[ door closes ] [ footsteps ] [ man ]you can roll it ! â™ªâ™ª [ fanfare ] [ newsreel announcer ]italy stands poisedto invade ethiopia... under the leadershipof benito mussolini. in a speech to thousandsof supporters last week,mussolini recalled... the glory ofroman empires past, calling on his supporters tojoin with him to reclaim landsrightfully belonging to them.
facing mussolini'shighly mobilized war machineis haile selassie of ethiopia, who must rely on high-spiritedbut poorly armedtribal forces... to defend his monarchy. in a concerted effort to ridgermany of what he viewsas degenerate influences, chancellor adolph hitlerlast week opened an exhibitionof condemned art. a dabbler in oilsand water colors himself, chancellor hitler saidin a statement that he is notanti-art but anti-decadence... and despises art thatportrays germany in a negativeand unsympathetic fashion. here at home, americanspirits continue to reboundfrom economic hard times...
with jobs made possibleby washington, d.c. fear is vanishing... and confidence is growingon every side. with the press of a button,roosevelt puts into operationthe tennessee valley dam, a monumental accomplishmentthat provides flood control... and electricityto the southern states. another stunning achievementmade possible by the millionsof unemployed men and women... put back to workby the works progressadministration. things are looking upindeed for americans,
as we look to the futurewith hope and high vision. fashion designers for yearshave competed for the attentionand discerning eye... of the female consumer. everything from bathing suitsto evening gowns have beendesigned for the female form. but what about junior ? [ man ]hey, dave, is that you ? children's fashion was the starin miami, florida, this week. everything from underwearto evening wear gracedthe tiny runways... as discerning childrentook notice of the threadscoming their way.
better not ask this little guyto wear a tie. mommy ! if dog is man's best friend,then perhaps the catis this lady's chum. a very large cat indeed. [ lion roars ] the magnificent wandaand her lion, kitty, helped initiatethe federal theater'scircus project last week. the latest in a seriesof low-cost entertainments... produced by the maverickw.p.a. program. hey !
vaudeville, shakespeareand lion tamers. brought to you by uncle sam,courtesy of the w.p.a. [ newsreel continues, faint ] [ grunts, pants ] [ door opening ] [ door closing, footsteps ] [ man ]and stay out, you runt ! â™ªâ™ª [ woman singing over radio, faint ] â™ª each little tear and sorrow â™ª
â™ª only brings you closer to me â™ª â™ª just wait until tomorrow â™ª â™ª what a happy day that will be â™ª â™ªâ™ª [ continues, faint ] song for a nickel,mister ? what ? i'll sing you a songfor a nickel. no, thank you. â™ª somewhere the sun is shining â™ª
â™ª so, honey don't you cry â™ª â™ªâ™ª [ humming melody ] [ horse's hoofbeats ] â™ªâ™ª [ humming continues ] â™ª closer to me â™ª â™ª just wait until tomorrow â™ª â™ª what a happy day that will be â™ªâ™ª [ man with piano ]â™ª come up to my room â™ª â™ª jesus â™ª
â™ª i ain't in steeltown long â™ª â™ª i work two days a week â™ª â™ª the other five my efforts ain't required â™ª â™ª for two days out of seven â™ª â™ª two dollar bills i'm given â™ª â™ª so i'm just searchin' â™ª â™ª along the street â™ª â™ª for on those five days â™ª â™ªâ™ª [ humming melody ]
â™ª five days â™ª [ with piano ]â™ª for on those five days â™ª â™ª it's nice to eat â™ª [ with woman ]â™ª jesus â™ª [ woman ]â™ª jesus â™ª â™ª who said let's eat â™ªâ™ª titanic.it was amazing.it was-- so, it was the most excitingthing in my life. negroes, dear ?
yes, negroes. all negroes ? all negroes, dear. it was a minstrel show ? no. macbeth. i said it before.macbeth. shakespeare. with negroes ? yes. carlo says it's unluckyto say macbethin the theater.
so what do they call it ?what is it, carlo ? the scottish play. yes, the scottish play,but there isn't anythingscottish in this production. [ laughing ] i don't knowa lot of negro scots. [ laughing ]oh, gray dear, you don't knowa lot of negro anything. madame ? oh, dear. i know. i had a call last night.
not you, thank god. what is ? steel strike.labor riots. [ groans ] well, the receptionfor the italian exhibitis today, noon. italian exhibit at noon. please don't be late. carlo and i are going to seea theatrical producer today. mm, theatrical producer ?
to learn aboutthe artistic process. artistic process ? what timeis the exhibit ? noon.heh heh heh ! i'll be there, darling. dad, when is mommycoming home ? in a couple of days. "churn." c-h-u-r-n.
what's the baby's name ? "person." p-e-r-s-o-n. what's the baby'sname ? antonio.you like that ? yeah. a-i-n-t-i-n-o ? [ man ]excuse me, miss.is this line for to get job ? i think so.
i am carpenter. i work with my hands. it is good governmentwants to build. i build with wood.what you do ? yeah ? i think thismight be the wrong line.this line is for theater. it's for actorsand musicians, i believe. you're actress ? yeah. is this the rightline for the federaltheater project ? i think this isthe line for everything.
are there other lines ? there's other linesinside. are there linesfor theater jobs inside ? i believe so. i work anywhere. i dig ditches, pour slag, act. flanagan ? does not matter. mrs. flanagan ! mrs. flanagan.
aren't youhallie flanagan ? yes. mr.-- beaver. i'm a beaver. mr. beaver,what can i do for you ? well, i'm completelyembarrassed, but i heardyou'd be here today, and i'm a playwright,and i've writtena children's play. it's called revolt of the beavers, and i want to know if you'd read it. absolutely. you haveto fill out submission forms. i did. they're all inside.
it's got great music.i'd be happy to play it for you.i-i'll be back. [ man ] they say, "okay,we want to do what you do."i say, "fine. take 30 years. do nothing else,and then maybe." i am not a teacher.i'm an entertainer. what's the problem ? mr. crickshaw worksat the vaudeville project, and he's complainingabout the policy there. i'm supposed to tutortwo no-talents.it's impossible ! mr. crickshaw, we were hopingthat you would introduceyoung people to vaudeville...
and encourage themto take it upand prolong its life. "prolong its life" ? vaudeville will bearound long after youand your communists are. hallie, you havea meeting. two chinese gentlemenin native dress came bylast night, want you to starta chinese theater. very polite.they'll come again. also,you got a call yesterday... saying that wecan't hire an elephantfor the brooklyn circus. why not ?
they're not eligiblefor relief. hallie. welcome home.how was your trip ? great. i have wonderfulthings to report. didyou hear about the elephant ? not eligible for relief. also, a guy in a squirreloutfit's been trying to see you. beaver. he's a beaver,a playwright. what ? oh, playwright.
also, there's troublein minnesota. seems an ex-fan dancerauditioned forthe federal theater there. fan dancer ? burlesque, takesher clothes off, you know. so she auditions,doesn't get the job, butthe papers run a photo of her... saying the federal theater-- [ together ]is now employing strippers. pierre ! hello, darling.
i trust you're not too tiredfrom touring the u.s.a. i have seensuch great theater.so inspiring. have you heardthe rumors ? about the stripper ? stripper, no.people from washingtonsnooping around our files. all this talkabout congressman dies. dies as in death ? something about a subcommittee. no. it's news to me.hello, everybody !
â™ª go stand on someone's neck â™ª â™ª while you're takin' â™ª â™ª cut into somebody's throat as you put â™ª â™ª for every dream and scheme's â™ª â™ª depending on whether â™ª â™ª all through the storm â™ª â™ª you've kept it warm â™ª â™ª the nickel under your foot â™ªâ™ª who's singing ?
a prostitute.she's starving.she sells herself for food. she thinks she feelsa nickel under her foot, but when she reaches for it,there's nothing there. she's that... hungry.you hate that, don't you ? i didn't say that. i didn't say anything. i-- i'm not here. you haven't slept in two days.go to sleep. ooh ! oh.i'm so sorry. ooh ! oh !
are you all right ? yes. oh ! oh ! [ man ] countess ! jack ! jack,i found the play charming. utterly darling.and the idea of setting thescottish play in the caribbean. ah, yes. carlo commented afterward he'dnever seen anything like it. and he's from vienna,you know.
i would be very interestedto cultivate a relationship withyourself, mr. welles and carlo. what's the nameof your opera, dear ? le cordonier desespere. the cobbler in despair. he sings passages from it to me all the time. he can't seem to get itout of his head. poor carlo.such a sad man. shh ! his store of pleasuresmust be sauced with pain ! [ yelling ]
now, worthy faustus,methinks your looksare changed. gentlemen. what ails faustus ? look, sirs,comes he not ?comes he not ? [ scholar ]yet, faustus, look up to heaven. hey, cue lightning !goddamn it, abe. cue lightning ! that's late.if the cue is late,it will get a laugh. we do not need this laugh.it's a stupid,embarrassing laugh.
concentrate, folks.now, do it again. yet, faustus,look up to heaven ! [ screams ] which oneis mr. welles ? he's the, um,ranting madmanwith the blue boy wig. i gave up my soulfor my cunning. [ both laugh sinisterly ] that's my cue. it's not your line.
what's my line ? it's bert's line.bert, say your line. no, it's his. say the line ! oh, god forbid ! break time. break time ! union break !fifteen minutes ! [ arguing ] the date is expired.the hell with the theater,and the hell with you.
i've got to go havea coffee and a fart. never mind thatfor the first time in thisgoddamn rehearsal process... we were in the middleof a discovery essentialto making the play work ! i... need... a smoke ! you're not actors, you're smokers ! you wouldn't knowthe church of the theaterif it smacked you in the mouth ! shut up, orson, or i'llsmack you in the mouth. fuck you, john ! you're not a believer, you're a worker.
damn right. and you're not a director. you're a dictator ! you're atheists !you have no respectfor the theater ! this isn't a game !this isn't a goddamncocktail party ! - this is work ! it's hard work !- blah, blah, blah, blah. and if you're not willingto give your blood to it, then it isn't worth itbecause you'll nevermake theater... with your coffee klatchunion breaks. you will make...pageants... without truth, without soul !
bloodless,sweatless, shallow, lily-white pageants... signifying nothing ! i'm going, jack ! you can give thema two-hour-long smoke.we'll pick up... with the seven deadly sins. right ! he has his moments. he is busto,multidissimo. oh, it's so fascinating.i've always wanted to observethe process of art-making.
so what happens now ? now we wait forthe prima donna to return. - willie !- sandra ! baby ! where have you been ? - [ jack ] oh, good grief.- [ man ] excuse me, mr. houseman ? i have to goto the hospital. the hospital ? are you hurt ? no, no, no. hello.my wife just had a child.
how do you do ? oh, congratulations ! thank you. countess, may i introducea supporting memberof our cast-- aldo silvano. plays the role of, um-- i'm the fourth scholar. fourth scholar, yes. wonderful. this ain't nopolitical meeting house.this is a damn theater.
we're not doin' nothinghere but entertainingand making people laugh. [ as dummy ]well, i'm making people laugh.get me up. mrs. flanagan wants meto teach those redshow to make people laugh. forget it. you ? nothing funnyabout communists. there's nothing funnyabout you. reds are glum, serious people. what about that stinky magoo ?he was funny. he wasn't a communist.
oh, most certainly was.as red as a rooster's crown. melvin, you don't knowwhat you're talking about.stinky magoo was a republican. he was red, tommy. no, he wasn't. yes, he was. you would know. he was not a red !stinky magoo was a republican ! he was funny ! well... he was funny.you're right about that.
god rest his soul. may he make god laugh. hear, hear. [ knock at door, door opens ] mr. crickshaw,hi-loo. uh, we are readyfor our tutorial. we're ready for our tutorial. we're ready to learn how to be funny. - and how to do the mouth thing.- [ both giggling ]
it is fantastic, this art formthat embraces the future, shatters conventionand uses color to createan exquisite sensuality, huh ? it looks all cut up. shapes distributedgeometrically. exactly. what does it mean ? it means...whatever you want it to mean. the futurists, they existin the realm of emotion-- the eros,not the intellect.
ah, yes, eros.i particularly likethe sensuality of the colors. mmm, mmm. now, this one hasinteresting colors too. well, you havea very good eye,mr. mathers. gray. gray ? [ gray ]my name, not the color. [ woman ] ah. is that a modigliani ?
