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This film contains some strong language and some scenes of a sexual nature. | 0:00:06 | 0:00:11 | |
WOMAN SINGS ON THE RADIO | 0:00:25 | 0:00:28 | |
DOG BARKS OUTSIDE | 0:00:31 | 0:00:33 | |
^ FOOTSTEPS APPROACH, KEYS JANGLE | 0:00:53 | 0:00:56 | |
RADIO IS TURNED OFF | 0:01:14 | 0:01:16 | |
SHE SIGHS | 0:01:24 | 0:01:26 | |
BELL RINGS | 0:01:26 | 0:01:28 | |
-Have you spoken to Tito? -On the telephone. He knew you were coming straight from the airport. | 0:01:28 | 0:01:32 | |
-Madam kept a seat back for him. -How did he sound to you? -Fit as a fiddle. As usual. | 0:01:32 | 0:01:37 | |
-The authorities would've shot him if they caught him in Panama. -It's a rum do all round! Jail! | 0:01:37 | 0:01:42 | |
Oh, I don't know. They were even saying His Nibs used you as a decoy | 0:01:42 | 0:01:46 | |
to get away, when he knew the whole coup was a damp squib. | 0:01:46 | 0:01:49 | |
Oh, the press will say anything. It's a wonderful story for them, isn't it? | 0:01:49 | 0:01:53 | |
I don't know, guns, boats... Madam was ready to make an announcement, you know. | 0:01:53 | 0:01:57 | |
-Look, Lynne has already got the costume on. -Mummy, you know how I hate letting people down. | 0:01:57 | 0:02:02 | |
And I had a lovely sleep on the plane. | 0:02:02 | 0:02:05 | |
The show must go on. | 0:02:05 | 0:02:07 | |
And on and bloody on. | 0:02:07 | 0:02:09 | |
MUSIC: "Swan Lake" by Tchaikovsky | 0:02:18 | 0:02:21 | |
Tito! Oh, it's been torture. | 0:03:00 | 0:03:03 | |
No news for six days. And then, when they said you were safe... | 0:03:03 | 0:03:08 | |
Next time, definitely more guns. | 0:03:16 | 0:03:21 | |
Goodness. I'm not sure I like the idea of a next time. | 0:03:21 | 0:03:26 | |
Really? | 0:03:26 | 0:03:27 | |
We always knew there was a risk the Guardia would be tipped off. | 0:03:27 | 0:03:32 | |
Margot... | 0:03:32 | 0:03:34 | |
This is my life, you know that. | 0:03:36 | 0:03:39 | |
And it's infinitely more exciting | 0:03:40 | 0:03:42 | |
than tripping around on your toes with Nancy boys. Admit it. | 0:03:42 | 0:03:47 | |
Oh, God, I must pack, for the tour. | 0:03:47 | 0:03:51 | |
Tell me about it. | 0:03:51 | 0:03:53 | |
The land in Panama. | 0:03:53 | 0:03:56 | |
It's on the coast. | 0:03:58 | 0:04:00 | |
When we build the house, you'll be able to walk to the cove from the bottom of the garden. | 0:04:00 | 0:04:06 | |
Green everywhere. | 0:04:06 | 0:04:08 | |
We'll breed cattle - Argentinean stock. | 0:04:08 | 0:04:11 | |
A simple building, no stairs. Cool inside, from the heat. | 0:04:11 | 0:04:16 | |
Tiled floors. | 0:04:17 | 0:04:19 | |
No more class... | 0:04:19 | 0:04:21 | |
No class, no performance, | 0:04:21 | 0:04:27 | |
just the two of us. | 0:04:27 | 0:04:28 | |
One day, my love. | 0:04:35 | 0:04:37 | |
I must telephone Harmodio. | 0:04:40 | 0:04:44 | |
Nunez could be the weak link, now I think about it. | 0:04:44 | 0:04:47 | |
There has been a coup of sorts. | 0:04:47 | 0:04:50 | |
Tito...was it Moreno? Did he manage to get through to the Colombians? | 0:04:50 | 0:04:55 | |
At Covent Garden. Nobody told you? | 0:04:55 | 0:04:58 | |
Madam, Mummy and I were wondering... | 0:05:02 | 0:05:05 | |
-Cadburys are keen on doing these for Christmas, what do you think? -Are they? I don't know... | 0:05:05 | 0:05:09 | |
-How's the dreaded foot? Going to survive Australia? -Of course! But Mummy and I were... | 0:05:09 | 0:05:14 | |
Margot and I were wondering about her becoming... | 0:05:14 | 0:05:18 | |
-Yes, what is it, dear? -Well, it was in the press. | 0:05:18 | 0:05:22 | |
"Dame Margot Fonteyn has become a guest artist with the Royal Ballet." | 0:05:22 | 0:05:28 | |
-It was in The Times. -Yes, lovely. | 0:05:28 | 0:05:30 | |
-Perhaps it would have been nice to have been consulted. -After all she's done for the company. | 0:05:30 | 0:05:36 | |
You were off in Panama, darling. Shenanigans! | 0:05:36 | 0:05:39 | |
The Board and I just thought it was fairer all round. | 0:05:39 | 0:05:42 | |
To the audiences, you see. | 0:05:42 | 0:05:44 | |
They can't expect to see you as a regular prima, can they? | 0:05:44 | 0:05:47 | |
Not with you dotting around the world gracing so many other companies with your presence. | 0:05:47 | 0:05:52 | |
Quite right, too. Flies the flag for the Royal Ballet, after all. | 0:05:52 | 0:05:55 | |
-I see. -Splendid! Oh, Lord, yes, I see exactly what you mean. | 0:05:55 | 0:06:00 | |
Couldn't you just get rid of this? Make it a bit less Ali Baba? | 0:06:00 | 0:06:03 | |
Oh... | 0:06:03 | 0:06:05 | |
That's so much nicer than the toffees, look. | 0:06:05 | 0:06:10 | |
They gave you that awful squint. | 0:06:10 | 0:06:13 | |
I have to get to the airport. | 0:06:14 | 0:06:16 | |
Prima ballerina to guest artist. What am I honestly supposed to think? | 0:06:39 | 0:06:43 | |
I think you're supposed to thank us for the promotion. | 0:06:43 | 0:06:47 | |
Darling, you are the bedrock of the company, you know that. | 0:06:47 | 0:06:51 | |
Aw, little Peggy Hookham's pats of butter. | 0:06:51 | 0:06:55 | |
Oh, God, this takes me back to the old days. | 0:06:55 | 0:06:59 | |
Coppelia in Wigan. | 0:06:59 | 0:07:01 | |
-Mind you, the weather's better. Have you seen the digs yet? -No. | 0:07:01 | 0:07:05 | |
-Not yet. -Morning, all! -Morning! | 0:07:05 | 0:07:07 | |
Anyway, it frees you up, doesn't it? | 0:07:10 | 0:07:12 | |
To pursue Dr Arias round the globe, being the lady ambassador. | 0:07:12 | 0:07:18 | |
God, Margot, that's what you famously want, isn't it? | 0:07:18 | 0:07:21 | |
Well, yes, of course. | 0:07:21 | 0:07:23 | |
But the timing has to be right. You know that. | 0:07:23 | 0:07:26 | |
I can't just leave the company in the lurch, can I? | 0:07:26 | 0:07:30 | |
No, of course not. | 0:07:30 | 0:07:32 | |
You know, Margot, there's a little chap who gives the most fabulous injections. Belgian. | 0:07:40 | 0:07:46 | |
-Office in Olympia. I'll give you the number when we get back. -That's sweet, Michael, thank you. | 0:07:46 | 0:07:52 | |
Tell me, Tito - is it really bigger than Michael's? | 0:07:52 | 0:07:55 | |
-You'll never know, thank God. -Oh... I like a challenge. | 0:07:56 | 0:08:00 | |
-SHE LAUGHS -Of course, you sewed yourself up again before the marriage? | 0:08:00 | 0:08:05 | |
But remember, darling, I know where all the bodies are buried. | 0:08:05 | 0:08:09 | |
