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This programme contains strong language | 0:00:02 | 0:00:06 | |
-If I weren't in this chair... -Oh, Miss Crawford, I'm so excited! | 0:00:06 | 0:00:09 | |
I'm going to be playing your neighbour right next door. | 0:00:09 | 0:00:11 | |
So close. | 0:00:11 | 0:00:12 | |
Can I please have your autograph? | 0:00:12 | 0:00:14 | |
It's for my grandmother. She's loved you since she was a kid. | 0:00:14 | 0:00:17 | |
Thanks. | 0:00:33 | 0:00:34 | |
Sometimes you need to hit it square in the jaw. | 0:00:50 | 0:00:53 | |
DRINK CAN FALLS | 0:00:54 | 0:00:56 | |
You know, Bob, I was thinking. | 0:00:59 | 0:01:01 | |
We need to pack the bags of the girl next door. | 0:01:02 | 0:01:06 | |
She's moving out. | 0:01:06 | 0:01:08 | |
Wh... Oh, Joan, I-I don't have time to recast. | 0:01:08 | 0:01:10 | |
-We're shooting tomorrow. -I have co-star approval. | 0:01:10 | 0:01:12 | |
She's not a co-star. | 0:01:12 | 0:01:13 | |
That's right. | 0:01:13 | 0:01:15 | |
And she never will be. | 0:01:15 | 0:01:17 | |
KNOCK ON DOOR | 0:01:21 | 0:01:22 | |
What? | 0:01:22 | 0:01:23 | |
You wanted to see me? | 0:01:25 | 0:01:27 | |
Yeah. Forget the little daily gifts, Lucille. | 0:01:27 | 0:01:29 | |
I'm going to be much too busy working | 0:01:29 | 0:01:31 | |
to shop for anything in return. | 0:01:31 | 0:01:32 | |
Whatever you say. Only let's not fight. | 0:01:32 | 0:01:36 | |
We have to support each other, Bette. | 0:01:36 | 0:01:38 | |
I'm worried our director isn't taking care of us, | 0:01:38 | 0:01:41 | |
so we have to take care of each other. | 0:01:41 | 0:01:43 | |
What the hell does that mean? | 0:01:43 | 0:01:44 | |
You're the one that hired the goddamn director. | 0:01:44 | 0:01:46 | |
I'm going to be blunt, Bette. | 0:01:46 | 0:01:48 | |
Aldrich is a lady-killer. | 0:01:48 | 0:01:50 | |
He likes young blondes. | 0:01:50 | 0:01:52 | |
The cookie that's playing the neighbour. | 0:01:53 | 0:01:56 | |
I saw her. She's no threat. | 0:01:56 | 0:01:58 | |
Well, not now, of course - | 0:01:58 | 0:01:59 | |
but what happens when he starts sleeping with her? | 0:01:59 | 0:02:03 | |
Suddenly she has more lines and scenes than you do. | 0:02:03 | 0:02:06 | |
Now, I've asked him to replace her with someone less showy, | 0:02:06 | 0:02:09 | |
less likely to pull focus, | 0:02:09 | 0:02:12 | |
but he refused. | 0:02:12 | 0:02:13 | |
Course, you have more scenes with her than I do, so... | 0:02:15 | 0:02:19 | |
perhaps I'm being out of line. | 0:02:19 | 0:02:21 | |
You know, Bette, | 0:02:22 | 0:02:24 | |
I just wanted to say... | 0:02:24 | 0:02:27 | |
I think what you're doing with this part | 0:02:27 | 0:02:30 | |
is incredibly brave. | 0:02:30 | 0:02:32 | |
DOOR CLOSES | 0:02:41 | 0:02:42 | |
Bette? | 0:02:58 | 0:02:59 | |
Bette, where are you going? | 0:02:59 | 0:03:00 | |
Your big scene's up next. | 0:03:00 | 0:03:02 | |
I'm going home sick, Bob. | 0:03:02 | 0:03:03 | |
You don't look sick. | 0:03:03 | 0:03:05 | |
I am. I'm sick to my stomach because of you. | 0:03:05 | 0:03:06 | |
I thought you wanted to work with Crawford and me | 0:03:06 | 0:03:09 | |
because you respected us. | 0:03:09 | 0:03:10 | |
Because you wanted our opinions - but clearly, you don't, | 0:03:10 | 0:03:12 | |
and that just makes me want to vomit. | 0:03:12 | 0:03:14 | |
What are you talking about? | 0:03:14 | 0:03:15 | |
Crawford wants that woman that's playing the neighbour gone, | 0:03:15 | 0:03:17 | |
and I have to agree. You're casting with the wrong head, Bob. | 0:03:17 | 0:03:20 | |
She's not an actress, | 0:03:20 | 0:03:21 | |
she's not going to elevate the material. | 0:03:21 | 0:03:23 | |
I mean, look at her. | 0:03:23 | 0:03:24 | |
Her audition was wonderful. | 0:03:24 | 0:03:25 | |
I want her gone. | 0:03:25 | 0:03:26 | |
-I won't do it. -Then I'm going home sick. | 0:03:26 | 0:03:28 | |
I forgot my purse. | 0:03:34 | 0:03:36 | |
Goddamn it! | 0:03:41 | 0:03:43 | |
I think I'm all right. Is that a mirror? Thank you. | 0:05:19 | 0:05:22 | |
-You're in my light, honey. -Oh. | 0:05:22 | 0:05:24 | |
Did you see that... What was it? Coming Home? | 0:05:24 | 0:05:26 | |
-Mm-hm, yeah. -Some kind of Vietnam War thing. -Oh, God. | 0:05:26 | 0:05:29 | |
Talk to me about the origins of the feud. | 0:05:29 | 0:05:31 | |
Hell, those two? | 0:05:31 | 0:05:33 | |
They didn't actually need a reason to hate each other. | 0:05:33 | 0:05:35 | |
It was chemical. | 0:05:35 | 0:05:36 | |
But things didn't start to boil over until the '40s... | 0:05:36 | 0:05:39 | |
when they were in their 40s. | 0:05:39 | 0:05:41 | |
Bette's star was rising at Warner's, | 0:05:41 | 0:05:43 | |
