while alone.
Oh, this is wonder... wonderful,
wonderful.
It's a little bit crooked...
it's crooked, isn't it?
No, it isn't. That's the leaning
Tower of Pisa.
Pisa, eh...
Well, I guess it must be the beer.
I think we could stand a little salt.
- I think we could.
- Yeah...
You know, I'm a fellow that's
very fond of salt, very fond of salt.
Plain food but plenty of salt. Most people
think I use too much salt.
- Oh, I like a little salt myself.
- You do?
Not too much, just right.
I just taste the food and see
how much salt there is on it...
...and if there's enough for me,
I never add any more.
- Is that so?
- And if there isn't, I just add a...
... pinch of salt.
That's fine, now how do you feel
about pepper?
- Oh, I like lots of pepper.
- You do? Oh, I don't care for pepper.
Plenty of salt. In fact I think I could get
along without pepper entirely.
- Well!
- Yeah.
You know, isn't it wonderful that two people
can sit in a room like this and just talk?
- Do you like to talk?
- Yeah, I think it's a pretty good thing.
You know, I used to sit at home
and just think...
...until one day a friend told me
about talking and I looked into it.
I wish you could see the look of surprise
come over my friends' faces...
...when they first heard me talking.
- Oh, Rocky, you're delicious.
- You're quite a fancy gal yourself.
Um, how do you feel about... kissing?
Kissing? Well... I think it brings
people closer together.
Sort of builds for a better understanding.
I think we could find a spot for it.
- Oh, there you are.
- Well... I thought I'd find you here.
Where have you been?
We haven't seen you at rehearsals.
Well... business, government business.
War, war, you know.
Elysia's been asking for you.
I have been rather neglectful
of late, but...
Will you do me a favor?
Will you mail this to Elysia for me?
Thank you.
- There's nothing on it.
- Oh, that's all right, we're not speaking.
Goodbye.
- Where's Adeline?
- Oh, you quarreled, didn't you?
- I know all about it.
- Where is she?
She went on a picnic with Pop
and the major.
And they left me here all alone.
- Where did they go?
- I don't know.
# Why was I born #
# Why am I living #
# What do I get #
# What am I giving #
# Why do I want a thing #
# I dare not hope for #
# What can I hope for
# I wish... #
Yes, sir, Mr. Rockingham,
you're in the right atmosphere.
The theater with its art
and glamor.
- You were born to be an impresario.
- Yes, yes, I thought so.
My, this production of young Sid's
is gonna make history,
Yes, sir, make history!
Just look at this production. The scenery
alone is the price of admission.
Very fine plant you have here.
And not only that everybody
working together.
Perfect timing.
I'm through! It won't do!
It never was right, it isn't right!
Dan! Dan! Dan Herzig!
Rupert! Rupert!
Rupert, darling!
- Rupert! Rupert! Rupert!
- Oh, take it easy!
Rupert! Rupert! I cannot stand it!
I will not go on!
Now, now, now. Now, don't make
me nervous.
I won't let her do it. My music
and my lyrics...
...are written for girl with
a sob in her voice.
Son in her voice, blah! We want somebody
who'll pull them in the theater.
- Elysia will do that.
- Maybe, but she won't keep me in.
- I'm through.
- Well have you someone in mind...
...to take her place?
And if so...
Have you got somebody to put up
the money for her?
Now don't be a fool!
Try it again for my sake.
Everything I've got is staked
on this troupe.
If it's a bust?
All right.
I'm sorry I lost my temper, Elysia.
Let's try it again.
We'll pick it up from where you say to
Mondego, "So this, sir, is what you mean."
Here... you! You be Mondego.
Me? Mondego?
Yes, just stand there,
don't do a thing.
Just read these two lines,
undertsand?
- Oh, yes, sure.
- Stand over there.
Back! Back!
On your life, stand back!
Oh... um... "Penelope, I love you."
And you would prove your love
by an act of valiance?
Um, "You are wrong. I would only
persuade you to be my wife."
Hear me, Lyman Treadwell,
I am but a poor shopgirl.
My present life is a struggle for
a scant existence.
My future, a life of toil.
But rather death a thousand times
than a life of horror with you!
# Why was I born #
# Why am I living #
# What do I get #
# What am I giving #
# Why do I want a thing #
# I dare not hope for #
It's no use, Herzig, it's no use!