-And their cocks. -SHE GIGGLES | 0:08:09 | 0:08:12 | |
I even remember what you sounded like before the elocution lessons. | 0:08:12 | 0:08:16 | |
-NASAL VOICE: -"Lord, make me good, but not yet." | 0:08:16 | 0:08:20 | |
THEY LAUGH | 0:08:20 | 0:08:23 | |
MUSIC: "Swan Lake" | 0:08:31 | 0:08:34 | |
SHE PANTS | 0:08:34 | 0:08:37 | |
APPLAUSE | 0:08:44 | 0:08:46 | |
22 and a half. Worst yet. | 0:08:46 | 0:08:49 | |
MUSIC ENDS | 0:08:59 | 0:09:02 | |
So you've decided to say farewell to Swan Lake, eh? | 0:09:02 | 0:09:06 | |
Probably for the best, dear. It's a beast to dance and it's never exactly been your finest hour. | 0:09:06 | 0:09:10 | |
Now, this wretched gala, you're absolutely top of the bill, | 0:09:10 | 0:09:15 | |
-especially now our marvellous Russian's a no-go. -Ulanova? | 0:09:15 | 0:09:18 | |
The commies won't let her go. It's tit for tat since they lost the boy. The one who ran away in Paris. | 0:09:18 | 0:09:24 | |
They're hanging on to our marvellous Russian in case she gets the same idea, I suppose. | 0:09:24 | 0:09:28 | |
In fact, he's supposed to be rather marvellous, too, so I thought we'd better get him instead. | 0:09:28 | 0:09:33 | |
-Nureyev? -Yes, the Russian boy. | 0:09:33 | 0:09:35 | |
He's said he'll do it as long as he can dance with you. | 0:09:35 | 0:09:38 | |
That's rather cheeky of him, isn't it? | 0:09:38 | 0:09:40 | |
Darling, there's no end of gossip. | 0:09:40 | 0:09:43 | |
Everyone's in love with him. They've gone dotty for him in Paris. | 0:09:43 | 0:09:46 | |
He has the nostrils. | 0:09:46 | 0:09:48 | |
Sign of genius. | 0:09:48 | 0:09:51 | |
-Madam, I can't possibly... -If you're worried about mutton dancing with lamb, dear, | 0:09:51 | 0:09:55 | |
he's been partnering her at the Kirov and she's practically my age. | 0:09:55 | 0:09:58 | |
-He probably has to steer her around the stage in a bath chair. -Of course I'm not worried. | 0:09:58 | 0:10:03 | |
I just can't let Gilpin down - not when it's been arranged for so long. | 0:10:03 | 0:10:07 | |
-It'd be the worst possible manners. -Well, if you won't be budged, | 0:10:07 | 0:10:11 | |
perhaps you might at least show the poor boy some of your famous hospitality. | 0:10:11 | 0:10:16 | |
Dame Margot, it seems such a glamorous life you lead. | 0:10:19 | 0:10:24 | |
Oh, I think that's the costumes! | 0:10:24 | 0:10:26 | |
I can assure you, there's not much that's glamorous about going to class every day and touring. | 0:10:26 | 0:10:32 | |
Often, I'm just home from months away and I have to go straight off again. | 0:10:32 | 0:10:36 | |
One gets quite lonely. | 0:10:36 | 0:10:38 | |
Fortunately, Tito always sends me roses, wherever I'm dancing. | 0:10:39 | 0:10:44 | |
-He's very romantic. -But there's no question of you retiring, so you can spend more time together? | 0:10:44 | 0:10:50 | |
Oh, I just seem to dance on and on and on! | 0:10:52 | 0:10:56 | |
"La Fille Mal Gardee marks a new high point in the career of choreographer Frederick Ashton..." | 0:11:06 | 0:11:11 | |
-And the Crystal as usual. -"..and in Nadia Nerina, he has found an enchanting new muse as Lise." | 0:11:11 | 0:11:18 | |
-What's he playing at? -Nothing! | 0:11:18 | 0:11:19 | |
Fred has no obligation to make all his work on me. I have Ondine. | 0:11:19 | 0:11:23 | |
Three years ago, he made Ondine. | 0:11:23 | 0:11:26 | |
Oh... This one's for the cellar. | 0:11:26 | 0:11:29 | |
Mummy, Nadia's a wonderful dancer, she deserves to shine. | 0:11:29 | 0:11:33 | |
Well, everyone's always wonderful to you. | 0:11:33 | 0:11:36 | |
-I told you about the article in the Express. -You'd be surprised how many people in high places | 0:11:38 | 0:11:43 | |
are eager to discredit Tito and his family. And that includes members of the press. | 0:11:43 | 0:11:48 | |
-High places. How many people must there have been in that nightclub? -It was a nightclub! | 0:11:48 | 0:11:52 | |
I go to nightclubs with members of the company. Tito meets clients in nightclubs. | 0:11:52 | 0:11:57 | |
"Clients". Is that what you're calling them? | 0:11:57 | 0:11:59 | |
Mummy, we are away from each other such an awful lot. When things are different... | 0:11:59 | 0:12:04 | |
Telephone, Madam. | 0:12:04 | 0:12:06 | |
-If wishes were horse, then beggars would ride. -Hello? | 0:12:06 | 0:12:10 | |
'Here is Nureyev. I am one hour at airport.' | 0:12:10 | 0:12:13 | |
Oh, I'm so sorry, Madam told us you wouldn't be arriving till much later. | 0:12:13 | 0:12:17 | |
-Stay there, I'll send a car for you. -'I am at airport.' | 0:12:17 | 0:12:21 | |
Yes. Stay. | 0:12:22 | 0:12:25 | |
Attendez. | 0:12:25 | 0:12:27 | |
Car will arrive. | 0:12:27 | 0:12:29 | |
45 minutes. | 0:12:29 | 0:12:31 | |
LINE GOES DEAD | 0:12:31 | 0:12:34 | |
Here is Nureyev. | 0:12:57 | 0:12:59 | |
-Oh! -He took a taxi, ma'am. -Well... | 0:12:59 | 0:13:03 | |
Lovely to meet you. | 0:13:03 | 0:13:05 | |
Welcome to England! | 0:13:08 | 0:13:11 | |
What if the KGB sent him? | 0:13:22 | 0:13:24 | |
Madam'd have something to say about that. | 0:13:26 | 0:13:28 | |
Oh, Mummy. Thank God I stuck to my guns about the gala. | 0:13:30 | 0:13:34 | |
MUSIC: "Le Corsaire" | 0:13:34 | 0:13:37 | |
Fuck me, darling, he's better than Nijinsky! | 0:13:52 | 0:13:55 | |
HUGE APPLAUSE AND CHEERS | 0:13:55 | 0:13:58 | |
Oh. | 0:15:09 | 0:15:11 | |
Oh, I forgot to mention - for the automatic rifles. | 0:15:11 | 0:15:15 | |
They do seem to be awfully expensive. | 0:15:15 | 0:15:17 | |
They are prohibitive, of course, but they are the latest model. | 0:15:17 | 0:15:22 | |
Our contact in Geneva has turned out even better than we had hoped. | 0:15:22 | 0:15:27 | |
Better without the necklace anyway, I think. | 0:15:27 | 0:15:29 | |
Madam thinks I should dance Giselle with the Russian boy, Nureyev. | 0:15:33 | 0:15:36 | |
Everyone's going crazy about him. | 0:15:38 | 0:15:40 | |
I've never seen anything like it. | 0:15:40 | 0:15:43 | |
But he does seem like a bit of a loose cannon. | 0:15:43 | 0:15:46 | |
-Tito? -Hmm? -What do you think? | 0:15:47 | 0:15:50 | |
Um, get on the bandwagon or get out. | 0:15:51 | 0:15:54 | |
You don't want to be a back number, do you, darling? | 0:15:54 | 0:15:58 | |
In any case, you can't make a revolution on the cheap. | 0:15:58 | 0:16:02 | |
MUSIC: "Giselle" | 0:16:02 | 0:16:06 | |