and over at MGM, Joan's was starting to dim. | 0:05:43 | 0:05:45 | |
Cut! | 0:05:45 | 0:05:47 | |
I'm sorry. | 0:05:47 | 0:05:49 | |
Can someone ask an executive | 0:05:49 | 0:05:52 | |
to come down to the stage, please? | 0:05:52 | 0:05:53 | |
I'm so confused. | 0:05:53 | 0:05:55 | |
We... We're on our honeymoon. | 0:05:55 | 0:05:58 | |
We're recruited by the British Secret Service | 0:05:58 | 0:06:02 | |
to stop the Nazis. Right? | 0:06:02 | 0:06:05 | |
Does this make sense to anyone? | 0:06:05 | 0:06:09 | |
Can someone explain it to me? | 0:06:09 | 0:06:12 | |
Now that Garbo and Shearer had packed it in, | 0:06:12 | 0:06:15 | |
Joan wanted roles with dignity. | 0:06:15 | 0:06:17 | |
She'd had it up to here | 0:06:17 | 0:06:18 | |
with the slatterns and shop girl roles | 0:06:18 | 0:06:20 | |
that had made her a star. | 0:06:20 | 0:06:22 | |
She fought tooth and nail for the role of Marie Curie. | 0:06:22 | 0:06:24 | |
Listen, Louis. | 0:06:24 | 0:06:26 | |
Either I play that egghead dame, | 0:06:26 | 0:06:28 | |
or I walk. | 0:06:28 | 0:06:30 | |
Then I suggest you start walking. | 0:06:38 | 0:06:40 | |
# Somebody else | 0:06:46 | 0:06:48 | |
# Has taken my place... # | 0:06:48 | 0:06:51 | |
Two weeks later, Joan signed with Warner's. | 0:06:52 | 0:06:55 | |
Thank you, Daddy. | 0:07:00 | 0:07:01 | |
Oh, come on, Joan. | 0:07:01 | 0:07:03 | |
Let's cut the "Daddy" shit, all right? | 0:07:03 | 0:07:04 | |
Might have worked for that fat fuck over at MGM, | 0:07:04 | 0:07:07 | |
but you're working for me now. | 0:07:07 | 0:07:09 | |
Chin-chin. | 0:07:09 | 0:07:10 | |
Warner picked up the former MGM glamour girl | 0:07:10 | 0:07:13 | |
at close-out, everything-must-go bargain-basement rates... | 0:07:13 | 0:07:17 | |
..and he still thought he was paying too much. | 0:07:17 | 0:07:19 | |
Cancel my appointments for the rest of the afternoon. | 0:07:28 | 0:07:31 | |
Warner brought Crawford in for one reason - | 0:07:33 | 0:07:35 | |
to use as a cudgel against his problem child, Bette Davis. | 0:07:35 | 0:07:39 | |
Bette was the undisputed queen of the lot... | 0:07:39 | 0:07:43 | |
playing one Oscar-nominated role after another. | 0:07:43 | 0:07:46 | |
She was difficult...expensive... | 0:07:46 | 0:07:48 | |
..and far too powerful - | 0:07:48 | 0:07:51 | |
especially for a woman. | 0:07:51 | 0:07:52 | |
Joan was Jack's message to Bette - | 0:07:52 | 0:07:56 | |
you're not the only bitch in the kennel. | 0:07:56 | 0:07:58 | |
And Joan wasn't too proud to take Bette's scraps. | 0:07:58 | 0:08:02 | |
You've never spoken of your people. | 0:08:04 | 0:08:06 | |
Who you came from. | 0:08:06 | 0:08:07 | |
Maybe that's why Father... | 0:08:07 | 0:08:09 | |
Wasn't long before she found her comeback role. | 0:08:09 | 0:08:11 | |
A role that Bette never would have passed on | 0:08:11 | 0:08:15 | |
had she realised it was Oscar-worthy material. | 0:08:15 | 0:08:17 | |
PHONE RINGS | 0:08:19 | 0:08:20 | |
What? | 0:08:20 | 0:08:22 | |
-MAN: -Sir, Bette Davis is here. | 0:08:22 | 0:08:23 | |
She's demanding to see you. | 0:08:23 | 0:08:25 | |
Shit. | 0:08:25 | 0:08:27 | |
I know what you're doing, Jack, | 0:08:27 | 0:08:29 | |
giving Crawford all my roles to control me, | 0:08:29 | 0:08:32 | |
make me insecure. | 0:08:32 | 0:08:34 | |
You said you were offended that I offered it to you. | 0:08:34 | 0:08:36 | |
I didn't want to play the mother of a teenager. | 0:08:36 | 0:08:38 | |
All right, well, then, there's a lesson in all this, | 0:08:38 | 0:08:40 | |
isn't there, chickie? | 0:08:40 | 0:08:41 | |
Next time, you got to fucking trust Big Daddy. | 0:08:41 | 0:08:44 | |
But aren't you even just a little excited | 0:08:44 | 0:08:46 | |
about that pip of a script I sent you? | 0:08:46 | 0:08:48 | |
Where I play a neglected wife in a black fright wig | 0:08:48 | 0:08:50 | |
who tries to abort her child by throwing herself down a hill | 0:08:50 | 0:08:52 | |
and then dies? | 0:08:52 | 0:08:54 | |
Fine. Don't do it. | 0:08:54 | 0:08:55 | |
Crawford loves it. | 0:08:55 | 0:08:57 | |
If you'll excuse me, | 0:08:57 | 0:08:59 | |
-I'm late for my lunch now. -Let me guess, Lana Turner? | 0:08:59 | 0:09:01 | |
Nope. | 0:09:01 | 0:09:02 | |
-Judy Garland? -Nope. | 0:09:02 | 0:09:04 | |
Ava Gardner? | 0:09:04 | 0:09:06 | |
Joan Crawford. | 0:09:06 | 0:09:07 | |
Poor Bette. | 0:09:08 | 0:09:10 | |
While Joan now got the best parts for women of a certain age, | 0:09:10 | 0:09:14 | |
it was Bette who had to play the shop girls and the slatterns... | 0:09:14 | 0:09:17 | |
What a dump. | 0:09:20 | 0:09:21 | |
..and it was Jack Warner who, through it all, | 0:09:23 | 0:09:25 | |
