Welcome to Subterranean Cinema, The perfect place to watch classic Movies.

I'm Kris Hensler, the host of Subterranean Cinema.

And I'm Rebecca Norberg, the development coordinator here at the station.

Thanks for coming back a second time.

We certainly appreciate it.

Why don't you remind people what you do here at the station?

And maybe what's one of your favorite aspects of the job?

Sure.

I maintain the membership database, making sure addresses, emails, names, phone numbers, all of that up to date.

One of the things that I've been doing recently is helping out with the Writers Contest, which is open and we're accepting entries and judging will be in May.

It's been fun passing all that out.

But what do you do here and why are you always in the basement?

Those are both good questions for sure.

So I'm the programing director here at PBS Fort Wayne, which means managing all the different shows we have over our five channels.

It also means I get to find programs, new shows that we think fit our audience and older shows that we've had heard from viewers and we know they want.

For years we've gotten requests asking for classic movie series just like this one.

So I came down here in the basement.

I found some old movies.

I tested them off, and we created Subterranean Cinema.

Along with all that, we've got several different types of titles and genres.

We've got comedies.

There are westerns, dramas, mysteries, and we've got some holiday movies as well, and some classics too, like the one we're about to see, A Star Is Born.

I'm most familiar with the Bradley Cooper and Lady Gaga version, but this one is from 1937, and it's in Technicolor.

Yeah.

And it was the first film shot in color to be nominated for an Academy Award.

This version of the now familiar story features Janet Gaynor as an aspiring Hollywood actress and Fredric March as a fading movie star who helps launch her career.

It was remade in 1950 with Judy Garland and James Mason.

Then again in 1976 with Barbra Streisand and Kris Kristofferson, and most recently in 2018 with Bradley Cooper and Lady Gaga.

Now, believe it or not, this movie is actually based on yet another film, What Price Hollywood?

from 1932.

That's a lot of remakes.

This 1937 version was shot in Technicolor, which is a process dating back to 1916.

But there were several subsequent versions of Technicolor that were used in many of Hollywood's later big budget movies like The Wizard of Oz, Gone With the Wind and Disney's Snow White.

This later process produced the well-known, deeply saturated color predominant in movies produced in the early mid-thirties all the way to the mid 1950s.

So if you think you already have, your favorite version of A Star Is Born.

Hang on until we've gotten through this one.

The original, if you will.

So get out the popcorn, pour some drinks and settle in for A Star Is Born with Janet Gaynor and Fredric March.

You're watching Subterranean Cinema only on PBS.

Fort Wayne.

(soft music) (film reel clicking) (triumphant orchestral music) (soft orchestral music) (wolf howling) >> Well home from the movies at last.

>> Looks like it, Aunt Mattie.

>> Hi dad!

>> Mr. Blodgett: Hello, son.

Well daughter, how was the moving picture tonight?

>> Mm, lovely.

>> Mush, that's what it was, just a lot of mush.

There wasn't anybody killed in the whole thing.

>> Well then I'll stick to these, these don't talk.

>> And that big cluck Norman Maine was in the picture tonight.

Never does anything but kiss a lot of girls.

>> Norman Maine is one of the best actors in pictures.

>> You and your movies, that's all you think about.

You shouldn't be allowed to go to them at all if you're asking me.

>> Too bad I was so busy in the kitchen.

I didn't hear anybody asking you.

>> Hello granny.

>> Hello darling.

>> Well of course no one ever listens to me.

>> They do if they're within 10 miles of you.

>> Gathering around picture shows, house all cluttered up with movie magazines.

And the other day I caught her talking to a horse with a Swedish accent!

>> Now sis, we're only young once you know.

>> Ah.

Hollywood.

You'd better be getting yourself a good husband and stop mooning about Hollywood.

You know what she wants to do?

She wants to go to Hollywood.

I've known it all along.

I've seen her making faces in the mirror and talking to herself.

That's what comes of your movies!

>> Why what would you do if you did go to Hollywood?

>> I'd be an actress.

(Mattie laughs) I would, I tell you, I've always known I could.

>> Guys, wouldn't it be wonderful to have a movie star in the family?

Oh Miss Blodgett, may I have your autograph?

>> You may not know it darling, but you're practically on your way to bed.

>> Oh Miss Blodgett, you're my favorite actress!

Won't you tell me the secret of your success?

>> Oh let me alone.

>> Esther, what's come over you?

>> I'll tell you what's come over her.

She's just a silly little girl whose head has been turned by the movies.

And the sooner she forgets the whole thing the better off she'll be.

>> Why will I be better off?

What's wrong with wanting to get out and make something of myself?

What do you do that's so much better?

Just because you're satisfied to sit here all your life, you think you can laugh at me!

Well someday you won't laugh at me!

I'm going out and have a real life!

I'm gonna be somebody!

>> You know, if it was spring I'd say give her a good dose of sulfur and molasses.

(dramatic orchestral music) >> I thought I'd find you up.

Oh stop that.

Now stop crying, that isn't gonna do you a bit of good.

>> Oh I'm crying because Aunt Mattie and Aleck make me so mad.

>> Oh Aleck and Aunt Mattie.

Fiddlesticks, they're not important.

You're the only one that counts.

Esther, everyone in this world who has ever dreamed about better things has been denied that.

Don't you know that?

>> I suppose I do, but... >> But there's a difference between dreaming and doing.

Dreamers just sit around and moon about how wonderful it would be if only things were different.

And the years roll on and they grow old.

And by and by they forget everything.

Even about their dreams.

>> Oh I don't wanna be like that.

I wanna be somebody.

>> Oh yes, oh yes, you want to be somebody.

But you want it to be easy.

Oh you modern girls give me a pain.

When I wanted something better, I came across those plains in a prairie schooner with your grandfather.

Oh everyone laughed at us as they did at all the other pioneers.

They said this country would never be anything but a wilderness.

We didn't believe that.

We were going to make a new country.

Besides, we wanted to see our dreams come true.

>> Oh granny, it must have been wonderful.

>> It was wonderful.

But don't you think for one single minute that it was easy, Esther Blodgett.

We burned in summer and we froze in winter, but we kept right on going and we didn't complain.

Because we were doing what we wanted to do!

Can you understand that?

>> Yes I can.

>> Could you do it?

Could you do it even if it broke your heart?

Because remember Esther, for every dream of yours you make come true, you'll pay the price in heartbreak.

I know what I'm talking about.

You may not believe it, but I was a young girl once.

A very pretty young girl.

A lot prettier than you are.

And I was in love with your grandfather.

And when some Injun devil put a bullet through him, it felt as if it had come right straight through my heart too.

But I remembered all he taught me, and I went right on.

I buried him out there in that wilderness with my own hands.

And I went right on that same day.

And I kept right on going.

Even when your mother was born.

>> Oh granny, I will make it through this wild.

>> You know Esther, there'll always be a wilderness to conquer.

Maybe Hollywood's your wilderness now.

From all I hear, it sounds like it.

But if you've got one drop of my blood in your veins, you won't let Mattie or any of her kind break your heart.

You'll go right out there and break it yourself.

That's your right.

Here.

Oh here here, stop that nonsense.

Here.

Take this and go to your Hollywood.

>> Oh I can't take your money.

>> Well why not?

>> It's your savings.

>> Well I was only saving up for my funeral.

Now I don't think I'm ever going to die.

>> Oh granny, how could I ever thank you?

>> By giving me your word of honor that you will never tell a living soul where you got that money.

>> I promise.

>> Remember, if you do, I'll have you arrested for robbing me.

(train whistle blows) Here we are.

>> I'll help you, granny.

>> Oh I can lift again.

My, it's cold, brr.

>> I kissed dad goodbye.

Just a little kiss, he didn't even wake up.

>> I'll bet you didn't try that on your Aunt Mattie.

>> Oh Aunt Mattie, think of her face when you tell her.

>> I am thinking about it.

I've waited for that chance for 30 years.

>> Conductor: There she is, girls.

>> Oh thank you kindly.

(train bell rings) Come on, come on.

There it is, your prairie schooner.

(dramatic orchestral music) >> Conductor: All aboard!

>> Oh granny.

>> Go on, go on, go on, go on!

>> Goodbye granny!

>> Goodbye!

I'll be waiting for you in the moving pictures!

Don't tell Mattie!

You know my eyes are not as good as they used to be, but my ears are all right!

So you remember, turn up good and loud!

>> All board!

(train horn blows) >> Bye!

>> Bye!

>> Esther: Bye granny!

>> Bye.

>> Do you wanna go home now?

>> I don't want to, but I will.

(lively orchestral music) (soft orchestral music) (Esther clears throat) (bell buzzes) >> Good afternoon.

>> Day, week, or month?