-Position is here. -No, here. | 0:16:27 | 0:16:29 | |
Is here, no-one see me. | 0:16:29 | 0:16:33 | |
Is here, is better. | 0:16:33 | 0:16:35 | |
But that IS the position. As taught to me by Karsavina, a Russian. | 0:16:40 | 0:16:45 | |
So change. | 0:16:47 | 0:16:48 | |
Rudolf...can I point out that I have been dancing Giselle since 1938? | 0:16:54 | 0:17:00 | |
Oh, God! Don't tell me, you weren't even born then. | 0:17:02 | 0:17:06 | |
No. Just... Is exact year! | 0:17:06 | 0:17:09 | |
Need to take everything out of boxes, | 0:17:36 | 0:17:39 | |
not so tidy. Or I just there to stop you falling. | 0:17:39 | 0:17:44 | |
Is no point for me, as Nureyev. | 0:17:44 | 0:17:47 | |
I suppose I am rather set in my ways. | 0:17:47 | 0:17:49 | |
-Please, where I to live in London? In hotel is no soul. -Oh, dear. | 0:18:18 | 0:18:23 | |
Well, we have masses of room at the embassy. | 0:18:27 | 0:18:31 | |
Is better. | 0:18:54 | 0:18:57 | |
-We have conversation. -Yes. | 0:18:57 | 0:19:00 | |
No more boxes. | 0:19:01 | 0:19:03 | |
Don't worry, darling. They make a lovely couple, but I can't quite see Erik as Giselle, can you? | 0:19:44 | 0:19:50 | |
LAUGHTER AND CHATTER | 0:20:02 | 0:20:05 | |
It would be hard if the government condoned those actions. > | 0:20:05 | 0:20:09 | |
-Correct. -Yes, especially if the conflict hasn't been resolved yet. | 0:20:09 | 0:20:13 | |
I'm afraid I haven't the slightest idea about Nicaragua. | 0:20:13 | 0:20:17 | |
SHE LAUGHS | 0:20:17 | 0:20:18 | |
Tito, darling, is it possible to hire mercenaries from across the border? | 0:20:18 | 0:20:22 | |
You'll have to forgive my wife. | 0:20:24 | 0:20:27 | |
She is a child of the theatre. | 0:20:27 | 0:20:30 | |
Her grasp of politics is somewhat Ruritanian. | 0:20:30 | 0:20:35 | |
Isn't it, my love? | 0:20:35 | 0:20:36 | |
APPLAUSE AND CHEERING | 0:22:26 | 0:22:30 | |
Margot. You convince me. | 0:23:20 | 0:23:23 | |
What happened to ribbon? | 0:24:31 | 0:24:32 | |
There was ribbon. | 0:24:35 | 0:24:37 | |
Here, the day I arrived. | 0:24:37 | 0:24:40 | |
Oh. | 0:24:42 | 0:24:44 | |
It was the dry cleaners. | 0:24:48 | 0:24:50 | |
They lost it. | 0:24:53 | 0:24:56 | |
HE EXCLAIMS | 0:25:02 | 0:25:04 | |
I was thinking, I might dance Swan Lake again. | 0:25:06 | 0:25:10 | |
-Is me. I love you! -Rudolf, I could've been Cathy or anyone. | 0:25:19 | 0:25:24 | |
You must stop ringing. | 0:25:24 | 0:25:26 | |
LAUGHTER | 0:25:27 | 0:25:29 | |
It's really the reason I'd given Swan Lake up. | 0:25:39 | 0:25:43 | |
-I absolutely dread doing them! -What is mechanic for fouette? | 0:25:43 | 0:25:47 | |
I don't know. I just do them and hope for the best. | 0:25:47 | 0:25:52 | |
Push shoulder. Push! | 0:25:52 | 0:25:54 | |
So. You are great ballerina - show me! | 0:25:56 | 0:26:00 | |
I must say, whatever you think about his retire in pirouette, | 0:26:03 | 0:26:07 | |
he's certainly fucked the old girl into shape. | 0:26:07 | 0:26:09 | |
"Last night at Covent Garden, a miracle took place." | 0:26:31 | 0:26:34 | |
-Gosh. -"In the familiar guise of Dame Margot Fonteyn, | 0:26:36 | 0:26:40 | |
"a new dancer was born, and that dancer is the greatest dancer in the world." | 0:26:40 | 0:26:45 | |
-Oh, golly. -That was just one of the reviews. | 0:26:45 | 0:26:48 | |
KNOCK ON DOOR > Oh, God, not again. | 0:26:48 | 0:26:50 | |
-Cathy'll be handing in her notice. -I've had them ringing up, you know. Reporters. | 0:26:50 | 0:26:55 | |
Wanting to know about the boy living here. | 0:26:55 | 0:26:57 | |
Well, I hope you told them I'm Rudolf's London Nanny. Oh, Mummy... | 0:26:57 | 0:27:03 | |
All that's for the stage! People probably think I'm part swan as well. | 0:27:03 | 0:27:07 | |
Maybe they do. As long as you know what's what. | 0:27:07 | 0:27:11 | |
'It's a wonderful professional partnership.' | 0:27:12 | 0:27:15 | |
I appreciate people would like it to be a love story, but I am very much in love with my husband, | 0:27:19 | 0:27:25 | |
and Rudolf, you know, has his own life as well! | 0:27:25 | 0:27:28 | |
This I cannot talk about. | 0:27:32 | 0:27:36 | |
Erik! I go. | 0:27:36 | 0:27:37 | |
Rudolf, we better to get a move on or we'll be late for class. | 0:27:40 | 0:27:43 | |
Shit! You dance like shit! Shit! | 0:27:58 | 0:28:02 | |
Well... | 0:28:08 | 0:28:10 | |
then perhaps you could show me a way to do it that isn't shit, Rudolf. | 0:28:10 | 0:28:17 | |
Fred says Erik has taken up an offer to dance for the Canadians. | 0:28:28 | 0:28:32 | |
Yes. | 0:28:32 | 0:28:34 | |
And now, he is back in Denmark. | 0:28:34 | 0:28:37 | |
Then he goes. | 0:28:37 | 0:28:38 | |
He say there no room for him in London. | 0:28:40 | 0:28:43 | |
Not as dancer. | 0:28:43 | 0:28:45 | |
Not as lover. | 0:28:49 | 0:28:51 | |
Rudolf, I've been part of a ballet company since I was 14. | 0:28:55 | 0:29:00 | |
I know how it is. | 0:29:02 | 0:29:04 | |
I don't expect to be the woman... | 0:29:04 | 0:29:07 | |
THEY SPEAK RUSSIAN | 0:29:07 | 0:29:10 | |
SHE LAUGHS AND TALKS EXCITEDLY | 0:29:12 | 0:29:16 | |
SHE CONTINUES TALKING IN RUSSIAN | 0:29:20 | 0:29:23 | |
Mama? | 0:29:43 | 0:29:44 | |
Who is this, your mother? | 0:29:44 | 0:29:47 | |
Wait. | 0:29:47 | 0:29:49 | |
I'm sorry, I'm sorry, Nureyev, I'm sorry, I'm sorry. | 0:29:49 | 0:29:53 | |
SHE LAUGHS | 0:29:53 | 0:29:56 | |
I be proud for you to be my mother. | 0:29:59 | 0:30:02 | |
Oh, thank you so much darling! It's still not a compliment! | 0:30:02 | 0:30:05 | |
I see you later. | 0:30:13 | 0:30:14 | |
FOOTSTEPS > | 0:30:30 | 0:30:33 | |
WHISPERING > | 0:30:33 | 0:30:36 | |
Morning, mate. How d'you get out of this place? | 0:31:12 | 0:31:15 | |
Through there. | 0:31:15 | 0:31:17 | |
So there I am between John Wayne and Ari Onassis, waiting to shake hands, you know? | 0:31:25 | 0:31:31 | |
And President Kennedy looks at us, one, two three, and says, "Which one is carrying the gun?" | 0:31:31 | 0:31:37 | |
And John and Ari both point, and at the same time they say, "Tito!" | 0:31:37 | 0:31:44 | |
Everything is OK for you, Rudi? | 0:31:48 | 0:31:51 | |
Chicken lunch, chicken performance. | 0:31:53 | 0:31:56 | |
I don't know if I mentioned darling, Fred is making a new ballet for Rudolf and I, Marguerite and Armand. | 0:31:59 | 0:32:05 | |
-You know Dumas, Le Dame aux Camelias. -Ah, yes. | 0:32:05 | 0:32:09 | |
