Opowieści Hollywoodu cz. 1 - 1986

Miasto
Miasto
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Transcript
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00:00:30My name is Ydyn von Horvat. Ydyn. Ydyn.
00:00:41It's best if you call me Ed.
00:00:44You don't have to apologize.
00:00:46There's no reason for you to know my name.
00:00:50About ten years ago, I began to develop my position in the theatre, in Germany.
00:00:58At that time, they called me...
00:01:01How do you say it?
00:01:03A promising writer.
00:01:05That's what people say about writers they don't like,
00:01:08and who will live a long time.
00:01:11I had a play in rehearsals when the Nazis came to power.
00:01:17There was no premiere.
00:01:20After that, no one wanted to perform my plays in Germany,
00:01:23although I did everything to make them really terrible.
00:01:26So I started writing stories.
00:01:29And then...
00:01:32You probably don't want to hear this, but I really don't want to talk about it.
00:01:37At that time, being a writer in Germany was like playing water polo without being able to swim.
00:01:47In the 1930s, and it just so happens that I was in my thirties,
00:01:52I traveled a lot around the world.
00:01:55This decade had its own dramaturgy,
00:01:58which my more advanced friends condemned as hopelessly old-fashioned.
00:02:03And yet it was full of carefully constructed columns,
00:02:06collected, arranged, surprising perpetuals.
00:02:09And when those years were coming to their inevitable end,
00:02:13many of us, that is, us, German writers,
00:02:17were saved by a miracle.
00:02:20First of all, I would like to tell you how I did it.
00:02:24Let me put it this way.
00:02:27I never shared the fashionable view that a film as a genre would not survive the sound.
00:02:34On the other hand, I was so far away from the world of film
00:02:38that I did not understand that a writer is no more than a hairdresser.
00:02:43So when I was invited to Paris in May 1938
00:02:47to talk about the screenplay of one of my stories,
00:02:50I accepted it immediately.
00:02:52As I said, I was unfamiliar with the world of film,
00:02:55so the course of the first meeting surprised me completely.
00:02:59Instead of talking to me, they packed me into a car,
00:03:02took me to Champs-Élysées, handed me a ticket
00:03:05and told me to see the latest sensation.
00:03:08Snow White and the Seven Dwarfs.
00:03:13It is difficult to say what this had to do with my story,
00:03:16which concerned fascist politics in the field of education.
00:03:20However, considering the historical circumstances,
00:03:23the tone of the film seemed a bit too cheerful to me.
00:03:29Then our meeting took place, which lasted as much as 10 minutes.
00:03:33Then my wife proposed to me that she would take me to the hotel.
00:03:37The evening was very nice, so I said I would come.
00:03:40I was already halfway there when suddenly it started to rain from the clear sky.
00:03:51Together with him, I hid in the silence of a huge chestnut,
00:03:55vis-à-vis the Marini Theater.
00:03:57Before he managed to say a word, I sensed an alien in him.
00:04:01I was even going to ask him about it, when strange things began to happen.
00:04:06Near the place where we stood, a tree broke in the wind,
00:04:10fell on our tree, causing a thick branch above our heads
00:04:14to give out a slight twitch
00:04:17and, breaking off from the trunk, fell directly on the back of my companion's head.
00:04:25He died instantly.
00:04:28This incident led me to the following reflection.
00:04:33Why are people so terribly afraid of fascists?
00:04:37Why aren't they afraid to just walk down the street?
00:04:41I don't know any political theory, any political system
00:04:45that would assume the action was an accident.
00:04:48I don't just mean that a few centimeters to the right or to the left was enough,
00:04:53and that I would be lying on the ground now.
00:04:56I mean that the accident, in its most horrible version,
00:05:02was to soon take the lives of millions of Europeans.
00:05:08Of course, no one was aware of it.
00:05:11I had friends who went to the internment camp by taxi.
00:05:17In any case, this tree on Champs-Elysees was enough for me.
00:05:20As a German-speaking Hungarian, born in an Italian city
00:05:23now belonging to Yugoslavia, in other words,
00:05:26a native inhabitant of the Illyrian coast,
00:05:29I was lucky that the accident was in my favor.
00:05:32Not only did I have a Hungarian passport,
00:05:34but also an authentic uncle in America, in Lexington,
00:05:38in the state of Virginia,
00:05:40who immediately sent me a notarized invitation.
00:05:44At that time, some were desperately looking for papers
00:05:47that would help them leave for Mexico, Helsinki, Shanghai, wherever.
00:05:52Others were sitting quietly in Switzerland.
00:05:55Others, without a word or in a panic,
00:05:58were taking up a place in cattle wagons.
00:06:01Or they were swallowing poison in some foreign,
00:06:03remote towns.
00:06:06On the other hand, I,
00:06:08not taking into account my convictions related to water,
00:06:12full of confidence,
00:06:14was just getting closer to...
00:06:30In Lexington, in the state of Virginia,
00:06:33my uncle,
00:06:35to put it mildly,
00:06:37was an ardent fan of the radio
00:06:41and a member of the Bund.
00:06:44So every evening he spent turning the crystal
00:06:48so as not to lose any of the newest thoughts of the Führer.
00:06:59In this situation,
00:07:02I was left with only one thing.
00:07:06Namely...
00:07:09Los Angeles.
00:07:31Hello.
00:07:44Good day, Mr. Manner.
00:07:47Yes.
00:07:50I'm glad you found the time, Mr. Horvath.
00:07:56I'm going.
00:07:57Excuse me?
00:07:58I'm going.
00:08:02Oh, yes.
00:08:05I've got someone to talk to.
00:08:07All right, all right.
00:08:09Sit down, sit down.
00:08:12Jack, how are you?
00:08:15At last, next week.
00:08:17Yes, I told you, but...
00:08:20Talking to this guy is like a bath in frozen sauce.
00:08:24Jack, I'm very grateful for your patience.
00:08:27Yes?
00:08:28Excellent.
00:08:29And I'm going.
00:08:30Yes.
00:08:31Yes.
00:08:32Thank you, Jack, for the phone. Bye.
00:08:36Did you see Robin Hood's adventure?
00:08:38Is it in the film?
00:08:40Didn't you see Robin Hood's adventure?
00:08:43No.
00:08:47Of course it's raining!
00:08:49I can see it's raining like hell!
00:08:55You did something for Fox in Europe, didn't you?
00:08:59Yes.
00:09:00You wrote a play about Edward II, King of England.
00:09:05Excuse me?
00:09:06A play.
00:09:11A play.
00:09:13You wrote a play about Edward II, King of England.
00:09:19No.
00:09:20No?
00:09:21No.
00:09:22Aha.
00:09:24Yes, I know what you mean.
00:09:27You mean Edward II?
00:09:32No.
00:09:33It's a play by Lionel Furtwanger and Bertolt Brecht.
00:09:39You had nothing to do with it?
00:09:41No.
00:09:44Don't you know by any chance which one of them is here?
00:09:48No.
00:09:50I think Mr. Furtwanger is in Denmark,
00:09:54and Mr. Brecht is in France, or something like that.
