Anything Goes Page #2

Synopsis: Bill Benson and Ted Adams are to appear in a Broadway show together and, while in Paris, each 'discovers' the perfect leading lady for the plum female role. Each promises the prize role to the girl they selected without informing the other until they head back across the Atlantic by liner - with each man having brought his choice along! It becomes a stormy crossing as each man has to tell his 'find' that she might not get the role after all.
Genre: Musical
Director(s): Robert Lewis
Production: Paramount Pictures
 
IMDB:
6.2
Year:
1956
106 min
494 Views


Well, I'd really be doing it with you.

Let's say you'll be doing it with each other.

We'll all be partners.

'Course, there are certain points

to be ironed out. Billing...

Get him. He's always thinking

about business.

I don't care about the billing.

The important thing is

I'm gonna get to work with Ted.

Fine, Bill. Fine.

We'll work out a division of songs.

The customers will be coming

to hear Bill sing.

I'll take the songs that are left.

Fine, Ted. Fine.

I don't suppose... Not having had a cast

up until a couple of minutes ago...

I don't suppose you've got

any rehearsal dates set yet, huh?

August 1.

That's only eight weeks away!

- Have you got a leading lady?

- Not yet. But we'll find one.

It's a good part.

It's a great part.

A fresh, young American girl...

who searches for love.

- And sings and dances.

- Yeah.

If you run across the right girl, sign her.

Anyone you like is fine with me.

Me too. I'll let you fellows

handle the problems.

- I'm on my way to France.

- What's in France?

What, are you kidding?

I'm going to Europe myself, you know.

- Are you really?

- Honestly.

- We could be there together.

- Where are you going to be?

- Teddy boy.

- I'll tell you, we...

You'd better adios those kids in the alley.

- Excuse me.

- Sure.

What a combination.

Yeah. You know, I think we got a chance

to come up with a pretty good show here.

About the billing, you'll see that Teddy's

taken care of, huh?

- Sure. You said...

- You know, nothing fancy...

just "with Ted Adams" sort of down

under the name of the show...

- in through there somewhere, like.

- Sure. You said...

And see that he has

a couple of songs to sing, huh?

- But Bill...

- I know, I know...

you think the people are coming in

to see me...

but we can't just have him standing around.

- You owe me this dance.

- Daphne, is this our dance?

Well, come... Pardon me.

Would you hold these for after?

- Thank you.

- Bill, listen. Bill!

Bill.

Yeah.

Those crazy kids,

they can't get enough of me.

- Where's Bill?

- Dancing.

- He's a great talent.

- Yes, he...

As long as you're careful

what songs he sings.

- His range isn't too good, you know.

- His range?

Yeah. But don't misunderstand me,

I think he's amazing...

for someone who's been around

as long as he has.

You know, I think his name should be

right below mine.

- But you said that...

- Oh, it's not that I care...

but you know how sensitive

a million fans can be.

- But you said...

- And you'll probably want me...

to sing all the ballads for you.

But I know that you'll take care of Pops

with something.

He's a great talent.

We'd better be taking off. Tallulah.

Yeah, right.

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Guy Bolton

Guy Reginald Bolton (23 November 1884 – 4 September 1979) was an Anglo-American playwright and writer of musical comedies. Born in England and educated in France and the US, he trained as an architect but turned to writing. Bolton preferred working in collaboration with others, principally the English writers P. G. Wodehouse and Fred Thompson, with whom he wrote 21 and 14 shows respectively, and the American playwright George Middleton, with whom he wrote ten shows. Among his other collaborators in Britain were George Grossmith Jr., Ian Hay and Weston and Lee. In the US, he worked with George and Ira Gershwin, Kalmar and Ruby and Oscar Hammerstein II. Bolton is best known for his early work on the Princess Theatre musicals during the First World War with Wodehouse and the composer Jerome Kern. These shows moved the American musical away from the traditions of European operetta to small scale, intimate productions with what the Oxford Encyclopedia of Popular Music calls, "smart and witty integrated books and lyrics, considered to be a watershed in the evolution of the American musical." Among his 50 plays and musicals, most of which were considered "frothy confections", additional hits included Primrose (1924), the Gershwins' Lady, Be Good (1925) and especially Cole Porter's Anything Goes (1935). Bolton also wrote stage adaptations of novels by Henry James and Somerset Maugham, and wrote three novels on his own and a fourth in collaboration with Bernard Newman. He worked on screenplays for such films as Ambassador Bill (1931) and Easter Parade (1948), and published four novels, Flowers for the Living (with Bernard Newman, 1958), The Olympians (1961), The Enchantress (1964) and Gracious Living (1966). With Wodehouse, he wrote a joint memoir of their Broadway years, entitled Bring on the Girls! (1953). more…

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    "Anything Goes" Scripts.com. STANDS4 LLC, 2024. Web. 28 Apr. 2024. <https://www.scripts.com/script/anything_goes_3002>.

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