Browse content similar to Flying down to Rio. Check below for episodes and series from the same categories and more!
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Dismissed! | 0:01:34 | 0:01:37 | |
Boys... | 0:01:38 | 0:01:40 | |
remember, when Mr Butterbass calls you to attention, | 0:01:40 | 0:01:45 | |
I want every eyelid to SNAP! Yes, sir! | 0:01:45 | 0:01:48 | |
Take your posts. | 0:01:48 | 0:01:51 | |
Good morning, young ladies. Good morning, Mr Haversein. | 0:01:54 | 0:01:59 | |
Ehm... About face. | 0:02:06 | 0:02:08 | |
That is one thing I will not tolerate in this hotel. | 0:02:22 | 0:02:27 | |
Dismissed! | 0:02:29 | 0:02:31 | |
And now, the band! | 0:02:34 | 0:02:37 | |
Right over here! | 0:02:37 | 0:02:39 | |
-Good morning, Popeye. -How dare you speak?! | 0:02:53 | 0:02:58 | |
I've had complaints about all of you. | 0:02:58 | 0:03:02 | |
No-one has complained to ME. | 0:03:03 | 0:03:06 | |
-I will dismiss any employee who gets familiar with the guests. -What if they get familiar with US? | 0:03:06 | 0:03:14 | |
Quiet! Please! | 0:03:14 | 0:03:17 | |
I have been imported from Switzerland to enforce discipline...and I WILL! | 0:03:17 | 0:03:25 | |
Where is the boss of this outfit? | 0:03:26 | 0:03:29 | |
-Where is that loafer, Roger Bond, and assistant loafer, Fred Ayres? -Coming right down! | 0:03:29 | 0:03:36 | |
-How do you feel, boy? -Yeah! | 0:03:53 | 0:03:56 | |
Well, this is all in one piece. | 0:03:56 | 0:03:59 | |
That's more than WE'LL be if we don't get to the hotel. | 0:03:59 | 0:04:04 | |
Why don't they put a kitchen and bath in here?! Crazy, I guess. | 0:04:07 | 0:04:13 | |
Crazy, nuthin'! That guy writes songs. THAT'S screwy. | 0:04:13 | 0:04:18 | |
So screwy he can buy a plane! No touch! | 0:04:18 | 0:04:22 | |
In 10 seconds they go on the air! | 0:04:41 | 0:04:44 | |
If they aren't here, I'm going to fire them! | 0:04:44 | 0:04:48 | |
One to make ready, two to go... | 0:04:48 | 0:04:52 | |
..five, six, pick up sticks... | 0:04:56 | 0:04:59 | |
Good afternoon, ladies and gentlemen. | 0:05:03 | 0:05:06 | |
< Yankee Clippers, direct from the Hotel Hibiscus. | 0:05:06 | 0:05:10 | |
at Miami, Florida. | 0:05:10 | 0:05:13 | |
We offer for your pleasure... "Music Makes Me", with vocals by that charming lady, | 0:05:13 | 0:05:21 | |
Miss Honey Hale! | 0:05:21 | 0:05:24 | |
BAND PLAYS INTRODUCTION | 0:05:26 | 0:05:29 | |
# In me you see a sinner And dancing is my crime | 0:05:34 | 0:05:39 | |
# It seems a sin I must give in To syncopated time | 0:05:39 | 0:05:44 | |
# It makes me lose my dignity It makes me lose my poise | 0:05:44 | 0:05:49 | |
# Some folks call it music My folks call it noise | 0:05:49 | 0:05:53 | |
# I like music old and new But music makes me do the things I never should do! | 0:05:53 | 0:06:01 | |
# Ohhhh, I like music sweet and blue | 0:06:01 | 0:06:06 | |
# But music makes me do the things I never should do! | 0:06:06 | 0:06:11 | |
# My self-control Was something to brag about Now it's a gag about town | 0:06:11 | 0:06:18 | |
# I hear music... then I'm through | 0:06:18 | 0:06:23 | |
# Cos music makes me do the things I never should do! | 0:06:23 | 0:06:28 | |
# I like music I like it old, I like it new | 0:06:30 | 0:06:34 | |
# But it makes me do the things I never should do! | 0:06:34 | 0:06:39 | |
# I like music I like it sweet, I like it blue | 0:06:39 | 0:06:43 | |
# But it makes me do the things I never should do! | 0:06:43 | 0:06:47 | |
# My self-control Was something to brag about Now it's a gag about town | 0:06:47 | 0:06:55 | |
# Just when I'm living, I'm down. | 0:06:55 | 0:06:59 | |
# Cos music makes me do the things I never should do! # | 0:06:59 | 0:07:06 | |
Hey, Rog, go easy. Don't bite the job that feeds ya. | 0:07:33 | 0:07:38 | |
-What am I doing? -You know about not fooling with the customers. | 0:07:38 | 0:07:43 | |
Oh-oh. Here we go again! | 0:07:52 | 0:07:55 | |
The Latin type. | 0:07:55 | 0:07:57 | |
Belinha, my head aches so badly, I think I will go and eat an aspirin. | 0:07:58 | 0:08:04 | |
Do not rise. | 0:08:04 | 0:08:07 | |
-Shall I go with you? -No, stay. | 0:08:07 | 0:08:11 | |
But please do not introduce to Belinha too many American customs. | 0:08:11 | 0:08:17 | |
Rog... Rog... | 0:08:20 | 0:08:22 | |
-Huh? -Last time you had that look, all we had to live on was a can of dog food! | 0:08:23 | 0:08:30 | |
His father owns the sunny side of Wall Street. | 0:08:30 | 0:08:35 | |
If he gave up planes and songwriting, he could name his figure. | 0:08:35 | 0:08:41 | |
He could name mine any time! | 0:08:41 | 0:08:44 | |
If a Brazilian girl was interested in him... and had half your freedom, | 0:08:44 | 0:08:51 | |
-she'd...eh... -She'd WHAT? | 0:08:51 | 0:08:54 | |
-She'd get him over here. -Oh, yeah(?) You mean, she'd TRY. | 0:08:54 | 0:09:00 | |
Watch. | 0:09:01 | 0:09:03 | |
Oh, Rog! | 0:09:23 | 0:09:25 | |
-What is he doing now? -He fell into the trombone. You're breaking up the band! | 0:09:25 | 0:09:33 | |
When I start something, I finish it! | 0:09:33 | 0:09:38 | |
-Yes, madam? -Pencil. | 0:09:40 | 0:09:43 | |
Thank you. | 0:09:43 | 0:09:46 | |
Pssssst! | 0:09:47 | 0:09:48 | |
Remember the dog food! The kind they made out of fish! | 0:09:59 | 0:10:04 | |
< Mr Bond... | 0:10:04 | 0:10:06 | |