>> It's a little hard to say, you see, I'm going into the movies.

>> Well you better take it for a week, it'll break your jump to Beverly Hills.

>> Are all the studios really near here?

>> All except Gaumont-British.

>> I suppose the best way to get a job is to go straight to the studios, isn't it?

I have many illusions you know, I'm perfectly willing to begin with a little bit of a part, or even as an extra.

>> $6 please.

In advance.

>> Oh.

(lively orchestral music) I beg your pardon.

I'd like to register for extra work.

>> How long have you been in Hollywood?

>> Well it's about a month now.

>> We haven't put anyone on our books for over two years.

Come here.

I'd like to show you something.

(operators chatting) Every time you see one of those little lights flash, it's somebody asking for a job.

Every time you hear them say try later it means there isn't any job.

Can't keep the girls at the switchboard long, they'll go crazy.

Every one of those little lights thought it was going to be a star.

Still wanna go into movies?

You know what your chances are?

One in 100,000.

>> But maybe I'm that one.

Any phone calls for me, Mr. Randall?

>> No.

Jesse Lasky and Sammy Goldwyn must be writing letters instead.

How was the luck today?

>> There wasn't any.

>> Maybe you don't go at it in the right way.

Now take Danny McGuire here, he knows the ropes now, don't you Danny?

>> Sure, I've had them around my neck for years.

(bell buzzes) >> What?

What?

Oh.

Miss Blodgett, Danny McGuire, our new tenant.

>> How do you do?

>> Mr. McGuire is a big director.

>> Oh, are you really?

Could you possibly use me in a picture, Mr. McGuire?

'Course I haven't had much experience, but I don't think that really matters if you're willing, and I really feel- >> Now listen lady, in the first place I'm not a director, I'm an assistant director.

In the second place, if I had any jobs to give away, I'd confer one of them myself.

And in the third place, you should've stayed back home in the first place!

>> Oh now look what you've done.

>> Hey wait a minute!

Hey, don't be that way!

Don't do that.

Gosh, I didn't mean to get tough with you.

A guy think he's being kidded when somebody asks him for a job and he hasn't got one for himself.

After all, I'm not a big enough shot to hurt your feelings.

>> I'm sorry, it wasn't just that, it was a lot of things.

Looking for a job every day and never getting any nearer to it.

I guess I was beginning to get a little scared.

>> I know.

Lady, do I know.

Well there's only one thing to do with that feeling when you're tired and sunk and down to your last nickel.

Come on and I'll buy you a drink.

>> Well it's not as bad as down to the last nickel, I still got $11 left.

>> $11?

You're gonna buy me a drink!

Come on.

That's right George, there's nothing like a little rum to take away the milk flavor.

(soft piano music) (Esther laughing) I beg your pardon.

>> Certainly.

And when I sign my contract, the first thing I'm gonna do is get you to direct every picture I'm in.

>> That's my pal.

>> 'Course I'm gonna be perfectly nice about it, but I'll just insist.

>> Now that's the way to talk.

Don't let them lick you.

>> I should say they can't lick me.

They try anything like that, why...

I just won't sign.

>> Now that's right.

What have you got to lose?

Another one of these and we'll open our own studio.

>> Bill rendered, $24.00 Past due.

Remit without further delay.

Me.

(muttering to self) Now, the fifth race, the fifth race.

(soft orchestral music) (people chattering) >> Hey, the program's gonna be swell tonight.

Now you take this fella Beethoven, I'm a pushover for him.

And Chopin?

He's not so dusty either, but I kinda wish that once in a while they'd play something you could sorta go out whistling, you know, like.

♪ Blood on the saddle ♪ Blood on Well there's a tune.

Hey why don't you throw your hat in the air or something, can't you?

This is a celebration, my job starts tomorrow.

>> I know it does, and I think it's swell, Danny.

>> Gee, I wish you were in on it too.

But oh no, it would have to be a war picture.

One of those big novelty numbers, a war picture without any beautiful women at the front.

Oh well, something will happen soon.

>> Maybe.

>> Why don't you go home, kid?

>> Oh Danny, I can't do that.

I came here and I've got to stay.

>> Well now if it's on account of money I can- >> Oh thank you, you've given me enough already.

Anyhow, this is no time to be worrying.

This is a party.

(both laughing) Look at all the people.

Everybody in the world.

Look.

That's Norman Maine.

>> Uh-huh, and he seems to have had that one extra cocktail.

(audience applauding) >> Oh thank you.

>> Sit down, you dope.

That's for the orchestra leader.

(man thudding) (both laughing) (lively orchestral music) >> Hello Rod, how are you?

>> Hello Norman.

>> Oh, Mr. Maine.

Mr. Maine.

Put your arm around Miss Regis.

>> Otto, this is the Hollywood Bowl.

>> Oh afraid of crowds.

>> Go on, go on, get out of here.

>> What's the matter?

You getting too big to bother with photographers?

>> I don't want any pictures taken now.

>> Oh is that so?

Well suppose I take it anyway?

>> Then I'll shove that brownie number two of yours down your throat.

>> Thank you, Mr. Maine.

>> Anita: Norman, stop it!

(audience chattering) >> Take it easy, mister!

>> Calm down, boys.

>> Normie, come back and sit down.

Everybody's laughing at you.

(Norman thudding) >> Oh hi Rod.

>> Hi Norman.

>> Is he always like that?

>> I suppose he has to sleep sometime.

>> Oh, and he's so wonderful on the screen.

>> Sh!

(dramatic atmospheric music) (knocking on door) >> Come in.

Hello Danny.

What's the matter?

>> Well believe it or not, I got a job for you.

>> Danny that's wonderful, when do I go to studio?

>> Well you don't exactly go to the studio.

>> Oh it's on location.

>> No, it's not exactly on location either.

>> I haven't any makeup, would you tell me what to get and sorta help me put it on?

>> Well you don't exactly need any makeup, you see it's not really a picture job, well it's being a waitress.

>> Oh.

>> Well it's kind of a picture job if you look at it right.

>> You said it was a waitress.

>> Well it's waitressing for Casey Burke, the big director over at our studio, he's giving a party tonight to celebrate on account of finishing the picture, and he wanted me to get him an extra waitress and it's $5.

And I thought of you right away, Esther.

>> Well that was awfully sweet of you, Danny.

>> Well there's gonna be a lot of big people at Burke's house tonight, and I'll bet you there's any number of big directors, and a few of them, maybe they'll notice you.

>> I could make them notice me.

>> Danny: Sure you could Esther, it's your chance.

>> My chance.

All right Danny, I'll do it!

Oh, but I can't, I haven't got the right things to wear.

>> To wear?

Oh, oh, here.

Now you don't think the wardrobe department's right next to my office for nothing do you?

(chuckles) A perfect fit.

(classy jazz music) >> Did you get to the preview last night?

>> I did.

>> Would you like a little hors d'oeuvre?

They are very nice.

>> Thanks.

What did you think of the picture?

>> Producer: We should've saved it for Thanksgiving.

What a turkey.

(man laughing) >> Will you have some hors d'oeuvre?

You do like hors d'oeuvre don't you?

I don't think there's anything so enjoyable as hors d'oeuvres before supper, and these are really delightful.

>> And at the finish, the kid turns around and sings a lullaby to its mother.

>> Pardon the request, but would you like a little hos d'oeuvre?

They say they're the best in town.

>> Don't tell me.

I know, Mae West.

That's a great twist, but where are you gonna find a two month old baby that can sing?

>> Hello Oliver.

>> Oh hello Casey.

>> You wanna fire me now or wait 'till you see the picture?

I'm not a director anymore, I'm a male nurse.

>> What's the matter with the picture?

>> Guy by the name of Norman Maine.

His work is beginning to interfere with his drinking.

Oliver, don't tell me I'm to direct his next picture too.

>> Mm-hm.

>> You were my favorite producer.

>> Now wait a minute, you just go right on with your directing.

I'll take care of these stars.

I know how to handle them.

I had a serious talk with Norman after that Hollywood Bowl occurrence, and you don't have to worry anymore about his behavior.

>> Excuse me, Mr. Niles.

Mr. Libby of your publicity department is on the telephone.

He says it's most important, sir.

It's about Mr. Maine.

>> Thank you.

Oh, it's probably just some little thing.

>> Mm-hm, of course, Oliver.

I'll turn on the radio and see if he's called out the National Guard yet.

>> Hello Libby, what's the good word?

>> Mr. Norman Maine, America's prince charming, was apprehending driving an ambulance down Wilshire Boulevard with the siren going full blast.

He explained he was a tree sage an on a maternity case.

>> Well will it be in the papers?

>> No, it won't be in the papers, but that's a nice expensive hobby of yours.