made millions off both of them - | 0:09:25 | 0:09:27 | |
and probably always would. | 0:09:27 | 0:09:30 | |
Ain't that just the way? | 0:09:38 | 0:09:40 | |
Oh, there's my star. | 0:09:48 | 0:09:50 | |
I hate the breakfast scene. | 0:09:50 | 0:09:51 | |
-I love that scene. -Too much exposition. | 0:09:51 | 0:09:53 | |
No, she's rubbing Blanche's nose in it. | 0:09:53 | 0:09:55 | |
She stole her limelight. You got to use that underneath. | 0:09:55 | 0:09:57 | |
I don't need subtext, Bob, I need good text. | 0:09:57 | 0:10:00 | |
Bette, it's today's work, it's a good scene, | 0:10:00 | 0:10:02 | |
-and Joan likes it. -I never said that. | 0:10:02 | 0:10:04 | |
I agree with Bette. | 0:10:04 | 0:10:06 | |
The writing doesn't begin to capture | 0:10:06 | 0:10:08 | |
how women get under each other's skin. | 0:10:08 | 0:10:10 | |
The intent is there, | 0:10:10 | 0:10:13 | |
but the execution is lacklustre. | 0:10:13 | 0:10:15 | |
You work on that, Bob. | 0:10:15 | 0:10:17 | |
See what you can do. | 0:10:17 | 0:10:19 | |
We'll anxiously be awaiting a rewrite. | 0:10:19 | 0:10:21 | |
How do you like that? "Anxiously" awaiting! | 0:10:21 | 0:10:24 | |
THEY CHUCKLE | 0:10:24 | 0:10:25 | |
Isn't that a pretty picture? | 0:10:25 | 0:10:27 | |
They're finally getting along. | 0:10:27 | 0:10:30 | |
Yeah, and to think only last week they were wishing each other dead. | 0:10:30 | 0:10:33 | |
THEY LAUGH | 0:10:33 | 0:10:34 | |
Bette is just amazing. | 0:10:41 | 0:10:43 | |
Oh, she's going to win all the awards this year. | 0:10:43 | 0:10:46 | |
Hedda. | 0:10:46 | 0:10:48 | |
Are you two gals really getting along together? | 0:10:48 | 0:10:51 | |
Come on, you can tell Hedda. | 0:10:51 | 0:10:53 | |
Hedda, we told you before, | 0:10:53 | 0:10:54 | |
we're getting on like a house on fire. | 0:10:54 | 0:10:56 | |
I haven't seen this much shit since my last bowel movement. | 0:10:56 | 0:10:59 | |
What year was that? | 0:10:59 | 0:11:01 | |
1932. | 0:11:01 | 0:11:03 | |
You know, the good thing about scotch, Bob, | 0:11:04 | 0:11:06 | |
is it only gets better when it ages. | 0:11:06 | 0:11:08 | |
Broads... | 0:11:08 | 0:11:09 | |
they just get sour. | 0:11:09 | 0:11:11 | |
So I hear that these two bitches are | 0:11:15 | 0:11:17 | |
really busting your balls, huh, Bobby? | 0:11:17 | 0:11:19 | |
Aw, typical stuff, you know. | 0:11:19 | 0:11:20 | |
Bette's always fighting me for another close-up, | 0:11:20 | 0:11:23 | |
Joan's always fighting me to take it out. | 0:11:23 | 0:11:25 | |
But they're burning up the screen, Jack. | 0:11:25 | 0:11:26 | |
You should have paired them years ago. | 0:11:26 | 0:11:28 | |
No, thanks. Two world wars were enough. | 0:11:28 | 0:11:30 | |
But there's something I want to talk to you about, Bobby. | 0:11:30 | 0:11:34 | |
The front office tells me that you're behind schedule, | 0:11:34 | 0:11:36 | |
and I don't like that. | 0:11:36 | 0:11:38 | |
Well, j-just by one day. We just started. | 0:11:38 | 0:11:40 | |
-I'll make it up. -OK. | 0:11:40 | 0:11:42 | |
And also, I'm not going to release the picture | 0:11:42 | 0:11:44 | |
the way I said I would. | 0:11:44 | 0:11:46 | |
I'm going to open it bigger. | 0:11:46 | 0:11:48 | |
The way no-one's ever done before. | 0:11:48 | 0:11:51 | |
A wide release. 400 screens. | 0:11:51 | 0:11:55 | |
Ha-ha! | 0:11:55 | 0:11:56 | |
Did I get you? I got you! | 0:11:57 | 0:11:58 | |
-Oh, you got me. -I got you. | 0:11:58 | 0:12:00 | |
400? Are you crazy? What... why? | 0:12:00 | 0:12:02 | |
Why? Cos you're right. | 0:12:02 | 0:12:04 | |
They're burning up the screen together. | 0:12:04 | 0:12:06 | |
Bobby, their scenes are fucking electric. | 0:12:06 | 0:12:09 | |
They are fucking electric! | 0:12:09 | 0:12:12 | |
And let's face it, after Psycho, | 0:12:12 | 0:12:14 | |
horror's the future, and we got it. | 0:12:14 | 0:12:16 | |
OK, now here's what we got to do. | 0:12:16 | 0:12:18 | |
There's got to be buzz. | 0:12:20 | 0:12:21 | |
Yeah, yeah, we can keep the publicity machine going. | 0:12:21 | 0:12:23 | |
-I'll give your PR people full access to the set. -No, no, no - | 0:12:23 | 0:12:26 | |
there's got to be more than that, bubbie. | 0:12:26 | 0:12:28 | |
You got to keep 'em at each other's throats. | 0:12:28 | 0:12:30 | |
You have to. | 0:12:30 | 0:12:32 | |
I'll make sure their names are in the papers - that's not a problem - | 0:12:32 | 0:12:34 | |
but if you do this, | 0:12:34 | 0:12:36 | |
you'll be able to write your own ticket in this town. | 0:12:36 | 0:12:38 | |
L'chaim, bubbeleh. | 0:12:38 | 0:12:40 | |
Well done, Bobby. Come on! | 0:12:41 | 0:12:43 | |
Let's go see what they're doing. | 0:12:43 | 0:12:45 | |
