"The following program is made possible by a grant from Eastman Kodak Company." "Madame Bovary." "Gustave Flaubert created her to demonstrate... the depth and cruelty of the gap between romantic illusion and everyday reality... and had her destroy herself... rather than live a life from which her dreams were banished." "Vincente Minnelli brought her story to the screen... and framed it in the history of Flaubert's fight... against those who sought to censor his masterpiece." "Flaubert speaks:" "What are dreams made of?" "Where do they come from?" "Absurd dreams of fashion and luxury in a farmhouse bedroom." "Who is the messenger?" "Ridiculous dreams of high romance and impossible love." "The cavalier, the serenade... the long ago and the far away." "Images of beauty that never existed." "These things, she loved." "This heart of mine was doing very well" "The world was fine as far as I could tell" "And then quite suddenly I met you and I dreamed of gay amours" "At dawn I woke up singing sentimental overtures" "If she had lived 100 years later... in provincial America instead of provincial France..." "Emma Bovary's romantic fantasies... might have been fed by Vincente Minnelli's movies... especially the delirious musicals like Ziegfeld Follies." "It was the sort of movie Ziegfeld himself might have made... if he had been born a little later... if he had commanded MGM's vast resources... and if he had learned part of his craft at Radio City Music Hall..." "If someone had told him about Esther Williams... and the astonishment known as underwater ballet..." "And if he had ever heard of a painter named Salvador Dalí." "Entranced by the spectacle, wowed by it... we didn't always notice, in the comforting darkness of the theater... that Minnelli was closer in spirit to Flaubert than to Madame Bovary." "The dream works he offered us... were only occasionally designed as escapes from reality." "More often, their function was to illuminate." "In The Band Wagon, he even satirized his own theatrical conventions." "Hal, it seems to be a little too much, doesn't it?" "Yes." "It's true that the sky's the limit in movies, you know." "You can do anything." "And for that reason you have to have great discipline in what you do." "It has to refer completely to the subject at hand, you know." "I believe that you have to put a halter on yourself... and stay within bounds... depending on the subject and the style of the thing that you're doing." "He started small." "His first picture was Cabin in the Sky." "The setting was more naturalistic than we were used to finding in musicals." "Those ain't my dice." "He's got a gun." "Who's that?" "Don't let them in here." "I don't know you." "Get him out of here." "I tried to keep all these symbols as close as possible... to what they might have." "For instance, the fantasy was introduced by a homely object, a coal oil lamp." "So you go into the fantasy in the style in which you've set the picture." "But against that background, the angels of the Lord and the agents of Satan... fought a comic, highly stylized duel for a sinner's soul." "Little Joe, rise up from that bed and report for duty." "Report?" "Report where?" "Now where do you suppose you'd be reporting?" "A shiftless no-account like you is." "Get up!" "I can't get up from this bed." "I'm a very sick man." "Arthur Freed came to see me in my studio in New York." "He offered me what I thought was the best way out..." "The way I wanted to come out... which was anonymous, and with no title or anything." "Just to work with him, and be available for other producers." "All the people I'd known in New York were out here." "Dorothy Parker, Lillian Hellman, and S.J. Perleman, people like that." "Any producer could call on me and ask me to read a script, give ideas and so forth." "I worked with Arthur Freed." "It was a marvelous time." "I had wonderful times during that year." "And at the end of that year, he bought Cabin in the Sky and I directed that." "Mrs. Jackson, to your musical urge." "Ethel Waters was on the side of the angels." "So was the Harold Arlen/Yip Harburg score." "There's honey in the honeycomb" "There's nectar in the peach" "There's candy in a coconut shell" "And mussels on every beach" "There's money in the savings bank" "And I personally guarantee" "If there's honey in the honeycomb" "Then baby look out there's love in me" "There's honey in the honeycomb" "And baby there's love" "Love" "Baby there is love in me" "Yeah" "If you're going to do a musical in the right way... and have it linger with people awhile, then I think you have to... put just as much thought and sweat and intelligence into it... as you do in a dramatic picture." "That certainly applies to every musical number." "The trick in the modern musical is to make them flow naturally within the plot." "In Meet Me in St. Louis, The Trolley Song..." "That was just a song that they sang on the trolley." "But by putting it into the situation where Esther