The romantic prostitute. | 0:32:09 | 0:32:11 | |
Courtesan. | 0:32:11 | 0:32:13 | |
You give the prostitute a crinoline and she's a courtesan. | 0:32:13 | 0:32:16 | |
I remember the film, with Garbo. | 0:32:16 | 0:32:20 | |
She loves, she coughs a little, she dies. | 0:32:20 | 0:32:23 | |
It's good, to bring the audiences in, considering what they think is going on between you two. | 0:32:26 | 0:32:31 | |
Do you know the significance of the camellias? | 0:32:35 | 0:32:40 | |
-No! -She wears the white ones always. | 0:32:41 | 0:32:44 | |
But when she bleed, she wears the red, to tell the men not to fuck her. | 0:32:44 | 0:32:48 | |
I read about. | 0:32:51 | 0:32:53 | |
No, no. More et pul mon. | 0:32:59 | 0:33:01 | |
Melt into him. | 0:33:01 | 0:33:03 | |
Give yourself to him. | 0:33:03 | 0:33:05 | |
Down and lower. | 0:33:09 | 0:33:13 | |
Head on breast. | 0:33:13 | 0:33:17 | |
It's been like pulling teeth, as per. | 0:33:17 | 0:33:22 | |
For me I mean. | 0:33:22 | 0:33:24 | |
-I suppose it'll be all right. -My God, Fred! | 0:33:27 | 0:33:31 | |
What is it they're calling it? | 0:33:31 | 0:33:33 | |
Rudimania? | 0:33:33 | 0:33:35 | |
The two of them could do the Twist for all this audience cares. | 0:33:35 | 0:33:39 | |
Thank you, Tito. | 0:33:39 | 0:33:41 | |
HYSTERICAL CHEERING | 0:33:44 | 0:33:46 | |
Well. We've never heard anything quite like it. | 0:33:52 | 0:33:56 | |
Absolute sheer madness. | 0:34:00 | 0:34:03 | |
People who've never seen a ballet in their lives queuing with their sleeping bags to get tickets. | 0:34:03 | 0:34:08 | |
Mobbing us! | 0:34:08 | 0:34:10 | |
Marguerite and Armand has been an amazing triumph. | 0:34:10 | 0:34:14 | |
Beyond our wildest dreams, really. | 0:34:14 | 0:34:17 | |
It was so lovely of Tito to fly in for the first night, | 0:34:17 | 0:34:21 | |
considering the demands on him, you know, in Panama. | 0:34:21 | 0:34:24 | |
There is really no point trying to explain again. | 0:34:24 | 0:34:28 | |
Of course I understand you want to stand for office, but what about the embassy? | 0:34:28 | 0:34:31 | |
-Obviously, my darling, I can't be an ambassador and run for deputy in Panama. -That's what I mean! | 0:34:31 | 0:34:36 | |
So we'll get out of the lease here, we buy a house over there. | 0:34:36 | 0:34:41 | |
I see. Goodness. The ranch by the sea! | 0:34:41 | 0:34:45 | |
If I'm in the government we'll need somewhere in the city. | 0:34:45 | 0:34:48 | |
Of course, I wasn't thinking. | 0:34:50 | 0:34:52 | |
Tito, does this mean | 0:34:52 | 0:34:55 | |
do you want me to give up my career? | 0:34:55 | 0:34:57 | |
If I'm elected, of course. But not yet. | 0:35:01 | 0:35:04 | |
Good, because the timing's dreadful, with this huge American tour. | 0:35:04 | 0:35:09 | |
Political campaigns eat money. | 0:35:09 | 0:35:11 | |
This is something important, this is something real. | 0:35:11 | 0:35:15 | |
Of course when Tito and I retire we'll be able to spend as much time together as we'd like. | 0:35:20 | 0:35:24 | |
I look forward to that. | 0:35:24 | 0:35:27 | |
But now your partnership with Rudolf Nureyev goes from strength to strength. | 0:35:27 | 0:35:32 | |
The two of you have conquered Europe. | 0:35:32 | 0:35:35 | |
America's next on the agenda. | 0:35:35 | 0:35:37 | |
-Are you really thinking of retirement? -Not at the moment. | 0:35:37 | 0:35:42 | |
Dancing with Rudolf is such a great gift. | 0:35:42 | 0:35:45 | |
He's taught me so much. | 0:35:45 | 0:35:47 | |
Always cash. | 0:35:50 | 0:35:53 | |
Of course you and your husband have never had children. | 0:35:56 | 0:36:00 | |
No. | 0:36:00 | 0:36:01 | |
No. | 0:36:03 | 0:36:05 | |
Rudolf Nureyev is almost 20 years younger than you. | 0:36:40 | 0:36:43 | |
Is that something that you're very aware of? | 0:36:43 | 0:36:46 | |
Not when we're dancing. | 0:36:49 | 0:36:51 | |
He makes me feel 25! | 0:36:52 | 0:36:56 | |
ROCK MUSIC PLAYS | 0:36:56 | 0:36:58 | |
Come on Rudi, baby! Be cool! | 0:37:27 | 0:37:33 | |
Sit down. | 0:37:33 | 0:37:34 | |
Well, no I don't think of it as elitist because I remember the war, you see. | 0:37:44 | 0:37:47 | |
Oh, no thank you. Rudolf? | 0:37:47 | 0:37:50 | |
The audiences were such a joy. They came from all over, they really did. | 0:37:51 | 0:37:55 | |
But there wasn't anything else for the poor bastards to do over there, was there? | 0:37:55 | 0:38:00 | |
-DOOR CRASHES -This is a raid! Everybody.... | 0:38:00 | 0:38:03 | |
Tito's wedding ring, I've lost his wedding ring, | 0:38:05 | 0:38:09 | |
I must have dropped it. It must be here somewhere. | 0:38:09 | 0:38:13 | |
-Come on! -No wait! | 0:38:13 | 0:38:15 | |
Released without charge, | 0:38:24 | 0:38:28 | |
thank God. I must say you've never struck me as the sort to be a dope fiend. | 0:38:28 | 0:38:33 | |
Oh, the papers are ridiculous. | 0:38:33 | 0:38:36 | |
What I can't stop thinking about is Tito's wedding ring. | 0:38:36 | 0:38:38 | |
It's rather hard not to see it as some sort of an omen. | 0:38:38 | 0:38:40 | |
It doesn't mean anything, darling. | 0:38:40 | 0:38:43 | |
Of course, if it were in a ballet, the ring would be enchanted | 0:38:43 | 0:38:47 | |
and its loss would lead to your death, | 0:38:47 | 0:38:50 | |
beautifully, in the third act. | 0:38:50 | 0:38:52 | |
Aspreys'll do you a replacement. | 0:38:52 | 0:38:54 | |
Tito needn't even know, | 0:38:54 | 0:38:58 | |
although if he left it in the first place... | 0:38:58 | 0:39:00 | |
Let's not talk about it any more. | 0:39:00 | 0:39:03 | |
-Oh! Just like that? -There's no point, is there? | 0:39:03 | 0:39:05 | |
If something upsets you and you can't do anything about it. | 0:39:05 | 0:39:09 | |
You should just put it in a box and lock it tight away. | 0:39:09 | 0:39:13 | |
That's what I've always done, with all sorts of things, | 0:39:13 | 0:39:16 | |
and it's always worked quite wonderfully. | 0:39:16 | 0:39:18 | |
Rudolf was saying about Swan Lake, | 0:39:21 | 0:39:24 | |
how Odette and Odile used to be danced by two different dancers, | 0:39:24 | 0:39:28 | |
white swan, black swan. | 0:39:28 | 0:39:29 | |
-It's quite recent, the role as two sides of the same personality. -Odd, isn't it? | 0:39:29 | 0:39:34 | |
And now it's impossible to think of it in any other way. | 0:39:34 | 0:39:37 | |
He's so interesting about these things. | 0:39:39 | 0:39:42 | |
You know, Margot, darling, | 0:39:43 | 0:39:46 | |