It's not just about morale, | 0:12:47 | 0:12:50 | |
it's also about respect... I've lost both. | 0:12:50 | 0:12:52 | |
Ever since I fired that tomato who was playing the neighbour girl, | 0:12:52 | 0:12:55 | |
the whole crew knows that I was pushed into it. | 0:12:55 | 0:12:57 | |
The whole crew knows Crawford and Davis | 0:12:57 | 0:12:59 | |
are running the show... they double-teamed me. | 0:12:59 | 0:13:01 | |
I'm telling you, Harriet, Jack Palance and Lee Marvin | 0:13:01 | 0:13:04 | |
would have never pulled this shit. | 0:13:04 | 0:13:05 | |
Yeah, they don't have to. They're men. | 0:13:05 | 0:13:08 | |
Yeah, well, that makes them half as cunning | 0:13:08 | 0:13:10 | |
and nowhere near as ruthless. | 0:13:10 | 0:13:12 | |
I'd think you'd be happy that both your stars are getting along. | 0:13:12 | 0:13:14 | |
Yeah, they're not getting along. | 0:13:14 | 0:13:16 | |
They're just teaming up. It's like the Hitler/Stalin pact. | 0:13:16 | 0:13:19 | |
You know, maybe Warner's got the right idea. | 0:13:19 | 0:13:21 | |
He wants to leak some dirt to the gossip columns, you know, | 0:13:21 | 0:13:24 | |
-get a little catfight going. -Bob, that's terrible. | 0:13:24 | 0:13:27 | |
Well, it could get a lot of pre-release publicity that way. | 0:13:27 | 0:13:30 | |
Anyway, pitting them against each other | 0:13:30 | 0:13:33 | |
might be just the way to control them. | 0:13:33 | 0:13:34 | |
Bob, don't you dare. It's too cruel. | 0:13:34 | 0:13:36 | |
They need to feel secure and supported. | 0:13:36 | 0:13:39 | |
But not by each other. I can support 'em both. | 0:13:39 | 0:13:41 | |
Well, don't fool yourself. | 0:13:41 | 0:13:44 | |
Even you're not man enough to satisfy two women. | 0:13:44 | 0:13:46 | |
What the hell is that supposed to mean? | 0:13:50 | 0:13:53 | |
Why don't you ask your little strudel, Gretchen? | 0:13:53 | 0:13:56 | |
Harriet, where are you getting this from? | 0:14:00 | 0:14:03 | |
Gossip on a set is poison, Bob, | 0:14:03 | 0:14:06 | |
and spreads fast. | 0:14:06 | 0:14:08 | |
It's a small town, | 0:14:08 | 0:14:09 | |
and everybody finds out everything. | 0:14:09 | 0:14:11 | |
Even your wife. | 0:14:11 | 0:14:13 | |
Well, it's bullshit. | 0:14:13 | 0:14:15 | |
Maybe, but it hurts just the same... | 0:14:17 | 0:14:21 | |
..and you should consider that | 0:14:22 | 0:14:23 | |
before you start spreading gossip of your own. | 0:14:23 | 0:14:25 | |
Hi, Bill. | 0:14:42 | 0:14:44 | |
Oh, Roger, hi. | 0:14:47 | 0:14:48 | |
Nancy, you look beautiful. | 0:14:50 | 0:14:51 | |
Barbara, how are you? | 0:14:53 | 0:14:55 | |
Hello, Bob. | 0:14:55 | 0:14:57 | |
And let me just say again | 0:14:57 | 0:14:59 | |
what a thrill it is for me to be directing | 0:14:59 | 0:15:01 | |
these two legends of the screen. | 0:15:01 | 0:15:02 | |
Mm. Really, Bob? | 0:15:02 | 0:15:04 | |
-That's it? -That's it. | 0:15:04 | 0:15:06 | |
I'll leave it up to you to spruce up the adjectives. | 0:15:06 | 0:15:08 | |
Oh, I think you've got me confused | 0:15:08 | 0:15:11 | |
with Adela Rogers St Johns. | 0:15:11 | 0:15:13 | |
I came here for red meat, not pabulum. | 0:15:13 | 0:15:16 | |
No-one wants to read about how those two battle-axes | 0:15:16 | 0:15:18 | |
make nice with each other. | 0:15:18 | 0:15:20 | |
Well, what can I tell you, Hedda? | 0:15:20 | 0:15:21 | |
They're both consummate professionals. | 0:15:21 | 0:15:23 | |
You know who you remind me of? | 0:15:23 | 0:15:25 | |
NOT John Ford. | 0:15:25 | 0:15:27 | |
Now, there's a man who commands not only a movie set, | 0:15:27 | 0:15:30 | |
but his own press. | 0:15:30 | 0:15:31 | |
He knows how to play the game. | 0:15:31 | 0:15:33 | |
Which is why he's as vital now | 0:15:33 | 0:15:35 | |
as he was before talkies. | 0:15:35 | 0:15:36 | |
Where are you, Bob? Three bombs. | 0:15:36 | 0:15:39 | |
You want to go back to directing television? | 0:15:39 | 0:15:41 | |
This picture could make you relevant again. | 0:15:41 | 0:15:44 | |
I have too much dignity to get into the gutter with you, Hedda. | 0:15:44 | 0:15:47 | |
Well, I hope... | 0:15:47 | 0:15:50 | |
..dignity pays your gas bill. | 0:15:50 | 0:15:53 | |
All right, wait, wait. | 0:15:54 | 0:15:55 | |
I might have something, but you didn't hear it from me. | 0:15:58 | 0:16:01 | |
Blind item, my specialty. | 0:16:01 | 0:16:04 | |
Well, it... | 0:16:04 | 0:16:05 | |
This is about...Crawford's tits. | 0:16:05 | 0:16:10 | |
-Oh, I'm all ears. -Well, that's just it. | 0:16:10 | 0:16:11 | |
Crawford's all tits. | 0:16:11 | 0:16:14 | |
Davis has been complaining that they're too perky. | 0:16:14 | 0:16:17 | |
Perky? | 0:16:17 | 0:16:19 | |
Fake. | 0:16:19 | 0:16:21 | |