Sid! Sid!
Oh, Sid!
- Adeline!
- Something awful's happened!
Nellie ran away.
She's somewhere in New York.
She just walked out of the house
and she didn't say anything to anyone.
We thought you might help us.
Do you hear me?
Here's the girl who should play the lead!
I wrote the music for her!
I heard her sing at the Beer Garden.
Won't you sing one of my songs
for them?
You know, the one where you face
the world friendless.
Your... your sweetheart's left you.
But, Sid, I'm worried about Nellie.
- She's here!
- Where?
She's all right, honey, perfectly safe.
Oh, take me to her,
I want to see her.
If I promise you to take you to Nellie,
will you do something for me?
Sing the song for Mr. Herzig
and I'll take you to Nellie.
- You promise?
- Of course, honey.
I'll play it for you, right down here.
Oh... I can't sing now.
I'm all choked up.
Fine, that's just what I want.
# Spending these lonesome evenings #
# With nothing to do but to live #
# In dreams that I make up #
# All by myself #
# Dreaming that you're beside me #
# I picture the prettiest stories #
# Only to wake up #
# All by myself #
# What is the good of me by myself #
# Why was I born #
# Why am I living #
# What do I get #
# What am I giving #
# Why do I want a thing #
# I daren't hope for #
# What can I hope for #
# I wish I knew #
# Why do I try #
# To draw you near me #
# Why do I cry #
# You never hear me #
# I'm a poor fool #
# But what can I do #
# Why was I born
# To love you #
# Why was I born #
# Why am I living #
# What do I get #
# What am I giving #
# Why do I want a thing #
# I daren't hope for #
# What can I hope for #
# I wish I knew #
# Why do I try #
# To draw you near me #
# Why do I cry #
# You never hear me #
# I'm a poor fool #
# But what can I do #
# Why was I born
# To love you #
You see, that's what we need,
a throb on the voice!
She's great, but who's gonna
back us?
Who ever heard of Adeline Schmidt?
- They'll hear plenty after opening night.
- Perhaps it'll be too late.
Just a moment, my good fellow.
- If it's a question of money...
- And it is.
You'd like Miss Adeline
to sing in your show?
- I certainly would.
- Wait a minute!
In that case, I should be delighted
to underwrite the show.
My good man, do you know
what you're doing?
If you'll consent to play,
I'll consent to pay for the show.
Sid... now take me to Nellie, please.
All right, Addie, come on.
Well, now that you're going
to be with us,
Um, Miss Elysia and I have had
a little chat, and...
...and unless she's the star uf the show,
I'll withdraw my financial support.
- We got a new backer.
- You have, who? Let me meet him.
Well, now, I'll tell you, honey,
it's this way.
Alright, girls, come on, places.
Where Elysia is concerned,
there is only one way.
- That is Elysia's way.
- Yes, yes, I know.
We'll let her have all the songs
in the show. You still got the great part.
All that smart chatter that
the critics rave about.
A Beer Garden singer to take
my place.
She will never do it! You understand?
Never, never, never, never!
Oh, yes she will.
Dan Herzig's newest operetta
"The Love Song"...
...has now been in rehearsal
three weeks.
It's rumored along Broadway that
Major Jim Day is backing the show.
Since the handsome major's frequently seen
in the company of Miss Adeline Schmidt,
the newly discovered prima-donna,
the rumors are probably correct.
Come in.
Oh, hello, Rupert.
- Agh, how did you know it was me?
- What's the idea?
Read that.
"Mr. Rupert Rockingham, New York City,
Dear Sir, you will consider this letter
your official appointment...
...as operator number 666 in the Intelligence
Department of the Department of Justice.
Your patriotism in volunteering
your services...
...is duly appreciated and you are hereby
assigned to investigate and report...
...upon the activities of one Estella
Espinoza, known on the stage as Elysia.
Information has reached us that the said
Elysia is engaged in attempted espionage.
The Department awaits your
detailed reports.
Respectfully yours."
- Is that on the level?
- Certainly, I want to serve my country.
- But why the shrubbery?
- Ah, so no one will know me, you see?
- I get it.
- Hm, what a situation!
Here I am, a Secret Service operator
and the woman I love is a spy.
What drama! What theater!
Come in.
I'm lonesome all alone in my room.