00:09:59But you have a sense of the matter.
00:10:02Excuse me?
00:10:03I still don't speak English well.
00:10:07You know this play.
00:10:09Yes, but it's an old English play.
00:10:15What do you mean?
00:10:16Yes, by Christopher Marlowe.
00:10:22But I think he's not here either.
00:10:30I'm telling you to play it.
00:10:32What?
00:10:33Robin Hood's Adventures.
00:10:35I'm telling you, it's a bomb.
00:10:37In the United States alone, we made three million.
00:10:40Does that give you any idea?
00:10:42Yes.
00:10:43Wait, I'll explain.
00:10:49You can't explain this.
00:10:51But I don't know why people are so crazy about the history of England.
00:10:55So someone invented Edward II.
00:10:58Wait, there's a story here.
00:11:01If you take it as it is,
00:11:05we should be fired.
00:11:08If you take it as it is, we should be fired.
00:11:12You don't have to worry about that.
00:11:14After all, you're the writer.
00:11:16What?
00:11:17Do you belong to the scriptwriters' association?
00:11:20No.
00:11:21You want me to be a member?
00:11:24No, no, no, it doesn't matter.
00:11:26Okay.
00:11:29I can offer you
00:11:33$100 a week.
00:11:37Half now,
00:11:39half after I deliver the text.
00:11:43Yes?
00:11:44A phone.
00:11:45They even have a bird that sounds like a phone.
00:11:48Yes, yes.
00:11:50This week, Hitler entered Czechoslovakia.
00:11:54He gave out flyers.
00:11:56Hitler made a sweep in Central Europe.
00:12:00The total income from movie exports will drop from 2.5% to 3%.
00:12:06However, these earthly activities
00:12:08were interrupted by a call to Parnas.
00:12:13The Nobel Prize laureate visited California.
00:12:17He went there on a tour
00:12:20with his readings on freedom
00:12:23or other equally burning issues.
00:12:26Of course, I often met Thomas Mann in the 1920s in Germany,
00:12:30but for the first time I had the chance to spend the evening only with him.
00:12:35Of course, the opportunity to have a conversation in my native language
00:12:38made me very happy,
00:12:40but the meeting was not entirely successful.
00:12:43What do you think of my reading?
00:12:45Please be honest.
00:12:46I'll be completely honest.
00:12:48I haven't been to Germany.
00:12:49Oh, yes.
00:12:50Yes, I have a part-time job.
00:12:52I'm writing my first American script.
00:12:54I hope I'm not taking you away from work right now.
00:12:57I wasn't sure if I could understand your English.
00:13:00I know English very well.
00:13:02Yes, but I don't.
00:13:04I studied a little in Vienna,
00:13:06but I had to stop my lessons.
00:13:08Why?
00:13:09Because I felt like Matt Duttle.
00:13:12What is your script about?
00:13:14About Edward II, the King of England,
00:13:17based on the art of Marlowe.
00:13:19Interesting.
00:13:20Have you seen the Brecht version?
00:13:22No.
00:13:23Oh, yes.
00:13:24From 15 years ago in Berlin.
00:13:27I remember it perfectly.
00:13:29It was terrible.
00:13:30What do you mean?
00:13:31You know, everything was absolutely hideous.
00:13:35Costumes from old sacks.
00:13:38They were constantly complaining about the King's depravity,
00:13:41and this one appeared in something
00:13:43from which potatoes were just poured.
00:13:46Even the King's friend was the last step in the team.
00:13:51And it was all done on purpose.
00:13:54Somehow I can't understand this Brecht.
00:13:57And you?
00:13:59As you know, in my book Budenbrock,
00:14:02the dentist's name is Herr Brecht.
00:14:06As you can see, I could never accept him.
00:14:10The name itself, I think, does not sound right.
00:14:14Your work convinces me much more.
00:14:18Your first lovely book,
00:14:21you know what I mean,
00:14:24seemed very interesting to me.
00:14:28No one has ever said and written about life in the Third Reich.
00:14:35How did you find out all this?
00:14:38I kept in touch with people in Germany.
00:14:41Like everyone else, that's normal.
00:14:43But I wouldn't be able to write about
00:14:47how people really live there.
00:14:50You are very brave.
00:14:52You know, at first I came back there quite often.
00:14:54Really?
00:14:55Yes.
00:14:56And I just wanted to tell you,
00:14:58I was there during the burning of books.
00:15:01During this famous action of burning books in Berlin.
00:15:04I don't understand how it's possible.
00:15:08I saw them when they were walking in front of Goebbels,
00:15:11when they were pressing the books into the fireplace,
00:15:13when their professor was dancing in front of them.
00:15:16Well, what was his name?
00:15:18Boimler.
00:15:19I heard him shouting,
00:15:21Burn Thomas Mann!
00:15:23Burn Thomas Mann!
00:15:25He was burning like a bad actor.
00:15:27Then Goebbels gave a speech
00:15:29and said, today reason will awaken.
00:15:32I saw it all with my own eyes.
00:15:34And you didn't burn any books?
00:15:36No.
00:15:37I'm not very famous.
00:15:39Such a reward for lack of luck.
00:15:42That's true.
00:15:43Fame puts a heavy burden on a person.
00:15:47Yes, for sure.
00:15:49You know, I often wondered
00:15:51whether we, the writers, did enough
00:15:54to stop the world
00:15:56when it was on the brink of war.
00:15:58Well, when it comes to preventing wars,
00:16:00my family has nothing to boast about.
00:16:03My father, who was a diplomat,
00:16:05met Prince Ferdinand in the spring of 1914.
00:16:08His Highness informed him
00:16:10that he was planning a visit to Bosnia.
00:16:12My father assured him that it was a great idea
00:16:14and especially recommended visiting Sarajevo.
00:16:17I'm sorry, but I can't get a smile on my face.
00:16:21Ever since that monster destroyed Czechoslovakia.
00:16:24You know, my brother, Heinrich, and I
00:16:27are the last Czech citizens.
00:16:29The authorities gave us special passports.
00:16:32In my opinion,
00:16:33it's all Albion's fault.
00:16:37How could he assume,
00:16:38that stupid Mieczak Chamberlain,
00:16:40that giving Hitler a free hand
00:16:43is less dangerous than making a pact with the communists?
00:16:47If he stood by his side,
00:16:49it wouldn't have happened.
00:16:51And I wouldn't be in this
00:16:53troublesome situation for me.
00:16:56After all, I have to support the war.
00:17:00But well, let's not talk about it.
00:17:03Have you already written us a new book?
00:17:07It's called Goodbye, Europe.
00:17:09Do you have it with you?
00:17:10Will you read me the fragments?
00:17:12I don't have it, unfortunately.
00:17:14It's a pity, I'm very sorry.
00:17:16Would you like to read me a fragment
00:17:18of one of your works?
00:17:20If you insist.
00:17:22You know, I forced my voice through all these readings.
00:17:25But...
00:17:26If you insist so much...
00:17:37I'm currently writing about Goethe.
00:17:42It was supposed to be a short story,
00:17:45but these kinds of works
00:17:47have been growing on me lately.