was looking for the boy... and he didn't make it and they had to leave without him... and she was downhearted." "Are we all here?" "Just too bad for those that aren't." "Time, tide, and trolley wait for no man." "Then she saw him running, and she changed completely." "That more or less made the number." "It fitted into a situation." "Meet Me in St. Louis is probably Minnelli's most beloved and memorable movie." "A lovely, loving evocation of a vanished way of life." "Clang, clang, clang went the trolley" "Ding, ding, ding went the bell" "Zing, zing, zing went my heartstrings as we started for Huntington Dell" "Chug, chug, chug went the motor" "Bump, bump, bump went the brake" "Thump, thump, thump went my heartstrings as we glided for Huntington Lake" "With my high starched-collar and my high-topped shoes" "And my hair piled high upon my head" "I went to lose a jolly hour on the trolley and lost my heart instead" "With his light brown derby and his bright green tie" "He was quite the handsomest of men" "I started to yen so I counted to ten then I counted to ten again" "Buzz, buzz, buzz went the buzzer" "Plop, plop, plop went the wheels" "Stop, stop, stop went my heartstrings" "As he started to leave I took hold of his sleeve with my hand" "And as if it were planned he stayed on with me" "And it was grand just to stand with his hand holding mine" "To the end of the line" "I was brought up in a small town." "And I remembered everything I could of a small town." "And also it was of an earlier period, American Gothic architecture." "So I spent a great deal of time on research and finding the right things for it." "Because I feel... that a picture that stays with you... is made up of 100 or more hidden things." "And of a gift for vivid imagery that is not hidden at all." "In this Halloween sequence Minnelli summoned up... that strange blend of self-generated terror and delight that is nighttime for a child." "Joe, come here!" "Take the Braukoffs." "Oh, no, we ain't gonna take the Braukoffs." "What's the matter, are you scared?" "No, we'll take the Mitchells." "They're just as bad." "Yeah, we'll take the Mitchells." "A waking nightmare." "A kind of dream sequence but not an idyll one." "Like all such scenes in Minnelli's movies, it's designed to suggest... the play of dark forces it would be unpleasant to confront directly." "Well?" "I hate you, Mr. Braukoff." " Tootie, what have you been doing?" " She took the Braukoffs." " All alone?" " Yeah." "What's the matter, Tootie?" "Did the bulldog try to bite you?" "Did Mr. Braukoff chase you?" "Tootie, can't you talk?" "I killed him!" "She killed him all alone." "Hey, wait a minute, listen." "Quiet!" "Tootie killed the Braukoff single-handed." " She's the bravest of them all." " Yeah, Tootie's the most horrible." "You're free." "Your banshee is dead." " Here, throw that on the fire." " I'm the most horrible." "She was very tiny and very young." "Her aunt and her mother used to prepare her for these scenes." "I never could find out what they said." "But they would talk very earnestly to her... and she would listen with her eyes out on sticks." "She would go in and cry and get hysterical and so forth, and do the scene." "She specialized in things like that, Journey for Margaret... where she was a troubled child of the war and so forth." "It was difficult to get her to act as a natural child, as a child would." "The family has been asked to uproot itself." "They hate the idea." "We'd look pretty silly trying to get them on the train, wouldn't we?" "Their sense of impending loss is inconsolable." "And it evokes our regret not merely for what they are close to losing... but for an ease and grace and charm... whose disappearance has diminished us all." "Have yourself a merry little Christmas" "Let your heart be light" "Next year all our troubles will be out of sight" "Have yourself a merry little Christmas" "Make the Yule-tide gay" "Next year all our troubles will be miles away" "Once again as in olden days" "Happy golden days of yore" "Faithful friends who are dear to us" "Will be near to us once more" "Someday soon we all will be together" "If the Fates allow" "Until then we'll have to muddle through somehow" "So have yourself" "A merry little Christmas now" "Tootie?" " What's wrong with Tootie?" " I don't know, Papa." "But at times you needed that hysteria to it." "But at times you kneaded that hysteria into it." "Doing the scene in the backyard where she hysterically breaks up all the snowmen... and cries and yells and screams, her mother came over to me and said:" ""Margaret and I have had a disagreement and she won't speak to me." ""And she wants you to prepare her."" "And I said, "My God, how do you do that?"" "She said, "Well, you tell her..." "She has a little dog that she adores..." ""and you tell her that somebody's gonna kidnap that dog and kill it."" "And I said, "Yes?" But I had to go over, because she was waiting there." "It was very cold and she was