Keeping Mr. Maine's informal entertainments out of the public press.

>> Aw that's fine work, Libby.

Try and see that no one gets to Norman.

He's probably home sleeping it off.

>> Oliver.

Why can't you forget those dopes at the studio for one night?

Business business all the time, I don't know what's gonna become of you.

>> Norman!

Why didn't you call for me?

>> Oh my darling, what didn't I call for you?

>> In case you've forgotten, I was supposed to come here with you.

>> Oh that's all right, I got here without any trouble.

>> The only reason I don't slap your face- >> Yes, yes darling, I know.

Hello John.

>> Oh hello Miles, what's the matter with Oliver?

He looks as if he had bad news.

>> Hello, hello Mary.

What's the matter, old boy?

>> Maybe I'm wrong.

I guess I've been drinking too much lately.

>> Oh you have to cut it down, it's bad stuff.

Scotch and soda.

Come on, come on, come on.

>> The word, you know, is pronounced when.

>> Bad dialogue, Oliver.

>> I'd rather not watch this.

>> You know best.

Soda!

Thank you.

Go ahead and say it.

I've got it coming to me.

>> Don't make it tougher on me, Norman.

I don't wanna stand here and preach, but take a look at my side of it, I'm trying to make pictures with you and- >> I know, I know.

Costs are going up and the grosses are going down.

>> No, it isn't that.

I've made lots of money with you, and I can afford to take a loss, but I hate to see you going the way of so many others.

>> Why don't you get Lloyd's to insure you against me?

>> You can't get insurance against a man forgetting who he is.

You're a great star Norman, but there's nobody so big he can afford to have people refuse to work with him.

>> Who doesn't wanna work with me?

>> Shh, be quiet.

>> Listen, I know plenty of people who do.

>> Yes, and so do I, but your real friends can't stand seeing you start to fall apart.

>> What do you mean by that?

>> The first signs are always the same.

Not being able to remember your lines, cameramen struggling to cover your hangovers, and all because you have to have a good time every day and every night.

Listen, I've warned you for a long time Norman- >> Okay Oliver, you're a swell guy, you won't lose any money on me, I'll promise you that.

I'll be ready for the curtains when the time comes.

When it does, here's my epitaph.

And now I think I'll have another drink.

Scotch and soda.

Scotch and soda.

Come on, come on, come on, come on.

And a little soda.

>> Caviar?

>> No thanks.

Yes, pardon me.

Lovely, lovely.

No, I mean the caviar.

No, don't go away, I'm starving.

Which would you take?

>> I don't know.

>> You don't know?

I don't know either.

It's hard to choose.

But I think I'll take caviar.

>> Mr. Maine doesn't care for anymore.

Do you, Normie?

>> No.

No, Normie doesn't care for anymore.

Think I shall get very drunk indeed.

Scotch and soda.

(laughs) Sorry, I have some.

>> Oh.

>> Mind if I help?

>> Won't they miss you?

>> Oh no no, they'll just look under the table and when they see I'm not there they'll forget the whole matter.

What's your name?

>> Esther Blodgett.

>> My name's Maine.

>> I know.

>> You do?

(Esther giggling) What's so funny?

>> I was just thinking about all your fans and how surprised they'd be to see you here helping me put plates away.

>> Oh they don't know my finer side.

>> They'd be pretty envious of me, meeting you this way in person.

>> Oh, how do you do?

Tell me, are you disappointed?

>> Yes.

(plate shatters) Now you've done it.

>> Oh never mind that, that makes the room look lived in.

Tell me, why are you disappointed?

>> I was sitting behind you at the Hollywood Bowl the night you didn't wanna be photographed.

(plate shatters) >> Yeah.

I'm told I crept into many a heart that night.

>> I could never explain this.

>> You know, you have very pretty hair.

>> You better get out of here.

>> And a sensitive mouth, and a charming little dimple- >> Exactly why are you here instead of with the rest of the guests?

>> I was just trying to be helpful.

>> I see.

Are you sure there's no other attraction?

>> Well it might be that my old mania for putting plates away is coming back on me.

>> It's rather odd I always know where I can find you if there's a pretty girl around.

>> Not only odd, it's embarrassing.

>> You're being deliberately insulting, Norman.

I've put up with it long enough!

>> Now dear, don't lose your temper.

Remember we must try to keep the voice low.

I know you'll excuse us if we go on with our work.

(plate shatters) (Norman thudding) >> Now see what you've done!

>> Pst!

(Norman whistling) Come here.

Help me up.

>> Are you hurt?

>> No more than usual.

Come on, the wolves surround us, we gotta get out of here.

>> I can't, the dishes aren't finished.

>> Oh yes they are!

(plates shattering) (tires squealing) Well, I'll bet I know what you're gonna say now.

>> What?

>> Goodnight.

>> Goodnight and thanks.

>> Hey wait a minute, wait a minute.

You realize that all I found out about you is that you're foolish enough to wanna go into pictures?

>> I look foolish?

Look at you.

>> Yeah, that's what I mean.

No, I'd rather like to go into this matter a little more thoroughly.

>> Oh that's awfully nice of you.

>> Well why don't we go on up to my place and talk it over?

>> Oh no, thank you very much, but I really must say good night.

>> Good night.

>> But you're not angry?

>> No no no.

I'm hungry.

>> Why don't you go and get something to eat.

>> Good night, Miss Blodgett.

>> Good night, Mr. Maine.

>> Wait a minute!

Here.

Least I can do is to see you to your door.

Will I see you again?

>> I suppose so.

>> Has anyone ever told you that you're lovely?

Well now you know.

>> Thank you.

>> This...

This is hard to say, but I wanna say it anyway.

On the screen I'm a, you know.

In private life I'm a, you know.

But whatever I do, I still respect lovely things.

And you're lovely.

You understand?

>> Yes, I think I do.

>> And it isn't that bump on the head that's doing this.

>> Well, I'm glad.

>> Norman: Good night.

>> Good night.

>> Hey!

You mind if I take just one more look?

(phone ringing) >> Go away!

Quite impossible!

I wouldn't even consider it!

No, no, no!

Hello?

Who is it?

Hello?

Norman?

What have you done now?

You're not in jail are you?

Ooh.

Yes, I see.

Oh, it's that again.

I see.

She's beautiful.

I know, you want me to give her a screen test.

Yeah, certainly, she's got wonderful possibilities.

You know she's got something.

You knew all the other ones had something too.

>> Oh no, I tell you Oliver, she's got that sincerity and honestness and... Sincerity and honestness, that makes great actresses.

Oliver, I am so sure of this girl that I wanna take the test with her myself.

(Oliver sighs) Listen Oliver, you've worked hard, you're entitled to a break.

(Norman whistles) >> Yes, I heard you.

Anything, anything!

Yes.

Yes.

>> Oliver, you try to get a little sleep now, old man.

All right, all right, bud.

Good night.

(chuckles) Telephone book.

Telephone book.

Where's that telephone book?

There you are, little telephone book!

(Norman humming) (Norman muttering) One, seven, four.

(Norman muttering to self) (knocking on door) >> Esther: Yes?

>> Telephone.

>> Esther: For me?

>> Some drunk trying to be funny, says he's Norman Maine.

>> Esther: Oh!

Thanks, I'll be right down!

>> And Miss Blodgett, would you give him a message for me?

Tell him it's 3:00 o'clock in the morning!

(exhales) >> Hello?

What?

Oh.

Oh!

Oh.

Oh yes yes, I'll be there.

Oh, thank you!

(knocking on door) Danny!

Danny!

>> Huh?

>> Danny, what do you think?

I'm gonna take a test tomorrow and Norman Maine's helping me do it!

>> I'm taking one too.

Gable's assisting me.

>> Oh.

(bulb popping) (hotel keeper groans) (crowd chattering) >> Casey: Move that girl in!

>> Put this here, (indistinct)!

>> Casey: No, the Yankee!

>> Is this light too hot for you, honey?

Put a doubler on that 90!

Bring it down a little!

That's it!

Pull down on that 150!

Pull down on that 150!

(crowd chattering) >> Listen, gentlemen, please, if you don't mind!

This is just a test.

>> Crew Member: Ready, Mr. Burke!

>> Ready Mr. Burke!

>> Ready now, Mr. Burke!

>> Crew Member: We're all ready, Mr. Burke!

>> [Second Crew Member] Ready now, Mr. Burke!

>> All ready, Mr. Burke!

>> We're ready, Mr. Burke.

>> All right, let's take it.

>> Quiet!

>> Crew Member: Quiet!

>> [Second Crew Member] Quiet!

>> [Third Crew Member] Quiet!

>> [Fourth Crew Member] Quiet!