[ woman ]yes, it is. nelson rockefeller,meet margherita sarfatti, cultural emissaryto premier mussolini. piacere. enchante. delighted to see you,nelson. mr. mathers. mr. hearst,always a pleasure.good to see you, mary. premier mussoliniis very thankful to youand your family... for your generous contribution for the museum.
i understand that you...are personally responsible... for bringingthe exhibition here. well, my motivesare purely selfish, madame. i've never been lucky enoughin my life... to stand inches away froma da vinci or a michelangelo. ah, how does it feel ? [ sighs ]extraordinary. [ hearst ] nelson can be veryhelpful in the oil departmentas well. really ?
there i go againjumping the gun, ruining a perfectly civilconversation on artby getting to the point. eh, margherita ? i must confess, i'm moreinterested in the oil in paintthan the oil in derricks. ah, bravo ! bravo ! i understand you knowdiego rivera. mmm. paris, wild times. i am to see him today.
ah. any tips ? swing left, stay sober. he was once a cannibal,you know. [ man ] never beforehas the link betweengovernment and industry... been so obviousand so dangerous. [ crowd cheering, applauding ] five dead. two shot in the back. twenty-seven injured...
by the blackjacks and fistsof the strike breakers. [ crowd agreeing, shouting ] and who were the attackers ? thugs ? pinkertons ? no ! no ! no, ladies and gentlemen.the murderers last nightwere government employees ! policemen killingand beating the very citizenswho pay their wage. lending their nightsticks... and guns to the industrialists,to the strike breakers !
[ crowd applauding, shouting ] i think it's time-- what is your play about ? what are your plays about ?what's threepenny opera about ? what is your play about ? it's about a prostitute,uh, poverty. [ chuckles ]that's survival.that is not enough. what aboutthe other prostitutes ? you don't have to be poorto be a whore.look around you.
in the mansions,in the churches,in the universities. everyone is corruptible,even your union leaders. [ worker ]the cradle of power is rocking ! [ crowd applauding ] yeah ! [ clears throat ] [ man #1 ]now who's the dummy ? [ man #2 ] now who's the dummy ? now who's the dummy ? now who's the dummy ?
now who's the dummy ? stop ! you want to use...the back of your mouth. try again. [ slower ]now who's the dummy ? now... who's the dummy ? now-- cut ! your mouth is moving.
if your mouth is moving,the effect is ruined. try to keep your lipsimmobile. mmm, mmm, the dummy ? [ garbled ]now who's the dummy ? mmm, mmm, mm mm-mm. - [ fast muffled speech ]- [ slow muffled speech ] [ muffled speech continues ] "federal theater's touring show, broadway bandwagon, rolled into peoria last night, "and for two hours, gaiety and glamour...
obscured thoughts of droughtand other financial worries." peoria star.they performeddubuque, waterloo, eau claire, sheboygan,wausau and wisconsin rapids. and i saw it in a high schoolin manitowoc. 3,000 students seeing theirfirst play with live actors.it was very exciting. i just got a letterfrom the director ofthe portland, oregon, project. their debut wasa resounding success.sold out shows every night. denver's a week awayfrom opening rakes progress.that'll be colorado's debut. it can't happen here ?
it is happening. it can't happen here is a steamroller. we have a commitmentfrom the detroit project. also, the seattlenegro company's in. and brooklyn is doinga version in yiddish. twenty-one productions of it can't happen here in 17 states. same play, all opening on the same day. - a national theater, hallie.- birmingham, boston, chicago, detroit, newark, bridgeport, yonkers,staten island, tampa,
wooster, cleveland,los angeles-- â™ª that's how beavers â™ª â™ª make their living since the day they left the ark â™ª miami, omaha, seattle,san francisco-- â™ª and we clip, clip, clip â™ª â™ª and we stack, stack, stack and we pack, pack, pack â™ª â™ª and we strip it and we clip it and we stack it and we pack it â™ª â™ª and we work, work, work all day â™ªâ™ª so did he stomphis feet ?
a couple of times. [ laughs ]he sounds like such a child. let's not talk about orson. let's talk about antonio. hmm ? antonio ? you don't like it ? i-- no, i like it. you're beautiful, hmm ? that's your mama.she made you. she's amazing.
you're the artist. thank you.i take pride in my work. [ woman speaking italian ] [ woman ]your mother. there's only one voice like it. i thought i'd find youin a room. shh ! this is a room. a big room, yes.i thought i'd find youwithout so many people. we couldn't afford that.
oh ! poverino. if your papa hada better job, you couldget a better room. mama, don't start.speak good thingsin front of my son, please. so many people.someone could be sick. say hello to sophie. hello, sophie. hello, mama. oh, lookat that face. and today i sawmr. welles throw a tantrumin front of his new cast.
they're mostly white.he was so passionate. i'm sure.you're late, you know. oh, have i missed much ?have any ofthe paintings moved ? most of the people have. look. da vinci. [ carlo gasps ]da vinci. [ countess ] splendid ! [ gasps ] hearst says that the federaltheater is full of reds.
communists ? i can'timagine that to be true. communists ? hearst is a smart man. yes, and i supposei'm a dim woman. no, no, no,i didn't say that. could mr. hearst explain to methe communist implications... of the scottish playin the caribbean ? ah, margherita sarfatti,my wife, the perpetually latecountess la grange.
charmed. - likewise.- buona sera. je suis carlo. oh, thank you. grazie. your husband hasan excellent eye for art. you're a lucky womanto have such a cultured man. oh, blessed really. margherita, we must go. ah. countess.
gray. miss sarfatti. it has been a pleasure talking to you. and you can assure your trade representative that mathers steel... will put frameson italian trucksas long as wheels turn. it will bedeeply appreciated. anything we can do to stop thespread of communism in europeis in our own best interest. thank you.good day. ciao.
[ hearst ]countess, gray. good-bye. [ countess ] marion. did you just makea business deal ? no, dear. but you said you'd put frameson italian trucks. that is noneof your business, dear. mr. darwin claimsthat it took 100,000 yearsfor a man to make a monk-- for a monk-- for a man--for nature to make a monkeyout of a man.
that's nothing. a man can ma--a woman can make a monkeyout of a man in an hour. that's true. like your wife made a monkey out of you. melvin, peopledon't have to know that. with the merchant marine.or was it a bricklayer ? all right. those are my jokesthat you're butchering.my act. i know you twoprobably don't believein personal property. but this is not russia.this is not rice or grain.
it is my property, my act. you do not doanother entertainer's act. it is not... done. understood ? okay. yes, sir. [ muffled ]now who's the dummy ? i saw in the paper thatthat welles you work withis the voice of the shadow. i like-a that show. martha learns englishfrom-a that show.
[ together ]"the shadow knows." bravo. so he's famous, right ? yeah, he works a lot. so he's gotlots of money, right ? so, uh... whydon't you do that ? i'd like to. so what'sstopping you ? well, you gotta get the job.
well, apply for it, huh ?you know, you waiton line for it. it doesn't workthat way. you're lazy. you gotta get up early,wait on line. [ together ]early bird catches the worm. no, no, no, you don't waiton line for a theater job,all right ? mama, give me antonio. you, you audition. shh, shh, shh.
you try out. you read, okay ?right, antonio ? there we go. yeah, there we go. you pretend to bethe character, huh ? you don't wait on line. there you go.with his papa. i gotta go pickthe kids up at school. they're at vincent's today.
no, no, no. i'm takingthem to rehearsal. sure ? mm-hmm. all right ?good-bye, antonio. bye-bye. bye-bye. i love you, my artist. â™ªâ™ª [ "piano" ] â™ª listen â™ª â™ª here's a story â™ª â™ª not much fun and not much glory â™ª
â™ª low class â™ª â™ª low-down â™ª [ with woman ]â™ª the thing you never care to see â™ª â™ª until there is a showdown â™ª [ whistle blowing ] [ people shouting ] [ woman ]â™ª one big question inside me â™ª â™ª cries â™ª â™ª how many fakers â™ª
â™ª peace undertakers â™ª â™ª paid strike breakers â™ª â™ª how many toiling ailing, dying â™ª â™ª piled-up bodies, brother â™ª â™ª does it take to make... you â™ª â™ª wise â™ªâ™ª it's very serious. where's the irony ? where's the humor ? [ horse whinnying ]
[ piano player ]you're whores !you're prostitutes ! you're a whore !you're a prostituteof the state ! the policemen are whores !you're-- [ man ]â™ª bought a house, a lot a limousine, a swanky yard â™ª â™ª my champagne would fill up any cellar â™ª â™ª oh, hum, there goes the alarm clock â™ª â™ª gotta get up and go to work again â™ª â™ª acting awfully bored i loaned a buck from henry ford â™ª â™ª broke a date with john d. rockefeller â™ª
mr. rivera. si. mr. diego rivera ? si. i'm nelson rockefeller. i bring greetingsfrom margherita sarfatti.she says she knows you. yes. paris,wild times. i saw her today. she's an exquisite womanwith wonderful tastes in art.
would you like something todrink or something to eat ? no. frida,senor rockefeller. madame. please come in. â™ªâ™ª [ continues on phonograph ] so ? so. so, um...
[ sighs ]i've chosen your sketchfor mural composition... to be includedin the... lobby... of saidrockefeller center. now, as you may know,the theme for the piece is"man at the crossroads, "looking with hope and high vision... to the choosing ofa new and better future." [ women giggling ] and, uh... that'sthe theme of the piece, and we'd just be thrilledto death to have you do it.
- how much ?- 21,000. all inclusive,materials and assistants. would you likea drink ? â™ª there is not a barkless beaver not in all of â™ª â™ª beaver land â™ªâ™ª bravo ! bravo. i think childrenare going to love this.when can you start rehearsing ? tomorrow. rose, will you putthese two beavers in motion.
hallie, the opening. we can't be late.mr. hopkins will be there. ask harry formore money, hallie. next. that's me. and your name ? olive stanton. your address ? oh, i don't have one.
are you currentlyemployed ? no, ma'am. you are applying for workat the federal theater project. what experience do you havein the theater ? oh, um... i singon broadway-- well, i've sungon broadway. mm-hmm.last employer ? excuse me ? last employer ?
last producerof a show you were inso we can contact him ? um...[ clicks tongue ] he's dead. his name ? oh, um... mr. smith-- minsky-smith. you've probablynever heard of him.it was in buffalo. we can check. i'm sorry.there wasn't any smith.
um... i'm just a galthat needs a break is all. i've been working on the streetsinging for nickels,and i need a job. i can sing real well,and i'd work hard. sister, this program is designedfor theater professionalswho are out of work. we have limited resources.we can't possibly employall of the professionals. this isn't a busby berkeleyfantasy, "make you a star,kid" and all that. are you strong ? ma'am ? [ louder ]are you strong ?