waiting with a blanket around her shoulders." "And I said, "Margaret, I hate to tell you this..." ""but somebody's gonna kidnap your little dog and shoot it."" "And she said, "Will there be lots of blood?" And I went on and elaborated." "Finally I said, "Turn them," and jerked the blanket off... and she went out and did this hysterical scene all in one." "It's strange that it was in this nostalgic family entertainment... that Hollywood for the first time confronted the idea... that childhood can be a dark time, a time of troubles." "Tootie, come back in the house, you'll catch pneumonia." "Nobody's gonna have them." "Not if we're going to New York." "I'd rather kill them if we can't take them with us." "Tootie, darling, don't cry." "It's all right." "Don't cry." "You can build other snow-people in New York." "No, you can't." "You can't do anything like you do in St. Louis." "Oh, no, darling, you're wrong." "No, New York is a wonderful town." "Everybody dreams about going there." "We're luckier than lots of families because we're really going." "Wait till you see the fine home we're going to have." "And the loads and loads of friends we'll make." "Wonderful friends." "But the main thing, Tootie, is that we're all going to be together." "Just like we've always been." "That's what really counts." "We could be happy anywhere, as long as we're together." "Minnelli was doing in Hollywood what, at the same time... others like Rodgers and Hammerstein were doing on Broadway:" "Bringing a new note of realism... psychological and otherwise, to the musical." " I wanna sit with the driver." " All right, Tootie." "Up we go." "There we are." "All right, make room for Grandpa." "Can you just calm down?" " All ready." " Where to, Mr. Smith?" "You tell him, Tootie." "To the Louisiana Purchase Exposition." "Right you are." "It ends, as such works must, on a note of cheer... lit by a visionary flare of light." "Minnelli and all the others who cared about this form... were changing our expectations about the musical, opening up its possibilities." "I know exactly where it is." "Just follow me." "Oh, look!" "It's right in our own hometown." "Grandpa, they'll never tear it down, will they?" "Well, they'd better not." "I can't believe it." "Right here where we live." "Right here in St. Louis." "You might tell her 20 things, we'll say, to change in the performance... and God knows, she had enough on her mind." "You didn't know whether you were getting through to her or not... because she said yes." "But everything would be perfect, she would remember everything." "She was a fantastic artist." "She knew that there were 20 different ways of playing a scene." "I love working with that kind of person." "Magic, mesmerism." "Ladies and gentlemen, the show is about to go on." "She was Judy Garland." "The film, The Pirate." "And for all its music and good humor... it was his most sophisticated study of the relationship... between fantasy and reality." "My father was a musical director, and my mother was an actress... so I traveled when I was very little." "I played the children's parts whenever there were any to play." "She's in love with a figment of her imagination... a legendary pirate she's never met." "He, a strolling player, impersonates her imaginary lover... in order to win her hand." "Trillo, there is no necessity of keeping up this pretense any longer." " They know that I am Macoco." " Macoco..." "Go immediately to Don Pedro Vargas' house and arrange our quarters." "Go ahead." "Do not anger Macoco." "Do not bring down Macoco's wrath upon your head." "Macoco!" "Minnelli's scores were always by the best." "This one was by Cole Porter." "Nowadays it's very popular to think of reality and fantasy... in conjunction with each other." "What is reality and what is fantasy?" "It's what novelists have always used." "I've always leaned toward that and wanted to do it more than they allowed me to." "Reality reasserts itself farcically." "A ham act is sliced down to size by a girl less vaporous than she appeared to be." "Manuela?" "I see you found out." "You're overwrought." "Now I know you have every right to be vexed, but I did it for us." "Now, Manuela, darling, count to 10." "Oil on the troubled waters." "Your temper!" "This is ridiculous." "Don't be a witch." "All right, Manuela, I apologize." "I shouldn't have walked that tightrope to your room." "I know that I shouldn't..." "I realize that I shouldn't have hypnotized you and made you say those things." "I'm trying to be reasonable." "Can't you..." "Can't you see I'm trying to be big about this?" "I asked you, please do not..." "I've apologized abjectly, what more can I do?" "Just what more..." "You're overdoing this, you're being vindictive!" "Now you listen to me, you have the manners of a spoiled brat... and the effrontery of an unbridled egotist." "Because I succumbed to your charm... don't think that I'll endure your temperament because I won't." "That settles it!" "I've