>> [Fifth Crew Member] Quiet!

>> Ready Norman?

>> Yup.

>> Ready, Miss what's-your-name?

>> He'll soon know your name, Esther.

The whole world's going to know it.

>> But I'm so scared.

Maybe I better not try today.

>> Oh come on now, don't be foolish, they all had to go through this.

Harlow, Lombard, Myrna Loy.

And now Esther Blodgett.

>> All right.

I'm ready.

>> This is a take, roll 'em!

Quiet!

>> Speed!

>> I may as well tell you that my whole organization thinks I've gone a little nuts to sign you.

Maybe they're right, I've been nuts before.

You see, all the experts seem to think that your type is a little mild for present day taste.

But I'd rather believe that tastes change, like eyebrows.

And I think that also like eyebrows, tastes are going back to the natural.

You look like a nice girl.

I think I'm gonna like you.

That's not important.

I think the public will like you, that is important.

>> Yes.

I see what you mean, I mean I know it is.

>> Well don't think it's going to be easy.

Nothing you really want is ever given away free.

You have to pay for it.

And usually with your heart.

>> Someone else told me that once.

>> But you still have to work it out for yourself.

All this is just a long way of saying I'm glad you're with us and good luck to you.

And now I'm going to turn you over to our demon press agent Libby.

Don't let him frighten you.

He has a heart of gold, only harder.

And for the love of Pete, learn to close your mouth and keep it closed.

Even in your love scenes.

>> Are you a Russian?

>> No, I was born in Fillmore, North Dakota.

>> Oh no.

First saw light of day in a mountain cabin, a trapper's hut, high up in the Rockies.

Go on.

>> I always wanted to be an actress.

>> Dreamed of foot lights as lonely kiddie.

Are you sure there's no Russian in your family?

>> Esther: Positive.

>> That's a shame.

Well what does your father do?

>> Esther: He's a farmer.

>> Social registerite father fed up with hypocrisies of 400, sought wilderness for consolation.

There amidst the mountain flowers he raised another blossom, his lovely little daughter.

What's your name?

>> Esther: Esther Victoria Blodgett.

>> Greatly appreciating your attention in this matter, very truly.

>> Do you know what her name is?

Esther Victoria Blodgett.

>> We'll have to do something about that right away.

>> Esther Victoria Blodgett.

>> Well the Blodgett's definitely out, let's see.

Esther Victoria, Victoria, Vicki, how about Vicki?

>> Oh I think that's terribly cute.

>> Let's see, Vicki, Vicki what?

>> Vicki Vicki, pronounced Vicki Vicki.

>> Siesta, vester, cester, dester, fester.

>> Oh that's very pretty!

>> Jester, hester, dester, Lester, Vicki Lester.

>> Oh I like that.

>> Say it.

>> Vicki Lester.

>> Say it again.

>> Vicki Lester!

>> Oliver: Say it again.

>> Receptionist: Vicki Lester.

>> Say it.

>> Vicki Lester!

>> Say Vicki Lester.

>> Vicki Lester.

>> Vicki Lester.

>> Vicki Lester.

>> Vicki Lester!

>> Vicki Lester.

>> Facts!

Oliver Niles Studio discovers new starlet, a Cinderella of the Rockies.

Her name is Vicki Lester.

Those who have peeked tell me she couldn't be more (indistinct).

The face of an angel and such natural talents.

Her voice is a sympathy, her very walk they tell me is enough to drive men mad!

>> Not that way!

Get the lead out of your feet, lift them up!

That's better.

It's terrible, but it's better.

>> The quality of mercy is not strained.

It droppeth as the gentle rain from Heaven.

>> Sheesh, through the mouth, my child, through the mouth.

The nose is for smelling roses.

Proceed.

>> Does she have to look surprised all the time?

Anyway, it's just a rough sketch.

>> Pretty small mouth isn't it?

Oh well.

>> Give her that Crawford smear.

This will give her that vintage, mm-yeah!

We're on the wrong track.

She still looks surprised.

>> Listen up people!

We're shooting on the set this morning, not in the commissary!

Now come on, step into it!

>> Acme Tracking Company.

No, Mr. Smith is not in!

Acme Tracking Company.

No, Mr. Smith is not in.

>> Good morning.

What can I bring you, Mr. Maine?

>> That just shows how long you've been here.

>> Mabel, bless you.

How soon are you and I gonna be married, huh?

>> I don't know.

You'll have to ask my mother.

>> Acme Tracking Company.

No, Mr. Smith is not in.

Acme Tracking Company!

No, Mr. Smith is not in.

Acme!

Nah, Smith ain't in!

Acme Tracking Company- >> I'd like to speak to Mr. Smith please.

>> Mr. Smith is not... Oh, Norman.

>> What's all this between you and Smith?

>> I've got a part, it's only one line, but it's in the picture.

>> It's ambition that made you break that date with me last night.

>> Well I had to be here so early this morning.

>> So did I. I had to stay up all night to make it.

>> You started your picture, haven't you?

>> No, no, we're still in the testing stage, we can't seem to get the right girl for the lead.

>> Gee, you'd think with all the girls there are- >> Yeah, well this one's got to be different, she's got to be little and cute and sweet.

Intelligent.

Well blow me down.

>> What?

>> Well close my tired old eyes.

>> What is it, Norman?

>> Hold everything, come on.

Come on.

You've been through the whole casting directory.

>> I'll work day and night, Mr. Niles.

>> And I'll work with her, Oliver.

>> And I can be mean or nasty or anything you want, Mr Niles.

>> If she clicks Oliver, you've got a star overnight.

>> Okay.

(triumphant orchestral music) (audience applauding) >> Wait 'till you hear them at the end of the picture.

>> Do you think we were noticed?

>> By no one.

They're much too busy playing at croquet.

I've loved you all my life.

>> But we only met two days ago.

>> That's when my life began.

>> Ain't she cute?

You know, I think she's the same type I am, don't you?

>> I think she's sweet.

>> Well it's Vicki Lester's picture all right.

>> I think she was much better than he was.

>> These producers are so horribly dumb.

They won't know how good she is.

>> Well maybe it's because she's a good girl.

>> Norman's not so bad, but it's Vicki Lester they'll go to see.

>> That Vicki darling, I think she's the most precious little thing I've ever seen.

>> It's a knockout, Libby.

>> You might mention that when you write your review.

>> That Lester kid's a gold mine.

>> Didn't you like Norman Maine?

>> Was he in it?

>> Libby, I'm afraid we have another hit.

>> It's in the bag.

Neatly tied up with beautiful pink ribbons.

>> Say where's Norman and Vicki?

>> I don't know, I thought you had them.

>> I wish they'd come, we're having a party at the Trocadero.

>> Isn't it thrilling running away from people?

Norman, it's so exciting, so- >> So new huh?

A star is born.

Come on.

(classy jazz music) >> It's wonderful isn't it?

A crazy quilt.

>> It's a carpet that's spread for you.

It's all yours from now on, you know?

Promise, you're a success.

You have everything in the world you want.

I hope it'll make you happy.

>> Hasn't it you?

>> That was one thing I never had.

Lots of times I told myself I'd found it, but I always knew I was lying.

Still, I never stopped looking for it.

>> Maybe it'll come.

>> I think it has come, Lester.

I only wish it weren't too late.

>> But it's not too late.

>> You can't throw away your life the way I've thrown away mine and have anything left that's good enough.

>> You can.

Norman, you can.

>> You mustn't tell me that, Esther.

I'm so afraid that I'll believe it.

(audience cheering) Switch your right!

Swell isn't this?

>> Lovely.

>> Watch his guard get down.

Got you, hit him, he got you!

Switch your legs!

He got him, Gosha got him!

Gosha got him!

>> He did didn't he?

>> Yeah, but he'll be up though.

You like it?

>> Sure I do.

>> You like me?

>> Sure I do.

>> That reminds me, will you marry me?

>> No thank you.

>> Come on Gosha, finish him!

Why won't you marry me?

>> You're not dependable- >> Hey switch to your right!

>> You throw away you money.

>> Break him off in there, break him off!

>> And you drink so much.

>> Suppose I quit drinking.

>> Yes?

>> Come on, Gosha, switch the leg in there, the leg!

Suppose I save my money.

>> Yes?

>> Here we go, let him have it!

Suppose I became absolutely dependable on all occasions?

>> Yes?

(audience cheering) >> Hey, Gosha, he's got him!

He's got him!

>> He certainly did.

(upbeat orchestral music) >> Gee, that's a beautiful fight.

>> Norman.

>> What dear?

>> Would you do all that for me if I said I'd marry you?

>> Oh certainly not.

I was just supposing.

We're going to be married.

Guess I didn't read that line right.

I'll try it again.