- can you lift things ?- yes, ma'am. project 891needs a stagehand. do you know whata stagehand does ?completely unglamorous work. push a broom,lift scenery, pull ropes,that sort of thing. are you interested ? yes, ma'am.you bet. you are not eligiblefor casting in any plays.do you understand that ? okay, here's the address,and report tomorrow between10:00 a.m. and 6:00 p.m. - oh, can i go today ?- go bananas.
well, sure, if you'rein a coal mine or a steel millor a dangerous job, i can see the needfor a break every hour or so. what are you saying ? nothing.i'm with you, orson. this is theater. we're not riskingour lives here. we're not pouring slag. the other side of that is20-hour days, low wages,no protection. it would help ifyou didn't stop rehearsalto call for breaks, john.
these are actorswe're talking about,not garment workers. this is not the triangle fire.it's a play. no one is tryingto oppress anyone here.we're trying to get a show up. - once the show is up, well, we can work for what--- two ! two hours ! easy street ! two hours acting, eight hourslookin' for another job. what ? frank ? no, sorry.sorry. yeah. and should managementinsist that we workan eight-hour day...
once the show is up ? don't touch me. it's ridiculous !hah ! and now, if you don't mind,i'd like you to get backto work ! - [ sinister laughter ]- [ sandra laughing ] bring in the puppets ! we're in a jail cell.steeltown, u.s.a. moll, our prostitute,has been arrested. she's sitting there,depressed and hungry,when the door opens.
who should walk in but the realwhores, the creme de la cremeof steeltown-- doctor specialist,editor of the newspaper,president of the university, reverend salvation-- and an artist or two. don't forget,they are the biggest whores. right, right, right. and they're all in handcuffs.they've all been arrestedby some dolt cop... who made a mistake,thought they wereunion organizers. think whatmy people would thinkif they could see me.
phone to mr. misterto come and bail us out. who is mr. mister ? he's the big cheese. he pullsthe strings in steeltown. [ all ]â™ª so mr. mister please take pity â™ª â™ª come and save your pet committee â™ª â™ª from disaster â™ªâ™ª i'm comingabout the leaflet. yes ? i'm here for the meeting.
come in. tommy crickshaw,ventriloquist. oh. did you bringyour dummy ? i prefer to think of himas a... puppet.i never leave him. well, we're just getting started, mr. crickshaw. if you'll have a seat. hello, ladies and gentlemen.my name is hazel huffman, and iwant to thank you for coming. it is my hope that tonight we can create a forum... where people can talk freelywithout fear of recrimination.
don't worry.powerful people are interestedin what we have to say. i know for a factthere's a certain congressman... who would like to knowif problems existin the federal theater. i, for one, am ready to talk. [ simultaneous speech ] [ man ]i am sloth. [ all speaking simultaneously ] - ...from salvation.- i am envy. - i am covetousness.- i'm pride.
- i am gluttony.- [ growls ] they're scary. they're sins. daddy, how comeyou're not doinga puppet ? mr. wellesdoesn't want me to. what part do you play ? the fourth scholar. it's a very...important role. - lechery !- [ sins yelling ]
[ sins laughing sinisterly ] well, hello, my darling. hi, harry.welcome. you know paul edwards. hello, hallie. i'm sorry i'm late.bridge worker negotiations. i trust rooseveltis treating you well. juggling three agencies,the bureaucratic wonder:harry hopkins. everything from cleaningchildren's teethto controlling mosquitoes.
harry, what arethese whispers i'm hearingabout congressman dies ? whispers ? it's a roar.he announces tomorrow... a committee to investigatecommunism in the w.p.a. oh, dear.why didn't you tell me ? i'm telling you. "un-american activities"he calls it.i wouldn't worry. dies is a blowhard. this isjust a bunch of politicianslooking for headlines. what aboutthis mixed-race dating ? has anyone elsenoticed this happeningin theater groups ?
[ german accent ]i have noticed that the peoplein the federal theater... hobnob always with negroes, throwing parties with themleft and right. the problem that i havepersonally with the w.p.a.... and with the arts projectsin particular... is that they seem to be runby people that are very elitist,very snobby-like. i've noticed this too. personally, i don't thinkthere is any room to advance,if you don't agree with them, if you're notthe same as themin politics,
if you don't havepolitics-wise the same mind. and besides, reds aren't funny. i just don't thinkthey're funny. â™ªâ™ª [ billie holiday ]â™ª ooh, ooh, ooh â™ª â™ª what a little moonlight can do â™ª â™ª ooh, ooh, ooh â™ª â™ª what a little moonlight can do to you â™ª
â™ª you're in love â™ª â™ª your heart's a-flutterin' all day long â™ª â™ª you only stutter 'cause your poor tongue â™ª â™ª just will not get outta the way â™ª â™ª i... love... you â™ª â™ªâ™ª [ horn solo ] can i havesome punch, please ? yes, certainly. and the negro had the nerveto call me on the telephoneand ask me for a date.
that's withthat communist program. social equalityand race merging. [ woman ] that's right ! punch, mr. crickshaw ? [ melvin's voice ]yes. thank you very much,miss huffman. â™ª ooh, ooh, ooh â™ª â™ª what a little moonlight can do â™ª â™ª wait a while till a little moonbeam â™ª â™ª comes peepin' through â™ª
â™ª you'll get sold â™ª â™ª you can't resist him â™ª â™ª and all you've said when you half-kissed him is â™ª â™ª what a little moonlight can do â™ªâ™ª [ door slams ] oh boy, oh boy, oh boy,i just been grilled. i also have beenbarbecued and frizzled. who's that ? - it's larry foreman, the union leader.- i like this, marc.
he comes into the jailand sees all these rich peoplesitting there. say, what'sthe whole liberty committeedoing in the pokey ? and on the wrong side of the bars ? that's the one you want. he's a red, an agitator. mr. mister tries to bribe him,but he tells him to get lost. he won't sell out his union.these people are marchingon the jail. [ man, woman ]kill him ! lynch him ! [ chorus ]â™ª and it's going to surround you â™ª
â™ª no wonder those storm birds â™ª â™ª seem to circle around you â™ª â™ª well, you can't climb down and you can't sit still â™ª â™ª that's a storm that's gonna last â™ª â™ª until the final wind blows â™ª â™ª and when the wind blows â™ª â™ª the cradle will rock â™ªâ™ª [ jack ]bravo ! well, i think it isterrific, jack.
- thank you.- marc, you have written something groundbreaking here. never before, to my knowledge, has an american musical... dealt with contentand social issuesand dramatic themes. - you are reinventing musical theater.- wow ! thank you. orson ?don't overdesign this. keep it pureand keep it simple. you havemy word, madam flanagan. i'll be checking in. congratulations, marc !
[ orson ]auditions are tonight at 6:00. score will be leftwith the pianist if anyonewants to learn the songs. [ repeating orson ] thank you. augusta, you makea reservation at twenty-one ? yes, orson. jack, marc,come with me. madam flanagan,will you join us ? at twenty-one ? whoo !it's too rich for my blood.i can see the headlines now.
"civil servant dining at twenty-one on your tax dollars." oh, perils of officialdom. orson. what roledoes a negro actor playin this all-white production ? all-white, ridiculous.you'll playthe reverend salvation. a white protestant. in makeup. in a world of amos and andy,you can play a white protestant.makeup, my friend. subversion !
quit worrying, marc.don't worry. marc ! coming, coming. mr. houseman,i'm olive stanton. i know you. you're a stagehand. and i'm an actress. i'd like to, with yourpermission, sir, if it'dbe possible to audition. audition ?i don't know.
are you out of your mind ? we're being investigated by congress. we can't dothis play. greedy industrialistwho's brought downby the working man. it's pro-union, yes,but so is our audience. a stage full of marching workerstrample the capitalist. they don't trample him. it's an attack on capitalism. not at all.it's an attack on greed. it's a good play.it's funny, it's movingand the music is great.
so stop fretting. i see glass ! glass ? a stage of glass. yes !don't ask me why, but-- whoa ! there's somethingabout standing on a surfaceof glass-- the risk of it, the potential for injury. it'll be completelysafe, of course.thick, safe glass ! [ jack ] twenty-one club, please.
the cradle will rockis spectacular ! yes. stage of glass, yeah.are you communist, marc ? perhaps we should talkabout the auditions, you know, are you red ? what we're looking forin each of the roles. officially, no, orson. i'm a homosexual.that excludes me frommembership in the party. i am faithfulto the ideals of the party. i am faithfulto the party of ideas.
no, you are faithfulto the idea of a party. sparkling wit, jack. i thought youwere married, marc. no, no. shh ! my wife passed away,uh, last year. mm. diego ! diego, are you gettingeverything you need ? i need burntcypress embers.
oh. i'll send for some. you know, diego, i thinkat first i was a bit unrealisticwith my expectations. i am gladyou're taking your time. certainly,michelangelo took his timewith the sistine chapel. i only work three months,not much. three months,on and off. i've come to understanda great deal about artwith this experience. - mira, vete para el carajo.- frida, porta te bien. diego, what is that...
emanating from the manin the center ? that's a recombination of atoms,the division of a cell. those are germs, bacteria, cells-- the wonders of the microscope. that's fascinating. mm. it's so modern.and this large, uh-- looks like a magnifying glassof some kind ?people are staring at it. that's the latest invention-- the television. - yes, i know television.- beamed visual radio.
imagine the potentialfor education. and these well-dressed peoplehere, what is that ? [ chuckles ]what do you see ? oh, i get it.picasso playedthis game with me too. i see... high societyat a party of some kind. - that's it !- ha ! the decadent rich.above their heads, that's a syphilis cell.
syphilis cell ?the rich in general ? - no. in specific.- you're not talking about me, are you ? - but you don't have syphilis, do you ?- no, of course not. no, i don't. up top there,is that a war of some kind ? that's a battlefield.men in the holocaust of war. and beneath it, unemployed workers being beaten by the police. do you like it ?
[ aldo ]â™ª you can't stop the weather not with all your dough â™ª â™ª for when the wind blows and when the wind blows â™ª [ together ]â™ª the cradle will rock â™ª i gotta run.my son's birthday. i need the last auditionpossible tonight,all right ? thanks. [ augusta ] it's yours, aldo. â™ª of honolulu â™ª â™ªâ™ª [ singing continues ] olive, isn't it ?
- i'm john adair.- i know. you're a great actor. i've been watching you. thanks. did you like the play ? i liked it. i thought it was interesting. felt it could've gone farther.actually, i thoughtit was pretty silly. where do you stand on spain ? spain ? franco orthe loyalists ? uh, i don't know.
[ laughs ] what, did you just crawl outfrom under a rock ? that's a joke.i'm sorry.i was kidding. a lot of peopledon't know. spain's being attackedby fascists from italyand nazis from germany. â™ª bid your family toodle-- â™ª oh, to be young. [ man ]unbelievable.at it again. like bunnies,god bless 'em.