May I come in and visit?
Yes, come in.
Oh, Sid, Addie said she might
not be home till quite late.
She'll have to skip her rehearsal.
Very well, I will return later.
Oh, don't go, Rupert.
You didn't know it was me!
Is he rehearsing something?
Did she go out with the major?
Oh, sure, she goes out with him
every Sunday.
He sent her orchids this morning.
Is Rupert crazy?
Elysia, Elysia... Can you give me
a word that rhymes with Elysia?
- Oh, go away.
- No, no, Elysia, Elysia...
I must have a word, preferably
in one syllable.
I don't think there is a rhyme.
There's simple words like
that, you know.
Like, um, orange. No rhyme.
Orange, that's good, that's good.
That's fine, orange!
That's it, orange.
Well, things are coming to a pretty pass
with Adeline and the major.
- So I hear.
- Are you going to sit there and sulk?
Well, what else am I
supposed to do?
Why don't you take me out?
That'll make her jealous.
Great. Now you run a long
and play with Rupert.
Oh, just because Rupert is infatuated
with Elysia doesn't bother me.
Sid, why don't you take her out?
Now, say, listen to this,
how do you like this?
There... "Sweet little girl,
sweet little girl,
my head's in a whirl,
so send me a curl.
You're the only girl for me.
How about lunch?
You know what I'm going to call it?
- No, what?
- Elysia.
- I'll be right out.
- Now hurry, don't keep me waiting.
I knew she'd come back.
Oh, Rupert, look at the automobile.
It'll never take the place
of a horse.
Hey, you children, get away
from there.
Little boy, don't touch anything.
Honey, I was afraid you wouldn't
get back in time.
Oh... I'm sorry, Sid.
I just came in to change.
I'm going to the ball game
with Major Day.
And I'm dining with him tonight.
Little girl, be careful.
I shall call an officer, go away!
Hey, love, your serve, dearie.
Don't let him get away!
I thought you were going to spend
the day with me.
But I see you every day
at the theater.
You just scowl and shout at me.
On Sundays I want to have some fun.
I guess the major knows
his way about.
He certainly does.
Delmonico's, Rector's, Canfield,
Saratoga.
I'm having the time of my life.
It must be fun doing those things...
with the person you love.
Coming.
Oh.
Bye, Sid, Nellie.
Good-bye, Rupert.
Hey, Sid! Sid!
We're all ready with the
Sultan's palace.
You gonna spend the rest
of the night with that number?
No, waiting for you.
Alright, boys, back to the opening
in the palace scene.
- Everybody ready back there?
- All ready!
Alright, Sid, music!
Late again, huh?
- Now!
- Alright, I know, I know!
# When the lights are low #
# In the Eastern sky #
# When the night grows dark #
- Don't bring that prop through here!
What's the matter with you?
That goes over there!
# When Uriah Bey #
# Meets a maiden fair #
# There's perfume in the air #
# And moonbeams in her hair #
Hey, bring that column there downstage!
# Like a paper moon #
# Burning in the sky #
- George!
Bring a pink spot on the Sultan.
I didn't know he was an angel!
Do it for me or you'll be down here!
# Like the glow of the moon #
# While some voices croon #
# Love will never die #
Get that Irish center ready!
- Get that Irish center ready!
- Get that Irish center ready!
- Hello.
- Hello, Rupert.
Hello.
- Who hit you?
- Nellie.
Oh, it was Sid's fault.
He told me I could cure Nellie
of her infatuation...
...by kissing her until she couldn't
see straight.
I must have stopped too soon,
her aim was perfect.
You don't need that thing,
your eye's alright.
Yeah?
Can you imagine? Putting a black patch
over my eye when it's perfectly alright?
That brother of mine has
no brains at all.
Come on, let's get going!
# Patrick Michael Shamus O'Brien #
# Could never stop sighing #
# For sweet Mollie O' #
# Every morning up like a sparrow #
# And out like an arrow just leaving a bow #
# Off to her house by the spring #
# He'd whisk to her window and sing #
# It's good morning to you #
# Mollie O'Donahue #
# It's yourself that I'm asking #
# To go for a bit of a walk #
# There's a sun in the sky #
# There'll be one in my eye #
# If you'll say that you'll go #
# Molly O', Molly O'Donahue #
Are they supposed to be Irish girls?