We are going to be married.

>> Both of us.

>> To each other.

What do you think of that?

>> When, where?

>> Well we thought we'd elope in the conventional manner.

>> What's the matter?

>> He's trying to decide whether it's good for the studio.

>> Is it?

>> It is.

And bless you, my children.

When's it going to happen?

>> We thought we'd just sneak out sometime.

>> We're not telling anyone but you.

>> Listen to this!

The screen's ideal romance blossomed into breathtaking reality today when Vicki Lester and Norman Maine, America's dream lovers, slipped quietly through the portals of holy matrimony.

How does it sound?

>> Horrible.

>> But you see, we're going to elope.

>> Sure you are.

It'll be the biggest elopement this town ever saw.

We'll get a tie-up with the Army, have you escorted all the way down to Yuma by 20 of their new bombing planes.

>> Is he going with us?

>> Don't you think we can work this thing out better alone?

No sense in bothering the happy couple with all the details.

I'll see to it that you get a carbon copy of the whole layout.

>> I can hardly wait.

I'm sorry, we didn't realize that we were in the way.

While you're settling the details, you don't mind if I take this woman out and buy her a ring, will you?

>> Sure, go ahead, we want everything legal.

That's a charming match.

A nice girl like Vicki, and public nuisance number one.

>> Now wait a minute Libby, Norman's all right.

And if you'll pardon my pointing, Vicki's business is her own.

It doesn't require any comments.

>> I wasn't making any comments.

I just said it was a rotten shame.

>> Go ahead and plan the elopement.

>> Oh that elopement stuff is out.

You can't get any scope in that.

We're gonna have a wedding.

Where will we have it?

>> Customary place I believe is a church.

>> Nah, it's been done.

This has gotta be something big.

The beach.

I can visualize it.

The bridesmaids in bathing suits.

20,000 Santa Monica schoolchildren spelling out the word love.

It's a novelty, but is it big enough?

Why not the City Hall?

A police escort, and every motorcycle cop in town.

Sirens screaming, confetti pouring out of buildings, like the Lindbergh reception in New York, only on a big scale.

What's the matter?

Isn't it big enough?

>> And now if any man can show just cause why these two may not be lawfully joined together, let him now speak or else hereafter forever hold his peace.

Do you, Alfred Hinkle, take this woman as your lawful wedded wife?

Will you love, comfort, honor, and keep her in sickness and health as long as you both shall live?

>> I will.

>> Do you, I beg your pardon.

Do you, Esther Blodgett, take this man as your lawful wedded husband?

Will you obey, serve, love, honor, and keep him in sickness and health as long as you both shall live?

>> I will.

>> Place the ring on her finger.

Hurry please.

Now, by virtues of the power invested in me, as Justice of the Peace at San Vado Township, county of Los Angeles, I pronounce you man and wife.

(jailers applauding) >> Quiet!

>> And now I must exercise my prerogative of office.

I hope you will be very happy, Mrs. Hinkle.

>> Thank you.

>> Thank you, sir.

>> Oh Danny.

>> Thank you very much.

>> Now if you'll please sign the license.

>> Oh yeah.

>> You know Mrs. Hinkle, I can't help but believe I've seen you somewhere before.

>> Oh really?

Well I believe this is the first time I've ever been in San Vado.

>> You know, your face is familiar too, Mr. Hinkle, I- >> Thank you very much.

>> Oh thank you, Mr. Hinkle, thank you.

>> Goodbye.

>> Goodbye.

>> Goodbye.

>> Yes, goodbye.

>> Yeah, I think you got by with it.

>> But it was close, that JP was just beginning to remember where he'd seen us.

>> Well anyway, we got away from Libby.

>> Hello toots.

If you will be kind enough to glance between my shoulder blades, Mr. And Mrs. Hinkle, you will find there a knife buried to the hilt.

On the handle are your initials.

>> Lovely to have seen you, Libby!

Hold him Danny!

(engine revving) >> There go a couple of rats I raised from mice.

>> Well they got a right to get married, haven't they?

>> They haven't got any right to double cross the public.

And they haven't done it yet!

>> Hey!

>> People Versus Porky Washington, who is charged with violating Section 600- >> Young man, you're in contempt of court!

>> Operator, get me the Los Angeles Tribune.

>> I have a good mind to put you under arrest!

>> Wait 'till I make the score.

You wait too.

Tribune, get me the city desk.

Johnny, this is Matt Libby.

I got a flash for you.

Norman Maine and Vicki Lester were married at 2:30 this afternoon.

>> Vicki Lester?

Court recessed!

(crowd chattering) (lively orchestral music) (Norman whistles) ♪ Give me a horse, a great big horse ♪ ♪ A great big buckaroo ♪ And let me wahoo, wahoo, wahoo ♪ ♪ Wahoo (engine stalls) (engine sputtering) >> Wahoo.

>> Hey wahoo.

I don't wanna sound immodest, but I think I've stripped a gear.

>> Well sit down, won't you, and let's get acquainted.

We'll probably be seeing quite a bit of each other from now on.

>> Might just as well break the ice now as later.

Now we're old friends.

Say, have I got time for a shower before dinner?

>> Plenty if you can find the shower.

>> I never can remember what that thing is.

Does it pull out or slide under?

>> Here, I think I can find it.

No, that's the linen closet.

Here it is.

>> Nice work.

>> Oh half the time those things are just luck.

I'll see if I can disinfect this steak.

>> Norman: Esther, there's no soap.

>> Here.

>> Norman: Thank you.

Oh, and Esther.

>> Yes dear?

>> Norman: I'll need a washcloth.

>> How are you fixed for cigarettes?

>> Honey, you know I never smoke underwater.

What do I do to make this thing work?

>> Pull that gadget at the top and pray for rain.

>> I can't reach it, I can't get my hands up!

>> You go in there with your arms down you'll never get your bath.

Unless you're a contortionist.

>> Yeah, well I'm not a contortionist, and don't throw that up to me now.

You knew it when you married me.

Will you close this door please?

Thank you.

(Norman screams) (car honking) >> Norman!

Norman, here comes a car!

>> Huh?

>> Here, quick!

>> Norman: Quick what?

>> Quick, go out and stop them and ask for help.

>> I'll catch cold!

>> Oh you'll get warm again.

>> They'll recognize me.

>> Now you keep your face down, go on, there may not be another car for weeks.

(Norman whistles) >> Howdy partner.

>> Howdy.

>> Stuck?

>> Yeah, how'd you guess it?

Can you get us some help?

>> Well I reckon not.

It's a long way to town, we're pretty busy down at the place.

>> Well I gotta get out of here, I've got my wife with me.

>> Judd: Doesn't she like the country?

>> No.

And we're short of food.

>> There's a lot of game in them woods.

>> My wife can't shoot.

>> Well you're sure up against it.

Sorry I can't do anything for you.

>> Wait, listen, I'll be frank with you.

I'm Norman Maine.

>> Who?

>> Norman Maine.

>> Well my name's Judd Baker.

Glad to have met you.

Well so long!

>> Hey wait a minute!

Wait a minute, listen, you don't... >> So you're Norman Maine.

(lively orchestral music) >> I got my prestige to look out for.

I'm supposed to be the best publicity man in the racket, and they laughed themselves sick when I even tried to get a decent mention of Maine.

>> Yes, I know how sensitive you are Libby, and I don't like to see your feelings hurt.

>> Thanks, boss.

Now Vicki, there's a dish for free space.

But if Maine swam across the Pacific, the papers would keep it a secret.

Well, the exhibitors don't like him, the critics don't like him, the public don't like him, and I don't like him.

Who likes him?

(serene orchestral music) >> Oh but darling, this is almost too much of a surprise.

And there I was in my touching innocence, thinking we were going to live at the beach house.

>> Oh we'll still keep the place at Malibu, but this is special, this is our castle, this used to be in the air, you know?

We'll never use any ugly words like contracts and pictures and careers.

When we come in those gates, we'll check the studio outside.

Come on, I got another little surprise for you.

>> Oh Norman, it's lovely.

>> So are you lovely.

The whole world's lovely.

>> Hey, hold it!

That's it.

Caption, their honeymoon never ends.

All right, let's get some pictures.

Now if the bride will sit here, and the groom stand behind her, we'll have something unique.

Now let's go after something different.

You sit down and she'll stand up.

>> Pretty radical, isn't it?

>> Yeah, but in a nice way.

Okay Otto, fire.

Caption, their honeymoon begins anew.

>> Ah, the producer.

Caption, their honeymoon ceases abruptly.

Hello Oliver, glad to see you.

>> Oh I'm glad you're back.

>> Thank you.

>> Vicki, how well you're looking.

>> Hello Oliver.