"oh, what a bursting out there was, and what a blossoming... "when we had all the summertime... and she hadall the spring." roosevelt isn't doinga thing about it. oh, okay. that's terrible.i don't know so much. i-- i had no idea. i thought that we weretalking about the play. we were.
i liked it.it made me think... uh-oh. about unions and howimportant they are. i guess i don't know so muchabout spain, though. so i gather. or politics. well, what about dancing ?how do you feel aboutthe wonderful world of dancing ? what, here ?in front of everyone ? you want to audition,don't you ?you can't be shy.
i'm working. [ man ]john ! please. are you asking meto dance ? yes, ma'am. then ask me. miss stanton,would you do me the honor ? [ bert ]â™ª chocolate arms are open like a flower â™ª [ man ]â™ª how the hell do you spell "honolulu" â™ª â™ª junior's gonna be a journalist â™ª
â™ª there's a woman there who wants you â™ª [ all ]â™ª la-la, la la la la â™ª [ sandra ]whoo ! â™ª la-la, la la la la â™ª [ bert ]â™ª have you been to honolulu â™ª gee, fellas, am i supposedto be impressed ? ah, no, no, no. temptationsof satan, marc. [ chuckles ]
calling mesatan, jack ? so, uh, what,you'll fill my belly withrich foods and fine wines, and in my sated state, i'll givemyself over to orson wellesand his stage of glass ? is that it ? no, i'm not talkingabout me. i'm talking aboutthe follies of politics. we can discuss itover a frankfurter,if you like. [ laughing ] orson, discuss the play.that is why we're here.
what is the prevailingwisdom here ? sometime next month. the league of nationsis applying pressure. yes. suddenly,everybody caresabout ethiopia. ha ! suddenly, haile selassieis an intelligent,rational leader. doing business with youhas been so importantto mussolini. an embargo, it would beso harmful to our cause. another exampleof rampant socialism run amokin this administration.
well, perhapswe could shipproduct now... and stockpilein anticipationof the worst. stockpile ? jack. let's talk about prostitutionand your connection with it. well, do you have evidence ? not of the loins, my boy.of the soul. oh, boy ! how was cradle will rock ?
very good, funny. it's a nightmare. nightmare ? why ? pro-union.how's the inquisition going ? i just don't understand.all these people testifyingsound nuts, loony. well, take notes.are the reviews forthe revolt of the beavers in ? let me knowwhen they come. [ woman on radio ]but she is a representativeof the party... and they hobnob indiscriminatelywith them,
throwing parties with themright and left. [ man on radio ]did you report itto trudy goodrich ? [ woman ] yes.she said she felt very sorrythat i felt that way about it, because she personally encouraged negro attention on all occasions... and went out with them orwith any negro who asked her to. they're getting it all wrong.their emphasis is on morals,not politics. don't they understandeverybody lusts ?they're not... going to stop corruptionin the program because peopleare fornicating in it. this is about communism,not immoral procreation.
i agree with you, hazel. i must get calledfor this committee. oh, you would befantastic. [ knocking ] - mr. crickshaw ?- yes ? is it time for our tutorial ? i can't come right now.uh-- tutorial was cancelled. work together privately, and i will review. may we use the stage ?
- yes.- yea ! [ marc ]how long do you supposeyou can whore your talents... before you're used upand unwanted ? whore my talents, eh ? i'm sorry. who is the sponsor of the shadow ? i think of themas my patrons. his corporate medicis. they pay well, marc,and with that moneyi pay for the theater. i buy props thatthe federal governmentwon't approve.
right. costumes, makeup,set pieces, uh, puppets. i feed my friends,get my actors drunk. you're such a god, orson. there's nothing wrongwith money, marc. everybody digs that beat.everybody wants in.it's all the rage. even the boys in the kremlinare starting to roll aroundin it. you think mr. stalinis eating the same mealas a factory worker ? no. we call it the ritz andyou call it the comintern club !
i have no problem with money. i need it likeeverybody else does. yeah, yeah. the question is what willyou do for the money.where do you draw the line ? good question.[ laughing ] that's what my play is about.cradle will rock isabout prostitution. prostitution of education,of the press, of the courts,and the most important-- the rothschild '29. most importantfor you and me, orson,
prostitutionof the artist. where do you draw the line ?do you draw the line ? how long before you'redoing soap commercials ? well, this isgoing extremely well. i do hope you don't mindme interrupting, but i wasfrightfully bored at my table. and i was thoroughly excluded. not at all.please, please join us. orson, darling. we were just creatingan insurmountable tensionfor our working relationship.
hey, birthday boy ! come over here.hey ! hey ! [ chattering ] [ laughs ] hi. oh. you're late foryour own son's birthday. i had to learn a song. i have an audition tonight. with welles, huh ?how's orson welles doing,huh ? [ woman ]"the shadow knows."
big shot, eh ?you thinka you a big shot ? yes, congressman dies."the living newspaper" isthe name of the project. they write nothing elsebut propaganda plays. they write the plays producedby the theater project ? yes, sir. and they produce them too ? - they write and produce them.- they are on the federal payroll ? they are onthe federal payroll, each one.i don't know about this. you don't know about this ?me ?
you. i don't want to be rude,but this is distracting. distracting ? can you stop him ?yes, you. stop me ? what gives ? please, mr. crickshaw. - no, tommy.- i would rather just do it with you. can we be alone ? oh ! me.just me.
yes. ah, yes. i can do the congressman.[ clears throat ] i beg your pardon,miss huffman.please continue. â™ª it looks like summer weather â™ª â™ª there's a fine warm sun â™ª truth is, i don't think ofanything when i'm singing. i don't think abouthow hungry i am or how cold. â™ªâ™ª [ continues indistinct ]
i can even besinging about sad thingsand i feel all lifted up. you love to sing. makes you warm, makes you forget. you have beautiful eyes. why were youcrying before ? when ? when we danced.was i that bad a dancer ? no, it's nothing. you're holding onto secrets, olive stanton.
there's things thathave happened to you. bad things. i guess i'm just not...used to kindness recently. you took me by surprise. we've all beenhit by it, olive. we've all been hungry. nobody hereis gonna judge you. this is your family now. [ man continues ]â™ª i make a little bed from wood â™ª
â™ª so, my son â™ª â™ª sleep good â™ª â™ª so my â™ª â™ª son â™ª â™ª sleep good â™ªâ™ª my official positionis that i love it. yes, that it's--that i'm thrilled. i think it's in my best interestto be publicly excitedabout the piece. but i must admit,i have great trepidationabout the mural.
first of all, i'm not surethat it's great art. it will be great. it is not finished yet. it's not picassoand it's not matisse. they said no to you. they did not wantto paint your lobby.diego did. you are not goingto get anywhere attackingthe quality of the art. first of all, you are wrong.second of all, you cannot win. there will always bean art critic somewhereto call you a boor, an unsympathetic, unfeelingcapitalist blockhead incapableof appreciating true art.
and i know...that is not you, nelson. of course that's not me. there's not a greaterappreciator of modern art andfreedom of expression than i. yes, yes. will you talk to him ? see if you can get himto cheer it up just a little ? "cheer it up" ? margherita, there are microscopic cellsof bubonic plagueon the wall of my lobby.
[ gasping ]oh. [ laughter ] [ marc ]orson, if you feel that way, why do you want to do cradle will rock ? because it will piss offall the right people. and when you piss people offin the theater, you'redoing something right. because the theater shouldprovoke. it shouldn't pander. people should leave the theaterwanting to fight, to argue,to jump, to fuck ! goddamn it, if people leavecradle and head for a bistro...
for a spanish coffeeand a cigarette... to discuss the intellectualunderpinnings of our story,then we're dead men ! - [ carlo ] to marion !- i want angry, lust-filled theatergoers ! i think they're-- to the theater ! [ all talking at once ] there was another playcalled processional. it dealt with a miner who hadtorn up the american flagand was put into jail. later, he killedthis soldier who had seenhim in a church or a,
a labor temple, having...sexual intercourse,if you please, with his mother. that was the type of play that was put on. i'm so nervous. you're doing great.did that really happen ? in the play ? he hadintercourse with his mother ? well, not on stage,but they talked about it. oh. oh. do you thinki'll be called to testify ?i have so much to say.
if they don't call you,they're crazy. okay, it's your turn. [ rose ]"now, thanks to revolt of the beavers, "many children unschooled in the technique of revolution... "have an opportunity, at government expense, "to improve their tender minds. "mother goose is no longer a rhymed escapist. she has been studying marx.jack and jill leadthe class revolution." saturday evening post.
the gist is thatfederal theater is teachingpoor people to hate... and possibly murder rich children. [ rose ]this is ridiculous. well, i'm stunned. it's so absurd, it's funny.the revolt of the beaversis a fairy tale. - what about the guns, hallie ?- they don't shoot the big, fat beaver. they just kick himout of beaverland.so what does that say ? - class war.- it's a fairy tale ! big fat beaveris a big, fat capitalist.
the big, fat beaveris a bad big, fat beaver. he is a greedy beaver.he's a bad beaver. â™ªâ™ª [ italian ] why are they singing this song ?who taught him this song ? i don't know. â™ªâ™ª [ continues ] who taught him this song ? what song ? [ woman ]his cousins.what's the problem ?
they're singinga blackshirt song...in my house. they're singing a song of italy.they're proud to be singingthis song. proud ? it's a fascist song. [ man ]it's a beautiful song. - did you teach him this song ?- what if i did ? where do you live,huh ? where do i live ?what are you talking about ? this is america,you dumb shit. you wanna waveyour arms around, huh ?
go back to italy,all right ? you insult italy.you betray the landthat gave your mother life. you spit on italy.you slap your motheron the face. you spit on your mother ? that's enough. i'm 36 years old.you can't smack me aroundanymore. - [ kids giggling ]- out. get out. [ all chattering ] - you respect your family.- i respect my family. i just want him to leave.
he's your family ! then you can go too. i can go too. are you gonna kick me out,big boy ? you can't afford to kickus out. who do you thinkpays for this apartment ? [ baby crying ] then you want us to go ? then we'll go, all right ? it costs too much to hearmy son sing fascist songs. take the kids, we're going.let's go. we're going.
let's go. we're gonna go.joey, come on. [ mama ] not the babies. you call yourself an artist ? the italians were bringing artand culture to this world... while youranglo-saxon wife's relatives... were still pickingthe fleas off each other,living in caves. i'll get the kids.chance, joey, let's go. so a fella comes to work one dayand there was a girl there who'dbeen a chambermaid in his hotel, and had, uh, talked communismto him on many occasions.
and he says, "what on earthare you doing here ?"she says, "oh, i'm an actress." he says, "go on.you're not an actress. i know you.you were a chambermaidin such-and-such hotel." she tosses her head and said,"yes, but it was a theatrical hotel." you're gonna say thatto the congressman ? the point i'm makingis that she was a maid, now she's an actress.[ chuckling ] because of her connectionsto the communists in charge. mr. crickshaw, your,your lurid storiesabout chambermaids--
this is the u.s. congress, not a, a beer hall. i am sorry, hazel,to disappoint you. i-- i assure youit is the furthest thingfrom my intentions. mr. crickshaw,there is an evil...that must be rooted out. we must choose our wordscarefully, or the presswill mock our accusations. i'm attracted to you. mr. crickshaw, i... view our relationship inpurely professional terms.
we are chums,nothing more. [ speaking spanish ] [ margherita ]diego ! who is it ? - margherita !- who ? margherita sarfatti !how many margheritasdo you know, diego ? oh, i knew someoneby that name once. she was a jew, and then shestarted going to bedwith fascists, so i assumed by now she'd changed her name.
