Anastasia Page #3

Synopsis: Russian exiles in Paris plot to collect ten million pounds from the Bank of England by grooming a destitute, suicidal girl to pose as heir to the Russian throne. While Bounin is coaching her he comes to believe she is really Anastasia. In the end the Empress must decide her claim.
Director(s): Anatole Litvak
Production: 20th Century Fox
  Won 1 Oscar. Another 5 wins & 4 nominations.
 
IMDB:
7.1
Rotten Tomatoes:
90%
UNRATED
Year:
1956
105 min
1,051 Views


- Chernov?

That bookkeeper who nearly ruined you

twelve years ago in the forgery affair...

Would you recognize

his walk today?

Would you recognize the smile

of a girl you knew ten years ago?

- I didn't think of that.

- You are both fools.

You're examining her as if

she was the real Anastasia.

There is no Anastasia.

She was shot to death ten years ago

by a firing squad.

We're not looking for her,

gentlemen.

We're seeking only

a reasonable facsimile.

Reasonable, yes.

But that is unreasonable.

Please. Let's be constructive.

- What will the committee say?

- Most of them have seen the original.

- How?

At a court ball, from a balcony?

In church, by candlelight,

flickering shadows?

Yes, you saw her.

Many saw her. From a distance.

- Or in the newspapers.

- What about the servants? Some of them are here in exile.

They saw her through devoted tears,

and they will again.

- All right, and the family...

- The family? If it was the immediate family...

I would not try it...

but they are dead.

And do you have faith in the memories

of uncles, aunts, cousins?

- I don't.

- You have faith in nothing.

They will closet themselves in their bedrooms,

and secretly peer at yellow photographs...

- which that woman will resemble.

- That?

Yes, that. Rouge will turn

the mouth up a bit.

Some powder, a new coiffure.

Dresses to suggest

the other period.

Walk, manner, voice

taught along with faces, names, places.

It would be easier if we

could present her to the committee...

- lying in her coffin.

- Yes, no questions, no answers, no mistakes.

- No money, either.

- I know. Now I know!

- Know what?

- It's a cellar. You brought me down here to shoot me!

- Are you mad? This is absurd.

- It's a cellar!

- Sit down. Sit down, I said!

- No!

Pretty good, pretty good.

- A little more rehearsal, perhaps.

- What?

He told her how the real one

was shot in a cellar and instructed...

Don't be stupid.

I told her nothing.

The woman can undoubtedly read.

And certainly, enough has been written

describing their death in the cellar.

- Some say she did not die.

- Huh? Where did you get that?

He just said so:
From a book,

or a story I was told.

- A rumor, a whisper.

- Or it happened.

It did not, and that woman

is too... too something.

Too crazy, too clever,

too tricky.

I don't care what she is.

The important thing is that she fits.

Get up. Go over there.

- What is it?

- Just a drawing. Stand closer.

Turn around.

- The correct height.

- "The correct height!"

Yes. The crown might

belong on her head.

A drawing of whom?

Who is it?

A princess. A Russian

grand duchess who died in 1918.

A princess!

G...

Rate this script:5.0 / 1 vote

Arthur Laurents

Arthur Laurents (July 14, 1917 – May 5, 2011) was an American playwright, stage director and screenwriter.After writing scripts for radio shows after college and then training films for the U.S. Army during World War II, Laurents turned to writing for Broadway, producing a body of work that includes West Side Story (1957), Gypsy (1959), and Hallelujah, Baby! (1967), and directing some of his own shows and other Broadway productions. His early film scripts include Rope (1948) for Alfred Hitchcock, followed by Anastasia (1956), Bonjour Tristesse (1958), The Way We Were (1973), and The Turning Point (1977). more…

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Submitted on August 05, 2018

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