>> Am I interrupting?

>> Yes, thank you.

>> Matt: Just want a couple more pictures.

>> That's enough of both of them.

What they're asking for is exclusives of Miss Lester.

Alone.

>> Oh, I see.

Well come on Oliver, let's you and me get exclusive.

>> See you later Vicki.

>> Don't worry Otto, my camera smashing days are over.

>> That ain't your only days that are over.

Hold that, Miss Lester.

Gorgeous.

>> Well Oliver, how's the dividend situation?

>> Very pleasant, I think we showed two million on our next quarter.

>> (chuckles) Smart move of mine to sell my stock, eh?

Oh well, when you need money you need it.

>> Some people save up for just such an event.

There's bound to be a rainy day occasionally.

>> Yeah, but as a citizen of California, I've always refused to admit that.

>> Yes I know, but still, it does rain.

>> Well anyway, you can thank me for some of those dividends of yours.

Well can't you?

>> Oh sure, sure.

>> That was a little too quick, Oliver.

The Enchanted Hour was a smash hit wasn't it?

>> Oliver: It made Vicki a star overnight.

>> It should have.

What about me?

>> Well let's talk about business at the office, Norman.

Beautiful pool you have here, beautiful.

>> Oh no, let's talk about it here.

Didn't they like me?

>> Well maybe the part wasn't just right.

>> It was the best part of the year.

Look, Oliver, you think I'm slipping?

>> Can you take it?

>> Yeah, go ahead.

>> The tense is wrong.

You're not slipping.

You've slipped.

>> Well my fan mail's still big.

>> Norman, Norman, fans will write to anybody for a photograph.

It only costs three cents per stamp, and that makes photographs cheaper than wallpaper.

But every 25 cents they pay for a theater ticket buys them the right to be a critic, and your last few performances, Norman, have not pleased your critics.

>> You remember I told you I'd be ready for the curtains when the time came?

Here it is.

Let's call off the contract, no hard feelings.

>> We're not quitting, either of us.

There's no explaining these things.

We've all seen how the public turns.

Maybe we can turn them back.

I've got a swell script lined up for you.

>> About Esther.

Do you think that I'm going to get in her way?

>> Well as a matter of fact, as it happens, there's no part in this story for her.

I more or less plan to star her in a picture of her own, with that young Penderton opposite her.

He's coming along nicely.

>> Good for young Penderton.

All right Oliver, we'll make a try at it.

Let's hope it's not too late.

(dramatic orchestral music) >> No argument, I'll buy those.

(chuckles) The screen's most finished actor.

I'll say he's finished.

He keeps them away in droves.

(phone ringing) >> Hello?

No, Miss Lester isn't home yet.

No, I'm not the butler.

But I can take a message just as well as he can, honest.

>> Oh is that you, Norman?

Swell!

Listen Norman, this is Artie Carver!

Hiya, kid!

Swell.

Say, I hear you're through with Oliver Niles.

Is that on the level?

>> Oh please Artie, I'm not news anymore, forget it.

>> Say, what kind of a settlement did you make on your contract?

Give me a figure so I can do a story on it.

>> There's no money involved.

We just called it quits.

>> Okay, okay, I'll fill in my own figure.

Say by the way, I've been trying to get an interview with Vicki for two weeks, but she's always busy.

How about you giving an old pal a break by speaking to her for me?

>> Sure, I'll ask her.

>> Swell.

So long.

(chuckles) (sweeping orchestral music) >> I didn't mean to be late darling, but Casey wanted me- >> It's all right.

You're here now.

>> What's new today?

>> Nothing.

Haven't been out of the house.

>> Let's go somewhere tonight.

>> No no, you're tired, we'll stay in.

>> I'm not tired, really.

>> Oh yes you are.

You've got a hard day ahead of you.

Anyway, I see so little of you I'd like to have you to myself.

>> Oh but it's the servants' night out, we haven't- >> Yes we have.

I fixed a little snack with my own lily white hands.

I'm learning to cook in my spare time.

>> Then I think I'll marry you.

>> Oh I get it.

You wanna make an honest cook of me.

Comes in on wheels in this joint.

(serene orchestral music) Here we are.

How's it look?

>> Wonderful.

>> That's what I thought.

Now then, don't be formal, just pitch in.

Here you are.

>> I'm afraid my mouth's not quite big enough.

>> I'll measure it next time, make them to size.

>> A little hard to lift too.

(both chuckling) >> I think I'll take those measurements right now.

That's what I wait for.

All day.

>> That's why I rush home without even changing my costume.

>> You're forgetting that we're hungry.

Would you like a sandwich?

>> Thank you, I still have a little work on this one.

Norman, will you unhook my dress?

I can't breathe.

>> All the time I thought it was the kiss that made you breathless.

(Esther chuckling) A lot of hooks, hmm?

>> Uh-huh.

>> Why don't you have a zipper?

>> That's a good idea.

>> Feel better?

>> Yes.

>> Don't look now, but I think that guy on your left is in love with you.

>> I hope so.

(bell buzzes) >> It's the doorbell.

>> Is it?

Maybe they'll go away.

>> They never do at a time like this.

Just a minute dear, I'll be right back.

>> Does Vicki Lester live here?

>> Yes.

>> I got a package for her.

>> I'll sign for it.

>> Who are you?

>> I'm her husband.

>> Oh sure.

Sign right here, Mr. Lester.

(tense orchestral music) >> It's a package for you.

And by the way, I forgot to tell you, they want you for a benefit at the Shrine Auditorium next Wednesday night.

I told them I'd ask you.

And- >> Oh darling, I don't wanna hear about that now.

>> Well you better wait 'till I finish before I forget them all.

The Academy Dinner secretary phoned.

She wants to know if you want a table reserved for you.

Oh yes, Artie Carver called and asked if I'd use my influence with you to get him an interview.

I told him I'd try.

That was all, I think.

>> Oh Norman, let's don't talk about those things now.

We're forgetting the wonderful food you prepared.

>> I'm not very hungry now.

I think I'll fix me a little drink, hmm?

>> Norman.

(triumphant orchestral music) (audience applauding) I wish Norman would come.

>> Stop worrying and think how nice that statuette's going to look on your mantelpiece.

>> Do you suppose anything's happened to him?

>> Of course not, he's just been held up in traffic.

You think about that statuette.

>> And now we arrive at the climax of the annual dinner of the Academy of Motion Picture Arts and Sciences.

The highest award within our power to bestow.

We have already applauded with our hearts as well as our hands while awards have been given to those gentlemen, who during the past year, have rendered distinguished service to the motion picture industry.

We now pay honor to the ladies, or rather, to one lady.

We offer to her the Academy Award for the finest performance of the past year.

She has already had the world's acclaim, but this is the tribute of our fellow workers, the men and women of this industry.

It is not only pleasure, but my privilege to present this award to the actress who created the unforgettable Anna in "Dream Without End."

Miss Vicki Lester!

(audience applauding) (audience cheering) What more can we say, Miss Lester?

This says it all for us.

(audience applauding) >> Ladies and gentlemen.

When something like this happens to you, and you try to tell how you feel about it, you find that out of all the words in the world, there are only two that really mean anything.

Thank you.

All I can do is to say them to you from my heart.

All I can do is to keep on saying them- >> Hey, that's fine!

That's a big pretty speech, my dear!

Very pretty!

You said the right thing.

I wanna be the very first one to congratulate you.

And that valuable little piece of bric-a-brac.

Now I wanna make a speech.

Gentlemen of the Academy and fellow suckers!

I got one of those once for a best performance, they don't mean a thing, people get them every year!

What I want's a special award!

Something nobody else can get!

I want a statue for the worst performance of the year!

In fact, I want three statues for the three worst performances of the year, because I've earned them, and every single one of you that saw those last masterpieces of mine knows that I've earned them.

>> Libby.

Start the music.

>> What I'm here to find out is do I get them or do I get them?

Now answer, yes sir, no sir!

(fist thudding) (audience gasps) (classy swing music) >> Norman darling, let's go and sit down.

>> Come on Norman, take a rest.

Hello Norman, how are you?

>> Hello, how are you?

>> Hi, Oliver.

>> My dear, do let me congratulate you.

You must be terribly proud and happy tonight.

>> Thank you.

>> Somebody give me a drink.

(dramatic orchestral music) >> Oliver, it's nice of you to come to my dressing room.

>> Vicki, how are you?

>> I've missed you, everyone's missed you.

Have a nice trip?

>> Well a three months tour of the theater circuit scarcely comes under the head of pleasure.

But the way they're screaming for your pictures all over the country.

Miss Lester, if I may talk shop, you are a knockout.

>> Thank you.

It's good to hear that.

>> You've been crying.