For you, sir, from the lady. The dark one. | 0:10:06 | 0:10:10 | |
-What have I got to lose? -A job! -Since when was dancing a familiarity? | 0:10:20 | 0:10:27 | |
It's a form of resignation. | 0:10:28 | 0:10:31 | |
Oh-oh, she's smiling at him. | 0:10:40 | 0:10:43 | |
What have the South Americans got that WE haven't? | 0:10:50 | 0:10:54 | |
Excuse me, sir... | 0:11:40 | 0:11:43 | |
Tell Signora de Resende that her niece is dancing with the orchestra leader. | 0:11:43 | 0:11:48 | |
Tell de Resende that Belinha is dancing with a musician. | 0:11:48 | 0:11:54 | |
Tell de Resende the kid's dancing with the drummer. | 0:11:54 | 0:11:59 | |
Tell the old sea-lion the baby's hoppin' with a piccolo player. | 0:12:01 | 0:12:06 | |
Oh, madame! | 0:12:06 | 0:12:09 | |
Mademoiselle is going in a big way for a gigolo! Belinha! | 0:12:09 | 0:12:15 | |
My niece! | 0:12:18 | 0:12:21 | |
The flower of the womanhood of the Castro de Mente de Resende! | 0:12:24 | 0:12:30 | |
Isn't it terrible? | 0:12:30 | 0:12:33 | |
-Eh, this is my aunt. -How do you do? | 0:12:37 | 0:12:41 | |
My niece thanks you. She will not require any more of your services. | 0:12:41 | 0:12:48 | |
Is the usual rate higher? | 0:12:49 | 0:12:52 | |
I am not familiar with such matters. | 0:12:52 | 0:12:54 | |
No, it's all right. It's generous. | 0:12:54 | 0:12:58 | |
I think. Oh, just a moment. | 0:12:58 | 0:13:01 | |
With my compliments. | 0:13:01 | 0:13:04 | |
Mmm. The quaint young man has given me an orchid. | 0:13:04 | 0:13:10 | |
In Brazil, they grow like weeds. | 0:13:10 | 0:13:13 | |
Come. | 0:13:15 | 0:13:17 | |
Would your niece prefer a geranium or a begonia, perhaps? | 0:13:17 | 0:13:22 | |
BAND PLAYS "THE DEATH MARCH" | 0:13:27 | 0:13:30 | |
Pull in your apples, here comes William Tell. | 0:13:51 | 0:13:56 | |
Well, Roger's done it again. | 0:14:06 | 0:14:09 | |
Just as I was catching up with my alimony. | 0:14:09 | 0:14:13 | |
Sir Galahad has got us kicked out of every job. I wonder where we go from here? | 0:14:13 | 0:14:20 | |
Heads, north, tails, south. | 0:14:20 | 0:14:23 | |
The quarter goes to the bell-hop. Hey! | 0:14:23 | 0:14:28 | |
Boys! And Honey. I've got a surprise. | 0:14:28 | 0:14:32 | |
Money(?) | 0:14:32 | 0:14:35 | |
-Roger's outdone himself. -Broken both legs running after TWO women! | 0:14:35 | 0:14:42 | |
No! He's landed us a job in Rio de Janeiro! | 0:14:42 | 0:14:47 | |
We'll be flying down any morning now. | 0:14:47 | 0:14:51 | |
And swimming back in the afternoon. | 0:14:51 | 0:14:56 | |
One of you boys pass out the salaries. | 0:14:56 | 0:15:00 | |
-ONE of you. -I can do it! -Eddie. | 0:15:00 | 0:15:03 | |
Oh, I beg your... | 0:15:42 | 0:15:44 | |
-Good morning. -Mr Bond, I'm sorry. I'd no idea I was making trouble. | 0:15:45 | 0:15:51 | |
-Think nothing of it. I'm accepting a new engagement - and not to dance! -Don't be angry. | 0:15:51 | 0:15:59 | |
I'm sorry. | 0:15:59 | 0:16:01 | |
I must send this. We missed the plane to Rio de Janeiro. | 0:16:04 | 0:16:13 | |
Did you say... Rio de Janeiro? | 0:16:13 | 0:16:17 | |
Yes. Father is not well, and wants me there right away. | 0:16:17 | 0:16:22 | |
What a strange coincidence. It happens... | 0:16:22 | 0:16:27 | |
-that I have a friend who's flying his own plane down south... -How far? -As far as you want! | 0:16:27 | 0:16:35 | |
If I get to Port au Prince, I could still catch the Rio plane. Would he take me? | 0:16:35 | 0:16:42 | |
I think I could persuade him! | 0:16:42 | 0:16:45 | |
How nice! I'll tell Titia to pack at once. | 0:16:45 | 0:16:51 | |
Just a moment! My friend's plane is very small. | 0:16:51 | 0:16:56 | |
-It only has room for ONE passenger. -Oh, dear! | 0:16:56 | 0:17:00 | |
-Your aunt won't let you? -She'll have to, for Father's sake. -Dear Father! | 0:17:00 | 0:17:07 | |
She can take the next plane. | 0:17:07 | 0:17:10 | |
-Hi, Rog. All set? -I hope so. -Shall I lay out the pink coveralls with the tan grease spots? -Huh? | 0:17:15 | 0:17:24 | |
I usually fly with you, don't I? | 0:17:24 | 0:17:27 | |
Freddy, old man, it's this way... | 0:17:27 | 0:17:30 | |
I met a very old friend who asked me as a special favour... | 0:17:30 | 0:17:35 | |
So, you'll have to fly down with the boys. You don't mind? | 0:17:35 | 0:17:40 | |
Send this wire to say we're coming. | 0:17:40 | 0:17:43 | |
-"Flying Down To Rio", what a title for a song! -Yeah. | 0:17:43 | 0:17:48 | |
-The very name for that new number. -Yeah. -Yeah. Well, see you in Rio. | 0:17:48 | 0:17:54 | |
Yeah. | 0:17:55 | 0:17:56 | |
Is this the plane of the gentleman who is taking the lady to Rio? Yes, ma'am. | 0:18:07 | 0:18:14 | |
My niece is going. Right this way. | 0:18:14 | 0:18:18 | |
Are you the conductor? | 0:18:19 | 0:18:21 | |
Have you proper credentials? | 0:18:23 | 0:18:26 | |
Are you married? | 0:18:27 | 0:18:30 | |
You have children? | 0:18:31 | 0:18:34 | |
Why does he not speak? Is he dumb? | 0:18:36 | 0:18:40 | |
-Please. He's doing us a favour. -I don't know. He's not quite right. | 0:18:41 | 0:18:46 | |
I'd better go along. It won't fly with more than two. Step up, miss. | 0:18:46 | 0:18:54 | |
There we are. | 0:18:55 | 0:18:57 | |
Wait! I have not kissed my niece. | 0:18:58 | 0:19:01 | |
HE'LL take care of that! Do not speak to him unless it is necessary. | 0:19:01 | 0:19:08 | |