there is such a thing as divorce. | 0:39:46 | 0:39:49 | |
MUSIC: "Swan Lake" | 0:39:53 | 0:39:56 | |
The characters you play in ballet are rather removed from real life, wouldn't you agree? | 0:40:48 | 0:40:53 | |
Of course. | 0:40:53 | 0:40:55 | |
Giselle is an 18 year-old peasant girl who becomes a spirit. | 0:40:55 | 0:40:59 | |
Odette is a princess who's been turned into a swan. | 0:40:59 | 0:41:03 | |
Odile is a magician's daughter pretending to be a princess who's been turned into a swan, goodness! | 0:41:03 | 0:41:08 | |
Being someone else must be second nature to you. | 0:41:27 | 0:41:30 | |
Well, it's tremendous fun, you see. | 0:41:30 | 0:41:32 | |
Like leading a double life! | 0:41:32 | 0:41:34 | |
PHONE RINGS | 0:41:34 | 0:41:37 | |
Hello? | 0:41:40 | 0:41:42 | |
Tito. | 0:41:42 | 0:41:44 | |
You said midnight. | 0:41:44 | 0:41:45 | |
I did wait up. | 0:41:45 | 0:41:48 | |
No, midnight. Is it? | 0:41:48 | 0:41:52 | |
I see. Of course, I know you've seen Swan Lake a million times. | 0:41:57 | 0:42:00 | |
Yes, you too. | 0:42:02 | 0:42:04 | |
Oh, I wired the money to Panama. It should be there when you arrive. | 0:42:04 | 0:42:08 | |
I could come and meet... | 0:42:08 | 0:42:10 | |
PHONE LINE GOES DEAD | 0:42:10 | 0:42:13 | |
DOOR CLOSES | 0:42:20 | 0:42:23 | |
Is late. | 0:42:31 | 0:42:34 | |
Yes. Very. | 0:42:34 | 0:42:37 | |
No, you haven't understood. He isn't expecting me because I couldn't get through on the telephone. | 0:43:22 | 0:43:26 | |
I fail to see how I am supposed to manage a campaign without a secretary. | 0:43:45 | 0:43:50 | |
-She doesn't even have her own room! -An economy. | 0:43:50 | 0:43:53 | |
Oh, Tito. When have you ever, in your entire life, economised? | 0:43:53 | 0:43:57 | |
Must we really have this quite boring scene? | 0:43:57 | 0:44:01 | |
We are not children, Margot. | 0:44:01 | 0:44:03 | |
We are not newlyweds. | 0:44:03 | 0:44:05 | |
We are not so long married. | 0:44:05 | 0:44:07 | |
Oh, spare me the Sleeping Beauty. | 0:44:07 | 0:44:10 | |
What did you think would happen, marrying me? | 0:44:10 | 0:44:15 | |
Think? I loved you! | 0:44:15 | 0:44:18 | |
-From that moment in Cambridge... -Cambridge! | 0:44:18 | 0:44:21 | |
We kissed when we were 18. | 0:44:21 | 0:44:25 | |
And you kept yourself pure for me | 0:44:25 | 0:44:27 | |
until you reached the magical age of 35 | 0:44:27 | 0:44:30 | |
and all your friends had husbands? | 0:44:30 | 0:44:32 | |
Despite the fact I was a married man with three children? | 0:44:32 | 0:44:38 | |
Really? How much make-believe is there in that head of yours? | 0:44:38 | 0:44:41 | |
-You pursued me. -Yes. | 0:44:41 | 0:44:44 | |
And you let yourself be caught. | 0:44:44 | 0:44:47 | |
But this isn't the ballet, you know? | 0:44:48 | 0:44:52 | |
My God, there really is nothing for you outside it, is there? | 0:44:57 | 0:45:03 | |
You talk of retiring, talk and talk, but when? | 0:45:03 | 0:45:07 | |
When will you be MY wife? | 0:45:07 | 0:45:09 | |
I AM your wife. | 0:45:09 | 0:45:11 | |
Tito, if you want me to retire... | 0:45:11 | 0:45:13 | |
Oh, don't be ridiculous! | 0:45:13 | 0:45:16 | |
I don't understand! How can you... how can you humiliate me like this? | 0:45:16 | 0:45:23 | |
KNOCK AT DOOR | 0:45:23 | 0:45:25 | |
Patrizia's friends had volunteered to help with the leafleting. | 0:45:45 | 0:45:52 | |
"Margot, girl of mine, do not fret in that way that you have and I so adore. | 0:46:22 | 0:46:29 | |
"Your Tito is with you. | 0:46:29 | 0:46:31 | |
"Not Tito the bold or Tito the clown or even Tito the lover, | 0:46:32 | 0:46:36 | |
"but simply Tito | 0:46:36 | 0:46:39 | |
"who is yours. | 0:46:39 | 0:46:40 | |
"You must know this. | 0:46:42 | 0:46:44 | |
"Even if miles part us | 0:46:44 | 0:46:47 | |
"and my behaviour leads you sometimes to doubt it. | 0:46:47 | 0:46:50 | |
"I write these words not to make a gesture | 0:46:52 | 0:46:55 | |
"but merely because they are the truth. | 0:46:55 | 0:46:57 | |
"Your heart knows that truth. | 0:46:57 | 0:47:01 | |
"Your sad, | 0:47:01 | 0:47:03 | |
"gentle heart | 0:47:03 | 0:47:05 | |
"which only I understand and cherish. | 0:47:05 | 0:47:08 | |
"The truth that Tito loves you most dearly." | 0:47:08 | 0:47:13 | |
-You get this morning? -No. | 0:47:14 | 0:47:17 | |
Eight years ago. | 0:47:18 | 0:47:21 | |
A month before we got married. | 0:47:21 | 0:47:23 | |
Why you marry him? | 0:47:32 | 0:47:34 | |
So. Flowers. | 0:47:38 | 0:47:41 | |
The first time we met, before the war, | 0:47:45 | 0:47:48 | |
then years later, when he came to my dressing room in New York. | 0:47:48 | 0:47:52 | |
He always had this, this extraordinary belief in himself. | 0:47:54 | 0:47:58 | |
It makes me realise how silly it all is, | 0:47:58 | 0:48:02 | |
dressing up and standing on one leg, as he calls it. | 0:48:02 | 0:48:04 | |
The other men, it can get rather wearing, being considered perfect. | 0:48:09 | 0:48:13 | |
I suppose Tito's always made me feel it's me he wants, | 0:48:17 | 0:48:21 | |
not her. | 0:48:21 | 0:48:22 | |
-Her? -Dame Margot Fonteyn. Prima ballerina. | 0:48:24 | 0:48:29 | |
But that is who you are. Absolute. | 0:48:30 | 0:48:34 | |
Margot, marry me? | 0:48:40 | 0:48:44 | |
Rudolf, darling, you're truly not the marrying kind. | 0:48:44 | 0:48:49 | |
Erik? I know he's invited you to Canada. | 0:48:49 | 0:48:53 | |
We have arrangements. | 0:48:53 | 0:48:55 | |
All of us. We are sophisticated people. | 0:48:55 | 0:48:58 | |
I doubt very much anyone's that sophisticated. | 0:48:58 | 0:49:01 | |
Oh, Rudik, you have the nostrils. | 0:49:05 | 0:49:09 | |
I help little bit, when I am at school. | 0:49:09 | 0:49:11 | |
With pencils. | 0:49:13 | 0:49:15 | |
Dr Arias was held in solitary confinement for 72 hours in connection | 0:49:22 | 0:49:26 | |
with the seizure of 1,000 cases of whisky off the coast of Panama. | 0:49:26 | 0:49:32 | |
The contraband was on a boat connected to a previous coup attempt made by Dr Arias. | 0:49:32 | 0:49:38 | |
Honestly, Mummy, there's no chance at all Tito would get himself mixed up in something like that. | 0:49:38 | 0:49:43 | |
-What on earth would he want to smuggle whisky for? -Money? | 0:49:43 | 0:49:47 | |
Hello, yes, is that the international operator? | 0:49:47 | 0:49:51 | |
Yes, that's right. I've booked a call to Rome. | 0:49:51 | 0:49:54 | |
