Frankie and Johnny Page #2

Synopsis: Johnny on his release from his jail joins the restaurant where Frankie works. Johnny discovered his talent for cooking when in jail. Love at first sight bites Johnny on seeing Frankie. He makes direct attempts to get her heart. But deep a wound in Frankie's heart would not let her give her heart to Johnny. Johnny's divorced wife and kids have moved to a new world of a different person. Frankie opens up her tragic story and Johnny promises to be with her in difficult times.
Genre: Comedy, Drama, Romance
Director(s): Garry Marshall
Production: Paramount Home Video
  Nominated for 1 Golden Globe. Another 4 wins & 1 nomination.
 
IMDB:
6.7
Metacritic:
66
Rotten Tomatoes:
78%
R
Year:
1991
118 min
2,110 Views


I believe in giving men

another chance. Close your ears.

Until he fucks up.

This country gave me another chance.

Close your ears, pookie.

I didn't f*** up.

- This is between us.

- Thank you.

I won't... Could you close your ears?

I won't f*** up.

Here. Fill this out,

you bring back tomorrow, all right?

- You start tomorrow, 6am.

- I can start now.

Tomorrow's good.

I'm Nick, you're Johnny?

- How'd you hurt your hand?

- Soccer. You play soccer?

- No. I play handball, though.

- OK, tomorrow.

Nice you meeting, pookie.

I'll see you at six.

- Got a job today!

- Who gives a sh*t?

The head is ten points.

How much for the belly button?

Man! Winner! One more.

You know what I'm saying.

Stop playing and get out of here.

Come on.

You took away our playgrounds

now you take away our stiffs.

Guy comes out of the garage,

gets in his car and gets shot.

Hello? How are my shelves?

- I'm a friend of Tim's. I'm Bobby.

- Where's Tim?

He's in his place.

You were out of beer.

- Nice elephant collection.

- Thanks.

He asked me to help

with your shelves. You like 'em?

A little crooked but... yeah.

The shelves aren't crooked.

It's your floor.

There she is! There's the

little godmother. Welcome home.

Have you met Bobby?

We met at a Dr Pepper audition.

He was the big pepper,

I was the little pepper.

Hands on buzzers.

Acrophobia is the fear

of high places,

agoraphobia is the fear

of open spaces,

but what are you afraid of

if you're xenophobic?

Foreigners.

- Foreigners.

- Foreigners or strangers. Correct!

Lucy, this is Bobby.

He'll be taking you for your walk.

She likes to chase Limos.

She has delusions of grandeur.

I know how to walk a dog.

We do have these things in Kentucky.

Kentucky! I'm dating Huck Finn!

- Nice to meet you, Frankie.

- You too, Big Pepper.

So, have I found Shangri-La?

- He's nice.

- That's a rotten thing to say.

He's very nice!

What do you want me to say?

I leave you alone for two seconds...

I know. I said I'd never

fall in love again.

- Where did that get me?

- Don't get dramatic.

It's an occupational hazard.

I love watching TV with you,

I hope we'll best friends

the rest of our lives

but there's a whole world out there,

it's no use pretending there's not

just because our feelings got hurt

or there's some virus.

I know.

But I'm going for a VCR.

A VCR. I hope it comes

with a lot of attachments.

- Is that a life?

- Send out for a pizza, rent a film.

That's dinner and a movie

and I don't have to deal with some

schmuck putting his tongue in my ear.

What is the topic of discussion

when lepidopterists get together?

Butterflies.

- Gems?

- No, ma'am. Butterflies or moths.

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Terrence McNally

Terrence McNally (born November 3, 1938) is an American playwright, librettist, and screenwriter. McNally has been described as "a probing and enduring dramatist" and "one of the greatest contemporary playwrights the theater world has yet produced". He has received the Tony Award for Best Play for Love! Valour! Compassion! and Master Class, as well as the Tony Award for Best Book of a Musical for Kiss of the Spider Woman and Ragtime. His other accolades include an Emmy Award, two Guggenheim Fellowships, a Rockefeller Grant, four Drama Desk Awards, two Lucille Lortel Awards, two Obie Awards, three Hull-Warriner Awards, and a citation from the American Academy of Arts and Letters. He is a recipient of the Dramatists Guild Lifetime Achievement Award as well as the Lucille Lortel Lifetime Achievement Award. In 2016, the Lotos Club honored McNally at their annual "State Dinner," which has previously honored such luminaries as W.S. Gilbert and Arthur Sullivan, George M. Cohan, Moss Hart, Richard Rodgers and Oscar Hammerstein, Saul Bellow, and Arthur Miller. In addition to his award-winning plays and musicals, he also written two operas, multiple screenplays, teleplays, and a memoir.He has been a member of the Council of the Dramatists Guild since 1970 and served as vice-president from 1981 to 2001, and was inducted into the American Theater Hall of Fame in 1996. In 1998, McNally was awarded an honorary degree from The Juilliard School in recognition for reviving The Lily Acheson Wallace American Playwrights Program with the playwright, John Guare. In 2013, he returned to his alma mater, Columbia University, where he was the keynote speaker of the graduating class of 2013 on Class Day. He is a 2018 inductee of the American Academy of Arts and Letters. The honor of election is considered the highest form of recognition of artistic merit in the United States.He has a career spanning six decades, and his plays, musicals, and operas are routinely performed all over the world. The diversity and range of his work is remarkable, with McNally resisting identification with any particular cultural scene. Simultaneously active in the regional and off-Broadway theatre movements as well as Broadway, he is one of the few playwrights of his generation to have successfully passed from the avant-garde to mainstream acclaim. His work centers on the difficulties of and urgent need for human connection. For McNally, the most important function of theatre is to create community by bridging rifts opened between people by difference in religion, race, gender, and particularly sexual orientation.In an address to members of the League of American Theatres and Producers he remarked, "I think theatre teaches us who we are, what our society is, where we are going. I don't think theatre can solve the problems of a society, nor should it be expected to ... Plays don't do that. People do. [But plays can] provide a forum for the ideas and feelings that can lead a society to decide to heal and change itself." more…

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Submitted on August 05, 2018

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