00:17:50I've already lost the gift of connection
00:17:53that you are so envious of.
00:17:56You could accuse me of lack of scope.
00:17:58But I'll finish again.
00:18:01I'm drawing a portrait
00:18:05of a long-dead German writer.
00:18:09Of course, in the current critical moment
00:18:12of history, devoting energy to it
00:18:15may seem like a punishable sign
00:18:17of a lack of sense of responsibility.
00:18:20I don't see why.
00:18:22But one should listen
00:18:24to one's own instinct.
00:18:27You know, it takes many years
00:18:29for the hidden meaning of a work
00:18:31to be revealed to the creator himself.
00:18:34And what about the audience?
00:18:36Exactly.
00:18:38I wanted to tell you
00:18:39that your story
00:18:40of death in Venice
00:18:41has spoken to me lately
00:18:43in a special way,
00:18:45with its hidden meaning.
00:18:47Probably because it's short.
00:18:49Probably not.
00:18:52You know,
00:18:54my work on Goethe
00:18:56began in 1923.
00:19:00Who could have guessed
00:19:02at that time
00:19:04what relevance
00:19:06the letters on emigration had?
00:19:09The laws governing art
00:19:11are truly profound.
00:19:14We have no choice.
00:19:17We must submit to them,
00:19:20even if we never understand them.
00:19:24I completely agreed with him
00:19:27on the laws governing art.
00:19:30He began to read.
00:19:32He read fragments of his epic work
00:19:35Lotta in Weimar.
00:19:37Unfortunately,
00:19:38the meandering of its content
00:19:40and the echoing voice of the laureate
00:19:42made me fall asleep
00:19:44after a few minutes.
00:19:47What the hell is this?
00:19:55This is my script.
00:19:58Script?
00:20:00Even a shitty radio
00:20:03wouldn't take it.
00:20:05Ed, how could you do this to me?
00:20:08What?
00:20:10Ed...
00:20:13Ed, I...
00:20:14I vouched for you here.
00:20:16Do you know what I'm going to get
00:20:18from you?
00:20:19What?
00:20:20Listen, Ed.
00:20:24The conversation will be short,
00:20:27but you're new here
00:20:29and I have to set you up.
00:20:31And what about me?
00:20:34Not five minutes!
00:20:39Listen, Ed.
00:20:41I know
00:20:42you still have trouble with English.
00:20:45You can't do anything about it.
00:20:47But this is a complete disaster.
00:20:49I used Marlowe...
00:20:51I don't give a shit what you used,
00:20:55but it's not like English.
00:20:57I understand.
00:20:58And one more thing.
00:21:02You can't even write properly on a machine.
00:21:06You wrote this whole script
00:21:09like some shitty poem.
00:21:12You want me to translate it?
00:21:14No, you don't!
00:21:15You translate it, I translate it.
00:21:17If you want Ty Power or Linda Darnell
00:21:20to read the script,
00:21:22bring me some Hamlet.
00:21:26I understand.
00:21:27Hamlet.
00:21:28Good.
00:21:30But I gave you the story.
00:21:35Why didn't you use it?
00:21:37What?
00:21:39The story!
00:21:40The novel!
00:21:42I didn't know that.
00:21:44I thought it was very vulgar.
00:21:48Vulgar?
00:21:49But I wrote it.
00:21:53Vulgar?
00:21:55Vulgar?
00:21:58I read your script.
00:22:01I couldn't believe it.
00:22:03Damn it, it was vulgar.
00:22:05But when I came across this piece,
00:22:07I went back and read it again.
00:22:10And it stood there like a bull.
00:22:12I've never seen anything like it
00:22:15in a script of an outstanding film.
00:22:18In your script,
00:22:20the King of England is a whore.
00:22:23A whore?
00:22:25A whore, a whore, a whore, a whore!
00:22:29A whore.
00:22:31But the historical truth is...
00:22:34Are you crazy?
00:22:35So what?
00:22:39As far as I know,
00:22:41Robin Hood liked those things with sheep,
00:22:45but who would want to watch it?
00:22:48It's supposed to be a film for the whole family,
00:22:52not for a client in a brothel.
00:22:54It's an adventure film,
00:22:56not a fucking ballet.
00:22:58You bring me some shit
00:23:00in which the King of England
00:23:02lies in bed with a boy
00:23:04and says that I'm vulgar.
00:23:06To hell with it!
00:23:11So, as you say,
00:23:13I'm a whore?
00:23:15And me too.
00:23:18So I say goodbye.
00:23:20Goodbye.
00:23:21Goodbye.
00:23:22Goodbye.
00:23:23Goodbye.
00:23:24Goodbye.
00:23:28I don't know what you're doing in Europe.
00:23:32I have no idea
00:23:34what kind of material Fox organizes there.
00:23:37But I can tell you only one thing,
00:23:40that in this country
00:23:43such a number will not pass.
00:23:46We are not yet prepared for it.
00:23:52Hello.
00:23:53Yes.
00:23:54I didn't feel sorry for Hermione.
00:23:58Of course, later I realized what was going on.
00:24:01Hermione just hired me
00:24:03to write what he was going to write
00:24:06for a microscopic part of his salary.
00:24:09He was offended by European morality,
00:24:12but at least he paid me,
00:24:14which I can't say about some of my later,
00:24:17even the most polite employers.
00:24:20However, the inconveniences that came to me
00:24:23were nothing compared to the fate of my friends
00:24:26who remained in Europe.
00:24:28The governments of Great Britain and France
00:24:31completely ignored the warnings of Variety
00:24:34and declared war on Germany.
00:24:36In America, however,
00:24:38an organization called
00:24:40the European Film Fund was established,
00:24:42which was to provide work in Hollywood
00:24:45to poor Europeans, writers, emigrants.
00:24:48So I became an employee.
00:25:02To tell the truth, the Warner brothers
00:25:04didn't know what to do
00:25:06with their new screenwriter.
00:25:08So the corridors of the screenwriters' building
00:25:11were full of disoriented Germans
00:25:13who asked each other
00:25:15how to relate to their secretaries.
00:25:18One day, with amazement,
00:25:20I found out that the man
00:25:22standing next to me in the toilet
00:25:25was Heinrich Mann,
00:25:27Thomas's older brother.
00:25:29Because he has always been
00:25:31a kind of ideal for me,
00:25:34I asked him if he would like
00:25:36to have coffee with me in the canteen.
00:25:40With the coffee we know,
00:25:42of course, there is nothing in common.
00:25:45Although in France,
00:25:47there was no coffee at all
00:25:49for the last few months.
00:25:51Yes, it's hard to imagine
00:25:53France without coffee.
00:25:55I would be happy
00:25:57if I could spend the rest of my life
00:26:00in France.
00:26:02Let me tell you
00:26:04what they expect from us here,
00:26:06what we are supposed to do here.
00:26:08Don't turn their heads.
00:26:10I don't know anyway.
00:26:12Yes, but we have to write some scripts.
00:26:14Theoretically, yes.
00:26:16And what are these scripts?
00:26:18Stories that can be filmed.
00:26:20They still invite me here.
00:26:22And how do they say it?