I should never have let her go. | 0:19:19 | 0:19:22 | |
Get them down. Go after them. | 0:19:22 | 0:19:25 | |
Signora de Resende, you made me your chauffeur, but I cannot be an EAGLE. | 0:19:25 | 0:19:34 | |
Do I have to fly to Haiti on a piano bench? | 0:19:41 | 0:19:45 | |
Do I... | 0:19:48 | 0:19:50 | |
PLAYS PIANO # Just a gigolo... | 0:20:11 | 0:20:15 | |
# Everywhere I go... # | 0:20:15 | 0:20:18 | |
ENGINE SPLUTTERS | 0:20:37 | 0:20:40 | |
MAKES STRANGE CLICKING NOISE | 0:20:43 | 0:20:46 | |
Close shave! | 0:21:08 | 0:21:10 | |
Wasn't it fortunate this beach was at your disposal, | 0:21:19 | 0:21:24 | |
when the motor went wrong? | 0:21:24 | 0:21:27 | |
Perhaps your plane ALWAYS makes a false landing when you have a lady passenger. | 0:21:36 | 0:21:44 | |
It's nothing serious. | 0:21:44 | 0:21:47 | |
Probably the gas line. We should be off in no time. | 0:21:47 | 0:21:52 | |
I'll believe you when we're in the air. | 0:21:52 | 0:21:56 | |
You're going to be a sap and fix it? | 0:22:21 | 0:22:25 | |
What? When was there a better opportunity? | 0:22:25 | 0:22:30 | |
Throw away part of the motor. | 0:22:30 | 0:22:33 | |
You've been getting me into messes all my life! I'M the one who gets slapped! | 0:22:33 | 0:22:40 | |
Don't remind me of the opportunity you missed. | 0:22:40 | 0:22:44 | |
I'll never hear the end of it unless I do as you say. | 0:22:44 | 0:22:49 | |
This is more serious than I thought. | 0:22:58 | 0:23:01 | |
He's deliberately trying to keep you here. | 0:23:04 | 0:23:08 | |
That's why he picked this island. Isn't that what you WANT? | 0:23:08 | 0:23:13 | |
I can't let him know that. I must maintain my reserve. | 0:23:13 | 0:23:18 | |
-You and your reserve! If people knew you as -I -do, they might be shocked. | 0:23:18 | 0:23:25 | |
You know how you always do it. Start with your music. | 0:23:28 | 0:23:33 | |
She won't fall for that old line. | 0:23:33 | 0:23:36 | |
We haven't met one yet who didn't! | 0:23:36 | 0:23:39 | |
What'll I play? Can't you get inspiration by just looking at her? | 0:23:42 | 0:23:48 | |
She's like an orchid. Moonlight... "Orchids In The Moonlight". | 0:23:52 | 0:23:59 | |
PLAYS INTRODUCTION ON PIANO | 0:24:17 | 0:24:20 | |
VERY SLOW, ROMANTIC MUSIC | 0:24:39 | 0:24:42 | |
-If they only understood themselves, as we do. -Silly how humans deny themselves! | 0:25:22 | 0:25:30 | |
But WE can speak the truth. I can say "I love you". | 0:25:30 | 0:25:35 | |
Oh, I...I didn't mean this. | 0:25:50 | 0:25:53 | |
-I don't know how it happened. -It happened, isn't that enough? | 0:25:53 | 0:25:58 | |
No. You don't understand. I haven't the right. | 0:26:01 | 0:26:06 | |
My life has long been arranged. | 0:26:09 | 0:26:11 | |
-Don't tell me anything so 18th century as an arranged... -We still do, in my country. | 0:26:16 | 0:26:24 | |
I'm going to institute some radical changes in your country. | 0:26:24 | 0:26:30 | |
-My fiance has built me a home on Rio Bay. -But you love ME. | 0:26:31 | 0:26:36 | |
-You're taking a lot for granted. -I love you. | 0:26:36 | 0:26:40 | |
-You don't even know my name. Forget tonight. -Now YOU'RE taking a lot for granted. | 0:26:40 | 0:26:47 | |
-You'll never see me again. -I WILL see you. -I won't permit you. | 0:26:47 | 0:26:53 | |
We'll see! | 0:26:53 | 0:26:55 | |
-You'll do as I say! -Will I(?) | 0:26:55 | 0:26:58 | |
-You WILL. -I will NOT. Your family, your fiance, the ARMY can't stop me! And... | 0:26:58 | 0:27:05 | |
-Owwww! -I've had enough of you! | 0:27:09 | 0:27:12 | |
Oh, miss. | 0:27:34 | 0:27:36 | |
Miss. | 0:27:39 | 0:27:41 | |
Good morning. | 0:27:41 | 0:27:44 | |
I'm just going down to the corner drugstore to get some breakfast. | 0:27:45 | 0:27:50 | |
Any special way you like your coconut juice? | 0:27:50 | 0:27:55 | |
I'm not gonna spend the rest > of my days with a dumb wife! | 0:27:55 | 0:28:00 | |
If you're going to act that way, I've some looking around to do. | 0:28:03 | 0:28:08 | |
Mr Bond! MR BOND! | 0:28:35 | 0:28:39 | |
Where are you? Where are you? | 0:28:39 | 0:28:43 | |
-Roger! -What's the matter? | 0:28:43 | 0:28:46 | |
-Cannibals! -Where? Owwww! | 0:28:46 | 0:28:49 | |
Roger! | 0:28:49 | 0:28:50 | |
Roger! Darling! Roger! | 0:28:50 | 0:28:53 | |
-What happened? -I don't know. | 0:28:54 | 0:28:57 | |
Oh, I say, it's against the rules to move the ball. | 0:29:10 | 0:29:17 | |
Say... | 0:29:19 | 0:29:21 | |
Where are we? This is Haiti, sir. | 0:29:21 | 0:29:25 | |
-Port au Prince Golf Club. I was practising for a tournament. -But I saw wild men. | 0:29:25 | 0:29:33 | |
They're taking a morning dip. | 0:29:36 | 0:29:39 | |
< Wild men! | 0:29:39 | 0:29:41 | |
Fancy that! | 0:29:41 | 0:29:44 | |
Is there anywhere I can get a mechanic to fix my plane? Yes. At the airport. | 0:29:44 | 0:29:51 | |
< Listen, you can hear them warming up the Rio plane. | 0:29:51 | 0:29:56 | |
-It spent the night here. It leaves in 10 minutes. -Splendid. | 0:29:56 | 0:30:02 | |
I'll take the Rio plane the rest of the way. Thanks for the lift. | 0:30:02 | 0:30:09 | |
Goodbye. Come. | 0:30:09 | 0:30:11 | |
Eh...righto! | 0:30:11 | 0:30:13 | |
Wait! I can fix my plane! | 0:30:13 | 0:30:16 | |
-To Rio! -Righto! | 0:30:21 | 0:30:24 | |
If you're looking for the part you threw away, you'll find it on the piano! | 0:30:28 | 0:30:35 | |