Yes, of course. | 0:49:54 | 0:49:56 | |
-Where are my roses? -Sorry, Dame Margot. | 0:49:56 | 0:50:01 | |
It'll be dirty tricks, because of the campaign. | 0:50:01 | 0:50:03 | |
The government is desperate to discredit him. | 0:50:03 | 0:50:06 | |
-I don't know why they bother. He's perfectly capable of doing that himself. -Mummy! | 0:50:06 | 0:50:10 | |
Hello? Yes, Gritti Palace Hotel. | 0:50:10 | 0:50:12 | |
He's expecting my call. | 0:50:12 | 0:50:16 | |
No roses tonight, Dame Margot. | 0:50:16 | 0:50:17 | |
Hello, Tito? Oh, I see. | 0:50:19 | 0:50:24 | |
Perhaps you could ask him to call me, as soon as he can. | 0:50:26 | 0:50:29 | |
It's his wife. | 0:50:29 | 0:50:31 | |
Margot. | 0:50:31 | 0:50:33 | |
Please tell him it's important. | 0:50:33 | 0:50:35 | |
Cathy, did you put these in here? | 0:50:42 | 0:50:44 | |
Oh, yes, Mrs Arias. | 0:50:44 | 0:50:47 | |
-They were left on the bedside table. -When? | 0:50:47 | 0:50:51 | |
When Dr Arias was last here. | 0:50:51 | 0:50:54 | |
SHE GROANS | 0:51:02 | 0:51:05 | |
MUSIC: "Giselle" | 0:51:05 | 0:51:07 | |
-'Darling, I am so sorry.' -Tito, enough. | 0:52:11 | 0:52:15 | |
I've had enough. | 0:52:15 | 0:52:18 | |
I think we should meet to talk about a divorce, don't you? | 0:52:18 | 0:52:22 | |
Does the boy know? | 0:52:27 | 0:52:29 | |
Not yet. I feel like the most, awful, awful failure. | 0:52:29 | 0:52:35 | |
Oh, for God's sake darling. | 0:52:35 | 0:52:38 | |
No-one knows how you've put up with it all these years. | 0:52:38 | 0:52:41 | |
Is that really what people think? | 0:52:41 | 0:52:43 | |
Hmm? Sod what people think. | 0:52:43 | 0:52:45 | |
Anyway, you'll probably never be able to pin Tito down long enough | 0:52:45 | 0:52:50 | |
to get him to sign divorce papers. | 0:52:50 | 0:52:52 | |
When it comes down to it, we're all failures, one way or another. | 0:52:54 | 0:52:58 | |
Fred, you're a genius! | 0:52:58 | 0:52:59 | |
Everyone says so. | 0:52:59 | 0:53:01 | |
Oh, no-one's all they're cracked up to be, are they? | 0:53:01 | 0:53:04 | |
Every time I get into a studio I haven't a clue what I'm doing, you know that. | 0:53:04 | 0:53:10 | |
Complete agony. | 0:53:10 | 0:53:13 | |
And whatever comes out isn't a patch on what I had in my head | 0:53:13 | 0:53:17 | |
when I first heard the music and saw what it might be. Never! | 0:53:17 | 0:53:21 | |
Ballet demands perfection, always. | 0:53:21 | 0:53:25 | |
But perfection | 0:53:25 | 0:53:28 | |
is impossible in this life. | 0:53:28 | 0:53:31 | |
So why the hell you said we'd do this awful piece | 0:53:32 | 0:53:36 | |
in this bloody gala, I simply have no idea(!) | 0:53:36 | 0:53:40 | |
So, we work. | 0:53:43 | 0:53:45 | |
Bloody cheek! | 0:53:54 | 0:53:56 | |
What's the rest of the costume going to be? | 0:53:56 | 0:53:59 | |
It's contemporary darling, no tutus. | 0:53:59 | 0:54:01 | |
Just me in jockstrap. No-one will look at your feet. | 0:54:01 | 0:54:05 | |
There'll be plenty of other things to look at if they don't lengthen my tunic just a bit, Fred. | 0:54:05 | 0:54:09 | |
Tits and teeth darling! Never fails! | 0:54:09 | 0:54:11 | |
Come on, chick. You'd better go first, through the back way. | 0:54:11 | 0:54:15 | |
There was swarms of the buggers when we left the studio. | 0:54:15 | 0:54:18 | |
They're determined to get something on the two of you. | 0:54:18 | 0:54:21 | |
-Very intrepid, these hacks. -Maybe I hold Fred hand, see what they say. | 0:54:21 | 0:54:25 | |
-Don't you dare! -Is that all? | 0:54:25 | 0:54:27 | |
Everything all right? | 0:54:33 | 0:54:35 | |
Bit tired. You know what a slave driver Fred is. | 0:54:35 | 0:54:37 | |
And Rudolf, for that matter. | 0:54:37 | 0:54:39 | |
I was going to knock. | 0:54:47 | 0:54:49 | |
The reporters. Is Tito. | 0:54:54 | 0:55:00 | |
He's been shot. | 0:55:00 | 0:55:02 | |
Margot! | 0:55:13 | 0:55:15 | |
Margot! | 0:55:15 | 0:55:17 | |
SHE WEEPS | 0:55:42 | 0:55:45 | |
He is alive. | 0:55:54 | 0:55:55 | |
But Tito's brother says you must come to Panama. | 0:55:58 | 0:56:01 | |
You can tell me a bit more now. | 0:56:29 | 0:56:32 | |
He was in the car, at traffic lights. | 0:56:32 | 0:56:37 | |
They catch the man. Jimenez? Jimenez. | 0:56:41 | 0:56:45 | |
No, that can't be right. He and his wife are two of our closest friends in Panama. | 0:56:46 | 0:56:51 | |
-That is name. -It can't be! | 0:56:51 | 0:56:54 | |
Oh, God, Rudik, it's really the most awful timing. | 0:57:01 | 0:57:05 | |
Obviously the shooting came as the most terrible shock. | 0:57:18 | 0:57:23 | |
It was very hard to know what to do. | 0:57:23 | 0:57:27 | |
I suppose I simply took it one day at a time. | 0:57:27 | 0:57:32 | |
And I prayed. | 0:57:35 | 0:57:37 | |
He was always in my thoughts. | 0:57:39 | 0:57:41 | |
I'm not going to Panama. I'm not! | 0:57:42 | 0:57:45 | |
What's the world going to think? | 0:57:45 | 0:57:47 | |
Well, they can think what they like. | 0:57:47 | 0:57:49 | |
Harmodio says he believes Tito is going to pull through. | 0:57:49 | 0:57:52 | |
That's good enough for me. God knows, Tito's the last person in the world who'd want any kind of fuss. | 0:57:52 | 0:57:57 | |
Fuss? This has happened, Margot! | 0:57:57 | 0:57:59 | |
You can't put it in one of those little boxes of yours and lock it away. | 0:57:59 | 0:58:04 | |
I hear as much company gossip as you do. | 0:58:04 | 0:58:07 | |
I know you were thinking of leaving him. | 0:58:07 | 0:58:09 | |
He has someone else. She'll be there at the hospital. | 0:58:09 | 0:58:12 | |
-She'll be the one he wants. -Oh, chick. | 0:58:12 | 0:58:16 | |
You're his wife. | 0:58:16 | 0:58:18 | |
And you need to explain yourself to the papers. It looks so heartless. | 0:58:18 | 0:58:21 | |
I'd made up my mind, I'm not missing the gala. | 0:58:21 | 0:58:24 | |
If you won't do it for him, think of the company. Think of Madam. | 0:58:24 | 0:58:27 | |
All we've worked for. | 0:58:27 | 0:58:29 | |
-Your duty, Margot. -My duty? | 0:58:29 | 0:58:32 | |
God, mummy! 30 years, more, most of them in pain of one kind or another. | 0:58:32 | 0:58:39 | |
I've done everything you and Madam and Fred have asked me to. | 0:58:39 | 0:58:41 | |
I changed my name, my bloody nose, God knows we made damn sure there were no, | 0:58:41 | 0:58:48 | |
no babies to get in the way of my dancing. | 0:58:48 | 0:58:51 | |