- Yeah.
- Why don't they shake their heads?
You see that step?
It's a very hard step to do.
It is? Then why do they do it?
Elysia, where's Elysia?
Go make yourself useful, Rupert,
get Elysia.
Elysia? Oh, Elysia...
Yes?
It's me.
- What is it?
- Oh, well, I, I...
I can't tell you through a closed door.
Come in.
Hello.
What do you want?
Well, I haven't given it any thought.
Maybe you could suggest something.
Miss Elysia, you're wanted
on the stage.
Hm, that reminds me, I was to tell you
that you were wanted on the stage.
Will you do me a favor?
You have to but ask.
Run across the street
to the little cobbler at the corner.
The heel is loose. Leave it with him.
Hm, quite a coincidence, we had a lot
of trouble with loose heels in our famliy.
The cobbler will know what
to do with it.
I hate to see you waste money.
You know, my uncle's a cobbler.
Please, Rupert, darling,
take this at once across the street.
Oh, well... if you put it that way.
Only I didn't want to see you
waste your money.
Once my uncle is a cobbler.
# Lonely feet #
# While others are gliding by #
# Here are my lonely feet #
# Waiting to dance #
# Lonely waist #
# We...
Alright. Let's go some place
where we can talk this over quietly.
We can do out talking here.
Well, for one thing, you might
have studied your lyrics.
Furthermore, you've got
to feel it, give it heart.
Were you ever in love with a man?
No!
Well... well, pretend then.
Try and pretend that the man you're
in love with, madly in love with,
is turning you down for
another woman.
Now, shall we try it again?
Oh, wait a minute!
Now remember, shake your heads.
Your head's that thing on your
shoulder, in case you forget.
How do we look?
- Eddie!
- Yes, Mr. Herzig?
Where did you get these
two tramps?
They're not tramps, they played
six weeks at Tony Pastor's.
Well, they won't play no
six weeks for me.
Well, what's wrong with them?
They only want $30 a week.
- Yes, sir!
- That's what's wrong with them!
I can get that Jolson kid
to sing for ten.
Can't we have some quiet here,
how can we rehearse?
We've got to have some quiet!
Quiet, everybody!
- Tell that Jolson kid to stand by.
- Right.
Alright, Sid.
- Out!
- Come on, boys, get your photographs.
We'll try it again, Adeline.
Now remember, none of the boys
on the stage want to dance with you.
Music.
# Lonely feet #
# While others are gliding by #
# Here are my lonely feet #
# Waiting to dance #
# Lonely waist #
# Intended for arms to hold #
# Lonely waist unembraced #
# Longs for a dance #
# If I could find someone #
# Some mother's awkward son #
# Wouldn't we dance #
# And wouldn't I think him simply divine #
# Oh, to feel #
# The thrill of a joy that's new #
# Feeling two other feet #
# Stepping on mine #
That's fine, Adeline.
I'm sorry I... I shouted.
It's quite all right, Mr. Barnett!
You were superb, my sweet.
Thank you, Major.
Bring on that Jolson kid.
Uh, how are you fixed for heels?
Fine.
Miss Elysia, Hammerstein's
Opera House.
Alright, mister. Leave it,
I'll fix it and send it over.
Here?
Thank you.
# I'd leave my happy home for you #
- He's cute, isn't he?
- Oh, yes, very.
He's going to get some place
one of these days.
- Who's that fella?
- A kid I picked up, Al Jolson.
- # I'd leave my happy home for you #
- He'll never get anywhere.
Quiet!
Alright, children, that's all
for tonight.
Final dress rehearsal at 10 o'clock
in the morning.
Now go home and get a good
night's sleep and don't worry.
Ladies and gentlemen, you're all invited
to a champagne supper at McGowan's Tavern.
Wait a minute, Major,
just a minute!
Tomorrow, rehearsal, Adeline's
got to get some sleep.
Nonsense, Herzig, best thing
for her, a little party.
- No, no, you don't understand.
- Oh, don't take it so seriously.
- Adeline, tell the major...
- I don't think I'd better go.
Why, it's a crazy idea.
You need plenty of rest.
Certainly!
I'd go home and study my lines
if I were you.
Of course I'll go, Major.
Don't worry about me, Mr. Herzig,
I'll be fine tomorrow.
I'll just go in and change
my dress.