- fascist. just one.- what ? i had one fascist.and mussolini and i are over. but you still work for him. yes, and you-- you are working forthat cute little rockefeller,huh ? touche. ah, times.they change, huh ? so many roads we travel. i was wonderingwhen you'd come.
it is so big. i hope you are getting paidby the foot. i wish. oh, the cute little rockefeller, he is hoping...it could be more... cheerful. he sent you hereto tell me this ? he's worried. whose head has fallen ? the head of fascism. of hitler.
and your friend, the buffoon, mussolini. my friend, the buffoon,loves your art, even thoughhe hates your politics. and you know whathe said to me ? no, what did he say ? that if you are everin trouble and need help,italy will be there for you. oh, that's nice.but i think... that the one that is goingto need a place to hideis gonna be mussolini, not me. he and his pinche friend,hitler. hitler is not a friendof mussolini. mussoliniis a friend of many jews.
how beautiful.fascist love. and you, you'renot just in love. you're the publicity queenfor the new roman empire. writing your articlesfor hearst, sellingthis murderer's philosophy, trying to put a human faceon his fascism. you're at the mercyof a very powerful man. as are we all, diego. as are we all. â™ªâ™ª [ piano ]
â™ªâ™ª [ singing off-key in french ] â™ªâ™ª [ radio ] â™ªâ™ª [ off ] â™ªâ™ª [ singing continues ] for god's sake,it's the only thing thatmakes his singing bearable. oh, have an open mind,dear. what the hell is hesinging about, anyway ? i think it's something to dowith the woes of a cobbler. cobbler !
shoemaker. [ laughs ]this is ridiculous ! i would appreciate it if youdidn't cast your aspersions soloudly in front of my protege. i didn't open my mouthat lunch today. i don'tinterfere with your affairs. you wouldn't understand them. i certainly wouldunderstand them. you're doing business withbenito mussolini, who's a verydangerous man, in my estimation. in your estimation. i'm looking beyond your profitmargin to a moral place, dear.
a terribly complex placewe'll all have to deal within the next few years. we have jewish friends,you know. â™ªâ™ª [ continues ] â™ªâ™ª [ ends ] [ man and woman ]â™ª remember troy remember lafayette â™ª â™ª remember the alamo remember our womanhood â™ª â™ª remember those innocent unborn babies â™ª [ woman ]â™ª don't let george do it you do it â™ª â™ª make the world safe for democracy, make the world safe for liberty â™ª
i never could understandthe reality of people... breaking into songin the middle of a play,could you ? are you sure you want thisman to direct your play,marc ? not really, no. â™ª to end all war â™ªâ™ª that was very nice.who's next ? john adair. john adair. i haven't gotten permission-- just go out there.don't say anything,don't apologize.
just sing from your heart.go on. uh, moll's song. that's not john adair,is it ? she's one of mine. one of mine. augusta, no stagehands-- no, wait.i like her.let her sing. â™ª i'm checkin' home now â™ª â™ª call it a night going up to-- â™ª
â™ªâ™ª [ continues ] this is the lookof a prostitute. fresh, innocent, vulnerable. i don't want some brassy,pulchritudinous whore, jack. i want some gal who'sdriven to sell her bodybecause she's hungry. the market crash of 1929made reluctant whoresout of many young gals. you'd find that outif you were a heterosexual,jack. â™ª the other five my efforts ain't required â™ª â™ª for two days out of seven â™ª
â™ª two dollar bills i'm given â™ª â™ª so i'm just searching â™ª â™ª along the street â™ª why did we cast her ?she's terrible. your glass sets are terrible. no one knows where they are.actors enter in fearof their lives. say another word, jack,i'm gonna murder you. - what the hell is going on ?- hello, baby. someone explain to mehow it's possible thatthe night court cue...
is playing in the first scene. hello, big boy. - abe, where the hell are you ?- busy, baby ? no problem, orson, no problem ! not so very. [ exhales ]â™ª i'd like to give you a hundred bucks â™ª â™ª but i've only got 30 cents â™ª [ men shouting backstage ] â™ª so would you wait till i catch my breath â™ª
â™ª on account of it's so immense â™ªâ™ª [ halle ] cuts in personnel ? [ man ]well, 20%. that's 3,000 peopleout of work. effective immediately. because of the cutsand reorganization,any new play, musical performanceor art gallery is prohibitedfrom opening before july 1. this is an outrage. our train leavesin 20 minutes.
paul, we'll be downin washington for two days.can't this wait till i return ? this has gone outto all projects already.i play by the book. of course you do, but you couldat least give me the chanceto deal with the directors. good lord, cradle will rockopens tomorrow. cradle opens tomorrow ? does that meanthe opening is cancelled ? - i'm afraid it does.- that is just downright disgraceful behavior. rose, get me jack housemanon the phone. i have totalk to jack. - there isn't time.- i'll call mr. houseman and explain everything.
let's go. you better get going.don't be late. hallie, i'm sorry. [ huffman ]i can conclude by saying... i thank you for your patienceand your kindness to me. we certainly hope thatthe results of this committee... will be to clear outthe communism... on the federal projectand the pro-communism, and place the project in the hands...
of efficient,professional people. place it in the hands of thosewho are in sympathy... with the american homeand government. is that what you mean ? she loves you. i'm afraid i do not understandthe question, mr. chairman. she loves you not. she-- she loves you not. [ man ] mr. crickshaw, you're on.
she loves you... not. ...exactly what i mean,mr. chairman. well, uh, thank youfor coming beforethis committee... and giving us the factsthat you have. well, thank you for havingthis committee... and receivingthe facts that i have. open shop is when a workercan be kicked around,demoted fired. just like that,he's all alone.he's free. free to be wiped out.closed shop, he's got50,000 other workers with him,
ready to back him up,every one of them,to the last lunch pail. the difference ?this is an open shop. this is a closed shop. this... is a union ! [ adair ] order in the courtroom, order in the courtroom. next case.reverend salvation. - where are they ?- the liberty committee, the liberty committee ! [ man ] wrong cue, augusta ! stand by. abe, what is the cue number ?
abe ! where do we go from-- fifty-three ! cue 53. moll's line:"reverend salvation. habitual prostitutesince 1915." - wait !- wait !- when they say go, dear. - i've never done this before.- i'm astonished ! [ augusta ]ready, abe ? ready !
- go ! cue !- that's you.- me ? - yes, you !- well, what do i do ? will you saythe fucking line ? [ sobbing ]reverend salvation.habitual prostitute since 1915. - don't start crying !- you're larry foreman. i've been looking all over townfor you. wrong scene, frank. - wrong scene.- [ screaming ] [ abe ]you haven't gotten a singlescene right yet !
- not one time !- call it a night, everybody ! call it a night !that's it ! get outta here ! charles darwin. charles darwin ? what's going on ? there you are,mr. crickshaw. i pounded on your door. i didn't hear an answer. am i going on next ? no, sir, this is your slot.
i sent sid and larry onto cover for you. that's nothing.a woman can make a monkeyout of a man in an hour. that's my act. [ audience laughs ] i'm sorry, sir.we had to do something. was it the lumberjack ?your brother ? you're giving me a headache. a headache ?only people with brainshave headaches. [ audience laughing ]
[ man ]why can't you paintanother face over it ? would you prefer stalin ?i don't. i was kicked outof the communist partyfor disagreeing with him, but if you want,i'll paint stalin. you're not beingvery cooperative. i am too ! i told you that i wouldpaint abraham lincolnsurrounded by freed slaves... to counterbalance lenin,and you rejected the idea. why lenin ?
he's a revolutionary leader, like your washingtonand, uh, jefferson. hey, there's an idea.paint jefferson. that's not a bad idea.what do you say ? that's not a bad idea at all. [ nelson ]what do you say ? that's ridiculous ! i said abraham lincolnto balance lenin,but lenin stays. this is not our revolution,diego. this is theunited states. it's not russia.
um-hmm, and i am diego rivera,not frederick remington. you understand that it is entirely inappropriate... to featurea communist leader in the lobbyof a rockefeller building ? no. i believe nothingin art is inappropriate.i paint what i see. we're going to have to insistthat the face be removed. absolutely not ! look, you son of a bitch,we're trying to be nice !this is betrayal ! - betrayal ?- yes ! there was no indication in your sketches... you would be featuringcommunist leaders in the mural !
you were hired on the basisof said sketches ! and you've changed them.it's not fair ! lenin stays ! [ orson ]how the hell do we openwithout a cue-to-cue ? actors are called early.we'll cue-to-cue in the morning. there's 175 cues to go ! perhaps if you cut some cues-- jack, there's a callfrom hallie flanagan's office ! not now, augusta, i'm inthe middle of an argument.
you were singing flat.why can't you admit it ? stop yelling ! you were a quarter tone flatthe entire last strain ! all you had to dowas listen to the trumpet ! he didn't mean it.he's very tense. it's always this wayduring cue-to-cues. union rules saywe get a 12-hour break.i'll see you at noon. come on, olive. [ man ] augusta !
you oughta be dressed by now. he's yelling at us.we can't see what we're doing. the actors need flashlights. tell themto light a match ! my god ! stop ! really fucking necessaryto have eight fucking lightingcues for a single entrance ? it's an important entrance,and i'm the fucking director ! yes, of a fucking disaster ! augusta !
i have to take my kids to a freeclinic in the morning. tellmr. welles i'll be in at 11:30. i'm staying here tonight.do you hear me ? i hate you !and you cansleep alone tonight ! i'll finally get some restinstead of listeningto you complain ! i'm leaving. i'm leaving. you can't leave. you're the producer. that's right. and as the producer, i canfire whomever i please,and i am fucking fired.
you'll come crawling backlike a bitch on heatto his master ! i'm glad he didn't get to me.i can't remember my lines. i'm strickenwith a cerebral malaise. no. god, cut it.god ! just forget it !go home ! forget it !god ! - [ speaking french ]- first he kills all my deals with italy. now he's telling mehow to run my business !i will not budge ! well, let him call,the crippled son of a bitch.let him call ! jiminy jesus !the bastards !
get this damn thing off of me.roosevelt's gonna call. oh, it's good.you look adorable. i don't want to look adorable. i want to look angry. we'll make a stunning pair. i need to let it out. can you get it readyby tomorrow ? oui, madame. the bastard wants me to joinwith the rest of little steel..
in acknowledgingthe union. how terrible. yes, it is terrible. it's worse than a strike. - no, it's not worse than a strike.- i know so little. gray, dear, that awful womancame by and left two packages. woman ? packages ? - oh, carlo, can you grab the packages ?- nyet. merci. mr. mathers, sir, two parcelswere left for you from onemargherita sarfatti.
thank you, paul.out ! what is in them ? oh-ho, so nosy. oh, pray tell. mmm, perhaps...it's a surprise. suppose it were a gift. what ?from sarfatti ? purchased through her. for you.
oh, how interesting. yes. so... mind your business. did you seethe papers today ? [ aldo ] no. it was like cradle will rockwas on the front page. - they're having a strike.- who ? a steel strike.mathers steel. i'm telling you,the same themes,the same words almost.