This isn't just another girl, this is the real thing! | 0:31:38 | 0:31:43 | |
Cupid didn't fire an arrow, he sunk a harpoon! | 0:31:43 | 0:31:48 | |
This time it's a Brazilian girl. | 0:31:48 | 0:31:51 | |
< And what a girl ! I'm crazy for her! | 0:31:51 | 0:31:56 | |
As a matter of fact, I like her. I met her in Miami at the Hibiscus Hotel. | 0:31:56 | 0:32:02 | |
And talk about luck! The day you sent for me, her father got sick... | 0:32:02 | 0:32:10 | |
< and she had to hurry back here. | 0:32:10 | 0:32:13 | |
You'll be seeing her here? | 0:32:13 | 0:32:16 | |
She wouldn't tell me her name. Then it's all on your side. | 0:32:16 | 0:32:22 | |
< She's dizzy about me. Did she tell you? < I can tell. | 0:32:22 | 0:32:28 | |
Julio, she's exquisite. She has a face like a flower. A rose! | 0:32:28 | 0:32:34 | |
No, an orchid. A white orchid. | 0:32:34 | 0:32:37 | |
She SOUNDS enchanting. Bewildering! Bewitching! Intoxicating! Devastating! | 0:32:37 | 0:32:45 | |
Julio, I wanna bite myself! | 0:32:45 | 0:32:48 | |
She has beautiful black hair and big brown eyes, eh, Roger? | 0:32:49 | 0:32:54 | |
How true! And has SHE got...ehm... | 0:32:54 | 0:32:58 | |
When she smiles her mouth curves? Right! But how would YOU know? | 0:33:00 | 0:33:07 | |
That wonderful night we spent on the beach! | 0:33:07 | 0:33:12 | |
< Just the two of us alone. | 0:33:12 | 0:33:14 | |
Not a soul for miles and miles. | 0:33:14 | 0:33:17 | |
Was there a moon? A glorious moon! There would be(!) | 0:33:22 | 0:33:28 | |
It all comes back to me... Yes? | 0:33:28 | 0:33:31 | |
I took her in my arms... Yes? | 0:33:31 | 0:33:34 | |
And... Yes? It was too beautiful. | 0:33:34 | 0:33:38 | |
Too sacred to talk about. | 0:33:38 | 0:33:41 | |
What happened after you took her in your arms and drew her to you? | 0:33:41 | 0:33:47 | |
I ran into difficulties. Oh? | 0:33:47 | 0:33:50 | |
The poor kid is engaged > to some local cluck. She didn't know any better. | 0:33:50 | 0:33:58 | |
She was a child in a baby buggy! Now the mug is holding her to it. | 0:33:58 | 0:34:04 | |
He's got a shack on the waterfront. | 0:34:04 | 0:34:08 | |
Ever hear of a heel like that? No! | 0:34:08 | 0:34:13 | |
Thanks. | 0:34:13 | 0:34:14 | |
Julio, I want you to do something for me. | 0:34:14 | 0:34:18 | |
Help me find her. ME? | 0:34:18 | 0:34:21 | |
Yeah. No. I could not. An engagement is very serious. | 0:34:21 | 0:34:27 | |
It's serious that when I think of her I want to bite myself! | 0:34:27 | 0:34:33 | |
Here's to "Her". Her happiness. Thanks, old man. | 0:34:33 | 0:34:38 | |
Rog! The boys are downstairs waiting for you. Hey, no more bathroom drinking. | 0:34:40 | 0:34:47 | |
-We're going to hear a band... -I can't. I gotta go find someone. | 0:34:47 | 0:34:53 | |
Oh-oh! That look in his eye. | 0:34:53 | 0:34:56 | |
The senorita? After that frosting you got in Miami? She made him look like an angel cake! | 0:34:56 | 0:35:04 | |
It's no use. Keep out of jail, will you? They throw the keys away here. | 0:35:04 | 0:35:13 | |
Nice guy, but he takes his work too seriously. | 0:35:13 | 0:35:17 | |
I must make a phone call. Sure. Help yourself. | 0:35:17 | 0:35:21 | |
Julio, I was just thinking about you. | 0:35:22 | 0:35:26 | |
But you'll see me tomorrow night. | 0:35:26 | 0:35:30 | |
I MUST see you tonight. | 0:35:30 | 0:35:33 | |
Wait, I'll ask Titia. Julio wants to see me tonight. | 0:35:33 | 0:35:38 | |
Have him come over. | 0:35:38 | 0:35:41 | |
I'm sorry. Titia says "no". | 0:35:42 | 0:35:45 | |
You see, we're so busy. | 0:35:45 | 0:35:48 | |
You DO understand, don't you? | 0:35:48 | 0:35:51 | |
You're such a dear! Goodnight. | 0:35:51 | 0:35:55 | |
Busy thinking about a bandleader! | 0:35:55 | 0:35:59 | |
Darling! | 0:36:04 | 0:36:06 | |
You know I'd never do anything to hurt Julio, don't you? | 0:36:06 | 0:36:11 | |
But mayn't I have a little fun before I settle down and start having thousands of children? | 0:36:11 | 0:36:19 | |
Belinha! | 0:36:19 | 0:36:21 | |
What's the matter? Didn't she have a friend for you? | 0:36:22 | 0:36:27 | |
Yes. Eh, no. I was just making plans. | 0:36:27 | 0:36:31 | |
There's a ball tomorrow night. You and Fred are to be my guests. | 0:36:31 | 0:36:36 | |
Swell! Maybe SHE'LL be there. Possible. | 0:36:36 | 0:36:40 | |
Great place to try out my new song! | 0:36:40 | 0:36:44 | |
"Orchids In The Moonlight". I wrote it for HER. | 0:36:44 | 0:36:49 | |
PLAYS SAME MUSIC AS HE DID ON THE ISLAND | 0:36:49 | 0:36:54 | |
Cosy little spot you have here. | 0:37:13 | 0:37:16 | |
Thank you. I will personally escort you to your table. This way. | 0:37:16 | 0:37:22 | |
I had the honour to visit your country once. | 0:37:22 | 0:37:27 | |
I played Milwaukee, Cincinnati, Schen...Schen...Schenectady... | 0:37:27 | 0:37:33 | |
-Schenectady? Ever play Syracuse? -Sure! I play four times a day! | 0:37:33 | 0:37:39 | |
-Nice work if you can get it! -And the most astonishing thing was, the audience always laughed. | 0:37:39 | 0:37:47 | |
You're telling us! | 0:37:47 | 0:37:50 | |
I also reserved those tables for your Clippings. CLIPPERS. | 0:37:50 | 0:37:56 | |
Yes. Thank you. Clippings. | 0:37:56 | 0:37:59 | |
Senorita, sit down. | 0:37:59 | 0:38:02 | |
Admire my greatest attraction - The Torunas! | 0:38:02 | 0:38:06 | |