Fred even stopped me smoking, do you remember? "Ballerinas don't smoke". | 0:58:51 | 0:58:55 | |
It was worth, every bit of it. | 0:58:55 | 0:58:57 | |
-Look where you've got to. -Yes, look! | 0:58:57 | 0:59:00 | |
-Sometimes I think if I see another flower, I'll actually have to scream! -It's lovely, to be given so much. | 0:59:00 | 0:59:06 | |
-Yes, don't tell me, all the lessons, leaving Daddy, scrimping for costumes, I do know. -It was worth it. | 0:59:06 | 0:59:13 | |
-Every scrap. I'm just not going to see you throw it away. -But what about me? | 0:59:13 | 0:59:18 | |
It's a bit late for that. | 0:59:18 | 0:59:21 | |
MUSIC: "Swan Lake" | 0:59:27 | 0:59:29 | |
AIRPLANE ENGINE RUMBLES | 1:00:06 | 1:00:08 | |
PA ANNOUNCEMENT IN SPANISH | 1:00:10 | 1:00:13 | |
SHE GASPS | 1:01:43 | 1:01:45 | |
MACHINE HISSES AND CLICKS | 1:01:50 | 1:01:53 | |
Tell Fred they'll have to get Lynn for Sunday's performance, if they can. | 1:02:22 | 1:02:27 | |
I don't know. There's no question of me coming back now, Mummy. | 1:02:27 | 1:02:30 | |
Everything's... | 1:02:30 | 1:02:33 | |
Everything's changed. | 1:02:33 | 1:02:36 | |
I can't talk to Rudolf, not now. | 1:02:36 | 1:02:38 | |
Tell him. | 1:02:38 | 1:02:40 | |
I just can't. | 1:02:40 | 1:02:43 | |
HE GROANS | 1:02:49 | 1:02:51 | |
I'm sorry, darling, I can't give you any more, I can't. | 1:02:53 | 1:02:56 | |
HE GASPS | 1:03:00 | 1:03:03 | |
-HE MUMBLES -They get him? | 1:03:03 | 1:03:08 | |
Jimenez? Of course not. | 1:03:08 | 1:03:10 | |
Modi says the Chief of Police knows where he is. | 1:03:10 | 1:03:14 | |
Of course. | 1:03:14 | 1:03:16 | |
They're buddies. | 1:03:16 | 1:03:19 | |
Tito...were you "friendly" with his wife? | 1:03:24 | 1:03:29 | |
You English... | 1:03:31 | 1:03:34 | |
are obsessed with sex. | 1:03:34 | 1:03:38 | |
HE LAUGHS HOARSELY | 1:03:38 | 1:03:40 | |
Oh, Dr Vallarino... | 1:04:19 | 1:04:21 | |
I think my husband needs to be taken to where he can get the best care. | 1:04:22 | 1:04:26 | |
STRETCHER RATTLES For goodness' sake, be careful with him. | 1:04:38 | 1:04:42 | |
Tito, darling, I have to go now, to catch a plane for this damned festival. | 1:04:42 | 1:04:46 | |
I'll telephone from Spoleto. I am so sorry. I hate having to do this. | 1:04:46 | 1:04:51 | |
They are paying you in lira? | 1:05:04 | 1:05:07 | |
No, sterling, as you said. I insisted. | 1:05:07 | 1:05:12 | |
What is the ballet? | 1:05:12 | 1:05:15 | |
-Raymonda. -Ah. | 1:05:15 | 1:05:18 | |
I know. But imagine how beautifully I'll be able to dance that scene | 1:05:19 | 1:05:23 | |
where she sees her lover off to the Crusades. | 1:05:23 | 1:05:27 | |
All our goodbyes, my darling. | 1:05:29 | 1:05:31 | |
All my waiting for you. | 1:05:31 | 1:05:33 | |
Now I wait. | 1:05:42 | 1:05:43 | |
APPLAUSE | 1:06:33 | 1:06:36 | |
Thank God you taught me to get paid in cash. | 1:06:38 | 1:06:40 | |
Is all for this hospital? | 1:06:40 | 1:06:43 | |
Well, it is the best place in the world. | 1:06:43 | 1:06:45 | |
If anyone can get Tito moving again, they can. | 1:06:45 | 1:06:48 | |
And what if it's not possible? | 1:06:48 | 1:06:49 | |
I'm not going to think about that. | 1:06:51 | 1:06:54 | |
I speak to Lynn in London. She is very upset. | 1:07:01 | 1:07:05 | |
You and me, we dance first performance of Romeo And Juliet. | 1:07:05 | 1:07:10 | |
Surely not. Kenneth made it on her and Christopher. It's not our ballet. | 1:07:10 | 1:07:15 | |
Margot, we are Coca-Cola now. | 1:07:15 | 1:07:18 | |
Everybody want to see Fonteyn and Nureyev, and not Seymour and Gable. | 1:07:18 | 1:07:22 | |
SHE SIGHS | 1:07:22 | 1:07:25 | |
Maybe Seymour and Nureyev. | 1:07:28 | 1:07:30 | |
DOOR BURSTS OPEN Miss Fonteyn! | 1:07:30 | 1:07:33 | |
You must come to hotel. It's the telephone. Very bad. It's your husband. | 1:07:33 | 1:07:38 | |
Margot! | 1:07:38 | 1:07:39 | |
You've had a terribly high temperature. Convulsions. | 1:07:51 | 1:07:56 | |
But you're not to worry, Tito. | 1:07:56 | 1:07:58 | |
Tito, the consultant says you're going to be perfectly all right. | 1:07:58 | 1:08:02 | |
I'm going to stay here. | 1:08:02 | 1:08:04 | |
Try to get some more sleep. | 1:08:06 | 1:08:08 | |
Shh, shh, shh. | 1:08:08 | 1:08:11 | |
ORCHESTRAL MUSIC PLAYS | 1:08:26 | 1:08:30 | |
So, now you are a saint. | 1:09:56 | 1:09:58 | |
-SHE SCOFFS Hardly. -Yes, you are saint. | 1:09:58 | 1:10:03 | |
Sleep at hospital, into class, back to performance, back to hospital. | 1:10:04 | 1:10:10 | |
Anyone would do the same, believe me. | 1:10:10 | 1:10:14 | |
Rudolf, he can't do anything for himself. | 1:10:14 | 1:10:18 | |
He has to have a catheter in his penis just to urinate. | 1:10:18 | 1:10:22 | |
If it were me, I would say, "Let me die." | 1:10:22 | 1:10:26 | |
He has. | 1:10:26 | 1:10:29 | |
Every day now, when I try to give him breakfast, that's what he says. | 1:10:29 | 1:10:33 | |
I hope it might be something different, because it's so hard to understand him, | 1:10:33 | 1:10:37 | |
but that's what he's saying. | 1:10:37 | 1:10:39 | |
"Let...me...die. | 1:10:39 | 1:10:41 | |
"I want to die." | 1:10:43 | 1:10:46 | |
Then what is point? | 1:10:48 | 1:10:50 | |
-What about babies? -SHE LAUGHS | 1:10:53 | 1:10:56 | |
We could have babies. | 1:10:56 | 1:10:59 | |
Boy like me, girl like you. | 1:10:59 | 1:11:02 | |
Or just boy. | 1:11:02 | 1:11:03 | |
Rudik... | 1:11:03 | 1:11:06 | |
even if that were possible... | 1:11:06 | 1:11:10 | |
You opened all the boxes for me, but now... | 1:11:10 | 1:11:13 | |
No, we opened together. | 1:11:13 | 1:11:14 | |
Yes. | 1:11:17 | 1:11:19 | |
But now the time has gone. | 1:11:21 | 1:11:23 | |
You look old. | 1:11:30 | 1:11:31 | |
DOORBELL RINGS | 1:11:51 | 1:11:53 | |
Yes, I don't see why not. | 1:11:58 | 1:12:00 | |
It's some years since the last procedure. | 1:12:00 | 1:12:04 | |
The nose... | 1:12:04 | 1:12:05 | |
has held up well. | 1:12:05 | 1:12:08 | |
McIndoe, unless I'm mistaken. | 1:12:08 | 1:12:10 | |
That's right. How much will it cost? | 1:12:10 | 1:12:13 | |
Oh, my secretary will give you the list of my fees. | 1:12:13 | 1:12:17 | |
Can I say, Dame Margot, I saw you at the Wells in the '30s, when I was a medical student. | 1:12:17 | 1:12:23 | |
Rio Grande. Terrific music. Real pep to it. | 1:12:23 | 1:12:27 | |
Dancing that tango... My word! You were the most ravishing creature I'd ever seen. | 1:12:27 | 1:12:33 | |