never yet raised my hand against a woman." "But by heaven, you've gone too far!" "L..." "Touché." "It was the first picture after Judy and I were married that we did." "It is very exotic looking." "And it was taken from a play for Alfred Lunt and Lynn Fontanne... written by S.N. Behrman." "It was very exotic, but had wonderful ideas." "Ladies and gentlemen, don't move, don't stir, the best is still to come." "We have a new star in our brilliant galaxy of players." "The beautiful, the beguiling, the divine Manuela." "Be a clown, be a clown" "All the world loves a clown" " Show 'em tricks" " Tell 'em jokes" "And you'll only stop with top folks" "Dress in huge, baggy pants" "And you'll ride the road to romance" "A butcher or a baker, ladies never embrace" "A barber for a beau would be a social disgrace" "They all'll come to call If you can fall on your face" "Be a clown, be a clown, be a clown" "Be a clown, be a clown" "All the world loves a clown" "Be a crazy buffoon" "And the demoiselles'll all swoon" "Be a crack jackanapes" "And they'll imitate you like apes" "Why be a great composer with your rent in arrears" "Why be a major poet and you'll owe it for years?" "When crowds'll pay to giggle if you wiggle your ears?" "Be a clown, be a clown, be a clown" "Be a clown, be a clown" "All the world loves a clown" "Be the poor silly ass" "And you'll always travel first-class" "Give 'em quips, give 'em fun" "And they'll pay to say you're A-1" "If you become a farmer you've the weather to buck" "If you become a gambler you'll be stuck with your luck" "But jack you'll never lack If you can quack like a duck" "Be a clown, be a clown, be a clown" "Be a clown, be a clown, be a clown" "Madame Bovary was Minnelli's first tragedy." "And his first public expression of his devotion to French culture." "A devotion he would express over and over again." " I'm exhausted." " May I have this dance, Madame Bovary?" "I'm sorry, this is a waltz, and I don't waltz." " It's quite easy." " I could show you." "Oh, no." "I should be afraid to try." " May I?" " Oh, I'm sorry, I don't waltz." "No, really." "The waltz itself is her one moment of gratification... where things are the way she expects them to be." "She has a beautiful gown." "The men are all mad about her." "She looks into this big oval mirror and sees herself... as she wants to be, surrounded by men, looking beautiful." "And her husband, of course, is out of place... and goes in the billiard room, gets drunk, and so forth and it ends up a shambles." "But in the meantime, this waltz, which was very new in Paris then... it had just started to come in... goes on and on in swirls... and becomes almost intolerable." "This is Emma Bovary's first and only venture into a world she has longed for." "The ball is her high moment, and the film 's." "For Minnelli is a master of the moving camera... gliding, sliding, whirling." "It is a carefully choreographed participant in the waltz." "And by its actions, it draws us into it, too." "Miklós Rózsa who wrote the music... composed this rather neurotic waltz." "And I shot completely to that music." "It is beautiful and maddening, this sequence." "A fantasy become reality." "A scene charged with the foreboding that sometimes accompanies fulfilled wishes." "The feeling that such happiness cannot last." "Aren't we going to stop, please." "I can't breathe." "I'm going to faint." " The lady is going to faint." " Break the windows." "Emma!" "The waltz must end." "All waltzes must end." "From this ecstatic height, Emma Bovary begins her descent into despair." "From such heights, Minnelli, so often misunderstood... as just a purveyor of light entertainment, would often force his people." "I want to dance with my wife." "In Ziegfeld Follies, he directed the movie's two great male dancers... in their only appearance together." "They're completely different characters." "You treat Fred a certain way... because Fred is ethereal and light... and he's a past master at dance, you know." "And Gene is earthy and romantic..." "You do things a completely different way with Gene." "A Babbitt met a Bromide on the avenue one day" "And held a conversation in their own peculiar way" "They both were solid citizens They both had been around" "And as they spoke, you clearly saw their feet were on the ground" " Hello!" " How are you?" " Howza folks?" " What's new?" " I'm great!" " That's good!" " Knock wood!" " Well!" "Well!" " That's life!" " What do you know?" " How's the wife?" " Got to run!" " Oh, my!" " Ta-ta!" " Olive oil!" " Good-bye!" "His ambition, his desire to expand the possibilities of the musical form... matched Gene Kelly's." "He directed and Kelly choreographed Gershwin's An American in Paris." "Gene Kelly is more of an intellectual." "Gene Kelly is more earthy and more romantic... and just as much a perfectionist as Astaire." "I remember when Irving Berlin was visiting... and the sets were being built." "Arthur Freed and Gene Kelly and myself