They look like a bunch of zombies! | 0:38:09 | 0:38:13 | |
-If THAT'S our only competition... -Shh! Don't hurt the old boy's feelings. | 0:38:13 | 0:38:19 | |
We got tonight some distinguished visitors from our sister continent. Shall we play them a Foxtrot? | 0:38:22 | 0:38:31 | |
NO! The Carioca! The Carioca! | 0:38:31 | 0:38:35 | |
THEY ALL SHOUT FOR THE CARIOCA | 0:38:35 | 0:38:38 | |
-What's wrong with the Foxtrot? -The Foxtrot is considered too tame, too dull. | 0:38:40 | 0:38:47 | |
-They prefer the Carioca. -I see. -They prefer it in public? -Si, senora. | 0:38:47 | 0:38:54 | |
Carioca! Carioca! | 0:38:54 | 0:38:56 | |
Very well! Boys, the Carioca! | 0:38:56 | 0:39:00 | |
SLOW TRUMPET INTRODUCTION | 0:39:01 | 0:39:04 | |
Huh! OUR band will be a sensation. | 0:39:12 | 0:39:15 | |
FLUTE PLAYS SLIGHTLY FASTER | 0:39:22 | 0:39:25 | |
THEY ALL JOIN IN | 0:39:25 | 0:39:28 | |
MUSIC GETS FASTER... | 0:39:32 | 0:39:35 | |
..AND MORE INTERESTING! | 0:39:38 | 0:39:41 | |
They've got something! Yeah! | 0:40:15 | 0:40:17 | |
It's swell, but WE can't do it. | 0:40:17 | 0:40:20 | |
So THAT'S the Carioca! | 0:40:34 | 0:40:36 | |
-What's this with the foreheads? -Telepathy! -I can tell what they're thinking about! | 0:40:36 | 0:40:43 | |
-The trick is to keep your mind blank. -With THAT music? | 0:40:50 | 0:40:55 | |
Oh, Freddy, is my mind read! | 0:40:55 | 0:40:58 | |
We can't top this! No. It's a long walk home! | 0:41:32 | 0:41:38 | |
-How much does it cost to get home? -Home, nothing! I'd like to try this thing just once! | 0:41:38 | 0:41:46 | |
-Come on. -We'll show 'em! | 0:41:46 | 0:41:49 | |
CLUNK! | 0:43:21 | 0:43:23 | |
# Have you seen the Carioca? It's not a Foxtrot or a Polka | 0:43:54 | 0:44:01 | |
# It has a little bit of new rhythm A blue rhythm that sighs | 0:44:01 | 0:44:07 | |
# It has a meter that is tricky A bit of whicky-whacky-whicky | 0:44:07 | 0:44:12 | |
# But when you're dancing with a new love | 0:44:12 | 0:44:15 | |
# There'll be true love in her eyes | 0:44:15 | 0:44:18 | |
# We'll dream of the new Carioca Its theme... | 0:44:18 | 0:44:25 | |
# Is a kiss and a sigh | 0:44:25 | 0:44:29 | |
# You'll dream of the new Carioca | 0:44:29 | 0:44:34 | |
# When music and lights have gone and we're saying goodbye | 0:44:34 | 0:44:40 | |
# Two heads are better than one | 0:44:51 | 0:44:55 | |
# Two heads, the dance has begun | 0:44:55 | 0:44:57 | |
# Two arms around you I am yours and you are mine | 0:44:57 | 0:45:01 | |
# While the Carioca carries you away | 0:45:01 | 0:45:07 | |
# Mine while the Carioca till the break of day! # | 0:45:07 | 0:45:13 | |
# Say, have you seen the Carioca? | 0:46:34 | 0:46:37 | |
# It's not a Foxtrot or a Polka A new rhythm | 0:46:37 | 0:46:42 | |
# A blue rhythm that sighs | 0:46:42 | 0:46:45 | |
# It's got a meter that is tricky A bit of whicky-whacky-whicky | 0:46:45 | 0:46:50 | |
# Dancing with your new love There'll be true love in her eyes | 0:46:50 | 0:46:56 | |
# You will dream of a new Carioca | 0:46:56 | 0:47:02 | |
# Its theme is a kiss and a sigh | 0:47:02 | 0:47:07 | |
# You're gonna dream of a new Carioca | 0:47:07 | 0:47:12 | |
# When music and lights have gone And you're saying goodbye. # | 0:47:12 | 0:47:19 | |
No wonder it never gets cold here! | 0:47:48 | 0:47:52 | |
Kinda hot. Let's try that. | 0:48:34 | 0:48:37 | |
HONY-TONKY PIANO MUSIC | 0:48:40 | 0:48:44 | |
# Now that you've done the Carioca You'll never do the Polka | 0:49:29 | 0:49:33 | |
# The Blue Hoola and Bamboola are through | 0:49:33 | 0:49:38 | |
# Tomorrow morning you'll discover You're a Carioca lover | 0:49:38 | 0:49:43 | |
# Dancing with each new love True love just for you | 0:49:43 | 0:49:47 | |
# You'll dream of the new Carioca | 0:49:47 | 0:49:53 | |
# Its theme is a kiss and a sigh | 0:49:53 | 0:49:58 | |
# You'll dream of the new Carioca | 0:49:58 | 0:50:01 | |
# When music and lights are gone And you're saying goodbye! # | 0:50:02 | 0:50:07 | |
Those shadows are here again. Who are they are? | 0:50:29 | 0:50:34 | |
A gambling syndicate. They want to take the hotel over. | 0:50:34 | 0:50:39 | |
How can they take it from de Resende? They CAN! | 0:50:39 | 0:50:45 | |
Speaking for the Bank, we anticipate some difficulty with the gambling permit. | 0:50:46 | 0:50:53 | |
Wires will be pulled! | 0:50:53 | 0:50:57 | |
We would feel embarrassed | 0:50:57 | 0:50:59 | |
should Carlos de Resende meet his obligation in spite of everything. | 0:50:59 | 0:51:06 | |
That contingency will not arise. Steps will be taken! | 0:51:06 | 0:51:11 | |
My colleagues and I will give the matter our personal attention. | 0:51:11 | 0:51:17 | |
-I'd recognise her a block away. -Like looking for a needle in a haystack. | 0:51:27 | 0:51:33 | |
-Cookies! -Come on, we need an idea that'll top that Carioca. I know! | 0:51:33 | 0:51:39 | |
A number with musical saws, and end by sawing Honey in half! | 0:51:39 | 0:51:44 | |
I'd rather split a banana split! | 0:51:44 | 0:51:48 | |
-She's probably miles away. -Sure. I KNOW she is. -You do? -Yeah. I feel psychic. | 0:51:50 | 0:51:57 | |
Walk straight ahead three blocks, | 0:51:57 | 0:52:00 | |
turn to your left three, right two, bear left four... | 0:52:00 | 0:52:05 | |
I'm gonna settle this now. | 0:52:05 | 0:52:08 | |