>> A little.

>> How's Norman?

>> Well he's trying awfully hard, Oliver.

>> Letting Norman leave this studio was the hardest thing I ever did.

There was nothing else I could do.

>> I know.

>> Has he been, is he all right?

>> He's gone to a sanitarium.

He really wants to stop drinking.

I think he could, only... >> Well perhaps if he could start working again.

It would be some encouragement.

>> Oliver, could you do that?

>> Yes.

>> Oh thank you.

But he mustn't ever know I told you.

>> He won't know, and you mustn't worry.

I want you to keep up your good work in this picture.

>> I'll try, Oliver.

It's the one thing I can do for him.

>> If you'll just sit here Mr. Niles, I'll have Mr. Maine brought down.

>> Thank you.

Brought down?

>> Hello Oliver!

Welcome to Liberty Hall!

>> Hello Norman.

>> No, Mr. Niles isn't slipping me a case of scotch Cuddles, this is just a handshake.

This is Cuddles, Oliver, my social secretary.

We go everywhere together.

>> How are you feeling Norman?

>> Fine, getting along remarkably well, Cuddles tells me.

He says you oughta see some of the boys.

(Norman whistles) (Oliver laughing) Let's sit down.

Cuddles, we really don't need you here.

Touching, isn't it?

(Oliver chuckles) Can't bear to have me out of his sight.

>> Are you comfortable here Norman?

>> Comfortable, it's positively luxurious.

They even have iron bars in the windows to keep out the draft.

>> (laughs) How much longer are you going to be here?

>> Well I'm really cured now, I'm just staying on for an extra week or two to get in good shape.

After all, there's no particular hurry to return to the camera.

>> That's what I wanted to talk to you about.

I've got a script with a fine part for you in it.

>> Hey Oliver, that's great.

That's great.

Who plays opposite me?

>> Well it is not exactly the lead.

Young Penderton's doing that.

But I tell you, frankly I consider your part better than the lead.

>> Oh.

I see.

It's better than the lead.

>> Well of course it isn't terribly long, but it's one of those parts that makes an impression on you, they'll be thinking about you all through the picture.

>> Mm-hm.

Well the thing is Oliver, I'm pretty well set at another studio.

I'm not at liberty at the moment to tell you which one, you know yourself how those things are.

>> Of course.

>> But it's a big picture.

It's one of the biggest of the year, and the part.

Every actor in Hollywood would give his teeth to play it.

>> Well that's fine Norman, and naturally that would tie you up for a while, but we won't get to this picture for some time.

Perhaps if you wanna consider it for later on- >> Well I'll tell you Oliver, you better not count on me.

See, I've got several pictures lined up after this one, and they're talking to me about England.

You know, they're doing some very interesting things over there, you know?

>> Cuddles: Hey.

>> What is it Cuddles?

Speak right out, we all love you.

>> Your dinner.

>> Oh, yeah we dine at 5:30 here.

Makes the nights longer.

>> Well goodbye Norman.

I'm glad to see you're getting along so well.

>> I'll be out in no time.

I'll have to introduce myself all over to a lot of people, they won't know me when I'm not drinking.

Goodbye.

>> Goodbye Norman.

>> Thanks for dropping in.

Well Cuddles, alone at last, eh?

("Call to the Post") (crowd murmuring) ("Call to the Post") Bert, Sam.

How are you, Marion?

>> Oh hello.

>> Hello.

>> Hello Norman.

>> Glad to see you.

>> How I hate to run into these has-beens.

They give me the creeps.

>> Me too.

>> He was good while he had it.

And he had it quite a while.

>> Hello.

>> Hello Mr. Maine, I haven't seen you in a long time.

>> I've been resting.

Ginger ale please.

>> Ginger ale and what?

>> Ginger ale and ginger ale.

>> A new leaf?

>> A whole new book.

Thank you.

>> Scotch straight.

>> Hello Libby.

>> Why it's Mr. America of yesteryear.

Do they let you wander about now without a keeper?

>> Oh sure, I'm a trusty now.

Didn't expect to find you at Santa Anita.

What do they do with the actors while you're away?

>> Oh they cut them into slices and fry them with eggs.

I suppose you'll be here all the time now that you've retired from the hurly burly of the silver screen.

>> Well I'm living down in Malibu now.

Pretty lonesome with Esther away working all day.

>> I wouldn't squawk about that if I were you.

It's nice to have somebody in the family making a living.

>> Wait a minute, Libby.

I don't wanna forget that we're friends.

>> Friends, my eye.

Say listen, I got you out of jams because I had to, it was my job, not because I was your friend.

I don't like you and I never have liked you.

Nothing made me happier than to see all those cute little planks of yours finally catch up with you and land you on your celebrated face.

>> Great work, Libby.

Always wait 'till they're down, then kick them.

>> I don't feel sorry for you.

You fixed yourself nice and comfortable.

You can live off your wife now.

She'll buy your drinks and put up with you even though nobody else will.

(fist thudding) (crowd gasping) (crowd chattering) >> Come on.

>> Hey wait a minute, wait a minute!

>> Come on, outside for you, wisenheimer.

>> I'm Norman Maine.

>> Well that's not my fault.

>> Don't bother to toss him out.

He's harmless.

>> All right Mr. Libby, if you say so.

>> Sure, let him go, what can he do?

He can't fight any better than he can act.

(crowd chattering) >> Give me a scotch.

Double.

Leave the bottle here.

>> Vicki, you'll be ill, why don't you try to get a good sleep?

>> But he's been gone four days.

Four days and not a word.

(phone rings) Oliver, I can't.

I just can't.

>> Hello?

No, this is Oliver Niles speaking.

What?

Where?

Thank you.

>> What is it?

>> Nothing, nothing.

>> Oliver, tell me.

>> He's in the night court, he's been arrested on a drunk charge.

Now he's all right, he isn't hurt, I'm going right down to get him out.

>> I'm going with you.

>> Vicki, it isn't any place for you, and if it gets in the paper it'll- >> What do I care about the papers?

I'm going with you.

(gavel banging) >> Division 30, Municipal Court, county of Los Angeles is now in session, the honorable Judge J. Parris residing.

Be seated please.

>> Were you able to do anything?

>> Judge wouldn't even see me.

>> Ready, your honor.

>> I want to advise you that you're entitled to be represented by counsel.

To be confronted by the witnesses that may testify against you, to compel witnesses to attend on you behalf through a public and speedy trial by the court or by a jury, and the right to (indistinct) bail.

Call the first five.

>> Bailiff: Gregory, Rails, Maine, Rodriguez, Chuck.

Come on, let's go.

Go ahead.

>> William Gregory.

>> Plain drunk, picked up a tip in town.

Asleep in the gutter, 14 similar offenses in the past six months.

>> Still at it, Gregory.

How do you plead?

>> I don't feel so good.

>> I didn't ask you how you feel, I asked you how you plead.

>> Guilty I guess.

>> Judge: When did you get out the last time?

>> Just before Christmas.

>> Well I'm sorry you'll have to miss New Year's.

You'll be out in time for Washington's birthday.

60 days.

Milton Rails.

>> Court Clerk: Plain drunk.

Picked up on Brooklyn and Avenue, given treatment at receiving hospital, then removed to jail.

>> How old are you Rails?

>> 17, sir.

>> Judge: Did you take a good look at those men in the cell with you last night?

>> Yes, sir.

>> Judge: And have you taken a good look at yourself this morning?

>> No, sir.

>> I suggest that you do.

$5 or two days.

Sentence suspended.

>> Oh judge, I... >> Alfred Hinkle, more commonly known as Norman Maine.

>> Court Clerk: Drunken disorderly.

Crashed car into tree at Sunset and Coronado.

Evidently been drinking for days.

Resisted arrest and injured one of the arresting officers.

>> How do you plead?

>> Guilty.

>> You're Norman Maine the actor, aren't you?

You've come pretty low, haven't you?

There isn't a man here who's had the advantages you've had.

Look what you've done with them.

You're nothing but an irresponsible drunk, driving about the streets with the power to inflict death or injury on innocent people.

I think we better deny you that bar for a while.

90 days in city jail.

>> Please wait!

I'm his wife.

>> Yes, I recognize you, Miss Lester.

>> Please judge, I promise you this won't happen again.

I'll be responsible for him.

If you just won't send him there.

>> You realize that this man, when drunk, is obviously a menace to public safety?

And you realize too, Miss Lester, the responsibility you'll be assuming to this court and to the commonwealth.

>> I do.

>> Sentence suspended.

Prisoner remanded in the custody of wife.

>> Thank you.

>> You can get him at the jail entrance, madam.

>> Judge: Jose Rodriguez!

>> Court Clerk: Plain drunk, picked up at First and Maine, second offense.