Oh, you've got a lot of influence
with that girl.
Major, I'll be your guest
on one condition.
That you'll allow me to be the host.
Nonsense, my boy, I'm giving this
party in honor of Adeline.
Well, then I'll toss you, because I want
to give a party in honor of Elysia.
Ah, here we are, my dear.
Say, say, where is everybody?
I just came from the ferry,
I saw all these cabs here
and got worried.
What is this, a funeral?
Yes, of my show.
The major's giving your daughter
a so-called party tonight.
He is? Where is she?
In that cab.
Oh, Sid, where is everybody?
Where's Addie?
Where's Rupert?
He's outside, I guess,
waiting for Elysia.
He is? Oh, dear!
I've made up my mind, Rupert,
I've made up my mind.
Just generally or about any
particular thing?
I'm not going to be cautious anymore.
I love you!
I love you! I love you!
Come on! Come on!
Come on, Rupert!
Well, come on, let's go!
Yes, that's a thought.
On your marks, go!
Oh, Sid!
- So you got left.
- I knew you were not going.
Oh.
Come in, Sid, sit down.
Have a drink.
Just what you need.
- Here. Sit down, Sid.
- Thanks.
Here's luck.
Thank you.
Interested?
No.
Shall we try it again?
Not interested just a little bit?
# 'Twas not so long ago #
# That Pa was Mother's beau #
# And though their styles and fads #
# Have gone like old sach?s #
# The things Pa said to Ma #
# Was quite the same #
# As all the things that lovers say today #
# Though new young blossoms #
# Are born each May #
# They pass their pods #
# In the same old way #
# So love that's true #
# Is a story told #
# As ever new in a world that's old #
# 'Twas not so long ago #
# That Pa was Mother's beau #
# And though their styles and fads #
# Have gone like old sach?s #
# The things Pa said to Ma #
# The things Ma said to Pa #
# Were quite the same #
# As all the things that lovers say today #
Major Day's party!
Major Day's party!
Major Day's party!
Major, everything's been prepared
with the exception of your wine order.
- Let champagne flow like water.
- Yes, sir.
- Adeline, this is my favorite table.
- Oh, it's beautiful.
Ladies and gentlemen, I want you
to order whatever you like.
The party's on me and
the sky is the limit.
Two mint julips, a brain-duster,
a Happy Moment and a New Orleans fizz.
- Hey, that's on me!
- What'll you have, boys?
# Pretty Jennie Lee #
# Please come back to me #
# I am waiting all alone #
# You know I yearn for your return #
# Come back and be my own #
Hey... how are you fixed for a tenor?
# Jennie how I miss you #
# Will I see you soon #
# How I long to kiss and spoon #
- Oh, you're flat, you're flat...
# Please come back to me #
# You're just the girl for me #
# Pretty little Jennie Lee #
To you, Adeline, and champagne!
They make my world arouse.
Thank you, Major.
- Shall we dance?
- Yes, I love this waltz.
- Table for two?
- Yes.
I'll see that you folks are
served immediately.
Thank you.
Listen, listen, folks.
You know, I don't trust Sid Barnett.
It's disgraceful, look at him.
Look at that.
Yeah, that's nice, huh?
Poor Sid, you are such a sweet boy.
A toast to the success of the love song and
the belle of New York, Miss Adeline Schmidt!
Speech!
Speech!
You must make a speech!
Oh, I don't know what to say.
- I'm so happy!
- That's great! Encore!
But I love you all. And tomorrow
night I'll do my best.
Let's drink a toast to Major Day!
- To Major Day!
- To Major Day!
To Adeline Schmidt.
You're making a little fool of yourself!
- How dare you talk to me like that.
- Young man, you're forgetting who you are!
- Waiter! Waiter!
- Oh, no, I'm not!
You're the one who's to blame, you think you
can treat her like you treat all your other women!
- Get away, get away!
- You!
Throw that man out!
Get him out of here!
You can't do that!
You can't do that!
Hey, you can't do that!
Just can't do it!
You can't throw anybody out!
You can't throw anybody out!
Hey, you can't do this!
You can't, do you hear?
- Did he hurt you?
- Why, he hardly touched me.
I'll never speak to him again.
Making a scene like that.
Oh, there you are.
Sweet of you to come, my dear.
Let me take your wrap.
