The Country Girl Page #3

Synopsis: Washed up singer/actor Frank Elgin has a chance to make a come-back when director Bernie Dodd offers him the leading role in his new musical. Frank however is very insecure, turns to alcohol and shuns even the smallest of responsibilities, leaving everything up to his wife Georgie who finds it harder and harder to cope with her husband's lack of spirit. Bernie tries to help Frank regain his self-confidence, believing that it is Georgie who's the cause of his insecurity.
Genre: Drama, Music
Director(s): George Seaton
Production: Paramount Pictures
  Won 2 Oscars. Another 5 wins & 11 nominations.
 
IMDB:
7.3
Rotten Tomatoes:
86%
UNRATED
Year:
1954
104 min
1,040 Views


It's not a question of being afraid

of the responsibility.

The part's the whole show.

You said so yourself.

You're opening in Boston the 28th.

I don't think I could learn

the lines. You need Walter Huston.

It's bad enough to go to Hollywood

to cast. You suggest I go to heaven?

- You can do it, Frank.

- Why are you so sure?

When I was a hat-check boy,

you, Lunt and Jolson were my heroes.

- I know everything you've done.

- You exaggerate to make your point.

- Are you for him or against him?

- I'm his wife.

I want honesty from both of you.

Flattery is cheap.

How about a little costly truth?

I'm not blind to Frank's condition.

This room tells me what he is.

I'm not one of those nice people

who buys you a drink and that's it.

I won't leave you on a limb. We'll

work together and worry together.

But if you do me dirt, just once,

no pity, not a drop of pity.

No pity. I like that.

Now he knows what to expect.

- What contract do you offer?

- Standard two-week contract.

- You could let Frank out any time?

- Exactly.

He won't have confidence with

a two-week clause. Would you?

I have nothing in my mind

except for Frank to play this part.

That's sentiment again.

I come here with the best intentions.

Suddenly I find I'm victimising you.

- Did I bring you a basket of snakes?

- It's not the two-weeks clause.

I don't want to bite off

more than I can chew.

We're in Boston for two weeks.

We can stay out until you're perfect.

- Would you do that?

- I'd insist on it.

Talk it over with your agent.

Call the office by 3 p.m., no later.

Need a $20 bill?

You need it.

Why did you make that crack

about responsibility?

Why didn't you tell me

about that audition?

Because I wasn't sure

whether I could make it.

I must have walked up and down

47th Street a dozen times.

- Don't keep things from me.

- I can't do it, can I?

Of course you can. You've got to try.

It's a perfect opportunity.

If I do take it, Georgie,

I'll need you every step of the way.

I don't have any appointments,

Frank, all winter.

- I wish it were a run-of-the-play...

- Why didn't you tell him?

I didn't want to antagonise him.

I have to work with him.

You'll never get a better deal,

so take it and do your level best.

Wait a minute. The two-weeks clause.

They can give me notice any time,

but I can give them notice, too.

- I can walk out any time I want.

- You mean you can quit, Frank.

Not the way you mean it.

If the show doesn't pan out, I don't

want to come to New York in a turkey.

Maybe this time, it will work out.

Bernie likes me.

Henry Johnson's pulling for me.

It's Cook I got to worry about.

We've been having trouble, Joe.

Instead of fields of wheat,

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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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    "The Country Girl" Scripts.com. STANDS4 LLC, 2024. Web. 2 May 2024. <https://www.scripts.com/script/the_country_girl_19981>.

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