The General Died at Dawn Page #2

Synopsis: In revolution-torn China, American mercenary O'Hara is entrusted with a perilous mission, to get arms for the helpless authorities in a province ravaged by warlord General Yang. On the train to Shanghai, he meets Judy Perrie, whose father is in league with Yang. Will Judy regret agreeing to lure O'Hara to his doom, and if so, can she make it up to him? The balance of power seesaws to a perilous conclusion.
Director(s): Lewis Milestone
Production: MCA Universal Home Video
 
IMDB:
6.7
Year:
1936
98 min
62 Views


At you?

Mmm-hmm.

But the train's moving.

Sure,

the train's moving,

and it's nighttime

and we're alone.

And I like the lady

and she likes me.

Judy, you've got me

by the throat,

and I'm telling you,

whether it's dopey or not.

Judy.

Don't do that.

No?

You don't

want to do that.

That's what

you say.

What do you think of that,

Sam?

Come on.

You know, Judy, uh,

I'm not one

of the anxious boys.

You're a good guy.

I can wait.

Wanna hear

something funny?

I'm crazy

for a laugh.

I'm scared. Afraid.

Because of me?

Yes.

Well, I'm a man

of infinite patience.

Sure.

You have a whole

lifetime ahead.

It was only the mail.

Why are you so jumpy?

I told you,

lots of things

on the ground don't like me.

Why do they make

those attempts on your life?

A certain honorable

tootsie roll named Yang

thinks he has the right

to control the lives

of tens of thousands

of poor Chinese.

How?

Military dictatorship.

Taxes.

You put, he takes.

You protest, he shoots.

A heartbreaker,

a strike breaker,

a head breaker.

Altogether a four-star rat.

And what do the poor ones say?

Me. That's where I come in.

They're preparing

underground.

They need good guns

and ammunition.

You'll sell to them?

And, naturally, your Yang

doesn't care for that?

You uttered

a profound mouthful, lady.

Why do you risk

your life, O'Hara?

What do you get

for it?

Money? Fun?

Here's my life

in a few lines:

Ran away from

an orphan asylum at 14.

Sold newspapers

on the street

and got pretty good

at ducking blows.

A life of opposition,

you'd call it.

Then I boxed for a living,

you know.

Didn't like smacking

other kids around, so I quit.

Dock walloper for a year,

road construction,

then I joined

an aviation outfit.

A bunch of us came over here

in '29 to fly planes,

and some of the fellows

are still flyin' planes

and dropping bombs

on the same people

I'm working for.

You ask me

why I'm for oppressed people?

Because I've got a background

of oppression myself,

and O'Haras and elephants

don't forget.

What's better work

for an American

than helping fight

for democracy? Do you know?

No, I don't.

But do you believe all that?

That's like asking

do I believe I'm alive.

I hope to spit, I believe it.

If I believed like that

in anything,

I'd do a dance.

Why do you look at me

like that?

Can't I look?

Can't I kiss you?

Ask my mother.

Mrs. Perrie,

may I kiss

your daughter, huh?

Thank you.

What did she say?

She said it's okay.

Very soon, Herr General.

Isn't that marvelous?

They're playing hooky

from a padded cell.

Look at him.

You're full of jokes, aren't you?

Why not? I don't meet

a good girl in 10 years,

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Clifford Odets

Clifford Odets (July 18, 1906 – August 14, 1963) was an American playwright, screenwriter, and director. Odets was widely seen as a successor to Nobel Prize-winning playwright Eugene O'Neill as O'Neill began to retire from Broadway's commercial pressures and increasing critical backlash in the mid-1930s. From early 1935 on, Odets' socially relevant dramas proved extremely influential, particularly for the remainder of the Great Depression. Odets' works inspired the next several generations of playwrights, including Arthur Miller, Paddy Chayefsky, Neil Simon, David Mamet, and Jon Robin Baitz. After the production of his play Clash by Night in the 1941–1942 season, Odets focused his energies on film projects, remaining in Hollywood for the next seven years. He began to be eclipsed by such playwrights as Miller, Tennessee Williams and, in 1950, William Inge. Except for his adaptation of Konstantin Simonov's play The Russian People in the 1942–1943 season, Odets did not return to Broadway until 1949, with the premiere of The Big Knife, an allegorical play about Hollywood. At the time of his death in 1963, Odets was serving as both script writer and script supervisor on The Richard Boone Show, born of a plan for televised repertory theater. Though many obituaries lamented his work in Hollywood and considered him someone who had not lived up to his promise, director Elia Kazan understood it differently. "The tragedy of our times in the theatre is the tragedy of Clifford Odets," Kazan began, before defending his late friend against the accusations of failure that had appeared in his obituaries. "His plan, he said, was to . . . come back to New York and get [some new] plays on. They’d be, he assured me, the best plays of his life. . . .Cliff wasn't 'shot.' . . . The mind and talent were alive in the man." more…

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Submitted on August 05, 2018

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