>> Judge: How do you plead?

>> I think I'm guilty, your honor.

>> Judge: 60 days.

(tense orchestral music) >> I'm so tired, Esther- >> Hold it, Mr. Maine, for picture!

>> Oh no, please.

>> How about a statement for the press?

>> Oh no, please!

(suspenseful orchestral music) >> He's still asleep.

He's been asleep nearly all day.

>> It's the best thing for him.

>> Awful to see this happen to someone you love.

And know in your heart that it can't get any better.

I only know that all I can do now is be with him and try to help him.

>> Oliver: So will I.

And between us, we'll take care of him.

>> Vicki: You're very fond of him, aren't you, Oliver?

>> Oliver: I'm very fond of both of you.

>> Then I know you'll understand when I have to tell you, and after what happened last night I think you already know what it is.

I can't do anymore pictures.

I'm going away for good with Norman.

>> Oliver: You can't do that, Vicki.

You're the very figure of success.

And you've worked so hard to achieve it.

>> That's what's been wrong.

I've thought it all out.

Maybe if I hadn't been away from him so much, last night and what went before wouldn't have happened.

I know it's too late to think about that now, but it may not be too late to go away with him and start over somewhere.

>> Oliver: It's your life you're giving up, Vicki.

>> So I can try to give Norman back his.

Can you honestly tell me I'm wrong to do it?

>> No, Vicki.

I can't honestly tell you that.

>> Then there'll be no more Vicki Lester.

>> Come on, walk to the door with me.

(emotional orchestral music) Goodbye, Vicki Lester.

You were a grand girl.

Good luck, Mrs. Norman Maine.

(Esther crying) (dramatic orchestral music) >> Hey darling.

This is Maine coming in to apologize again.

>> I'm sorry dear, but it isn't you.

>> What other troubles have you got?

>> None.

I was just playing a scene with myself.

>> Now look, I'm just coming out of the jitters and you're just going into them.

This is a swell household.

>> Isn't it?

>> I'll tell you what we'll do.

I'll promise to brace up if you'll go on the wagon.

>> I guess I have been drinking too much.

>> You know what I'm gonna do?

I'm going to be an athlete.

>> You mean with great big muscles and everything?

>> Well roughly speaking.

>> Gonna join the YMCA?

>> Nah, that costs too much.

I'm going weighting off in our backyard.

>> Now?

>> Sure.

>> Would you like me to go with you?

>> Sure, if you'd like to.

>> Normie, I don't think I will.

It might spoil this beautiful natural wave.

>> Yeah, I guess that's right.

But darling, look, could you have a hot toddy, I mean some hot soup for me when I come back?

>> Some hot soup.

>> And I'll make some of those nice sandwiches.

>> Norman, do you have to?

(both laughing) (dramatic orchestral music) >> Go on now.

>> Esther: Now don't stay in too long.

>> Hey!

You mind if I take just one more look?

(music swells) (emotional orchestral music) (upbeat pipe organ music) >> First drink of water he had in 20 years.

And then he had to get it by accident.

(bartender chuckles) Pardon me.

How do you wire congratulations to the Pacific Ocean?

(bartender laughs) >> There she is now!

>> Female Fan: Aw, you can't see her face!

>> Onlooker: Hello Vicki!

(dramatic church organ music) (crowd chattering) >> Get away, can't you?

>> Come on Vicki, let's see your face.

>> Vicki, will you sign my book for me, write Mrs. Norman Maine.

>> Crowd Member: Don't despair Vicki, you'll get over it!

>> Stand back, can't you?

>> Don't you cry dearie, he wasn't so much!

(Esther screams) (somber orchestral music) >> Do you mind if I take just one more look?

>> Here are the paychecks for the service, Graves.

You'll find a very nice bonus in each one.

Miss Lester asked me to thank you for your kindness and service.

>> If there's anything I can do for the little lady, I shall be glad to do it.

>> She would appreciate your attending to the closing of the Beverly Hills house.

>> Put down those trunks!

Put it down, I say!

Well where is she?

>> Assistant: In the bedroom, who are you?

>> I'm her grandmother.

Get out the way.

(emotional orchestral music) >> Granny.

>> Esther.

>> Granny, darling.

Oh I'm so glad to see you, what made you come?

>> Oh I know when I'm needed.

Now get out of here, go on, get out of here, all of you, I want to talk to my granddaughter alone!

I came just as quickly as I could.

>> But I'm going home, I sent you a wire yesterday.

>> Hm.

Sit down.

Is it true that you're gonna quit the movies?

>> I never wanna hear them again.

>> What are you running away from, little girl?

>> I'm not running away.

It's just that I can't go on, my heart isn't in it anymore.

>> Once I told you if you get what you want you'll have to give your heart in exchange.

And you said you were willing, remember?

>> I remember.

>> Well it seems to me that you've gotten all that you bargained for.

More fame, more success, even more personal happiness.

Maybe more unhappiness, but you did make a bargain.

And now you're whining over it.

I don't think I'd feel so very proud of myself if I were you, Esther.

>> I'm not, granny, but my mind's made up.

>> Then I'm sorry I gave you the money to come out here to just waste it.

>> Oh but granny- >> I was proud of you, Esther.

I was proud to be the grandmother of Vicki Lester.

It gave me something to live for.

Now I haven't anything.

>> I know.

I wanna be strong, but I can't go on, I can't.

>> You must.

Tragedy is a test of courage.

If you can meet it bravely it will leave you bigger than it found you.

If not, then you have to live all your life as a coward.

Because no matter where you may run, you can never run away from yourself.

I never knew Norman Maine.

He wrote me a very sweet letter when you were married.

He said you told him how much I meant to you, and I know just how much you must've meant to him.

You know Esther, I can't believe that wherever he is, he can be very happy knowing that his death broke the spirit of the little girl he praised me so highly for raising.

And I can't believe that he can be very proud knowing that all his great love did for you was to make you a quitter.

>> The car is waiting, Miss Lester.

We'll have to go now to make the train.

(swelling orchestral music) >> Put the car back in the garage.

(emotional orchestral music) >> Esther!

>> Granny!

>> The entire picture industry has come to the Chinese Theater for this opening tonight.

It has come to pay tribute to a great star on her long awaited return to the screen in what has been called her greatest performance.

It has come to pay tribute to the girl herself.

The girl who has won the heart of Hollywood.

The girl who has won the heart of the world.

Miss Vicki Lester.

(audience applauding) And if I'm not mistaken, Miss Lester's car has just driven up.

Yes, it is she.

(crowd applauding) (crowd cheering) >> I hope this doesn't scare you too much.

>> I scare very slowly, young man.

>> Big smile folks, please.

>> They'll have your mug, I mean your face, plastered across half the papers in the country tomorrow.

>> How do I look?

>> Oh you look swell.

>> You're a liar, but I like you.

>> And here's Miss Lester's grandmother.

Won't you say a few words for the radio audience please?

>> Say something, Lettie.

>> You know, we've got a thing like that back home where they all listen in on, but we call it a party line.

(men chuckling) >> Won't you say something please, they're listening.

>> Maybe some of you people listening in dream about coming to Hollywood.

And maybe some of you get pretty discouraged.

Well when you do, you just think about me.

It took me over 70... 60 years to get here, but here I am, and here I mean to stay.

(crowd laughing) (crowd applauding) >> Thank you very much.

(dramatic orchestral music) >> Miss Lester.

This microphone is on an international hookup.

Throughout the world, your fans are hoping that you'll say a few words to them.

>> Hello, everybody.

This is Mrs. Norman Maine.

(audience applauding) (emotional orchestral music) Hi, it's Kris and Becca once again, and we hope you enjoyed A Star Is Born, you know, and I wanted to take just a minute to give credit to one of our viewers.

She said that she very much enjoyed Subterranean Cinema, but she said that we should do a close after and mention next week's movie to bookend the show.

And you know what?

I think she was right.

We do try to be very involved with our members and viewers.

And since we're locally owned and operated, we can take your suggestions and make them happen to make it easier for you to watch these classic films.

We've put them on the PBS App so you can watch on demand as we roll them out.

You can even find more info about Subterranean Cinema and upcoming movies on our website, PBSFortWayne.org.

But to really stay up to date, you should follow us on Facebook, Instagram, and YouTube.

So what's our next movie, Kris?

Next week is Road to Bali, a Bob Hope and Bing Crosby Road series comedy from 1952.

And I'll be joined by a special guest from our production department.

And you gotta keep them happy.

They won't shoot these for you.

That is exactly right.

So thanks once again for being our guest.

Thanks for having time.

Appreciate it.

And we'll see you next time on Subterranean Cinema, only on PBS Fort Wayne.