-She wears falsies? -Yeah. | 0:16:21 | 0:16:22 | |
You know, Davis is a real artist. | 0:16:24 | 0:16:26 | |
She says she can't play to them... | 0:16:27 | 0:16:29 | |
..and she says she's scared of falling onto them | 0:16:29 | 0:16:31 | |
in the beach scene because she thinks she'll chip a tooth. | 0:16:31 | 0:16:34 | |
-Hah! -Says those things are hard as rocks. | 0:16:34 | 0:16:36 | |
Oh, that's great. | 0:16:36 | 0:16:38 | |
Yeah. | 0:16:41 | 0:16:42 | |
"Chip a tooth." | 0:16:42 | 0:16:44 | |
Yeah, that's great. | 0:16:44 | 0:16:46 | |
TYRES SCREECH | 0:16:55 | 0:16:56 | |
Miss Crawford... | 0:17:03 | 0:17:05 | |
Miss Crawford, do you have any response | 0:17:06 | 0:17:08 | |
to the comments made by Miss Davis in Hopper's column? | 0:17:08 | 0:17:10 | |
Oh, I certainly do, | 0:17:10 | 0:17:11 | |
but nothing I'd let my children read | 0:17:11 | 0:17:13 | |
in a family newspaper. | 0:17:13 | 0:17:15 | |
BUZZING | 0:17:20 | 0:17:21 | |
All right, Blanche Hudson, | 0:17:24 | 0:17:27 | |
Miss Big Fat Movie Star! | 0:17:27 | 0:17:30 | |
Miss Rotten Stinking Actress! | 0:17:30 | 0:17:33 | |
-Bob, I have to talk to you. -What? | 0:17:33 | 0:17:35 | |
-Cut! -I'm in the middle of a fucking take! | 0:17:35 | 0:17:37 | |
-What is it? -Have you seen Hedda's column this morning? | 0:17:37 | 0:17:39 | |
-Oh, for Christ's sake! -OK, take a break, everybody. | 0:17:39 | 0:17:42 | |
No, I haven't. Why, does she mention us? | 0:17:42 | 0:17:43 | |
Us? Oh, no, no. | 0:17:43 | 0:17:45 | |
Not us. Me? Yes. | 0:17:45 | 0:17:47 | |
Would you like me to read it to you? | 0:17:47 | 0:17:49 | |
"The woman is crazy. | 0:17:49 | 0:17:51 | |
"I always suspected she had a false front, | 0:17:51 | 0:17:54 | |
"and now I know for sure. | 0:17:54 | 0:17:56 | |
"And they're 34 double Ds." | 0:17:56 | 0:17:59 | |
Are you going to let her get away with this? | 0:17:59 | 0:18:01 | |
Get away with what? I said no such thing. | 0:18:01 | 0:18:03 | |
Joan, I'm sure Bette's comments | 0:18:03 | 0:18:04 | |
were taken out of context. | 0:18:04 | 0:18:06 | |
Who gives a shit, Lucille? Everybody knows you pad your bra. | 0:18:06 | 0:18:08 | |
You've been doing it for years. | 0:18:08 | 0:18:11 | |
Bob, will you please tell Miss Davis | 0:18:11 | 0:18:15 | |
that I will sue her | 0:18:15 | 0:18:17 | |
if she continues to make comments | 0:18:17 | 0:18:19 | |
that are injurious | 0:18:19 | 0:18:21 | |
to my ability to earn a living? | 0:18:21 | 0:18:23 | |
Ha! Earn a living? | 0:18:23 | 0:18:25 | |
Every time you belch, Pepsi gives you ten grand. | 0:18:25 | 0:18:27 | |
How dare you mention Pepsi! | 0:18:27 | 0:18:30 | |
Unlike you, it's good and pure. | 0:18:30 | 0:18:32 | |
It's pure, all right. Pure vodka! | 0:18:32 | 0:18:35 | |
Betty, Joan, come on, ladies, please. Let's just... | 0:18:35 | 0:18:38 | |
She's jealous of me. | 0:18:41 | 0:18:42 | |
She has always been so jealous of me. | 0:18:42 | 0:18:46 | |
Joanie, who wouldn't be? Look at you. | 0:18:46 | 0:18:48 | |
You're beautiful, talented. | 0:18:48 | 0:18:50 | |
You're a legend. | 0:18:50 | 0:18:51 | |
And I understand that you're upset. | 0:18:51 | 0:18:53 | |
But put all that passion, all that anger | 0:18:53 | 0:18:55 | |
into your performance. | 0:18:55 | 0:18:56 | |
Forget about her. Forget her. | 0:18:56 | 0:18:59 | |
Listen to me. | 0:18:59 | 0:19:00 | |
I am the only opinion that matters. | 0:19:00 | 0:19:03 | |
Oh! | 0:19:07 | 0:19:09 | |
I'll make you proud of me, | 0:19:12 | 0:19:14 | |
I promise. | 0:19:14 | 0:19:16 | |
Years later, when I heard what was going on, | 0:19:37 | 0:19:40 | |
I was furious. | 0:19:40 | 0:19:42 | |
I mean, at the time, we didn't know | 0:19:42 | 0:19:44 | |
that these two great screen legends, friends of ours, | 0:19:44 | 0:19:48 | |
were being manipulated so cruelly by the men around them. | 0:19:48 | 0:19:51 | |
Well, not that we could've done anything about it. | 0:19:51 | 0:19:53 | |
You know how much power women had back then? | 0:19:53 | 0:19:56 | |
Exactly as much as we've got now - zippo. | 0:19:56 | 0:19:59 | |
Well, you have to remember, | 0:19:59 | 0:20:00 | |
this was before the modern women's lib movement. | 0:20:00 | 0:20:03 | |
Which I admire very much, by the way. | 0:20:03 | 0:20:05 | |
Me, too. | 0:20:05 | 0:20:06 | |
But imagine a studio today | 0:20:06 | 0:20:08 | |
trying to pit Miss Jane Fonda against Miss Dyan Cannon. | 0:20:08 | 0:20:11 | |
I mean, the girls would revolt. | 0:20:11 | 0:20:14 | |
Oh, horseshit. | 0:20:14 | 0:20:15 | |
Nothing's changed. | 0:20:15 | 0:20:17 | |
No matter how liberated, | 0:20:17 | 0:20:18 | |
women'll do what they always do when they're cornered - | 0:20:18 | 0:20:21 | |