- it's a dangerous play you're in.- it's a great role. - i'm lucky, huh ?- hmm. [ chuckles ] just don't wantto blow it. it's too important. daddy, are we goingto lose our room ? no, chance.why do you say that ? joey told me. michael o'brien's familylost their apartment. he doesn't go to school anymore.
daddy's got a job,so, uh, we're gonna be fine. michael o'brien's fatherhad a job, and then he lost itand they were poor. well, we're poor,but we're gonna be fine. we should say some prayersjust to be safe, though.all right ? john ? yeah. - am i horrible ?- huh ? in the play.am i horrible ? no, you're not horrible.
am i not good ? no, you're good. but i'm not great. no, you're great. at times. it's hard to be great. some actors can be great all the time. it's your first role.you try hard. listen. you're better offthan you were.
your play ishorrible, indulgent,masturbatory nonsense. you don't reallybelieve that, do you ? you hear what youwant to hear. if you'd slept a little more,you might have had a shot. garbage. it's not the endof the world. i saw a rat today. where ? in here.
you know who stopped by ? your mama. she was pretty shockedabout how we were living. she would be. i think she wantsto help. [ sighs ]aldo, we couldreally use the money. i don't wantmy family's money. so the kids can go hungryjust because of your pride,your politics. you want chubbylittle fascists ?
no ! how can you say that ? but i don't want to waitin soup lines with them.i don't want-- what would that teach themif we take my parents' money ? that it's all rightto believe in somethingor have pride, but if you're justa little bit uncomfortableor hungry, sell it. aldo, there arerats in here. [ baby wails ] [ man ] paul edwards couldn't reach jack houseman last night. he's trying today.
keep on top of that. we have to reassure jackthat we will find a wayto do his show. they're chompingat the bit for you. twenty percent cuts, harry. i had no warning. it's temporary,a stopgap. a cash-flow problem.we'll get the 20% back, hallie. can i hold you to that ? who testified last night ?
hazel huffman.a real nutcase. she got good headlines,though most of the press isso bored of this committee... they just bite the baitand print the highlights. they'll all be coming backfor you, thought, hallie. i'm honored. not to put any pressure on you,but a good showing todaywould help. [ man ] by order ofthe federal government, no oneis allowed in the theater. no props, costumes,set pieces can be removed. why ?
i don't know, sir. for how long ? we have an office in the back.i assume we can use that. i'll have to checkwith my commander. go and check with stalin,you cossack stooge. jack ! jack ! i need to use the telephone. what's happening ? we've been shut out.the feds have closed us down.
how exciting. darling, i need your help.what are you doing right now ? i've an opening at themetropolitan, and mr. mathershas labor troubles. tonight there's a masqueradeball at the vanderhuesens. i'm a very busy bunny.what do you need ? i need you to join usin a clandestine operation.are you game ? clandestin !how is it done ?go, james. â¿ que pasa ? esta la guerra.
si. adios. [ dies ]mrs. flanagan, you arethe first woman in america... to receivethe guggenheim foundationscholarship. is that correct ? yes, that is correct. and you went to study abroadfor what, 12, 14 monthsto study the theater ? i did. what date was that ? that was in 1926 and 1927.
you spent most of your timein what country ? - in russia.- [ spectators murmuring ] [ dies ]how much time did you spendin russia, mrs. flanagan ? i spent two monthsand a half in russiaout of fourteen months. but let me say, gentlemen-- did you spend more time there... studying the theater thanyou did in any other country ? i did, because there are manymore theaters in russia thanthere are in any other country. did you or did you notmake the statement...
that the theater in russiais more vital and important ? yes, i did find that. [ man ] what is itabout the russian theater... that makes it more vital andimportant than the theatersof the continent... and the theatersof the united states ? i would be glad to answer that,but before i do, i would like to saythat i have maintainedconsistently... that federal theateris american theater. american theaterfounded on american principles,
which has nothing to dowith the russian theater. i know, but you're notanswering the question,mrs. flanagan. [ dies ]did you make later tripsto russia to study the theater ? i went to russia in 1931. - did you attend the olympiad there ?- i did. was this at the time ofthe fifth red international... of labor unionsthat you attended ? i wouldn't know about that.i was going to see theater.that was my one concern. are you a member ofany russian organizationat the present time ?
- i am not.- have you been a member of any russian organization ? i have not. [ jack knocking, shouting ] open up ! go away ! i'm never speakingto you again ! you leave me alone ! open the window ! open it, open it ! i'm sorry, mr. houseman.
um-- oh. for god's sake, put someclothes on, woman ! don't yourealize we're under siege ? under siege ? what are you doing here,anyway ? we had a fight. i stayed the night. halt ! who goes there ? i have hallie's office on the line. hallie flanagan, please.where in washington ? this is jack houseman.my theater's been seizedby cossacks.
i need to speak with herimmediately. this isan emergency ! oh, she's in washingtontestifying. we're radicals, jack. locked out for content.all very exciting. we need a plan, we need a plan.gotta think, gotta think. we need the plan,plan, plan. we'll find a different theater. can't find a different--find a different theater ! augusta, find me george zorn.he's a booker. he'll knowall the dark theaters.
we'll smuggle the costumes out. yes, and the set. i hate the set !it's a nightmare !brilliant idea poorly executed. i've always saidthe play would work betteron a bare stage. hallie said that. no, i said it first. no, you didn't. no, you didn't. yes, i did. yes, i did. yes, i bloody well did !
fine, jack, you win. you've gotthe biggest creative dick. i have george zornon the line. george ! yes, we havea theatrical emergency here. can you come over tomaxine elliot's theater ?now ? [ hallie on radio ] they criticized the revolt of the beavers.. because they thought that it waspoisoning the minds of youth. for that reason, i would liketo read into the record... [ woman whispers ] she's here. some of thereactions of childrenwho have seen this play.
hello. "the play teaches us never to be selfish. "that it is better to be good than bad. that if you are unkindany time in your life,you will always regret it." i could read all of this--[ continues indistinct ] cuts.twenty percent. 3,000 peopleout of work. i sure hope they're all redsthat lose their jobs. next.
[ whistles ]don't look at me. don't look. please. are you an actor ? cradle will rock ? now listen carefully. use theback entrance through the windowof the women's dressing room. good luck.godspeed. roosevelt wants me to give in.follow the rest of little steel. he has no spine. he says if we don't capitulate,
we'll have a revolutionon our hands. revolution. so what do you think, w.h. ?you think lewis hasthat kind of power ? i think people are poor andangry and will follow anybodythat promises them gold. they've got you cornered,gray. if you give in,you'll lose money... and you open the floodgatesto socialists and radicals. if you resist, you'll wind upresisting with guns. [ laughs ]and that won't look good. killing strikersdoesn't play to the public.[ laughing ]
you've got to find a way... to give them a dollarand take two, huh ? [ laughs ]not an easy task. magnificent. [ inhales, exhales ] now listen.i'm buying art.that's all. if anything comes backto me, i'll bury youand your company. not to worry.
diego rivera ? you must vacate the premises.your work is now completed. rockefeller center no longerrequires your services. fuck off ! chacho ! chacho ! get me the tribune.what's the critic's name there ? oh, never mind !just get me the national desk. no can do on the jolson theater.the owner's in the berkshires.unreachable. what aboutthe gossamer arts ? closed by the health department.
the rialto ? huh ! the owner's a libertyleaguer, very conservative. i can try. do try, george.i love irony. this is orson welles,and i believe you may beinterested to know... that for the first timein american history, the government has sentarmed guards to preventthe performance of a play ! frida ! movilizarthe art student's league !
[ diego shouting in spanish ] news flash, news flash !twenty percent cutsin personnel ! it's curtains for all of us.i hear a rumor they're gonnashut this whole project down. what do you think,mr. turncoat ? we worked up a little routine. can you look at it,give us your advice ? you're reds.i don't talk to reds. we're not red, darling.pink. like a flower. we're homosexuals,not communists.[ laughing ]
you thoughtwe were communists ? oh, that's rich. come on.watch our act. leave me alone. mr. rockefeller wantedto convey his feelings ofappreciation for your work... and instructed meto give you this checkas payment in full. this is it ? now what ?you paint over lenin's face ? you gonna put hearst's faceon it ? or hitler ? paint overthe war, the soldiers ? turn them into jolly, drunkenenglish fox hunters ?
a little bucolicpastoral scene... of men on horseschasing after a little fox ? listen, folks, could i haveyour attention, please ? folks ! due to cutbacks,we will not be hiringat the present time. [ crowd clamoring ] to save you timeand aggravation, [ clamoring subsides ] we suggest you drop offyour applications and go home...
or to the park. [ clamoring resumes ] we're very sorry. [ dies ]mrs. flanagan, how many peopledo you figure... you had as audience in the united states for these plays ? [ hallie ]the recorded figure, congressmandies, was something like... 25 million people. in other words,you have reached... approximately 25%of our populationwith your plays.
something like that.yes. now... you wrote for theater arts monthly, november 1931,did you not ? yes, i did. i quote thisfrom that same article. "start dramatic groups in unions, in fraternal organizations, "in social clubs, in company unions, in y.m.c.a.'s. "dot the land from coast to coast. don't expect profit in money. these theaters existto awaken the workers."
may i interrupt ?please notice that thatis a quotation. a quotation, yes.but these are your wordsi'm quoting. "the workers' theaters intend to remake a social structure without the help of money. "and this ambition alone invests their undertaking... with a certainmarlowesque madness." you are quotingfrom this marlowe.is he a communist ? [ spectators murmuring ] i'm very sorry. i was quotingfrom christopher marlowe. tell us whothis marlowe is so we canget the proper reference,
because that is allwe want to do. put in the record thathe was the greatest dramatistin the period of shakespeare, immediately precedingshakespeare. of course, we had what somepeople call communists backin the days of greek theater. - if you say so.- and i believe mr. euripides... was guilty of teachingclass-consciousness also,wasn't he ? i believe it was alleged againstall the greek dramatists. so we cannot saywhen it began. wasn't it alleged also of ibsenand against practicallyevery great playwright ?
countess, we need a piano. piano ? in case the theater we finddoesn't have one. good thinking. here's ten dollars.that should cover the rental. marc, tell the countesswhere she might find a piano. um-- [ woman ]mr. welles, will you-- we most assuredly will beperforming the cradle will rocktonight !
what theater ? we are currently negotiatingwith three theaters. we'll let you know within the hour. [ woman shouting in spanish ] [ spanish ] why can't we go in ? this is private property !it's not open to the public ! we want to see the painting. the lobby is closed.
let us in ! down with rockefeller ! [ crowd shouting, indistinct ] [ man speaking spanish ] the paint'll come through. must hit. chip. - chip ?- [ woman ] nelson ? nelson ?
hi. your masquerade partystarts in an hour. you wanted me to remind you. claire ! not now. [ softly ]thank you. chip ? sol, do we havea pneumatic drill ? you're larry foreman. ex-foreman. i've been lookingall over town for you.
how's the union returns,mr. mister. oh, damn.what is it ? "they haven't come to a decision yet." [ orson ] we can do this ! has anyone asked the w.p.a.if this is okay ? hallie is in washingtontestifying. will,bring the guitar out front. i'm not gonna do it. jack, we've got troublewith the musiciansand the actors unions.
they won't sanctiona performance elsewhere. the actors union and themusicians union are forbiddingtheir members to perform. mathers steelwill not be intimidated.james ! just a second.where the hell is my wife ? i last seen herat maxine elliot's theaterdowntown, sir. you left her there ? she dismissed me, sir. bring the car around. are we clear ?that's right.whatever it takes.
madame sarfattito see you, sir. show her in. carlo, a little privacy,please. hmm ? why don't you goclean the toilets or something ? i clean nothing. gray, such a pleasureto see you. buona sera. i mean, it isa great pleasure to-- to--
we have met before. i don't think so. carlo, out ! - your wig, sir.- out ! everybody, out ! out ! oh, gray, gray.did you receive the package ? yes, i did. you did not open it ? uh, no, i haven't. well--
and mr. hearst,did he receive his package ? - yes, yes, he did.- did it please him ? oh, yes, very much.so when do you sail ? tonight. your payment, madam. thank you, thank you.and mussolini thanks you. we-- i-- we aregoing to miss you. you did not tell mewhat you feel. about you ?
about the painting.you open it, but you say nothing. oh, uh-- i--i love it. it's, uh-- it's a masterpiece. yes. yes. is it da vinci ? and where will youhang her ? uh, here in the study. uh, over the fireplace. ah.
oh, what a shameto let the classics slip away. he won't evenreconsider, right ? actor's equity says no. [ marc ]we can't do the show. we can't do the show. equity says. did you ever love me ? how are we gonnado the show without musicians ? the show's off.
we're not dead yet. our unions won't let usdo the show. what reason did they give ? i say stop, you say go.you're an evil man, jack. excuse me, jack. it meanswe can't do the show. it means it's over.it's over, everybody. time to go home.let's go, olive.this show's a disaster. excuse me.
not now, george. what if we do it anyway ? and be kicked out of the union ? not be able to work ?i can't risk that. we thought so too.it's-- excuse me ! i found a theater. the venice, 59th and 7th.the owner wantsa hundred bucks. tell him no.
it's over, george ! jack ! jack ! i found a piano !where am i going ? we're not doing the show.we've been censured. well. i found a piano.there's a crowd out there.why not do it in the street ? we have a theater.it's the actors.they've been forbidden. well.why not let marc do it ? by himself,all the characters, yeah.
he did it for us. i know, but it's notgonna be any good. what's not gonnabe any good ? besides, he's in the union. marc, are you in the...musicians union ? no. why ? you haveestablished the precedentof exhibiting a play... that champions the causeof public ownershipof utilities.
you said you thoughtthat was proper andyou had a right to do that. - i think so.- and if the same play proved that the public ownership... of railroads was a good thing,you would do it too,would you not ? absolutely. and the test is,is it a good play-- and if someone camewith a play showingthat the public ownership... of all the landsin the united states, and it was a good play,you would do that too,would you not ? that is a very clever moveon your part to maneuver meinto a certain position. - i do not pretend to any cleverness.- no, i would not.
we would stop at that becausethat would be recommending... the overthrow of theunited states government,and i do not want that, gentlemen, whatever some ofthe previous witnesseshave intimated. in other words, you wouldfavor doing it by degrees,but not all at once. isn't that right ? [ crowd murmuring ] [ hallie on radio ]it is a degree that the congresshas passed upon, isn't it ? [ dies ] not yet. you did at one time.
not that i know of. during the war ? i want you all to know that i resent this silent treatment, this subtle torture thatyou are all subjecting me to. it is not easy beingthe one that stands upand says the truth. you all know that there arecommunists amongst you. you all knowthat you date negroes. you all knowthat you are antifascist. i say the pox on youand your house. i will nottolerate this abuse.