-Freddy, how do you ask for this in Portuguese? -Don't heckle me. | 0:52:08 | 0:52:14 | |
Good afternoon, senorita, senora. I'm Roger Bond's friend... | 0:52:15 | 0:52:21 | |
Garcon! Garcon! | 0:52:21 | 0:52:25 | |
This man, take him away! | 0:52:25 | 0:52:28 | |
You have upset my patrons. | 0:52:28 | 0:52:32 | |
You are in the wrong part of town! | 0:52:32 | 0:52:34 | |
-Hiya, Tarzan! Havin' fun? -If you even SPEAK to that girl, they throw you on the sidewalk. | 0:52:41 | 0:52:49 | |
-That's class! -Want a cookie? Take your choice. | 0:52:49 | 0:52:54 | |
Not bad! | 0:53:30 | 0:53:32 | |
Pardon. | 0:53:48 | 0:53:50 | |
-Hello, Fred. -Hello, Julio. | 0:53:52 | 0:53:55 | |
-Where's Roger? -Where's Roger? -I thought he'd be with you. -No. | 0:53:55 | 0:54:01 | |
Shall we try the jails first? | 0:54:01 | 0:54:04 | |
-I hope he gets here soon. -So do I. -We're putting on a special dance. | 0:54:04 | 0:54:09 | |
Fred, meet my fiancee... | 0:54:09 | 0:54:13 | |
Senorina de Resende. Mr Ayres. | 0:54:13 | 0:54:16 | |
Hello. | 0:54:16 | 0:54:18 | |
-How do you do? -And her aunt. | 0:54:18 | 0:54:24 | |
-Is that not the young man...? -Of course. | 0:54:25 | 0:54:29 | |
We met in the pastry shop. He left rather suddenly... without saying goodbye. | 0:54:30 | 0:54:37 | |
I said goodbye, but you didn't hear me. I was out on my... I was out. | 0:54:37 | 0:54:44 | |
I'd better go and stop Roger... I mean...go and find Roger. | 0:54:44 | 0:54:49 | |
Awfully nice to have met you. | 0:54:49 | 0:54:52 | |
Oh-oh! | 0:54:56 | 0:54:58 | |
FRED LAUGHS NERVOUSLY | 0:55:00 | 0:55:03 | |
It's OK with me! | 0:55:06 | 0:55:09 | |
-Darling! -I was looking for the Mayor. | 0:55:15 | 0:55:19 | |
ORCHESTRA BEGIN TO PLAY | 0:55:19 | 0:55:21 | |
Is this a new composition? Yes. They're playing it for the first time. | 0:55:51 | 0:55:58 | |
THEY PLAY "ORCHIDS IN THE MOONLIGHT" | 0:55:58 | 0:56:02 | |
Will you excuse me for a moment? | 0:57:21 | 0:57:24 | |
Did you say something to her? | 0:57:29 | 0:57:32 | |
Not a word. Pardon. | 0:57:32 | 0:57:36 | |
Leave them. After all, the child has been away SO long. | 0:57:38 | 0:57:43 | |
They'll soon be married. | 0:57:43 | 0:57:46 | |
Anything wrong? | 0:57:54 | 0:57:57 | |
No. | 0:57:58 | 0:58:00 | |
It was so warm in there. | 0:58:00 | 0:58:03 | |
-Romantic music, isn't it? -Isn't it? | 0:58:05 | 0:58:09 | |
The words are romantic too... and dangerous. | 0:58:10 | 0:58:14 | |
For instance, "In the moonlight, on a tropical island, | 0:58:14 | 0:58:19 | |
"that might make any woman fall in love with any man." | 0:58:19 | 0:58:24 | |
# When orchids bloom in the moo-oo-oonlight | 0:58:37 | 0:58:42 | |
# And lovers vow to be true | 0:58:42 | 0:58:47 | |
# I still can dream in the moo-oo-oonlight | 0:58:47 | 0:58:52 | |
# Of one dear night that we knew | 0:58:52 | 0:58:57 | |
# When orchids fade in the dawning | 0:58:58 | 0:59:03 | |
# They speak of tears and goodbye | 0:59:03 | 0:59:09 | |
# My dreams are shattered like the petals scattered | 0:59:09 | 0:59:15 | |
# Still my love can never die | 0:59:15 | 0:59:21 | |
# There is rest in the twilight | 0:59:22 | 0:59:27 | |
# When the day is through | 0:59:27 | 0:59:31 | |
# But the shadows that fall | 0:59:32 | 0:59:35 | |
# Only seem to recall | 0:59:35 | 0:59:38 | |
# My longing for you | 0:59:38 | 0:59:43 | |
# There's a dream in the moonbeams | 0:59:43 | 0:59:49 | |
# Upon a sea of blue | 0:59:49 | 0:59:54 | |
# But the moonbeams that fall | 0:59:54 | 0:59:57 | |
# Only seem to recall | 0:59:57 | 1:00:01 | |
# Love is old | 1:00:01 | 1:00:04 | |
# Love is new. # | 1:00:04 | 1:00:11 | |
-Belinha... -Julio! | 1:00:11 | 1:00:14 | |
Oh, Julio, marry me right away! | 1:00:14 | 1:00:18 | |
Of course, darling. Hiya! You seem to be doing all right with my song! | 1:00:18 | 1:00:25 | |
Belinha, meet my friend, my BEST friend... | 1:00:27 | 1:00:32 | |
Roger Bond. > | 1:00:32 | 1:00:34 | |
This is Senorina de Resende, my fiancee. | 1:00:34 | 1:00:38 | |
Your fiancee? But this is the... | 1:00:38 | 1:00:42 | |
Then you're the... Yes! | 1:00:42 | 1:00:45 | |
I'm the local cluck who built her a shack on the waterfront. | 1:00:45 | 1:00:51 | |
That's going to be too bad... for one of us. | 1:00:51 | 1:00:56 | |
Oh-oh! | 1:00:58 | 1:01:00 | |
Mr Ayres! | 1:01:02 | 1:01:05 | |
Isn't this our dance? | 1:01:07 | 1:01:09 | |
Yes! As a matter of fact, I was just looking for you. | 1:01:09 | 1:01:14 | |
I am so glad you came along. | 1:01:22 | 1:01:24 | |
I guess I'll be going any minute. | 1:01:24 | 1:01:27 | |
-Why? -Well, maybe the troops won't see me with you out here. | 1:01:27 | 1:01:33 | |
Oh-oh! I knew it! | 1:01:46 | 1:01:49 | |
APPLAUSE | 1:01:51 | 1:01:53 | |
Belinha's dancing a tango with an Americano. | 1:01:55 | 1:01:59 | |
(What laundry do you send your shirts to?) | 1:02:04 | 1:02:09 | |
This IS a tough spot, isn't it? | 1:02:09 | 1:02:12 | |
Things usually straighten themselves out. | 1:02:12 | 1:02:16 | |
Shall we let nature take its course? Yes. Nature and common sense. | 1:02:16 | 1:02:23 | |
I'll just stick to nature. Anyhow, the girl usually does the deciding. | 1:02:23 | 1:02:30 | |
Gentlemen, my colleagues at the Bank and I are satisfied | 1:02:44 | 1:02:49 | |
that the Resende's opening will be a failure. | 1:02:49 | 1:02:54 | |