00:26:24Showing movies.
00:26:26Projections.
00:26:28Yes, projections.
00:26:30I sit and look.
00:26:32I still don't know why they invited me.
00:26:34They want to know what you think of them.
00:26:36I always repeat the same thing.
00:26:38That they are very good.
00:26:40Even if they are terrible?
00:26:42Well, unless they are exceptionally terrible.
00:26:44And then what do you say?
00:26:46That they are interesting.
00:26:48I see you don't need my advice.
00:26:52They still invite me here
00:26:54and present me as a man
00:26:56who wrote The Blue Angel.
00:26:58Oh, yes.
00:27:00And at first I said
00:27:02that it was not true,
00:27:04because 25 years ago
00:27:06I wrote a story
00:27:08with which this film has a loose connection.
00:27:10I would say
00:27:12the ending was changed.
00:27:14But then I noticed
00:27:16that they don't want to hear it.
00:27:18So now I say
00:27:20how did you like it?
00:27:22Thank you very much.
00:27:24I am very grateful.
00:27:26You are doing very well.
00:27:28All my fame in this country
00:27:30is at the feet of Marlene Dietrich.
00:27:32When I came to New York
00:27:34a month ago
00:27:36with my brother
00:27:38New York Times
00:27:40announced the arrival
00:27:42of the famous German writer
00:27:44Golo Mann.
00:27:46They also added
00:27:48my uncle's companion
00:27:50Heinrich Mann.
00:27:52I don't believe it.
00:27:54I wouldn't be sorry for them.
00:27:56But Golo didn't write
00:27:58any book in his life.
00:28:00If I were him
00:28:02I wouldn't even think about it.
00:28:04I would sit in my office
00:28:06and work on a story.
00:28:08You work on a story, right?
00:28:10Do you do that too?
00:28:12Yes, I do.
00:28:14How did you get out of France?
00:28:16I can only say
00:28:18that with great difficulties.
00:28:20I already had papers
00:28:22for America
00:28:24and a Spanish visa
00:28:26and a Portuguese visa.
00:28:28The only thing I could do
00:28:30was to get a visa from the French.
00:28:32Finally a young,
00:28:34friendly American
00:28:36showed up and said
00:28:38that if I didn't leave immediately
00:28:40I would be arrested
00:28:42and sent back to Germany.
00:28:44He took us to the border
00:28:46and we crossed the Pyrenees
00:28:48from France to Spain.
00:28:50How did you do that?
00:28:52I have no idea.
00:28:54I was doing well
00:28:56but if it weren't for Nelly,
00:28:58my wife,
00:29:00I would probably stay there forever.
00:29:02You must meet Nelly.
00:29:04She rarely
00:29:06has any contact
00:29:08with her peers.
00:29:10All my friends
00:29:12are so old.
00:29:14What about your brother?
00:29:16Tommy?
00:29:18He bought a square
00:29:20in the Pacific Palace
00:29:22and built a villa there.
00:29:24Is everything all right?
00:29:26A few weeks ago
00:29:28a ship was torpedoed
00:29:30with his daughter and her family.
00:29:32She and the child
00:29:34were saved,
00:29:36but the ship sank.
00:29:40How much do they pay you?
00:29:42125 dollars
00:29:44a week.
00:29:46Just like me.
00:29:48Yes, just like me.
00:29:54I know what you mean.
00:29:56How did it happen
00:29:58that we were so
00:30:00lucky?
00:30:04I didn't think about it at all.
00:30:06I remembered
00:30:08that after the First World War
00:30:10Heinrich was the most famous
00:30:12German writer.
00:30:14But the name
00:30:16Thomas Mann
00:30:18didn't matter at all.
00:30:20Memories overwhelmed me.
00:30:22I remembered
00:30:24that for the whole 1920s
00:30:26they didn't talk to each other.
00:30:28And then in 1929
00:30:30many of us thought
00:30:32that the Nobel Prize was received
00:30:34by the wrong brother.
00:30:36I also tried
00:30:38to control the sadness
00:30:40and anger that overwhelmed me
00:30:42that I met
00:30:44my old hero
00:30:46in some American closet.
00:30:48We, emigrants,
00:30:50soon found
00:30:52our favorite meeting place.
00:30:54A small house on
00:30:56Mabry Road in Santa Monica
00:30:58belonging to Salki Firtel,
00:31:00the screenwriter of Greti Garbo.
00:31:02We gathered here
00:31:04to celebrate Heinrich Mann's 70th birthday.
00:31:06It wasn't really
00:31:08his birthday,
00:31:10because that very day
00:31:12Thomas Mann was receiving
00:31:14his next doctorate
00:31:16from UCLA.
00:31:18Nevertheless, it was an extraordinary meeting
00:31:20that will remain in my memory forever.
00:31:22At least because
00:31:24there I met the famous Nellie...
00:31:26Would you like some?
00:31:30I think the real French devils know
00:31:32where she got it from.
00:31:34I even like
00:31:36the Californian stuff there.
00:31:38And you?
00:31:40Yes, me too.
00:31:42It's tough and strong,
00:31:44but it's true.
00:31:46Unfortunately, it's true.
00:31:48I'm Ödyn von Horvat.
00:31:50And some Hungarian.
00:31:52A normal Austro-Hungarian mix.
00:31:54He disappointed me.
00:31:56When I saw you,
00:31:58I thought,
00:32:00maybe he won't be a writer.
00:32:02I'm sorry.
00:32:04He hasn't wanted all this.
00:32:06He's been thinking about it
00:32:08with fear for a few weeks.
00:32:10After all, he knows
00:32:12I was delighted with her.
00:32:14Meanwhile, after the soup,
00:32:16and before the roast,
00:32:18our beloved
00:32:20Miss Salka Firtel
00:32:22got up.
00:32:24It was a tragic mistake.
00:32:26I wanted to say
00:32:28that it's a great honor for us
00:32:30that we could invite you
00:32:32to this small celebration.
00:32:34I want to take this
00:32:36for the great writer,
00:32:38our beloved Heinrich Mann.
00:32:40I don't have anything left.
00:32:58And so, finally,
00:33:00this joyful meeting took place.
00:33:02And its cause,
00:33:04such a moving and worthy cause,
00:33:06belongs to such a distant past
00:33:08that it requires almost a reminder.
00:33:10The reason for this,
00:33:12my dear brother,
00:33:14is that 70 years ago
00:33:16you were born.
00:33:18Unfortunately, we couldn't
00:33:20celebrate your birthday
00:33:22on the 27th of March.
00:33:24This body came from my fault,
00:33:26or rather from the fault
00:33:28of my duties.
00:33:30And so he dragged on
00:33:32while the roast was drying and hardening,
00:33:34talking about the hegemonic ghetto,
00:33:36until people suffered the consequences
00:33:38and the eyelids themselves began to fall.
00:33:40My dear Heinrich,
00:33:42if the genius means the ability to predict,
00:33:44the gift of far-sightedness,
00:33:46the full passion of drawing
00:33:48the picture of future events,
00:33:50then your work bears
00:33:52the sign of a genius.