[ in melvin's voice ]what a hero you are. mr. noble-rat-on-his-friends-now-everybody-gets-firedcrickshaw. what a hypocrite.you believed in something once,tommy. [ regular voice ]shut up. [ melvin's voice ]where have you cometommy crickshaw ? where's the young comradei once knew ? let's do the old act. one more time,for old times' sake ? come on, tommy.
[ humming ] [ jack ]the federal government and theactors and musicians union... sophie ! have collectively forbidden usfrom performing this play. daddy, what's happening ? they've shut down the show. the government ? no, the union. at this time, the composerof cradle will rock, not beinga member of the union,
will be performing the playby himself... on the stageof the venice theater,21 blocks north... on 59th and 7th. you're all invited to join us.thank you. where is it ? 59th and 7th. you gonna go ? every major newspaper criticin new york is here, marc.you can't let them down. you better be good.this is huge.a thousand people.
the rome theater,57th and 9th. we should support marc.he'll be terrifiedplaying on his own. our union has forbidden usfrom performing in this show. if we even go to that theater,we could lose our jobs.i'm leaving. you can either come with meor find somewhere else to sleep. you're kicking me out ? come nowor find somewhere else to sleep. understand ? mrs. flanagan, we have hada long day, and your testimonyhas been most illuminating.
we will hearfrom mr. alsberg tomorrow. we will adjournfor the evening. just a minute, gentlemen !do i understand this concludesmy testimony ? [ dies ]we will see about it tomorrow. i would like to makea final statement,if i may, congressman dies. mrs. flanagan, it is very late.we shall see about it tomorrow. chairman dies, this committeehas heard testimony... for five and a half monthsfrom unqualified witnesses. as head of the federal theater,i must insist on more timeto refute this testimony.
it is only fair and decent,sir. whoa, let's not talk aboutdecency, mrs. flanagan. the federal theateris hardly a judge of that.now excuse me, ma'am. mrs. flanagan, any commenton the proceedings ? they're chasing ghosts.i hope to further repudiatetheir charges tomorrow. what is going on, harry ? you made starnes look likea fool and he's furious. i mean,marlowe a communist ?[ laughs ] they have to allow meto continue.
they're not asking you back. i have had six hours !it's not fair ! you're embarrassing them. hazel huffman had three days.she's a clerk. you're too smart for them. i'm head of the project.i must be allowed to continue. you have to talk to roosevelt. the committee is not interestedin reason and intelligence. this is their show and theyare writing you out of it.
did you hear me ? roosevelt can make it happen. one press releaseand i'll be back in the morning. this is not going to happen. this is not going to happen.roosevelt is saving his fights. this is politics, hallie.give a little, get a little. exquisite, exquisite. congratulations.it is a perfect fit. you know, the next timewe see each other,we'll probably be at war.
i hope not. i hope it can be avoided. probably not. probably not. [ crowd shouting ] your friend rockefellershut me out ! lenin in a capitalist's lobby.what were you expecting ? i was dragged outlike a common criminal. you were hired to do a job. now your boss does not likewhat you did. paint yourrevolution at you own expense.
go paint a mural for nothingat the young communists league. because i take rockefeller'smoney, now i am his slave ? yes ! oh ! when did youstop supporting artists ? i support your art, but thatdoes not mean that i mustsupport your revolution. it's the same thing ! no, it is not. what a lie you live.a jewish fascist. and you,a wealthy communist.
[ siren wailing ] [ blowing whistle ] [ marc ]should i do a characterdescription ? no, i probably-- i shouldn't doa character description, right ? don't worry-- shut up, jack. you shut up ! please, please, please. you'll be fine, marc.
um, there are seven duetsin the piece. what am igonna do about those ? dad, why did they have guns ? seems strange, doesn't it. you're not doing the play ? because the governmentsays we can't. but you want to do it ? - is it against the law ?- no, but they're my boss, and they pay me and they saywe can't do the show. but you still want to do it,so why don't you do it already ?
'cause i can't.it's been forbidden.and i could lose my job. [ orson ] it'll ruin my career. the only person who canruin your career is you. oh, shut up.you snake in the grass. you shut up. i never want to workwith you again. ever. i'm never gonna work with you. i never want to workwith you again. i never want to work with you.
do be careful.don't hurt yourself. oh, look at those lights.they're wonderful. [ horn honking ] constance, what on earthare you doing ? i'm getting the pianooff the truck ! oh, my heavens ! darling !i was supposed to meet youat home an hour ago. i've failed you miserably. i do hope you'll forgive me. you look splendid,gray, darling. have yougot any money ? i'd like to givethese generous men a gratuity.
get in the car. why, dear ? we're going home. darling,we'll miss the performance. that certainly is my intention. don't make me choosebetween marie antoinetteand this evening. i'll never forgive youif you make me missthis performance tonight. oh. good lord.it's a revolution. it's the audience !
carlo, would you pleasegive me and my husbandsome privacy ? nyet. merci. james, go ! james, stay.when did you becomesuch a stick in the mud ? oh, stop it !we're going home ! my wife has gone completely mad.get in the car ! now ! perhaps you've mistaken mefor a spaniel. if you don't get in the car,i will cut off your allowance.
[ gasping ]you'll do nothing of the kind. and if you do, then i'llhave to live as a gypsy does. - [ growling ]- constance ! orson, jack,we've got the piano !come, come ! â™ªâ™ª [ band ] â™ªâ™ª [ stops ] [ sighing ] you know times are hardwhen i look at youand see firewood. hey, what are you saying ?
why, my oaken friend, mr. roosevelthas laid us off. cutbacks ? politics. i told you you shouldn't haveratted on my friends. - friends ?- uh-oh. did you say friends ?those reds are your friends ? - sorry, comrade.- comrade ? we are all comrades,and we will not restuntil all of the country is red.
i've known this dummylike the back of my hand.i swear, in my own hand,a revolutionary ? ladies and gentlemen,this man exploits my laborfor his own profits. this capitalist pays me zero,works me whenever he likes. i sleep ina coffin-like apartment ! you're a dummy ! dummies ! this is what he calls us,brothers and sisters. not you folks.
[ melvin ]if it is dummies we are,then i say, "dummies, rise up ! "rise up to the proletarian call of dummies everywhere ! storm the barricades !riot in the streets !" [ man ]give him the hook ! â™ª arise, ye prisoners â™ª â™ª of starvation â™ª â™ª arise, ye wretched of the earth â™ª â™ª for justice thunders condemnation â™ª [ woman ] get off the stage !
â™ª a better world in birth â™ª â™ª then, comrades, come rally â™ª â™ª and the last fight let us face â™ª â™ª the internationale â™ª â™ª unites the human race â™ªâ™ª [ man ]and aristophaneswas definitely a communist. so are we through ?is this it ? should i be looking for a job ? we've got another year,if we fight.
you know, i can understandthe puritans, i canunderstand the politics, but i guessi don't understandthe passion of it. the intense anger. it's not just anger, it's fear. - fear ?- mr. o'hara, have you ever heard of michael grunwald ? - what, was he a communist ?- no. mr. de rohan ? michael grunwald, an historian,elizabethan england, not acommunist as far as i can tell. mr. o'hara, have you readany of his books ? uh, no, congressman flanagan.i skipped that course.
but you know your historyof elizabethan england. - well, yes. from shakespeare, madam chairman.- a playwright. i see. - mr. o'hara, who was richard iii ?- a humpback and a killer. mr. de rohan, what is michael grunwald's opinion of richard iii ? uh, michael grunwaldwould say that richard iii wasa great ruler and much maligned. and yet this shakespearehas written a playwhich is still performed, while mr. grunwald's booksgather dust. would you consider that unfair,mr. de rohan ? why, yes. i would saythat this mr. shakespeareshould be investigated.
and if all else fails,we can remove his words. burn them. we're not paintingpretty pictures with our plays. it must scarethe hell out of them. well, the plays are written.they're here forever. oh, i hope they are. federal theateris going to end. but theater is going to be better off. we've launched a ship,
a grand and glorious ship. [ cheering ] how comethey did that, dad ? you should ask your uncle.that's his flag. olive ! hi. i thought you went home. um, i don't have a home now. he kicked you out ?
can i sleepon your floor tonight ? sure. i didn't want to miss this. [ gray ]what in god's name wereyou expecting from a communist ? [ nelson ]i wouldn't have had this problemwith picasso or matisse. [ hearst ] we controlthe future of art becausewe pay for the future of art. appoint people to yourmuseum boards that detestthe rivera's of this world. celebrate the matisses.create the next wave of art. you have the purse strings.it's quite obviousyou have the power.
cultural power. to pay for the matisse. celebrate colors. celebrate form. portraits. countrysides. men on horses. sunsets.nudes. oh, yes.