eat their own and pick their teeth with the bones. | 0:20:21 | 0:20:25 | |
Louella, darling. | 0:20:36 | 0:20:38 | |
Joan here. | 0:20:38 | 0:20:40 | |
Listen, I'm calling about the article Hedda wrote today. | 0:20:40 | 0:20:44 | |
I have a rebuttal. | 0:20:44 | 0:20:46 | |
No, but for you. | 0:20:46 | 0:20:48 | |
Are you writing it down? | 0:20:50 | 0:20:52 | |
Good. | 0:20:52 | 0:20:54 | |
Miss Davis looks old enough to be my mother. | 0:20:54 | 0:20:57 | |
One look at her face and you'd think | 0:20:57 | 0:20:59 | |
she hasn't had a happy day, or night, in her life. | 0:20:59 | 0:21:04 | |
Yes, you can quote me. | 0:21:07 | 0:21:09 | |
I'm counting on it. | 0:21:09 | 0:21:10 | |
TYRES SCREECH | 0:21:13 | 0:21:14 | |
Miss Davis, care to comment on the fact | 0:21:16 | 0:21:17 | |
that Miss Crawford says you look old enough to be her mother? | 0:21:17 | 0:21:20 | |
-What's your name, sweetheart? -Sylvia. | 0:21:20 | 0:21:22 | |
Fuck off, Sylvia. | 0:21:22 | 0:21:23 | |
FLASHBULB POPS | 0:21:23 | 0:21:25 | |
Oh! Come on. | 0:21:25 | 0:21:26 | |
Go to my room and read a goddamn book. | 0:21:28 | 0:21:31 | |
KNOCK ON DOOR | 0:21:37 | 0:21:39 | |
Come in. | 0:21:39 | 0:21:41 | |
Let's have a little talk. | 0:21:41 | 0:21:43 | |
I'd love that. | 0:21:43 | 0:21:45 | |
Although I know you prefer chewing the fat | 0:21:45 | 0:21:46 | |
with gossip columnists. | 0:21:46 | 0:21:47 | |
I don't know what you're talking about. | 0:21:47 | 0:21:49 | |
Louella Parsons, today. | 0:21:49 | 0:21:50 | |
You're quoted on the record, Lucille. | 0:21:50 | 0:21:53 | |
Oh, yes. That. | 0:21:53 | 0:21:54 | |
Let me just cut through the movie star bullshit | 0:21:54 | 0:21:57 | |
you cling to when the waters get too deep for you to stay afloat | 0:21:57 | 0:22:01 | |
and explain something to you. | 0:22:01 | 0:22:02 | |
I can't wait to hear. | 0:22:02 | 0:22:04 | |
You seem to have forgotten that the unflattering make-up | 0:22:04 | 0:22:06 | |
I'm wearing in this picture is a choice | 0:22:06 | 0:22:08 | |
designed to create a character. | 0:22:08 | 0:22:10 | |
I'm not interested in vanity, I'm not interested in gossip. | 0:22:10 | 0:22:12 | |
I'm interested in the work. | 0:22:12 | 0:22:13 | |
That's what I want to do, | 0:22:13 | 0:22:15 | |
so I suggest you stop fitting in calls to Parsons | 0:22:15 | 0:22:17 | |
between your morning coffee | 0:22:17 | 0:22:19 | |
and taking a shit of butterflies and moonbeams | 0:22:19 | 0:22:21 | |
and whatever else comes flying out of your ass. | 0:22:21 | 0:22:24 | |
If you don't, it's your funeral. | 0:22:24 | 0:22:27 | |
Are you threatening me? | 0:22:29 | 0:22:31 | |
You'll kill me? | 0:22:31 | 0:22:33 | |
Worse. I'm going to steal this picture right out | 0:22:33 | 0:22:35 | |
from under your nose and you know I can do it. | 0:22:35 | 0:22:38 | |
I am doing it. | 0:22:38 | 0:22:39 | |
-Says who? -The crew, the director. | 0:22:39 | 0:22:41 | |
Everybody. | 0:22:41 | 0:22:42 | |
Mr Aldrich says he loves my performance. | 0:22:44 | 0:22:48 | |
Interesting. | 0:22:49 | 0:22:51 | |
After all those years, I'm still in this chair. | 0:22:55 | 0:22:59 | |
Doesn't that give you some kind of responsibility? | 0:22:59 | 0:23:02 | |
Jane, I'm just trying to explain how things really are. | 0:23:02 | 0:23:05 | |
This is fantastic footage, Bob. | 0:23:05 | 0:23:07 | |
It's fantastic. | 0:23:07 | 0:23:09 | |
I-I mean, you can literally feel the hate | 0:23:09 | 0:23:11 | |
steaming off the screen. It's... It... | 0:23:11 | 0:23:13 | |
Are you sure it's not the acting you're responding to? | 0:23:13 | 0:23:15 | |
Uh, Hank, turn the sound down. | 0:23:15 | 0:23:16 | |
What, are you kidding me? There's so much ham up there | 0:23:16 | 0:23:19 | |
I'm going to have to go to my rabbi this afternoon and atone. | 0:23:19 | 0:23:21 | |
No! I'm talking about what's underneath | 0:23:21 | 0:23:23 | |
all that scene chewing. | 0:23:23 | 0:23:24 | |
Pure, naked rancour. | 0:23:24 | 0:23:27 | |
I love it. I want more. | 0:23:27 | 0:23:28 | |
-More? -Yeah. | 0:23:28 | 0:23:30 | |
Come here, come here. | 0:23:31 | 0:23:33 | |
You've got to make each one think | 0:23:33 | 0:23:35 | |
-that you like the other one more. -Oh, Jesus, Jack. | 0:23:35 | 0:23:37 | |
The atmosphere on set's frosty enough as it is. | 0:23:37 | 0:23:40 | |
You sure you want me to stir that pot? | 0:23:40 | 0:23:41 | |
What are you, red all of a sudden? | 0:23:42 | 0:23:44 | |
You got something against capitalism? Huh? | 0:23:44 | 0:23:47 | |
Look, Bob, come here, look. | 0:23:47 | 0:23:49 | |
What we're looking at right there | 0:23:49 | 0:23:51 | |