00:33:54If, as I am convinced,
00:33:56you have reserves of vital strength,
00:33:58your old eyes
00:34:00will still see
00:34:02what you foretold
00:34:04when you were young,
00:34:06the fall of the tyrant.
00:34:16My dear brother,
00:34:20you noticed
00:34:22your overstatement
00:34:24in your kind speech.
00:34:26Then someone explained to me
00:34:28that such scenes take place
00:34:30since they have exceeded 50.
00:34:32However, Heinrich
00:34:34calmly expressed his even longer,
00:34:36extremely subtle reply.
00:34:38Both then and now.
00:34:40Thank you again.
00:34:42We are deeply grateful to both of you.
00:34:50I would like to...
00:34:52No!
00:34:56I would like to take this
00:34:58as Nelly Mann's.
00:35:00I will never forget
00:35:02how, during this terrible journey
00:35:04through Pyrenees,
00:35:06her humour and optimism
00:35:08kept us on our toes.
00:35:10So I would like to ask...
00:35:16I am so sorry!
00:35:18I am sorry!
00:35:20I did not want to arouse
00:35:22sad memories.
00:35:24What memories?
00:35:26I laughed so hard
00:35:28I laughed so hard
00:35:38So I still worked
00:35:40with the Warners,
00:35:42hoping that none of them
00:35:44would notice me.
00:35:46And my hopes came true.
00:35:48Meanwhile,
00:35:50I found a new,
00:35:52or rather,
00:35:54a very old way
00:35:56to make money.
00:35:58Women don't like it
00:36:00when a woman
00:36:02earns eight times
00:36:04as much as they do.
00:36:06It is foolishness.
00:36:08A girl who takes me
00:36:10to dinner
00:36:12and brings me
00:36:14to work
00:36:16wants me to complain?
00:36:18Apparently,
00:36:20Europeans are different.
00:36:22I think
00:36:24you are different.
00:36:26I think so.
00:36:28All this is against any rules.
00:36:30Usually,
00:36:32screenwriters who earn
00:36:34$2,000 a week
00:36:36don't talk to screenwriters
00:36:38who earn $1,000 a week.
00:36:40Screenwriters who earn
00:36:42$1,000 a week
00:36:44stick to each other
00:36:46and don't talk to anyone.
00:36:48You are different, too.
00:36:50I am just a good Jewish girl.
00:36:52I was married
00:36:54to a Jewish girl once.
00:36:56Were you married?
00:36:58No.
00:37:00You didn't tell me anything.
00:37:02It was only a passport.
00:37:04What? I don't understand.
00:37:06I married Mary
00:37:08to give her
00:37:10a Hungarian passport.
00:37:12I understand.
00:37:14And what happened next?
00:37:16She took the passport
00:37:18and left.
00:37:20And how many times
00:37:22have you been married?
00:37:24I think
00:37:26once is enough
00:37:28for everyone.
00:37:30Don't you think?
00:37:32How can I know?
00:37:34Remember
00:37:36the film about Fumancz?
00:37:38As he says,
00:37:40now
00:37:42I can promise you
00:37:44a wonderful, painful
00:37:46but very,
00:37:48but very
00:37:50slow death.
00:37:52And this is
00:37:54a small chance for me.
00:37:56I understand.
00:38:00Women have always been
00:38:02very good to me.
00:38:04I don't understand why.
00:38:06I don't, either.
00:38:12What's wrong with these Warners?
00:38:14I write
00:38:16a script.
00:38:18No one will tell me
00:38:20a single word.
00:38:22Of course.
00:38:24What?
00:38:26First of all, they don't like to read.
00:38:28So if they have to read,
00:38:30they read something they paid a lot for.
00:38:32They have writers
00:38:34who get
00:38:36$3,500 a week.
00:38:38They make more
00:38:40during the break than you do.
00:38:42So what do you think?
00:38:44But I also
00:38:46pay them something.
00:38:48No, it's pennies.
00:38:50It's philanthropy.
00:38:52If you give 10 cents to a blind musician,
00:38:54you don't expect a Goldberg variation.
00:38:56Okay, okay.
00:38:58But it costs
00:39:00my time.
00:39:02Day after day,
00:39:04from 1,000 to 5,000.
00:39:06And by bus, of course.
00:39:08When do I have time
00:39:10to write?
00:39:12Not for me.
00:39:14You have a lot of time.
00:39:16And you know why?
00:39:18Because no one reads your scripts.
00:39:20And to tell you the truth,
00:39:22it suits you.
00:39:24So why are you complaining?
00:39:26Because I like it when someone appreciates me.
00:39:28Of course.
00:39:30You want them to appreciate you,
00:39:32to pay you,
00:39:34and to sit quietly.
00:39:36I think
00:39:38like any artist.
00:39:40I'm sorry.
00:39:42I know.
00:39:44For you, writing a script
00:39:46is a very serious matter.
00:39:48It's true.
00:39:52When I was 14,
00:39:54my parents took me to New York
00:39:56as a jazz singer.
00:39:58I didn't like it.
00:40:00God, so sentimental.
00:40:02But still, it struck me.
00:40:04And then I knew I wanted to write.
00:40:06But I didn't know what yet.
00:40:08So you decided to write a script.
00:40:10No.
00:40:12It just made me think.
00:40:14A new medium of communication.
00:40:16Unlimited possibilities.
00:40:18It's the first type of art
00:40:20that speaks to everyone
00:40:22regardless of age and origin.
00:40:24Besides,
00:40:26there's no barrier or limit for it.
00:40:28I can't imagine
00:40:30writing for a film.
00:40:32I understand.
00:40:34In theory.
00:40:36It hasn't happened yet
00:40:38that opportunists,
00:40:40swindlers and swindlers
00:40:42rule this business.
00:40:44But they'll end one day.
00:40:46Just look at the great progress
00:40:48that has been made
00:40:50in less than 15 years.
00:40:52They're too fashionable.
00:40:54They need to listen to a writer.
00:40:56They need.
00:40:58Need.
00:41:00Need.
00:41:02Need.
00:41:04He'll come and say
00:41:06OK, Saint Peter.
00:41:08Open the gate.
00:41:10And he'll go
00:41:12No. No.
00:41:14Peter, Peter.
00:41:22I really enjoyed your story.
00:41:24I'd like to read your plays.
00:41:26Were they translated into English?
00:41:28Unfortunately.
00:41:30I'm not very
00:41:32Not very famous.
00:41:35And what are they, political or what?
00:41:40I think you can't call them political arts.
00:41:46They don't speak on any specific topic.
00:41:52Right.
00:41:53Right.
00:41:55And they're not like Marx's ideas.
00:42:00Like the art of departure.
00:42:02Whose?
00:42:04Bertolt Brecht.
00:42:06A painter.
00:42:08A little older than me.
00:42:12I paint about ordinary people.
00:42:18I'm a fan of them.
00:42:23The way they live.
00:42:27They're jealous of the poor.
00:42:32Ignorant people.
00:42:35The victims of society.
00:42:38Especially the poor.
00:42:41The left attacks.
00:42:44Easy pessimism.
00:42:49They love people.