[ audience chattering ] [ applauding ] ladies and gentlemen ! welcome to the firstrunaway productionof the federal theater. i'm sure that you are awareby now of the circumstances... that have led usto this dusty theateron this beautiful summer night. something in this playfrightens people in washington. there must be some sinisterforce at work in this play. [ sinister laugh ]
- [ audience laughing ]- so without further ado, allow me to introduce to youthe monster behindthe cradle will rock, mr. marc blitzstein. [ applauding, cheering ] good evening. fade to black and we'rein steeltown, u.s.a. a prostitutewalks down the streetand stops under a streetlamp. this is moll. [ both ]play.
she sings: â™ª call it a night â™ª â™ª goin' up to my room â™ª â™ª turn on the light â™ª [ olive and marc ]â™ª jesus â™ª â™ª turn off that light â™ª â™ª i ain't in steeltown long â™ª â™ª i work two days a week â™ª â™ª the other five my efforts ain't required â™ª
â™ª so i'm just searchin' â™ª â™ª for on those five days â™ª â™ª jesus â™ª â™ª who said let's eat â™ªâ™ª enter a well-dressed gentleman-- enter a well-dressed gentlemanwho's on the make. [ audience laughs ] uh, okay.enter me. â™ª i'd like to give you a hundred bucks â™ª
â™ª but i only got 30 cents â™ª [ hearst ]nelson will fundthe new wave of art. a traveling exhibitthroughout europehighlighting american artists. - [ gray ] nonpolitical.- yes, abstract. colors and form, not politics. my papers will hail itas the next new thing. we'll canonize the artists,make them rich.[ laughing ] and soon enough,all artists will bedoing the next new thing. you think ? there'ssomething about artists... that always getssocially concerned.
that's true. - they won't get paid for it.- they won't be seen. they'll have no influence. rather than starve, they'll adapt. it's survival. and artists are whores,like the rest of us. [ moll ]â™ª maybe you wonder what it is â™ª â™ª makes people good or bad â™ª â™ª why some guy â™ª â™ª an ace without a doubt â™ª â™ª turns out to be a bastard â™ª
â™ª and the other way about â™ª â™ª i'll tell you what i feel â™ª â™ª it's just the nickel under the heel â™ª â™ª go stand on someone's neck â™ª â™ª while you're takin' â™ª â™ª cut into somebody's throat as you put â™ª â™ª for every dream and scheme's â™ª â™ª depending on whether â™ª â™ª all through the storm â™ª
â™ª you've kept it warm â™ª â™ª that nickel under your foot â™ªâ™ª scene two. we're nowin a holding cell. moll sits there, depressed, as larry foreman,a union leader, isthrown in there with her. he says-- ohhhhh ! [ aldo ]ohhhhh ! - [ audience applauding ]- daddy !
boy ! - i just been grilled !- ooh, you been hit good. you're new here.what's the matter ?they catch you on the streets ? uh-huh.what'd they get you for ? who me ? makin' a speechand passin' out leaflets. the formal chargeis incitin' a riot.ain't you ever seen my act ? well, i'm creepin'along in the dark. my eyes is crafty. my pockets is bulgin'.i'm loaded !
armed to the teeth...with leaflets ! i come up to youvery slow, very sneaky. and with one fell gesture,i tuck a leaflet in your hand. [ aldo ]one. two. three.oh ! there's a riot ! you're the riot !i incited you !i'm terrific, i am. [ audience laughs, applauds ] scene three.a night court. enter the liberty committee.
say ! what's the whole liberty committee doin' in a night court ? and on the other side of the bars ? [ man ]think of what my people wouldthink if they could see me. you know, mr. mister. he'll come and bail us out ! phone for mr. misterto come and bail us out. we're the most respectablefamilies in the city. we're steeltown'sliberty committee. [ man ] we're against the union.
- we're against the drive.- why, i drew up the manifesto. â™ª steeltown is clean â™ª â™ª steeltown's a real town â™ª â™ª we don't want a union â™ª â™ª in steeltown â™ªâ™ª i am the reverend salvation. we have formedthe liberty committeeto combat against socialism, communism, radicalismand especially unionism. - i'm the editor of the steeltown news.- i'm his personal doctor.
and i'm mr. mister'spersonal wife.mr. mister's mrs. missus. i'm his daughter, sister mister. i'm his son,junior mister. who is this mr. mister ? better ask who he's not. he owns steeland everything else. â™ªâ™ª [ piano ] â™ª so mr. mister please take pity â™ª â™ª from disaster â™ª
[ committee chattering ] first case.name ? reverend salvation. habitual prostitutesince 1915. [ reverend ]â™ª so sayeth it in the bible â™ª â™ª so must it be â™ª â™ª thou shalt not kill â™ª â™ª peace on earth toward men goodwill â™ª â™ª only goodwill â™ª
â™ª as your shepherd i implore â™ª â™ª turn from thoughts of wicked war â™ª â™ª war we do abhor â™ª â™ª let's do something before we've got too old â™ª â™ª i'm glad i'm not too old to tie a can to a doggie's tail â™ª â™ª let's raise chickens, raise the dickens, go to church and be on time for excitement â™ª â™ª and indictment would be swell if we invent a crime â™ª â™ª let's do something to kill the monotony â™ª â™ª let's go in for botany if they've got any and if not any â™ªâ™ª
[ mrs. mister ] â™ª so we mustset the tone right, pleasedon't be quite so downright â™ª â™ª simply answer both yes and no â™ª â™ª it's true you've preached so much for peace â™ª â™ª but now it seems that peace â™ª â™ª may be a little expensive â™ª â™ª please don't think me offensive â™ª â™ª just restrain your intensive ardor â™ªâ™ª [ editor ]â™ª oh, the press, the press the freedom of the press â™ª â™ª you'll never take away the freedom of the press â™ª
â™ª that foreman series now â™ª â™ª yes, mr. mister, yes â™ª â™ª with a hey-diddle-dee and a ho-nonny â™ª â™ª no â™ª no ? yes, mr. mister, yes ! â™ª for whichever side will pay the best â™ªâ™ª [ mrs. mister ]â™ª all you clergymen must now prepare â™ª â™ª a special prayer and do your share â™ª
â™ª oh, yes, your share â™ª [ audience laughs ] thou shalt-- â™ª war, war kill all the dirty huns and those austro-hungarians â™ª â™ª war, war we're entering the war â™ª â™ª make the world safe for democracy â™ª â™ª make the world safe for liberty â™ª â™ª make the world safe for steel and the mister family â™ª â™ª of course it's peace we're for â™ª
â™ª this is war to end â™ª â™ª all war â™ª â™ª amen â™ª â™ª i can see the market rising like a beautiful bird â™ªâ™ª collection ! [ applauding ] [ man ] mr. mister ! where have you been, sir ? - you're larry foreman !- you're larry foreman !
- ex-foreman.- i've been-- i've been-- looking-- yeah ? well,how's the union returns ? well, they haven't-- haven'tcome back with a decision yet. mr. foreman, i knowa lot about you. you were once in my employ. now look, we bothwant the same thing. a fair, square dealfor everybody.
why don't youpersuade your union... to join withthe liberty committee in onegreat big united organization ? [ whispers ]thank you. let me understand you. â™ªâ™ª [ cast vocalizing ] you'd like my servicesin swinging your wayall the people i have signed up. all the people who agreewith the union. you want meto change their minds. â™ª that's it that's it â™ª
â™ª now do it â™ª that's rather strongly put. oughta be worthquite a sum to you, eh ? i thought so.every man has his price. [ moll ]â™ª and every day is a wonderland tour â™ª â™ª oh, you can dream and scheme and happily put â™ª â™ª then take, take and put â™ª â™ª but first be sure â™ª â™ª the nickel's under your foot â™ª
â™ª and if you're sweet then you'll grow rotten â™ª wait ! i'm kinda funnythat way. i'd like to know nowhow much it might be worth. who do you think you are ?go on ! go on ! that's mr. mister making youan offer ! take it ! take it ! making you an offer !mr. mister ! you don't say. worth that muchto you, eh ? well, you takeall that money... and you go buy yourselfa big piece of toast !
[ audience applauding ] - idiot !- marvelous ! now then,get outta here ! - hooray !- [ audience cheering, applauding ] and take this little girlwith ya ! out there,she doesn't cost ya nothin' ! in jail, you're liableto have to feed her ! why, you goddamned skunk.i'll break you.i'll drive you outta town. lynch him !
get rid of him ! yes, lynch ! kill ! listen once and for all,ya scared bunch of ninnies ! outside in the square,they're startin' something... that's gonna tear the cat gutoutta your stinkin' rackets. that's steelmarchin' out in front. the people in this townare findin' outwhat it's all about. they're growin' up. and when everybodygets together like steel'sgetting together tonight,
where are ya then ? listen, you black legions ! you ku kluxers ! you vigilantes hidin'up there in the cradleof the liberty committee ! when the storm breaks, the cradle will fall ! - â™ªâ™ª [ trumpet ]- listen ! the boilermakers are with us ! â™ªâ™ª [ clarinet ] that's the boilermaker's kids.
the roughers, the rollers ! â™ªâ™ª [ cast singing, indistinct ] steel ! your steel !they done it ! hey, they're marchin'down here. ain't got no permit to march. - arrest them !- arrest 'em ? there's thousands of 'em. they're standin' in front of the courthouse. they're right here. - my god. what do they want with me ?- don't worry. that's not for you. that's just a union marching.
[ cast ]â™ª and then they put out their hands â™ª â™ª and feel stormy weather â™ª â™ª a birdie ups and cries â™ª â™ª "boys, this looks bad" â™ª â™ª you haven't used your eyes â™ª â™ª you'll wish you had â™ª â™ª that's thunder that's lightning â™ª â™ª and it's gonna surround you â™ª â™ª no wonder those storm birds â™ª
â™ª seem to circle around you â™ª â™ª well, you can't climb down â™ª â™ª and you can't sit still â™ª â™ª that's a storm that's gonna last until â™ª â™ª the final wind blows and when the wind blows â™ª â™ª the cradle will rock â™ª - yes !- [ cheering ] â™ª and it's gonna surround you â™ª â™ª no wonder those storm birds â™ª
â™ª seem to circle around you â™ª â™ª well, you can't climb down and you can't say no â™ª â™ª you can't stop the weather not with all your dough â™ª â™ª for when the wind blows oh, when the wind blows â™ª â™ª the cradle will rock â™ª [ no audio ] - i love you, baby !- i love you ! the cradle will rock ! â™ªâ™ª
â™ª maybe you wonder what it is â™ª â™ª i'll tell you what i feel â™ª â™ª it's just the nickel â™ª â™ª under the heel â™ª â™ª oh, you can live like hearts and flowers â™ª â™ª and every day is a wonderland tour â™ª â™ª oh, you can dream and scheme â™ª â™ª and happily put and take â™ª â™ª take and put â™ª
â™ª that nickel's under your foot â™ª â™ª go stand on someone's neck while you're taking â™ª â™ª for every dream and scheme â™ª â™ª that nickel under your foot â™ª â™ª your pretty heart covered over with soot â™ª â™ª and if for once you're gay â™ª â™ª and devil-may-careless â™ª â™ª and, oh, so hot â™ª â™ª i'll know you've got â™ª
â™ª that nickel under your foot â™ªâ™ª [ man ]â™ª croon croon till it hurts, baby â™ª â™ª croon â™ª â™ª my heart asserts, baby croonin' in spurts, baby â™ª â™ª is just a nerts for a tune â™ª [ woman ]â™ª spoon in a canoe, baby â™ª â™ª spoon â™ª â™ª one built for two, baby just me and you, baby â™ª â™ª i can canoe, baby spoon â™ª
[ man ]â™ª oh, the crooner's life is a blessed one â™ª â™ª he makes the population happy â™ª â™ª for when all his cares have distressing one â™ª [ woman ]â™ª a spoon is grand in the june-day sun â™ª â™ª you spoon and spoon and never get tired â™ª â™ª but it's nicer at night than in the noonday sun â™ª â™ª 'cause then you're gary cooper and i'm greta garbo â™ª [ man ]â™ª just croon â™ª â™ª even the poor are not immune â™ª
â™ª if they're without a suit they shouldn't give a hoot â™ª â™ª when they can substitute â™ª [ woman ]â™ª find me a dream man â™ª â™ª and leave us in dreamland â™ª â™ª where me and my dream man â™ª â™ª can â™ª [ man ]â™ª when they can substitute â™ª [ woman ]â™ª spoon â™ªâ™ª â™ª and we love art for art's sake â™ª
â™ª it's smart for art's sake â™ª â™ª to part for art's sake with your heart for art's sake â™ª â™ª and your mind for art's sake be blind for art's sake â™ª â™ª and deaf for art's sake and young for art's sake â™ª â™ª until for art's sake you kill for art's sake â™ª â™ª all the art for art's sake â™ªâ™ª