- Oh, you look lovely tonight, Adeline.
- Thank you.
- Do you forgive me?
- Forgive you? What for?
For asking you here unchaperoned to dine
with an unattractive, crusty old bachelor.
- Oh, you don't mean a word of that.
- Tonight New York will acclaim you.
Tomorrow the world will be your stage.
- Do you begrudge me this hour alone?
- Of course not.
- Are you hungry, my dear?
- No, I couldn't eat a thing.
I'm too nervous.
Do you really think they'll like me?
Like you? They'll adore you.
How do you like the new place?
Oh, it's beautiful!
Adeline, I want to show you something
that you've never seen before.
- What is it?
- Edison's newest invention, my dear.
The phonograph.
- Phonograph.
- Yes, my dear.
- What does it do?
- It plays sweet music, my sweet.
Oh, but you'll hear that later.
Come, and sit down.
Well, have you any improvements
to suggest?
No, it's perfect.
- I'll take it just as it is.
- Good!
It's yours.
Oh, but Adeline, my sweet,
I'm serious.
You mean...
Oh, I... I like you, Major, but I'm not
dreaming of getting married yet.
Married? Nor am I, my dear.
Why, I haven't given marriage
a serious thought not in years.
Surely, Adeline, you don't expect
me to believe you're that naive.
- I don't expect you to believe anything.
- Excellent.
You can move in tonight if you like.
After your triumph, my dear.
And I shall betake myself back
to my musty old den.
But I felt certain you'd let me borrow
your lovely little apartment...
- ...just for the occasion.
- Just a moment.
Did you really think that I...
I thought only what all New York is
thinking, my dear, is convinced of, in fact.
Well, then all New York is wrong.
How did you... How dared you?
Dared? Oh, stop acting, Adeline.
I dared take you out of a Beer Garden,
back a show for you,
spend a fortune on you.
Well then, I'm sorry if you've
wasted all that time and money.
I haven't wasted them!
Don't be silly, Adeline,
there are thousands of girls who'd
give anything to be in your place.
Think. A beautiful apartment,
ample spending money,
clothes, all New York at your feet.
- Let me go, please.
- After the show tonight, Adeline.
There won't be any after!
I won't go on!
Oh yes, you will.
At any rate, don't be foolish.
Think it over!
I have thought it over.
Good evening, Miss Schmidt.
Well, this is a fine time to be coming in
on your opening night.
It isn't my opening night.
Who's is it, Rupert's, Nellie's?
I've just come down to tell you
that I'm out of the show.
- I'm going to get my things.
- What do you mean?
Major Day will supply you
with the details.
You'd better get Elysia ready.
I'm sorry, Mr. Herzig.
Sid!
- Well, this is a fine situation!
- What's the matter?
In my five years of Dean of the
American theater...
...nothing like this ever happened
to me before!
- What is it?
- You would bring me a Beer Garden singer,
- you've ruined my show!
- What are you talking about?
Go to Major Day for the details,
she says.
- Will you tell me what's happening?
- Adeline, she's in her dressing room.
She won't go on, it's your fault.
The fight last night!
She won't? Why...
Herzig tells me you're not going on.
- No.
- What's happened?
Nothing.
Didn't Major Day's butler bow
low enough for you?
Or was there too much rum
in your salts?
Have you anything else to say?
Adeline, I admit I made a fool of myself
at McGowan's Tavern.
And I'm sorry.
And if I embarrassed you or made
you feel uncomfortable,
I'm doubly sorry.
But this is no way to take
it out on me.
I don't want to talk about it.
All right.
- Then you're going on with the show?
- No.
I'm not going to beg,
I'm not going to plead with you,
I'm not going to crawl on my hands and knees
and say please, Miss Adeline Schmidt,
will you save my show.
I'll let it rot first.
- Will you get out of here!
- No!
What makes you think I'm going to
stand by while you walk out on me...
...and let some fourth-grade
understudy ruin my work?
Why, Adeline, this show meant
a lot to both of us once.
If you don't care anything
about yourself,
if you want to be selfish
and childish, all right.
But think of me. I've spent years
waiting for this chance.
- It means everything in the world to me.
- Yes, but how about me?
Have you ever thought what
it might mean to me?
Mean to you?
Why, what can it mean,
except more fame, more glory,
more champagne?