is a raw display of the free market. | 0:23:51 | 0:23:53 | |
That's vigorous competition. | 0:23:53 | 0:23:55 | |
That's the American way. | 0:23:55 | 0:23:57 | |
The more that they despise each other, | 0:23:57 | 0:23:59 | |
the more that each one tries to crush the other one, | 0:23:59 | 0:24:03 | |
the better they get! | 0:24:03 | 0:24:05 | |
But they're already good. | 0:24:05 | 0:24:06 | |
No, they're great. Great - but they can be greater still. | 0:24:06 | 0:24:10 | |
Do you think that Wellington was such a hot general? | 0:24:10 | 0:24:14 | |
He wasn't. He was a piker, | 0:24:14 | 0:24:16 | |
until he had to go up against Napoleon. | 0:24:16 | 0:24:18 | |
And why? | 0:24:18 | 0:24:19 | |
Because he hated Napoleon's guts. | 0:24:19 | 0:24:22 | |
He hated him. | 0:24:22 | 0:24:24 | |
It was his hatred that made him great. | 0:24:24 | 0:24:26 | |
Jack, that was war. | 0:24:26 | 0:24:28 | |
So is this. | 0:24:28 | 0:24:30 | |
Turn it up! | 0:24:30 | 0:24:31 | |
You wouldn't do all these awful things to me | 0:24:31 | 0:24:34 | |
if I weren't still in this chair. | 0:24:34 | 0:24:36 | |
Ha! Look at that, look at that! | 0:24:37 | 0:24:39 | |
But you are, Blanche. | 0:24:39 | 0:24:40 | |
You are in that chair. | 0:24:40 | 0:24:42 | |
-Cut. -Fantastic. | 0:24:42 | 0:24:44 | |
Fantastic, Bob. | 0:24:44 | 0:24:45 | |
-Bob, sorry I'm late. -Two hours late, Bette. | 0:24:56 | 0:24:58 | |
You asked me to be here at noon and on a Saturday. | 0:24:58 | 0:25:01 | |
It's unforgivable, I know. I overslept. | 0:25:01 | 0:25:03 | |
I... I was in a panic last night, I had a drink. | 0:25:03 | 0:25:06 | |
I... | 0:25:06 | 0:25:07 | |
This week has been murder for me. | 0:25:13 | 0:25:15 | |
Yeah, it's been tough on everybody. | 0:25:15 | 0:25:16 | |
I have no idea | 0:25:16 | 0:25:18 | |
if what I'm doing is working at all. | 0:25:18 | 0:25:20 | |
Is it a brave choice, | 0:25:20 | 0:25:22 | |
or is it just in reaction to her? | 0:25:22 | 0:25:24 | |
She infuriates me, | 0:25:24 | 0:25:26 | |
I just want to smother her with my performance. | 0:25:26 | 0:25:28 | |
And Jane wants to smother Blanche. It's perfect. | 0:25:28 | 0:25:30 | |
Is it? | 0:25:30 | 0:25:32 | |
I don't want to end up a joke, Bob. | 0:25:32 | 0:25:34 | |
I feel I need to get control, | 0:25:34 | 0:25:35 | |
and I don't know if I can do that | 0:25:35 | 0:25:37 | |
when I'm seeing red all the time. | 0:25:37 | 0:25:39 | |
Maybe I should invite her to dinner. | 0:25:39 | 0:25:41 | |
No. No. | 0:25:41 | 0:25:42 | |
No, no, no. | 0:25:42 | 0:25:43 | |
You know, there's such a thing as alchemy, Bette. | 0:25:43 | 0:25:45 | |
You don't mess with alchemy. | 0:25:45 | 0:25:47 | |
My advice, you just keep doing what you're doing. | 0:25:47 | 0:25:51 | |
Muscle out the next few weeks. | 0:25:51 | 0:25:54 | |
Stay in your own lane - | 0:25:54 | 0:25:55 | |
because that road is going to get you to your next Oscar. | 0:25:55 | 0:25:58 | |
Trust me. | 0:26:00 | 0:26:01 | |
I do trust you. | 0:26:05 | 0:26:06 | |
You won't let me look ridiculous. | 0:26:12 | 0:26:15 | |
Of course not. | 0:26:15 | 0:26:16 | |
All right, let's look at the scene. | 0:26:19 | 0:26:21 | |
I've Written A Letter To Daddy, | 0:26:23 | 0:26:25 | |
frankly, scares the shit out of me. | 0:26:25 | 0:26:26 | |
I'm not a singer, never was. | 0:26:26 | 0:26:28 | |
Oh, come on, Bette, you sang with the USO. | 0:26:28 | 0:26:30 | |
That's why I want you to perform the number live, on the set. | 0:26:30 | 0:26:33 | |
You just said you wouldn't let me look ridiculous. | 0:26:33 | 0:26:36 | |
And I won't, but it's all about the pathos, Bette. The loss. | 0:26:36 | 0:26:40 | |
Jane just wants to be that adored | 0:26:40 | 0:26:41 | |
eight-year-old girl again. | 0:26:41 | 0:26:43 | |
It's her selling the number, not you. | 0:26:43 | 0:26:45 | |
Come on. | 0:26:45 | 0:26:46 | |
Why don't we give it a whirl, huh? | 0:26:46 | 0:26:49 | |
Come on. | 0:26:49 | 0:26:51 | |
# I've written a letter to Daddy... # | 0:26:57 | 0:27:01 | |
-No, you don't need that. You know the words. -Ugh... | 0:27:01 | 0:27:03 | |
You need your hands, | 0:27:03 | 0:27:04 | |
Jane is open. | 0:27:04 | 0:27:06 | |
Big, theatrical gestures. | 0:27:06 | 0:27:07 | |
Remember, she's vaudeville. | 0:27:07 | 0:27:09 | |
# I've... | 0:27:10 | 0:27:11 | |
# I've written a letter to Daddy | 0:27:15 | 0:27:19 | |
# His address | 0:27:19 | 0:27:21 | |
# Is heaven above | 0:27:21 | 0:27:25 | |
# I've written "Dear Daddy, we miss you" | 0:27:25 | 0:27:29 | |
# And wish you were here with us to love | 0:27:29 | 0:27:33 | |
# Instead of a stamp I put kisses | 0:27:33 | 0:27:36 | |
# The postman says that's best to do | 0:27:37 | 0:27:42 | |
# I'm writing a letter to Daddy | 0:27:42 | 0:27:45 | |
# Saying | 0:27:45 | 0:27:47 | |
# "I love you." # | 0:27:47 | 0:27:51 | |
You got plans for dinner? | 0:27:57 | 0:27:58 | |