The Mayor is away. Without an entertainment permit, the hotel will be a fiasco. | 1:02:54 | 1:03:01 | |
We will turn it over to you. | 1:03:01 | 1:03:04 | |
-Morning, Freddy. -Hello, Honey. | 1:03:13 | 1:03:15 | |
-Where did you get the dog and pony act? -It's worse! The McCarthy Sisters. | 1:03:15 | 1:03:22 | |
(A bicycle act from Brooklyn.) I found those two on the American Consul's doorstep. | 1:03:22 | 1:03:30 | |
She was a school teacher. | 1:03:30 | 1:03:34 | |
And the girls from the Carioca Cabaret. | 1:03:34 | 1:03:39 | |
Cheer up! They teach kangaroos to box. | 1:03:39 | 1:03:43 | |
If you need me, send one of the McCarthys over on her bike. | 1:03:43 | 1:03:48 | |
Sit down. We'll talk this over. | 1:03:51 | 1:03:53 | |
-MUSIC PLAYS -The first thing we do is concentrate... | 1:03:53 | 1:03:58 | |
Boys! | 1:03:58 | 1:04:01 | |
-Wait a minute! -THEY CONTINUE | 1:04:01 | 1:04:04 | |
Rog! | 1:04:05 | 1:04:06 | |
-Listen... -MUSIC CONTINUES | 1:04:06 | 1:04:11 | |
How do you expect me to teach... | 1:04:13 | 1:04:15 | |
-Listen, girls... -MUSIC DROWNS OUT HIS WORDS | 1:04:15 | 1:04:20 | |
-Now, girls... -APPLAUSE | 1:05:11 | 1:05:15 | |
It always was good, Fred. | 1:05:18 | 1:05:21 | |
We've got a routine to learn... | 1:05:21 | 1:05:24 | |
SPEAKS IN DIALECT | 1:05:24 | 1:05:28 | |
You like it! Great! Listen... | 1:05:28 | 1:05:31 | |
HE TRIES TO EXPLAIN | 1:05:31 | 1:05:34 | |
Thanks very much. You too, son. | 1:05:35 | 1:05:39 | |
Listen... | 1:05:39 | 1:05:42 | |
HE SPEAKS AGAIN | 1:05:42 | 1:05:45 | |
-No, signor. -Like THIS one better? | 1:05:46 | 1:05:49 | |
Alyez! | 1:05:51 | 1:05:53 | |
-No! No! -Right. That's terrible! | 1:05:55 | 1:05:59 | |
BOTH CHANT: No ensayo! No ensayo! | 1:05:59 | 1:06:02 | |
CHANT IN TIME TO MUSIC: No ensayo! No ensayo! | 1:06:02 | 1:06:08 | |
HEATED DISCUSSION | 1:06:13 | 1:06:16 | |
THEY BEGIN TO SHOUT | 1:06:16 | 1:06:20 | |
-What is it? -Senorina de Resende... | 1:06:25 | 1:06:29 | |
HE EXPLAINS | 1:06:29 | 1:06:32 | |
-Oh! They say rehearsals must stop. -What? | 1:06:32 | 1:06:36 | |
-It seems my father has no entertainment permit. -(Give them 50 bucks.) -NO! | 1:06:36 | 1:06:45 | |
Belinha, your robe. | 1:06:45 | 1:06:48 | |
The police say you forgot to get a licence for the show. I have a licence. | 1:06:49 | 1:06:56 | |
It's for the original date. But we're opening earlier. | 1:06:56 | 1:07:01 | |
Only the Mayor can issue a licence, and he has gone away. Nobody knows why or for how long. | 1:07:01 | 1:07:09 | |
-What about the District Attorney? -Or the Commissioner? -There must be someone! | 1:07:10 | 1:07:16 | |
I have tried everything. There will be no opening. | 1:07:16 | 1:07:21 | |
GIVES ORDER | 1:07:21 | 1:07:24 | |
Come, darling. | 1:07:25 | 1:07:28 | |
We've got to do something. | 1:07:31 | 1:07:34 | |
PLANES FLYING OVERHEAD | 1:07:34 | 1:07:37 | |
-I know what to do! Where's Julio? -At the Aviator's Club. -Perfect! | 1:07:37 | 1:07:43 | |
If we can get the members to co-operate with us, then... | 1:07:43 | 1:07:49 | |
Everything fixed, Julio? Yes. | 1:08:04 | 1:08:08 | |
-This is swell! -The gentlemen of the Aviator's Club at your service! -Marvellous. | 1:08:08 | 1:08:15 | |
We'll talk the girls into coming across. | 1:08:15 | 1:08:19 | |
I'm not asking anything of you that I wouldn't ask of my sister. | 1:08:19 | 1:08:25 | |
Will you do it? I'LL do it! Come on, girls! | 1:08:25 | 1:08:30 | |
That's the way it is. How about it? | 1:08:30 | 1:08:34 | |
-Why don't you do it yourself? -That's what I'm going to do, you witch! | 1:08:34 | 1:08:41 | |
JULIO SPEAKS IN PORTUGUESE | 1:08:42 | 1:08:45 | |
It's a new game, girls. Now, let me see... | 1:08:48 | 1:08:53 | |
Ahhhhhh! | 1:08:53 | 1:08:56 | |
The rest of you turn your backs. | 1:08:56 | 1:08:59 | |
Now don't you dare peek. | 1:08:59 | 1:09:02 | |
-This is gonna be more fun... -Blind Man's Buff? -That's right. | 1:09:02 | 1:09:07 | |
-I thought so! -You did, did you? | 1:09:07 | 1:09:10 | |
See that they're fastened on tight. | 1:09:10 | 1:09:14 | |
Hold still, girls. | 1:09:23 | 1:09:26 | |
GIRLS: 'I hope these straps hold.' | 1:09:26 | 1:09:29 | |
'Good thing my parents don't know!' | 1:09:29 | 1:09:32 | |
'To think I'd ever come to this!' | 1:09:32 | 1:09:35 | |
'I don't know if I'll like this.' | 1:09:35 | 1:09:39 | |
-Up you go. -'OK by me!' | 1:09:39 | 1:09:42 | |
'Oh, not so tight, please.' | 1:09:42 | 1:09:45 | |
'Ouuuuuuch!' | 1:09:45 | 1:09:48 | |
'Something tells me this is the wrong thing to do!' | 1:09:48 | 1:09:53 | |
'I'll try anything once!' | 1:09:53 | 1:09:56 | |
Senor Bond, one moment. Senor de Resende sent you this. Thanks. | 1:09:56 | 1:10:02 | |
Saint Christopher. | 1:10:10 | 1:10:13 | |
I've walked into something! | 1:10:39 | 1:10:42 | |
HE GREETS BELINHA | 1:10:53 | 1:10:56 | |
-Mr Fred! -Everything's all right at the airport. How's the house? -Look... | 1:10:56 | 1:11:04 | |
American tourists from the other hotels. I persuaded them to come. | 1:11:04 | 1:11:10 | |
They all look as if they can pay! | 1:11:10 | 1:11:13 | |
-Senorita! -Good day, Senor Viani. | 1:11:13 | 1:11:16 | |
I came to express my sympathy... eh...my best wishes to your father. | 1:11:16 | 1:11:22 | |
-Thank you. I'll take you to him. -Not many people here for a grand opening. | 1:11:22 | 1:11:29 | |
WHISTLES | 1:11:34 | 1:11:37 | |
