Frankie and Johnny Page #4

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
2,145 Views


Frankie, you're looking at

a very old dog.

In my time I've said tootsies,

dolls, gals, chicks, babes,

sometimes even broads -

that's when I was a young man.

When I was a young man,

the wonder-drug was Mercurochrome.

Did I tell you my daughter-in-law

wants me to call her Ms?

I put up with her

because of my grandchildren.

Have I shown you pictures of them?

Want to see them again?

Some of them are out of focus.

Peter, telephone.

How can VCRs be so complicated?

- What's his story?

- Ask Cora.

She after him already? She's fast!

Like a bullet!

Maybe Jorge knows about VCRs.

That boy?

All he got on his mind is p*ssy.

You open his head,

you'll find little hairy triangles.

Frankie, come here.

The professor from the college just

stuck his hand up my skirt again.

OK. You pour, I'll bump.

- Let me freshen that up for you.

- I always like more.

It's very cold.

I am so sorry! Are you all right?

I'm so sorry.

Helen's in the hospital.

Her neighbour just called.

She thinks this is it.

15 years she works here.

It's a long time.

Do you think she knows we're here?

I don't know.

It's a hospital.

Helen, honey, it's Cora.

Can you hear me?

Excuse me. Could you leave now?

Helen has another visitor.

We're leaving.

We're gonna go now.

We'll be back tomorrow.

Do you think we're gonna

end up like this? Alone.

She's not alone.

She's alone.

Easy. We'll need something under

his head. Let me have your jacket.

Back off, OK? Give him a little room.

- It's not like your father's...

- What's going on?

- Where's Nick?

- At the hospital.

- What's wrong?

- He's having a fit.

Call an ambulance.

- I love...

- What is wrong with you?

That's my girlfriend!

He's just sitting there,

then he falls like a ton of bricks.

Stand back.

We need an ambulance, please. The

Apollo restaurant, 23rd and Ninth.

Is there a doctor here?

Is anybody a doctor here?

- You're dressed like a nurse.

- I'm a dental technician.

- We're gonna need an ambulance.

- They're on the way.

You gotta get him on his side

so he can breathe right.

Where did you learn that?

Campfire Girl...

I don't remember. Is he epileptic?

- Yeah, I think...

- Sure? It could be drugs.

Drugs? He don't look like

an addict to me. What is it?

Epilepsy!

Yeah, he's epileptic.

Go back to your tables, he's fine.

The ambulance is coming. Thank you.

Thanks for cooperating.

Free coffee for everyone.

- Give everyone...

- Nick'll kill you.

You can make that call now, Jorge.

Your name is Frankie, right?

- I'm Johnny.

- I know.

Frankie And Johnny, the song.

Yeah, I've heard of it.

Is he breathing all right?

Yeah. Frankie and Johnny

were sweethearts...

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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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