went with Berlin... and showed him all the sets and described what would happen." "And finally, he said, "Do I understand that you boys are planning on..." ""ending this picture with a ballet, 20 minutes?" "No dialogue after that?"" "We said "Yes." He said, "Well, I hope you know what you're doing."" "That's all we needed, because our hearts were in our mouth." "It was very daring in those days to do it." "The climactic ballet was a celebration... not of the real Paris, but of Paris as an ideal." "The heavenly city men have dreamed of knowing and possessing for centuries." "The settings of its several segments were done in the manner of its great painters." "You think about both things at once." "What's effective in the way of action and dance." "And what the camera movement is, and how you express it." "It all happens at once." "How the costumes are being done and the setting is designed, simultaneously." "When we started the picture..." "Irene Sharaff had made a few sketches, but we hadn't really gotten the story." "And Nina Foch who was in the picture, played an important part... got sick." "She had chicken pox." "So, for three days, we couldn't shoot anything." "It was a lifesaver for us because Gene Kelly... and Irene Sharaff and myself, locked up in my office... and in three days we knocked out the whole idea of the ballet." "As so often happens in Minnelli films, the idea was to do a dream of loss." "The city was the backdrop for a love affair now seemingly over." "Gene kept saying, "Well, you have to have a story."" "But I was determined that it would have to be a story of emotion." "So we evolved that way." "It all came in a flash." "The city is full of memories." "At every turn, it reminds Kelly of a happiness he can't recapture." "Ironically, his every encounter with the past cheers him briefly... then plunges him deeper into the pain of his loss." "For color and movement, and boldness of conception... it may be Minnelli's noblest effort." "A romantic's vision on the grandest imaginable scale." "I'm just a little bit fuzzy." "Wasn't this formerly the Eltinge theater?" "The American in Paris ballet is correctly remembered as an epical work." "The musical film 's most monumental attempt to lift itself... onto a new, higher plane of art." "Somehow, though, it was Fred Astaire... masking a steely perfectionism under a casual air... who was involved in the musical moments which will abide forever... in the most affectionate recesses of our memory." "And he was never better than he was under Minnelli's direction." "And backed by an Arthur Schwartz/Howard Dietz score... in The Band Wagon." "Where it seems he played a character very like himself... resisting the pull of pretentiousness, and strangely insecure." "He lacks confidence to the most enormous degree... of all the people in the world, because he won't even go see his rushes." "He'll stay out in the alley and pace up and down and worry... and collar you when you come out and say how is so and so... and keep you for 45 minutes, you know." "It'd be much simpler if he'd go and look at it himself." "But he always thinks that he's no good." "And he is fantastic." "When you feel as low as the bottom of a well" "And can't get out of the mood" "Do something to perk yourself up and change your attitude" "Give a tug to your tie Put a crease in your pants" "But if you really want to feel fine give your shoes a shine" "When there's a shine on your shoes there's a melody in your heart" "With a singable happy feeling a wonderful way to start to face the world every day with the deedle-dum-dee-dah-dah" "Little melody that was making the worrying world go by" "When you walk down the street with the happy-go-lucky beat" "You find a lot in what I'm repeating" "When there's a shine on your shoes" "There's a melody in your heart" "What a wonderful way to start the day" "Now there's a shine that you get in the barbershop" "There's a shine that you get in the Pullman car" "There's a shine that you get in the school room" "But it doesn't matter where you get it lt'll do a lot of good if you let it" "A little bit of polish will abolish what's bothering you" "When there's shine on your shoes" "Melody in your heart Singable happy feeling" "Wonderful!" "Got a shine on my shoes Got a shine on my shoes" "Shiny shoes!" "Shiny shoes!" "Shiny shoes!" "Shine Shine Shine on my shoes" "I got shine on my shoes I got shine on my shoes" "Got a shoeshine" "Freed and I had wanted to do Gigi for a long time." "Finally, he cornered Alan Lerner and Alan agreed to do the script... and do the score with Fritz Loewe, and this was after My Fair Lady." "And so we went to Paris and a lot of it was written there." "I based it on Sem, the caricaturist, 'cause Colette had written about real people." "And Sem had drawn these people, so it was easy to set the style." "Good afternoon." "As you see, this lovely city all around us, is Paris." "And this lovely park is, of course, the Bois de