And... and more Major Days.
Yes, Major Days!
That's right, more Major Days.
Bring them on, more Major Days,
one at a time!
What's the matter, Adeline?
Nothing.
I'll go on.
I'll do your show for you.
But don't you ever come near
me again, do you hear?
Never, never, never!
- Oh, Elysia.
- Yes?
- Here, Renaldo.
- I can't. I can't do it.
So, you would have me, you would love me,
you would die for me.
But would you serve me? No.
Well, then get out. I'll do it myself.
Why should you hurt her,
she's done you no harm.
She's claimed the part that
should be mine.
Her name is in electric lights,
it should be mine.
Now get out!
Out, out, out, out!
I will fix her.
Rupert, are you not ashamed
of yourself?
- But it's my duty.
- Your duty?
Oh, it's awful, just to think of it.
The woman I love is a spy!
It's my painful duty to place
you under arrest.
How can you arrest me?
Because I'm an operator in the
Department of Justice.
Put your clothes back on
and come with me.
You cannot take me now,
not before the show.
Why not, I have nothing else to do.
But you cannot. It would ruin the show.
And the show must go on.
- Why?
- I do not know.
It is a tradition.
Everybody say that.
- The show must go on.
- Hm, I see, the show must go on.
The show must go on!
# Music is softly playing #
# And girls in the arms of their boys #
# Join in the dances #
# I would be dancing if I were there #
# Timidly I am swaying #
# The music has started me dreaming #
# Whistfully dreaming #
# Whistfully wishing #
# I could be there #
# I know a lot of steps #
# But they're no use, I fear #
# Without a partner near #
# Lonely feet #
# While others are gliding by #
# Here am I, lonely feet #
# Waiting to dance #
# Lonely waist #
# Intended for arms to hold #
# Lonely waist unembraced #
# Waits for a dance #
# If I could find someone #
# Some mother's awkward son #
# Wouldn't we dance #
# And wouldn't I think him simply divine #
# Oh, to feel #
# The thrill of a joy that's new #
# Feeling two other feet #
# Stepping on mine #
# Lonely feet #
# While others are gliding by #
# Here am I, lonely feet #
# Waiting to dance #
# Lonely waist #
# Intended for arms to hold #
# Lonely waist unembraced #
# Waits for a dance #
# If I could find someone #
# Some mother's awkward son #
# Wouldn't we dance #
# And wouldn't I think him simply divine #
# Oh, to feel #
# The thrill of a joy that's new #
# Feeling two other feet #
# Stepping on mine #
# Oh, to feel #
# The thrill of a joy that's new #
# Feeling two other feet #
# Stepping on mine #
# If I could find someone #
# Some mother's awkward son #
# Wouldn't we dance #
# And wouldn't I think him simply divine #
# Oh, just to feel #
# The thrill of a joy that's new #
# Feeling two other feet #
# Stepping on mine #
Yes, yes, yes, that's my
daughter, Adeline.
I'm so proud.
My daughter Adeline.
A wonderful actress, ain't she?
You see... how wonderful?
That's my daughter.
Is it you, beloved?
I adore you.
And I've learned a bit of truth.
I'm more of a man than I am a patriot.
I cannot arrest you.
I love you too much.
I love you...
Oh, hello, Nellie.
I thought you were Elysia.
You were grand, Adeline.
Curtains! Curtains!