Nice beach you have here. We have nice beaches at home. | 1:11:39 | 1:11:45 | |
Rockaway Beach...and... | 1:11:45 | 1:11:48 | |
Your package, sir. It's my medicine. | 1:11:48 | 1:11:51 | |
Check your... It's my lunch. | 1:11:51 | 1:11:54 | |
What are all these packages? My laundry. | 1:11:56 | 1:12:00 | |
No, no, no, no, no, no, no! I insist! It must be checked. | 1:12:01 | 1:12:06 | |
Shhh! We had a hard time getting her to sleep! | 1:12:06 | 1:12:11 | |
I am a patient man, but this is...! | 1:12:11 | 1:12:16 | |
Who are these people with the bundles, Carlos? Guests of the hotel. | 1:12:16 | 1:12:22 | |
-Where's Roger? It's time for him to lead the flight. -I don't know. | 1:12:23 | 1:12:28 | |
The young American asked me to give you these. Thank you. | 1:12:28 | 1:12:34 | |
"Dear Julio, this one is on me. You can fly as well as I can. Lead the parade and be the hero. | 1:12:34 | 1:12:42 | |
"I'm taking a plane to Buenos Aires. So long, Roger. PS Why don't you marry her?" | 1:12:42 | 1:12:50 | |
-What shall I do? -Do as he says. Particularly that PS part. "Why don't you marry her?" | 1:12:50 | 1:12:58 | |
-Elope! That's it! You and Belinha elope! -Elope? -Yes! | 1:12:58 | 1:13:03 | |
In Brazil, we do not elope. | 1:13:03 | 1:13:06 | |
In Brazil, it takes two weeks to be respectably married. | 1:13:06 | 1:13:11 | |
Listen, I've heard that the pilot of a passenger plane is like the captain of a liner. | 1:13:11 | 1:13:19 | |
12 miles out of port, and he can marry you. | 1:13:19 | 1:13:23 | |
After the party, grab Belinha and put an end to this nonsense! | 1:13:23 | 1:13:29 | |
What a pity that you cannot have some...eh...entertainment. | 1:13:34 | 1:13:39 | |
With such a distinguished guest as you, there is no need(!) | 1:13:39 | 1:13:45 | |
PLANES ZOOM OVERHEAD | 1:13:45 | 1:13:48 | |
-Look! -Oh, look! Oooh! | 1:14:00 | 1:14:03 | |
I trust you are not doing anything to offend the authorities. | 1:14:11 | 1:14:16 | |
I trust not! | 1:14:16 | 1:14:19 | |
Roger! What are you doing here? | 1:15:14 | 1:15:17 | |
Julio's leading the planes. I'm...eh...I'm going away. | 1:15:17 | 1:15:23 | |
-You're going away?! -Yeah. | 1:15:23 | 1:15:26 | |
I thought everything would work out for us, but things are different here. | 1:15:27 | 1:15:34 | |
I realise now that you never could belong to me. | 1:15:34 | 1:15:39 | |
Yes, Roger, you're right. | 1:15:39 | 1:15:42 | |
Here, we belong to our families and our promises. Even though all we want is crazy happiness. | 1:15:42 | 1:15:51 | |
I should have left when I first learned about Julio. | 1:15:53 | 1:15:58 | |
Well... | 1:15:59 | 1:16:01 | |
Goodbye. | 1:16:01 | 1:16:03 | |
Goodbye. | 1:16:04 | 1:16:06 | |
Thanks. | 1:16:41 | 1:16:43 | |
Any of you fellas like music? | 1:16:44 | 1:16:47 | |
-Sure! -Well, let's tear it open! | 1:16:47 | 1:16:50 | |
HE RANTS... | 1:17:02 | 1:17:04 | |
AND RANTS! | 1:17:05 | 1:17:08 | |
-Ready? -Ready! | 1:17:11 | 1:17:14 | |
# An old sailor in old times Would sing an old song | 1:17:17 | 1:17:22 | |
# Rolling down to Rio by the sea | 1:17:22 | 1:17:26 | |
# A young sailor in these times Would sing a new song Flying down to Rio, come with me! | 1:17:26 | 1:17:34 | |
# Lovely Brazilian ladies Will catch your eye | 1:17:34 | 1:17:38 | |
# By the light of the stars In the evening sky | 1:17:38 | 1:17:43 | |
# Hi, Rio Rio by the sea-o | 1:17:43 | 1:17:46 | |
# Flying down to Rio Where's there's rhythm and life | 1:17:46 | 1:17:51 | |
# Fella, twirl that propeller | 1:17:51 | 1:17:54 | |
# Got to get to Rio Got to make time | 1:17:54 | 1:17:58 | |
# You'll love it Soaring high above it | 1:17:58 | 1:18:02 | |
# Looking down on Rio From a heaven of blue | 1:18:02 | 1:18:07 | |
# Send a radio to Rio de Janeiro With a big hello so they'll know | 1:18:07 | 1:18:15 | |
# My Rio Everything will be OK | 1:18:15 | 1:18:18 | |
# We're singing and winging our way to you! # | 1:18:18 | 1:18:22 | |
SCREAMING | 1:21:06 | 1:21:08 | |
WILD APPLAUSE | 1:21:30 | 1:21:32 | |
SHOUTS OF "THE MAYOR!" | 1:21:34 | 1:21:37 | |
Carlos! Sit down. | 1:21:46 | 1:21:49 | |
My dear Carlos, a tremendous success. | 1:21:51 | 1:21:55 | |
Congratulations. I saw the sky, and hurried down here. | 1:21:55 | 1:22:01 | |
You and your colleagues ought to be very happy. You must buy us champagne! | 1:22:01 | 1:22:08 | |
I insist! | 1:22:08 | 1:22:11 | |
Very well. Waiter! | 1:22:11 | 1:22:14 | |
Hey! How do I get outta this? | 1:22:31 | 1:22:35 | |
What's the combination? | 1:22:35 | 1:22:37 | |
-Come, Belinha. -But where? Why? | 1:22:39 | 1:22:42 | |
This time I'm taking no chances. | 1:22:48 | 1:22:51 | |
-Julio, where are you taking me? -On your honeymoon. | 1:22:52 | 1:22:57 | |
-Don't be silly. I'm not married. -You will be, before you know it. | 1:22:57 | 1:23:02 | |
Hey! | 1:23:12 | 1:23:13 | |
Can you legally marry people? Yes. Fine! | 1:23:45 | 1:23:50 | |
Is this the lady? Yes. | 1:23:57 | 1:24:00 | |
And THIS is the man. | 1:24:04 | 1:24:07 | |
Roger, HER happiness is MY happiness. | 1:24:07 | 1:24:11 | |
Belinha... SPEAKS PORTUGUESE | 1:24:13 | 1:24:17 | |
Good luck. | 1:24:17 | 1:24:20 | |
Look! | 1:24:37 | 1:24:38 | |
Look! Here comes Julio! | 1:24:40 | 1:24:43 | |
-DRUNKENLY: -That gal don't care who she gets thrown out of what! | 1:24:43 | 1:24:49 |