00:42:54But they don't know any people.
00:42:59I know people.
00:43:02They're terrible.
00:43:06But I like them.
00:43:09I like them.
00:43:12And it turned out that my art was too pessimistic.
00:43:23What about the right?
00:43:26Ten years ago...
00:43:29Ten years ago.
00:43:31Ten years ago I was in court.
00:43:34For fighting the fascists in Paris.
00:43:40And when my piece...
00:43:46Stories from the Wiener Wald.
00:43:48Stories of Lacka Witański.
00:43:52It was premiered in Berlin.
00:43:55One fascist critic said...
00:43:59...that even the audience would protest.
00:44:07Even the Germans.
00:44:10Too bad I don't speak German.
00:44:14My father has relatives in Germany.
00:44:17Where?
00:44:18In Düsseldorf.
00:44:20I don't know them.
00:44:23Are they still in Germany?
00:44:26As far as I know, yes.
00:44:29I don't know them.
00:44:35You know what?
00:44:38You know...
00:44:41It's nice of you to write about me.
00:44:47I don't like this kind of humor.
00:44:50I don't like it.
00:44:52Why?
00:44:53I don't like it.
00:44:55I don't like it.
00:44:57I don't like it.
00:44:59I'm serious.
00:45:04Do you want to go out?
00:45:07No.
00:45:10What do you want to do tonight?
00:45:24What do you want to do?
00:45:26I speak English more and more fluently.
00:45:33Stupid.
00:45:54He always wanted the audience to be aware that they are in the theatre.
00:45:58Sometimes I even asked him, why do you think they think they are somewhere else?
00:46:03But he just didn't want to answer the questions he didn't like, right?
00:46:08We met in Munich in the early 20s, but I never really met him.
00:46:13He always missed me somehow.
00:46:16I also came to the conclusion that you should rather stay away from him.
00:46:21His teeth were like a river, not so white and shiny,
00:46:26but sharp enough to look out for him.
00:46:29He came straight from Vladivostok,
00:46:32ten days before the German invasion of Russia,
00:46:35in one of the last groups of emigrants.
00:46:38Exiles!
00:46:40What?
00:46:41I don't like the word emigrant.
00:46:44It may suggest that I left my own, unforced will.
00:46:48I was forced to leave.
00:46:51I am an exile.
00:46:52As you wish.
00:46:55Look at these precious, shiny, red and appetizing apples.
00:46:59They taste like an old sponge.
00:47:01Capitalistic apples!
00:47:04I heard you were in Moscow.
00:47:06Yes.
00:47:07But it wasn't good in Moscow.
00:47:09We couldn't stay there.
00:47:11Why?
00:47:13I didn't have enough sugar.
00:47:15Was it hard to get out?
00:47:18Only money was a problem.
00:47:20I had a visa, but I didn't have money to buy tickets.
00:47:22I had a wife, a son, two kids, two coworkers, six people.
00:47:25You see?
00:47:26I had to go to the publisher, Feith Vanger.
00:47:28Did he pay you?
00:47:30I told him I represented Feith Vanger
00:47:32and he wanted me to take his award.
00:47:34Then I waved him a letter.
00:47:36How much do you want, he asked.
00:47:38And I said, how much do you have?
00:47:41And you left.
00:47:42Of course.
00:47:43Feith Vanger is very popular in Russia.
00:47:46And he didn't have anything against it?
00:47:48No.
00:47:49Why?
00:47:50It's only...
00:47:52And it was enough for everyone?
00:47:54Yes.
00:47:56We had to leave her.
00:47:58Krytysztofina was sick.
00:48:00She had to go to the hospital.
00:48:05She died.
00:48:13Are you still writing in bars?
00:48:16I don't have too big a demand.
00:48:18I heard that in Vienna you could always be met in a cafe
00:48:22exclusively attended by dwarves.
00:48:25It's true.
00:48:27Were the dwarves particularly interesting to you?
00:48:31Or was it just a kind of pose?
00:48:33I've been going to this cafe for many years
00:48:36and I've never met a fascist dwarf.
00:48:44It's terribly hot in here.
00:48:47I can't stand the heat.
00:48:49You don't have any fridges, do you?
00:48:51Unfortunately, no.
00:48:53You should go to Santa Monica.
00:48:55It's much cooler there.
00:48:57The only thing I like here is ice cream.
00:49:01You used to admire America so much.
00:49:04You wrote so much art about it.
00:49:07Yes, but before I came here...
00:49:09It's not a revolutionary ad.
00:49:12I wanted to ask you what the factory looks like.
00:49:15It's boring, time-consuming and pointless.
00:49:18I've heard that it's better to be a free shooter
00:49:20and sell them ideas.
00:49:22If they want to buy, it's certainly better.
00:49:25Sell, buy, buy, sell.
00:49:27There's only blood, fatherland and racial purity in the country.
00:49:30Here, trade, trade, trade, trade.
00:49:33If they could, they'd demand money from Pissouar for piss.
00:49:36Do you have a car?
00:49:37No.
00:49:38It doesn't make sense for you to work in a factory,
00:49:40especially since you'd have to come to Santa Monica every day.
00:49:43I thought so, too.
00:49:45If you want, you can look for something.
00:49:47No, thank you. I can manage.
00:49:49I've always despised people
00:49:51who don't have enough sense to fill their bellies.
00:49:54Have you met anyone?
00:49:57I've come across one.
00:49:59Tuomas Mann!
00:50:02And how was it?
00:50:03Like a nosebleed in three thousand years of history.
00:50:07Nowhere.
00:50:09Even in the furthest corners of Finland.
00:50:12I didn't feel so detached from the world.
00:50:16Do you really hate all of this?
00:50:19I can't believe that something like this exists at all
00:50:23and what I'm doing here.
00:50:26I used to read Schiele and think to myself,
00:50:29the poor man hasn't lived for a hundred years
00:50:31and injustice is as old as it used to be,
00:50:33or maybe even more.
00:50:35I wondered if they would read us in a hundred years
00:50:39and I thought the same thing.
00:50:41And then I was overwhelmed for a while,
00:50:43overwhelmed,
00:50:45and here,
00:50:47without a break.
00:50:50That's how I feel.
00:51:00Do you have anything, Lenin?
00:51:02Lenin?
00:51:04I didn't want to have any trouble in bed,
00:51:06so I threw out the Zaburta near San Pedro.
00:51:09A full edition of Lenin's work?
00:51:12Yes.
00:51:14At the bottom of the port in Los Angeles?
00:51:21No.
00:51:22Unfortunately, I have nothing of Lenin.
00:51:25That's what I was afraid of.
00:51:37You came back early.
00:51:39But I thought it was pointless to sit back for the last few hours.
00:51:43Nothing has changed?
00:51:44No.
00:51:45That bloody brother of yours.
00:51:47But he did go to Check Warner.
00:51:50Something like that.
00:51:51How did he manage?
00:51:52He doesn't leave the White House.
00:51:55He said he asked for Check Warner,
00:51:57he even begged him.
00:51:59It certainly didn't come easy for him.
00:52:01So what?
00:52:03So what?
