All entries for Friday 07 July 2006

July 07, 2006

Oneliners in Gilda (1946)

Forties and some fifties films have the best dialogue that one can find, so I have a little project here on my blog to collect great passages of dialogue from mainly forties films with the desire to learn in my own writing.

Gilda

Gilda 1946Gilda: I can never get a zipper to close. Maybe that stands for something, what do you think?
Mundson: I think you were very rude to him.
Gilda: To whom?
Mundson: Johnny.
Gilda: Was I? Oh, dear. That’s one of the things you’ll have to teach me, Ballin. Good manners.
Mundson: I want you to like him.
Gilda: You sure about that?
Mundson: What do you mean?
Gilda: He’s a very attractive man, if you like the type.
Mundson: He’s a boy.
Gilda: Boys have the darndest way of growing up, Ballin. Almost when you’re not looking.
Mundson: But I’ll be looking.

Gilda: Now isn’t this something? It’s a small world in Argentina, isn’t it?
Johnny: Isn’t it? Why did you marry him?
Gilda: My husband’s a very attractive man.
Johnny: You don’t love him.
Gilda: What was that word again, Johnny?
Johnny: You married him for his money.
Gilda: That happened to come with it.
Johnny: Now, that’s a great way to make a living.
Gilda: That wouldn’t be the big pot calling the little kettle black, now would it?
Johnny: I was down and out. He picked me up. Put me on my feet.
Gilda: Now isn’t that an amazing coincidence, Johnny. That’s practically the story of my life.

Johnny: You can’t talk to men down here the way you would at home. They don’t understand it.
Gilda: Understand what?
Johnny: They think you mean it.
Gilda: Mean what?
Johnny: Doesn’t it bother you at all that you’re married?
Gilda: What I want to know is, does it bother you?

~

Johnny: I got some news for you, Gilda. He didn’t just buy something. He’s in love with you.
Gilda: Is that so hard to understand?
Johnny: And you’re not going to do anything…
Gilda: I’ve got some news for you, Johnny. I’m going to do exactly what I please when I please. I was true to one man once, and look what happened. I made up my mind then…
Johnny: This isn’t about us, it’s about him.
Gilda: Really? You don’t say so.
Johnny: And get this straight. I don’t care what you do, but I’m going see to it that it looks all right to him. From now on, you go anywhere you please with anyone you please, but I’m going take you there and I’m going pick you up and bring you home. Get that? Exactly the way I’d take and pick up his laundry.
Gilda: Shame on you, Johnny. Any psychiatrist would tell you that your thought associations are very revealing.
Johnny: What are you talking about?
Gilda: Any psychiatrist would tell you that means something, Johnny.
Johnny: Did you hear what I said?
Gilda: Sure, I heard what you said. You’re going take me there and pick me up – all to protect Ballin. Who do you think you’re kidding, Johnny?


Oneliners in North by Northwest (1959)

Forties and some fifties films have the best dialogue that one can find, so I have a little project here on my blog to collect great passages of dialogue from mainly forties films with the desire to learn in my own writing.

North by NorthwestRoger: What I mean is, the moment I meet an attractive woman, I have to start pretending I have no desire to make love to her.
Eve: What makes you think you have to conceal it?
Roger: She might find the idea objectionable.
Eve: Then again, she might not.
Roger: Think how lucky I am to have been seated here.
Eve: (ironically) Well, luck had nothing to do with it.
Roger: Fate?
Eve: I tipped the steward five dollars to seat you here if you should come in.
Roger: Is that a proposition?
Eve: I never discuss love on an empty stomach. [She actually says, “I never make love on an empty stomach,” but the line was dubbed over.]
Roger: You’ve already eaten.
Eve: But you haven’t.

Eve: I’m Eve Kendall. I’m twenty-six and unmarried. Now you know everything.
Roger: Tell me. What do you do besides lure men to their doom on the Twentieth Century Limited?
Eve: I’m an industrial designer.
Roger: Jack Phillips. Western sales manager for Kingby Electronics.
Eve: No, you’re not. You’re Roger Thornhill of Madison Avenue, and you’re wanted for murder on every front page in America, and don’t be so modest. Oh, don’t worry, I won’t say a word.
Roger: How come?
Eve: I told you. It’s a nice face.
Roger: Is that the only reason?
Eve: It’s going to be a long night.
Roger: True.
Eve: And I don’t particularly like the book I’ve started.You know what I mean?
Roger: Let me think. (Pause) Yes, I know exactly what you mean…

Eve: Incidentally, I wouldn’t order any dessert if I were you.
Roger: (eagerly) I get the message.
Eve: That isn’t exactly what I meant. This train seems to be making an unscheduled stop, and I just saw two men get out of a police car as we pulled into the station. They weren’t smiling.

~

Roger: Now where were we?
Eve: Here. (They kiss again passionately.)
Roger: Yes. Nice of you to have opened the bed.
Eve: Yes.
Roger: Only one bed.
Eve: Yes.
Roger: That’s a good omen, don’t you think?
Eve: Wonderful.
Roger: You know what that means?
Eve: Hmmm.
Roger: What? Tell me.
Eve: It means you’re going to sleep on the floor.


Oneliners in The Maltese Falcon (1941)

Forties and some fifties films have the best dialogue that one can find, so I have a little project here on my blog to collect great passages of dialogue from mainly forties films with the desire to learn in my own writing.

The Maltese FalconSpade: You, er – you aren’t exactly the sort of a person you pretend to be, are you?
Brigid: I’m not sure I know exactly what you mean.
Spade: The schoolgirl manner, you know, blushing, stammering, and all that.
Brigid: I haven’t lived a good life – I’ve been bad, worse than you could know.
Spade: That’s good, because if you actually were as innocent as you pretend to be, we’d never get anywhere.
Brigid: I won’t be innocent.
Spade: Good.

~

Spade: (smiling) You are a liar.
Brigid: I am. I’ve always been a liar.
Spade: Don’t brag about it. Was there any truth at all in that yarn?
Brigid: Some…not very much…Oh, I’m – I’m so tired, so tired of lying and making up lies, not knowing what is a lie and what’s the truth. I wish… (Striking a sensual, languishing pose, she reclines back on the couch)


Oneliners in Double Indemnity (1944)

Forties and some fifties films have the best dialogue that one can find, so I have a little project here on my blog to collect great passages of dialogue from mainly forties films with the desire to learn in my own writing.

Double Indemnity

Double Indemnity

Neff: I wish you'd tell me what's engraved on that anklet.
Phyllis: Just my name.
Neff: As for instance?
Phyllis: Phyllis.
Neff: Phyllis, huh. I think I like that.
Phyllis: But you're not sure.
Neff: I'd have to drive it around the block a couple of times.
Phyllis: Mr. Neff, why don't you drop by tomorrow evening about eight–thirty. He'll be in then.
Walter Neff: Who?
Phyllis: My husband. You were anxious to talk to him weren't you?
Walter Neff: Sure, only I'm getting over it a little. If you know what I mean.
Phyllis: There's a speed limit in this state, Mr. Neff. Forty–five miles an hour.
Walter Neff: How fast was I going, officer?
Phyllis: I'd say about ninety.
Walter Neff: Suppose you get down off your motorcycle and give me a ticket.
Phyllis: Suppose I let you off with a warning this time.
Walter Neff: Suppose it doesn't take.
Phyllis: Suppose I have to whack you over the knuckles.
Walter Neff: Suppose I bust out crying and put my head on your shoulder.
Phyllis: Suppose you try putting it on my husband's shoulder.
Walter Neff: That tears it.


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