Like a ripe peach. | 1:12:33 | 1:12:35 | |
And next you will be dancing Juliet? | 1:12:38 | 1:12:41 | |
I very much hope so. | 1:12:41 | 1:12:43 | |
Kenneth MacMillan is actually making the ballet on Lynn Seymour but I might get a crack at it. | 1:12:43 | 1:12:48 | |
Juliet is a 14-year-old girl. | 1:12:48 | 1:12:50 | |
SHE LAUGHS Of course. | 1:12:50 | 1:12:53 | |
Always the bridesmaid... | 1:13:00 | 1:13:02 | |
Oh! How go the star-crossed lovers? | 1:13:05 | 1:13:09 | |
Oh, getting there. | 1:13:09 | 1:13:10 | |
Let's face it, Fred, at my age I should really be playing the Nurse, not Juliet. | 1:13:10 | 1:13:15 | |
Or Carabosse. | 1:13:15 | 1:13:16 | |
Oh, God! Margot, you look younger every year. You must give me the number, darling. | 1:13:16 | 1:13:23 | |
No, I just meant you as the wicked fairy. | 1:13:23 | 1:13:26 | |
Tito...under your spell. | 1:13:26 | 1:13:30 | |
No more goodbyes, no more getting left in the lurch. | 1:13:30 | 1:13:33 | |
I know it's taken an absolute calamity | 1:13:33 | 1:13:37 | |
but you have finally got him where you want him, haven't you? | 1:13:37 | 1:13:42 | |
I mean, he might even sit through one of your performances. | 1:13:42 | 1:13:45 | |
How can you think...?! | 1:13:45 | 1:13:48 | |
Do you honestly imagine, Fred, anyone would have chosen this? | 1:13:48 | 1:13:51 | |
I forget. After me. | 1:14:13 | 1:14:15 | |
Tito's consultant says, with his paralysis, the only hope is muscle memory. | 1:14:26 | 1:14:30 | |
If you do something enough times, | 1:14:30 | 1:14:34 | |
your muscles just take over. The body remembers it all. | 1:14:34 | 1:14:38 | |
Of course, heart is a muscle. | 1:14:40 | 1:14:41 | |
Rudolf, Tito has never adored me, | 1:14:43 | 1:14:47 | |
but he's never wanted me to adore him either. Not the way that I want to. | 1:14:47 | 1:14:51 | |
I just want to give love. | 1:14:53 | 1:14:55 | |
Does that make sense? | 1:14:55 | 1:14:57 | |
And now I have the chance, this has happened. | 1:14:57 | 1:15:01 | |
-OK. Your choice. -Hardly. | 1:15:01 | 1:15:05 | |
Yes, always. | 1:15:05 | 1:15:07 | |
It's like taking Juliet away from Lynn. | 1:15:07 | 1:15:09 | |
That was nothing to do with me, you know that! That was the board's decision. | 1:15:09 | 1:15:13 | |
So, you don't want to dance - you don't want to dance Juliet? | 1:15:13 | 1:15:18 | |
You want to give younger girl the chance to be a star, refuse. Your choice. | 1:15:18 | 1:15:24 | |
It's like you play with Tito - at revolution in his country. | 1:15:24 | 1:15:27 | |
My country had a revolution. | 1:15:27 | 1:15:30 | |
I can never go back. I go back, they throw me in prison, make me shit in a bucket until I die. | 1:15:30 | 1:15:38 | |
My life is real, always. | 1:15:38 | 1:15:40 | |
It's good, it's real. It's bad, real. | 1:15:40 | 1:15:45 | |
My choice. | 1:15:45 | 1:15:48 | |
Thank you, Sister. | 1:16:02 | 1:16:04 | |
Hello, my darling. Mr Goodman is very pleased with you, you know. | 1:16:10 | 1:16:16 | |
-He thinks if you continue with the physical... -How long? | 1:16:16 | 1:16:20 | |
Sorry? | 1:16:20 | 1:16:23 | |
How long? | 1:16:27 | 1:16:29 | |
Well... | 1:16:34 | 1:16:36 | |
as long as it takes. | 1:16:36 | 1:16:39 | |
As long as I can put one foot in front of another, I'll pay for you to have the best care possible. | 1:16:39 | 1:16:46 | |
It's bound to make a difference. | 1:16:46 | 1:16:49 | |
Truly. | 1:16:49 | 1:16:51 | |
One day, the ranch by the sea. | 1:16:53 | 1:16:56 | |
Promise. | 1:16:56 | 1:16:57 | |
-BELL RINGS -Always a bit nerve-wracking, a first night. | 1:17:08 | 1:17:12 | |
Do you remember the first time in New York, Sleeping Beauty? | 1:17:12 | 1:17:17 | |
I thought you were going to be sick right there on the stage! | 1:17:17 | 1:17:20 | |
And you were the toast of the town. | 1:17:20 | 1:17:23 | |
Whatever they say about tonight... | 1:17:26 | 1:17:29 | |
Well, you just don't know, do you? | 1:17:29 | 1:17:32 | |
It doesn't matter. | 1:17:32 | 1:17:33 | |
Everything you've done, you've made me the proudest mother in the world. | 1:17:35 | 1:17:41 | |
You really have. | 1:17:41 | 1:17:43 | |
You've been quoted as saying, "One should take one's art absolutely seriously, but oneself, never." | 1:17:55 | 1:18:03 | |
Yes, I think that's marvellous advice. | 1:18:04 | 1:18:09 | |
I can't claim it as mine, I'm afraid. | 1:18:11 | 1:18:14 | |
Someone said it to me, a long, long time ago. | 1:18:14 | 1:18:17 | |
-They were right, I think. -So you follow that advice? | 1:18:19 | 1:18:22 | |
You take your art more seriously than yourself? | 1:18:22 | 1:18:26 | |
-I hope so. -Some might say that's a recipe for wonderful art, but a less than wonderful life. | 1:18:27 | 1:18:35 | |
Surely, Dame Margot, one's life is the thing one should take most seriously of all? | 1:18:35 | 1:18:41 | |
Full house, naturally. | 1:18:56 | 1:18:59 | |
How is foot? | 1:18:59 | 1:19:01 | |
You know, when Fred and Madam decided they were going to make me dance leading roles... | 1:19:10 | 1:19:15 | |
I was terrified. | 1:19:15 | 1:19:18 | |
Not just that I wouldn't be able to do the steps, or remember it all... | 1:19:18 | 1:19:22 | |
..but because there was nothing inside me. | 1:19:24 | 1:19:27 | |
I didn't know a thing. | 1:19:27 | 1:19:29 | |
-You were a child. -Yes, but no-one wanted that, did they? | 1:19:29 | 1:19:33 | |
They needed a prima ballerina. | 1:19:34 | 1:19:36 | |
So I thought, "I'll learn, | 1:19:38 | 1:19:41 | |
"I'll just copy. | 1:19:41 | 1:19:43 | |
"I'll do the steps and be Giselle | 1:19:43 | 1:19:45 | |
"and maybe then there'll be something inside me. | 1:19:45 | 1:19:50 | |
"I'll come out of the painted cottage... | 1:19:50 | 1:19:53 | |
"into the painted countryside | 1:19:53 | 1:19:57 | |
"and fall in love, | 1:19:57 | 1:20:00 | |
"and go mad, | 1:20:00 | 1:20:02 | |
"and die | 1:20:02 | 1:20:05 | |
"and come back as a spirit, | 1:20:05 | 1:20:07 | |
"and it'll all be real." | 1:20:07 | 1:20:09 | |
It still is. | 1:20:14 | 1:20:16 | |
It's the only thing in my life that is - | 1:20:18 | 1:20:22 | |
pretending. | 1:20:22 | 1:20:24 | |
Out there... | 1:20:27 | 1:20:29 | |
suffering. | 1:20:29 | 1:20:31 | |
My choice. | 1:20:38 | 1:20:40 | |
SHE SOBS | 1:22:39 | 1:22:42 | |
Subtitles by Red Bee Media Ltd | 1:24:43 | 1:24:45 | |
E-mail [email protected] | 1:24:45 | 1:24:47 |