# At the highschool cotillian #
# There were dance cards to fill #
# And I met the one boy in a million #
# And his name was Bill #
# Here you are, a shy boy #
# But you were my boy #
# And the highschool cotillion #
# Was my first big thrill #
# We were so young #
# The time was an evening in May #
# You wore the pale pink organdy #
# I thought so gay #
# Life was a thing of eager #
# Spring and moonlight #
# And you were the girl #
# And I was the boy from over the way #
# We were so young #
# The heavens were smiling above #
# I let you keep my handkerchief #
# I kept your glove #
# Life was a thing of eager #
# Spring and moonlight #
# And you were a boy #
# And you were a girl #
# And we were in love #
# We were so young #
# The time was an evening in May #
# I wore the pale pink organdy #
# You thought so gay #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl #
# And you were a boy from over the way #
# We were so young #
# The heavens were smiling above #
# I let you keep my handkerchief #
# You kept your glove #
# Life was a thing of eager #
# Spring and moonlight #
# And you were a boy #
# And I was a girl #
# And we were in love #
# We were so young #
# The time was an evening in May #
# I wore the pale pink organdy #
# You thought so gay #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl #
# And you were a boy from over the way #
# We were so young #
# The heavens were smiling above #
# I let you keep my handkerchief #
# I kept your glove #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl and you were a boy #
# And we were in love #
# We were so young #
# The time was an evening in May #
# I wore the pale pink organdy #
# You thought so gay #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl #
# And you were the boy from over the way #
# We were so young #
# The heavens were smiling above #
# I let you keep my handkerchief #
# I kept your glove #
# Life was a thing of eager #
# Spring and moonlight #
# And I was a girl #
# And you were a boy...
Get a doctor!
Hurry up, get a doctor!
Adeline!
Adeline!
Take it easy now, Addie.
Take it easy.
There you are... Well, you're coming
along fine.
Aren't these beautiful flowers
the major sent.
Have you heard from Sid?
Oh, at first we did.
He sent flowers and notes,
and Pop threw them all out.
That's what you wanted,
wasn't it?
Yes, I suppose so.
# Sweet Adeline #
# My Adeline #
# At night, dear love #
# For you I pine #
# In all my dreams #
# Your fair face beams #
# Your fair face beams #
# You're the flower of my heart #
# Sweet Adeline #
- It didn't work.
- No.
I told you she wouldn't like it.
That song has no appeal.
As a producer I can safely tell you
they won't sell a dozen copies of it.
Hm, beer!
Yeah, we sing another chorus,
we might get some pretzels.
Let's do it.
# Just order two seidels #
# Of lager or three #
# If I don't want to drink it #
# Please force it on me #
# The Rhine may be fine #
# But a cold stein for mine #
# Down where the Wurzburger flows #
I got a little number here I'd like
to try out.
- Go right ahead, the place is yours.
- Thanks.
Hey!
Here, hey, wait a minute!
- Hey, what are you doing here?
- Just trying out a song.
Ja, well, we don't want your songs
and we don't want you!
That's all for tonight, girls.
- We?
- Ja, we!
Adeline and me together
we don't want you.
Oh, then I guess Adeline's
well again.
She's fine.
And she's going to marry
a gentleman.
- The major?
- Ja, the major.
Now get out.
When you see Adeline, tell her
I wish her all the luck.
I'm sorry, Sid.
# Don't ever leave me #
# Now that you're here #
# Here is where you belong #
# Everything seems so right #
# When you're near #
# When you're away #
# It's all gone #
# I'm so dependent, when I need comfort #
# I always run to you #
# Don't ever leave me #
# 'Cause if you do #
# I'll have no one to run to #
Well, what are you waiting for?
Clinch! Take her in your arms!
Oh, that's old stuff, Dan.
This is 1898. You've got to give your
audience something new.
Listen, Sid, you're a nice boy,
you write nice music,
but you don't know your stage.
The clinch is older than you are.
It was old in 1860, it's old in 1898
and it'll be old in 1935.
But your audiences still want
to see you do it.
Well, if you insist.
But I'll have to write some dialogue.
Dialogue? Listen, son,
this is a love scene.
Boy and girl love each other.
You love her but you don't know
whether she loves you.
She defies her father, she comes in,
she sings a love song to you!
To you, you poor sap, not to me!
You say nothing, you take her
in your arms...
...and the audience go out without
a dry tear in the house.
But you stand there like
a cigar-store Indian.
Why don't you kiss her? What's the matter
with her, is she poison ivy?
Well, don't blame me.
She holds back, she won't give.
Well, if he doesn't take me in his arms
as though he meant it,
what am I supposed to do?
I mean it just as much as you do.
I don't care anything about
your private lives,
I want you to play this scene for me and
you can't do it unless you get together!
Company dismissed. Rehearsal at 10 o'clock
in the morning sharp!
Ten o'clock in the morning.
I don't know why I bother
about this sort of thing.
- Oh, hello.
- It's all right, Pop.
- We're just rehearsing.
- Well, get your lines right.
- Good night.
- Good night, Pop.
Good night, Pop.
- Sid.
- What?
# Don't ever leave me #
# 'Cause if you do #
# I'll have no one to run to #
- Subtitles -
Lu?s Filipe Bernardes