00:52:05Warner smiled at him.
00:52:08Here.
00:52:10Please.
00:52:11We're not beggars, you know?
00:52:13Not yet.
00:52:17A strange thought came to my mind.
00:52:21It's been almost 50 years
00:52:23since I published my first story.
00:52:26Who would have thought that I would end up
00:52:28as a man thrown out of work by Check Warner.
00:52:33We're not thrown out.
00:52:35They just don't renew any contracts
00:52:38within the framework of the European Film Fund.
00:52:42That's the main difference.
00:52:44What?
00:52:45Like between eating grass and air?
00:52:47More or less.
00:52:49So what are we going to do?
00:52:51Well, we'll turn the house into a smaller one.
00:52:54We've already done that.
00:52:55Even smaller.
00:52:57Oh, God.
00:52:59And, unfortunately, we'll have to give up the car.
00:53:03No.
00:53:04No way.
00:53:06Nelly.
00:53:07I can't sit in this hole without a car.
00:53:10After all, why did I work so hard
00:53:12and spend so much money on driving lessons?
00:53:14There's no other way.
00:53:16You know what?
00:53:18You know what he did this summer?
00:53:20They wanted to publish his book here.
00:53:22An American publisher.
00:53:24He wanted to pay well.
00:53:26He just asked him to make a few changes.
00:53:28That's all.
00:53:29A few little things that didn't fit.
00:53:31And what did he do?
00:53:33He told them to get the hell out of here.
00:53:36No.
00:53:37That's why I've been working so hard
00:53:39to compromise now.
00:53:53You're right, Heini.
00:53:56You're right.
00:53:59What are they imagining?
00:54:04I can already see what the end will be.
00:54:07We'll have to go back to work.
00:54:12Do you know that when I met Heini, I was a barmaid?
00:54:15Yes, I heard.
00:54:17You heard?
00:54:22Not long after we met,
00:54:25Heini asked me to tell him about my life.
00:54:28I want to know the story of your life.
00:54:31I won't just tell you, darling.
00:54:33I'll write it down for you.
00:54:34I wrote it down.
00:54:35He read it.
00:54:36He said it was great,
00:54:37that I could probably do something with it.
00:54:39And I said I could probably do something with it,
00:54:41that I could print it out and make a lot of money.
00:54:44He wanted me to give him some time.
00:54:47So I gave him some time.
00:54:49He kept it for a few months.
00:54:51I almost forgot about it.
00:54:54Until one day he said to me,
00:54:56Do you remember the handkerchief you gave me?
00:54:59I made a story out of it.
00:55:02I said, it's fine.
00:55:03You print your story.
00:55:05I'll print out my diaries
00:55:07and I'll decide what you want to make better.
00:55:11And that's what I was afraid of.
00:55:14And I let myself put your handkerchief in the oven.
00:55:20So please don't talk to me about diaries.
00:55:23I have no intention to.
00:55:25This text was written live, Nellie,
00:55:28but it was very harsh.
00:55:30That's why it would be a bestseller, you stupid old donkey.
00:55:33And we wouldn't be in this hole.
00:55:35Is it all true?
00:55:37I never deny women.
00:55:39Never what?
00:55:42You don't believe him.
00:55:45Listen.
00:55:48People say you've found yourself a Jewish girl.
00:55:52Nellie.
00:55:53What is it?
00:55:54We don't answer you anymore?
00:55:56I don't understand what you mean.
00:55:58What?
00:55:59There was probably nothing better in the factory.
00:56:02Nellie.
00:56:03Oh God, did I say something again?
00:56:05I am very pleased.
00:56:08Well, that's all that matters.
00:56:13So tell me, what are you going to do?
00:56:17I'm going to go to Siedmak, to Universal.
00:56:21He's doing well there, maybe he'll have something.
00:56:24So if you need...
00:56:30My dear boy,
00:56:32we are very grateful to you,
00:56:36that you managed somehow.
00:56:38And please don't worry.
00:56:40You know what?
00:56:42We have a chance, don't we?
00:56:44We'll give you your 40th birthday.
00:56:47Here.
00:56:48But...
00:56:49I don't want to hear anything, I just want to thank you, Nellie,
00:56:52how nice you are.
00:56:53Thank you, Nellie.
00:56:55And on the proof that I gave you everything,
00:56:57you can bring it to your room.
00:57:01I'm not sure if she'll want to come.
00:57:04She's trying to avoid too much contact with the Germans.
00:57:10So what?
00:57:12To the unemployed!
00:57:20With the arrival of winter, when the temperature dropped to 20 degrees Celsius,
00:57:23I received a postcard from Brecht.
00:57:27It was difficult for me to decipher it,
00:57:29because Brecht, in my opinion,
00:57:31was fighting against capitalism.
00:57:34He even liquidated stop signs.
00:57:36In large letters, he was looking for a manifestation of imperialist aspirations.
00:57:40In any case, the point of the postcard was that
00:57:42I should immediately appear at the audition in Santa Monica.
00:57:46How are you doing?
00:57:48Somehow.
00:57:50I have $18.5 a week of employment for the unemployed.
00:57:55The advantages of a state of care.
00:57:57Yes.
00:57:58I was thinking that maybe you would like to write a script with me.
00:58:01Yes?
00:58:02I have three or four at the workshop for companies with different people.
00:58:06You can write two such scripts a week.
00:58:09It is necessary to cover the production with ideas.
00:58:12I'll take it sooner or later.
00:58:13What ideas?
00:58:14I'll give you an example.
00:58:15We're writing with Teren.
00:58:16Do you know him?
00:58:17No.
00:58:18He's doing well.
00:58:19He works for MGM.
00:58:20You know, a friend of mine, an American, asked me recently
00:58:23what it means,
00:58:24that the postcard is written at the entrance to MGM.
00:58:27I told her that it means
00:58:29leave all hope to you who come in here.
00:58:32You're right.
00:58:33This area is impossible.
00:58:35It's full of him everywhere.
00:58:36He keeps saying,
00:58:37in my opinion, the hero has three options.
00:58:40Either he can demand money,
00:58:42or he can devote his life to the cause,
00:58:44or he can make his mother a child.
00:58:46Just like I would work with a chicken without a head.
00:58:50I'm making a fortune, after all.
00:58:51And what is your script about?
00:58:53Romantic comedy.
00:58:55An American and a Portuguese
00:58:57are planning some great interest,
00:58:59which they have to hide from the competition.
00:59:01They're making a correspondence with a code,
00:59:03in the form of passionate letters,
00:59:05an American censor,
00:59:06or rather a censor,
00:59:07because she's a woman,
00:59:08she reads these letters,
00:59:09she's fascinated by them,
00:59:10she meets their author,
00:59:11he falls in love with her,
00:59:12he advises her,
00:59:13knowing that she knows about his constant,
00:59:15lasting correspondence,
00:59:17and never-ending periphery,
00:59:19a happy ending with the word
00:59:22Ingrid Bergman.
00:59:24It would be wonderful.
00:59:26Why?
00:59:27Because it is wonderful.
00:59:31What will the title be?
00:59:33Bermuda Scraps.