Boulogne." "Basically, it's awfully good." "She wrote it as a kind of a throwaway." "She never considered it one of her major works like Chéri and so forth." "But it's the one that's endured." "It'll be marvelous fun." "What time tomorrow will we get there?" "Can I watch you play roulette?" "May I stay up late for supper?" "Is it awfully awfully upper?" "Gigi!" "You'll drive us wild!" "Stop!" "You silly child!" "Is everybody celebrated full of sin and dissipated?" "Is it hot enough to blister?" "Will I be your little sister?" "Gigi!" "You are absurd!" "Now, not another word!" "Let her gush and jabber Let her be enthused" "I cannot remember when I've been more amused" " Stop!" " Stop it!" "The night they invented champagne" "It's plain as it can be They thought of you and me" "The night they invented champagne" "They absolutely knew that all we'd want to do" "Is fly to the sky on champagne" "And shout to everyone in sight" "That since the world began no woman or man has ever been as happy as we are" "tonight!" "The night they invented champagne" "It's plain as it can be They thought of you and me" "The night they invented champagne" "They absolutely knew that all we'd want to do" "Is fly to the sky on champagne" "And shout to everyone in sight" "That since the world began no woman or a man has ever been as happy as we are" "tonight!" "The majority of Minnelli's movies are not musicals." "What he seeks first of all, no matter what form he's working in... is a unique way to express his themes visually, in pure movie terms." "As early as 1945, he tried to personify... through style alone, a vast city." "I decided to make New York the third character." "Everything I could remember about New York." "Allen and Mayberry, Window 5." "The impersonal city was the force, surrealistically seen... that kept his young lovers apart." "Law of the state of New York." "Three-day wait." "Not valid for three days." "Sorry, nothing we can do." "A three-day wait." "I was late." "Somehow I couldn't seem to move my feet." "In a charming situation comedy, the Father of the Bride... he introduced another bit of surrealism... a dream revealing the anxieties beneath the surface of that most benign... and banal of ceremonies, a middle-class wedding." "Sometimes I work on into the night." "And I'm hardly conscious of myself anymore... and the pictures come to me as in a dream, with a terrible lucidity." "In Lust for Life, the biography of Van Gogh..." "Minnelli, too, searched for images of a terrible lucidity... trying through style to suggest the artist's torment." "Venturing into the American heartland for the first time... his camera found a garishness to match the spirit of his protagonist." "Vincente Minnelli may be a shy man, but as director, he is anything but." "He paints his response to life with broad sweeps of his camera... powerful slashes of light." "It was in a small town in Indiana." "Gamblers and bars and neon signs, like the inside of a jukebox." "One more use for this fine little slicer:" "French-fried potatoes." "You and I like them, your mother-in-law likes them... everybody likes French-fried potatoes." "Vincente Minnelli is a duplicitous artist." "A stylist in many styles." "A man of darker, more material moods than he likes to admit." "A man endlessly in search, he defies a simple summary." "Except, perhaps, in a song." "Everything that happens in life can happen in a show" "You can make 'em laugh You can make 'em cry" "Anything, anything can go" "The clown with his pants falling down" "Or the dance that's a dream of romance" "Or the scene where the villain is mean" "That's Entertainment!" "The lights on the lady in tights" "Or the bride with the guy on the side" "Or the ball where she gives him her all" "That's Entertainment!" "The plot can be hot simply teeming with sex" "A gay divorcée who is after her ex" "It could be Oedipus Rex" "Where a chap kills his father and causes a lot of bother" "The clerk who is thrown out of work" "By the boss who was thrown for a loss" "By the skirt who is doing him dirt" "The world is a stage the stage is a world of entertainment" "That's Entertainment!" "The search for, in films... in what you try to create, is a little magic, you know." "And if that depends on the turning of a leaf... fine, so be it." "But the main search... is for a little magic in our lives." "The doubt while the jury is out or the thrill when they're reading the will or the chase for the man with the face" "That's Entertainment!" "The dame who is known as the flame" "Of the king of an underworld ring" "He's an ape who won't let her escape" "That's Entertainment!" "It might be a fight like you see on the screen a swain getting slain for the love of a queen" "Some great Shakespearean scene where a ghost and a prince meet and everyone ends in mincemeat the gag may be waving that flag that began with a Mr. Cohan" "Hip hooray, the American way" "The world is a stage the stage is a world of entertainment"