00:59:35The point is,
00:59:36if we sit down and think about it,
00:59:38it should happen
00:59:40that with all the premeditation,
00:59:42something just as good will come out
00:59:44as what these thoughtless letters produce.
00:59:47Theoretically, yes.
00:59:49You mean you wanted to say
00:59:51something just as bad?
00:59:52No, it doesn't have to be bad.
00:59:54I have something better in my workshop.
00:59:56For Charles Boyer.
00:59:58We're doing it with Kortnarek.
00:59:59Yes?
01:00:00And what about him?
01:00:02He's full of food, as always.
01:00:04I like working with him.
01:00:05Yesterday I enraged him.
01:00:07He was looking for various data,
01:00:08and discovered that in the 19th century,
01:00:11prostitutes in the ports of the Mediterranean
01:00:13had to serve over 100 clients a day.
01:00:17He was shocked.
01:00:19I finally said to him,
01:00:20you damned liberals,
01:00:22you're all the same.
01:00:24100 clients a day?
01:00:26That's inhuman.
01:00:27It should be at most 80.
01:00:29He's a good actor.
01:00:31Very good.
01:00:32But there's no work for him here.
01:00:35Why?
01:00:36Peter Lohre is still making something.
01:00:39Yes, and smiling from ear to ear,
01:00:41he's slowly drowning in a swamp.
01:00:45And what happened to Carol Neyer?
01:00:51Neyer?
01:00:53Yes.
01:00:54Didn't she go to Moscow?
01:00:58Yes, with her husband.
01:01:00I adored her.
01:01:02Really?
01:01:04There were rumors that she was your lover
01:01:06when she played in the opera for 3 groszy.
01:01:08Really?
01:01:11Didn't you see her in Moscow?
01:01:13She was arrested a few years ago.
01:01:15Both of them.
01:01:17For what?
01:01:19Apparently, for her activities in Prague.
01:01:23Idiot.
01:01:24She was always very naive.
01:01:29What happened to her?
01:01:31As far as I know, she's dead.
01:01:35That's terrible.
01:01:37Naive people, you know,
01:01:41meet exactly the fate
01:01:44they deserve.
01:01:54It's very nice that he offered me a cooperation.
01:01:57In his own way, he showed concern for me.
01:02:00But already when I said
01:02:02that I would consider his proposal,
01:02:05I knew that we wouldn't work together.
01:02:09During the next weekend,
01:02:11the Japanese bombed Pear Harbour.
01:02:14We, the people of the stage,
01:02:16knew our patriotic duty
01:02:18and immediately took action.
01:02:21The Metropolitan Opera
01:02:23recalled all performances of Madame Butterfly.
01:02:26In the opera in Greenwich Village,
01:02:28Mikada's repertoire was removed.
01:02:30In Hollywood, all Japanese gardeners were fired.
01:02:33She advised her readers
01:02:35to protect themselves in the Norry Bays Theatre
01:02:38in case of an attack,
01:02:40because a bomb had never been dropped there.
01:02:43So, Sunday, Pear Harbour.
01:02:45On Monday, the war was declared.
01:02:47On Tuesday, I turned 40.
01:02:51I felt better to start the week.
01:02:53At 9 a.m., I called Nelly
01:02:55to ask if she had called off the reception.
01:02:58She never asked why.
01:03:00She was drunk.
01:03:02Helen came to see me a little late
01:03:04and nervous before a meeting
01:03:06with so many German celebrities.
01:03:08I just don't understand...
01:03:13I just don't understand what's going on with the writers here.
01:03:16It's always the same.
01:03:18The author writes one good book,
01:03:20then two bad ones, and that's the end of his career.
01:03:23No one here has a vision of creativity
01:03:26as a work of life.
01:03:28They lack perseverance.
01:03:30The writers die of success.
01:03:32What's he saying?
01:03:33That there are no writers in America.
01:03:35What do you mean?
01:03:36Fitzgerald, Faulkner, Hemingway,
01:03:38Dospasus, Steinbeck, Nathan Elwes...
01:03:40I didn't mean to offend you, Mrs. Schwartz.
01:03:42Maybe I have a little old-fashioned point of view,
01:03:45but I'm only saying what I see.
01:03:47I don't agree with you either.
01:03:49You want a writer of inexhaustible ingenuity,
01:03:52who hasn't lowered his flights for years.
01:03:54Here you are.
01:03:55Early Stanley Gardner.
01:03:57I'm afraid I don't know his work.
01:04:00Of course, there's no comparison to Simonon,
01:04:02but he's probably the best here.
01:04:05I'm very grateful to you for this valuable message.
01:04:08I don't understand half of what he's saying.
01:04:10He's got a mouthful of force.
01:04:12Well, the English took off in Libya
01:04:15not very happily,
01:04:16after such a preparation.
01:04:18How come our only hope is Churchill?
01:04:22They may have the most modern weapon,
01:04:24but in the hands of the oldest and most corrupted aristocracy in the world,
01:04:28this weapon is certainly missing.
01:04:30Really?
01:04:31And I thought that whatever,
01:04:33but the English aristocracy can shoot.
01:04:35They don't have the same spirit as the Russians.
01:04:38Did you read about those fights in Rostov?
01:04:40They went to tanks with pans.
01:04:42The fascists condemned them
01:04:44for using methods contrary to the law.
01:04:47Yes, tanks are allowed,
01:04:49and pans are not allowed.
01:04:52Everything about the Japanese is on the front pages.
01:04:55But I found yesterday in the Los Angeles Times,
01:04:57somewhere in the middle,
01:04:58much more important information.
01:05:00Well, the German attack on Moscow
01:05:02broke down because of the low temperatures.
01:05:05And so on the day when the greatest industrial power in the world
01:05:09enters the war,
01:05:10Hitler finally realized
01:05:12that winter in Russia is cold.
01:05:15It's over.
01:05:16The painter is finished.
01:05:19I hope the Americans will also declare war on Germany, right?
01:05:23Oh, yes, and this week.
01:05:25I think I can give you a hand for that.
01:05:28Long live Aden! Long live Aden!
01:05:32Long live us!
01:05:35Long live Aden!
01:05:40Blow out the candles.
01:05:50What?
01:05:52You don't want to blow out the candles?
01:05:55Now you have to think of a wish.
01:05:59Do you have a wish?
01:06:09I had to sell all the jewellery.
01:06:12Everything. Everything.
01:06:14As far as art is concerned.
01:06:16So I thought, why should I put anything in at all?
01:06:21Hi, Maestro.
01:06:25You've never seen your sister-in-law like this, have you?
01:06:29And how do you like me?
01:06:31Get a grip.
01:06:33That's all you can say, right?
01:06:36That's all you can think of?
01:06:39Ready.
01:06:46If you only knew what it means to have such an old husband.
01:06:52He's so old.
01:06:55He's so old.
01:07:01No!
01:07:17None of us were really happy, that's a fact.
01:07:21But as you probably noticed, I had my own point of view.
01:07:26I always liked strange and unfinished things.
01:07:30Shortly speaking, after two years in Los Angeles,
01:07:34I felt at home.