I feel like I owe you something | 0:27:58 | 0:28:00 | |
for having you cool your heels all morning. | 0:28:00 | 0:28:02 | |
I promised Harriet I'd take her to Perino's. | 0:28:02 | 0:28:04 | |
Bring her. | 0:28:04 | 0:28:06 | |
I want you to take all the costumes | 0:28:13 | 0:28:15 | |
and just lay them out in the dressing room | 0:28:15 | 0:28:17 | |
and that way, I can go through them and determine which... | 0:28:17 | 0:28:19 | |
I said, OK, how about... | 0:28:19 | 0:28:21 | |
The crew is abuzz. | 0:28:33 | 0:28:36 | |
About my performance? | 0:28:36 | 0:28:38 | |
About their relationship. | 0:28:38 | 0:28:40 | |
Apparently, they've been working | 0:28:40 | 0:28:42 | |
on her scenes all weekend long. | 0:28:42 | 0:28:44 | |
So, you like the tie? | 0:28:54 | 0:28:55 | |
Mm. I do. | 0:28:55 | 0:28:56 | |
PHONE RINGS | 0:28:59 | 0:29:00 | |
Hello? | 0:29:07 | 0:29:09 | |
Hmm? | 0:29:14 | 0:29:16 | |
It's Joan Crawford. | 0:29:16 | 0:29:18 | |
Joan? | 0:29:21 | 0:29:23 | |
It's fucking midnight. | 0:29:23 | 0:29:25 | |
Bob, he left me. | 0:29:25 | 0:29:26 | |
-Who? -Peter. | 0:29:26 | 0:29:28 | |
Oh, we had a terrible row. | 0:29:28 | 0:29:30 | |
He said this picture meant more to me than he did and he left. | 0:29:30 | 0:29:33 | |
He was drunk. | 0:29:33 | 0:29:34 | |
Oh, God. | 0:29:34 | 0:29:36 | |
I have to quit the picture, Bob. I can't continue. | 0:29:36 | 0:29:38 | |
A-All right, uh, j-just, just give me a few. | 0:29:38 | 0:29:40 | |
I'll put, I'll throw some clothes on. I'll be right over. | 0:29:40 | 0:29:42 | |
-You promise? -Yeah, yeah, I promise. | 0:29:42 | 0:29:44 | |
OK. | 0:29:44 | 0:29:45 | |
DOORBELL RINGS | 0:30:04 | 0:30:05 | |
KNOCK ON THE DOOR | 0:30:27 | 0:30:28 | |
Who is it? Who's there? | 0:30:30 | 0:30:31 | |
Who the hell do you think it is, Joan? It's Bob, you called me here. | 0:30:31 | 0:30:34 | |
Oh, Bob. No, I thought for a moment | 0:30:34 | 0:30:37 | |
maybe Peter had come home. | 0:30:37 | 0:30:40 | |
Yeah, I'm sorry about Peter, Joan. | 0:30:40 | 0:30:41 | |
You know what I'm sorry about? | 0:30:41 | 0:30:43 | |
I'm sorry I gave up a wonderful relationship with a man | 0:30:43 | 0:30:48 | |
who truly cherished me, a doctor no less, | 0:30:48 | 0:30:51 | |
for you and this picture. | 0:30:51 | 0:30:53 | |
Really, it's just too much. | 0:30:53 | 0:30:55 | |
What are you talking about? | 0:30:55 | 0:30:56 | |
You know goddamn well what I'm talking about. | 0:30:56 | 0:30:59 | |
You and Davis, cavorting behind my back. | 0:30:59 | 0:31:03 | |
-Oh, you're being ridiculous. -Am I? | 0:31:03 | 0:31:05 | |
Weekend rehearsals, my ass. | 0:31:05 | 0:31:08 | |
How long have you been sleeping with her? | 0:31:10 | 0:31:12 | |
I'm not sleeping with her. | 0:31:12 | 0:31:13 | |
I won't be made a fool of. | 0:31:13 | 0:31:15 | |
I'm out - but don't worry, | 0:31:15 | 0:31:17 | |
I won't stand in your way. | 0:31:17 | 0:31:19 | |
I'm sure Warner will let you recast. | 0:31:19 | 0:31:22 | |
We're not recasting, Joan. Jesus. | 0:31:22 | 0:31:24 | |
This picture's only happening because of you. | 0:31:24 | 0:31:27 | |
Well, I'm glad you remember that. | 0:31:27 | 0:31:30 | |
What else do you remember, Bob? | 0:31:30 | 0:31:33 | |
-Joan. -Hmm? | 0:31:33 | 0:31:35 | |
Bob, do you remember | 0:31:35 | 0:31:38 | |
our private rehearsals on Autumn Leaves? | 0:31:38 | 0:31:41 | |
Come on. | 0:31:41 | 0:31:43 | |
Rehearse with me now, Bob. | 0:31:43 | 0:31:45 | |
Take me through a love scene. | 0:31:47 | 0:31:49 | |
There is no love scene in the picture. | 0:31:49 | 0:31:51 | |
Then I want a rewrite. | 0:31:51 | 0:31:53 | |
Oh, goddamn it, Joan. Will you knock it off? | 0:31:53 | 0:31:56 | |
You think I don't know what this is? | 0:31:56 | 0:31:57 | |
What, you think you're going to get me into bed, | 0:31:57 | 0:32:00 | |
I'm just going to hand the picture to you? | 0:32:00 | 0:32:02 | |
That's exactly what happened on Autumn Leaves. | 0:32:02 | 0:32:04 | |
You saw me having coffee with Cliff Robertson, | 0:32:04 | 0:32:06 | |
-next thing I know, your hand's down my pants. -Screw you. | 0:32:06 | 0:32:08 | |
No, not this time, Joan. | 0:32:08 | 0:32:09 | |
Listen to me. | 0:32:09 | 0:32:11 | |
I'm trying to hold on to my marriage, for Christ's sakes. | 0:32:11 | 0:32:13 | |
Good, well... | 0:32:13 | 0:32:15 | |
THUD | 0:32:15 | 0:32:16 | |
Peter? | 0:32:18 | 0:32:20 | |
What are you doing here? | 0:32:20 | 0:32:21 | |
I thought you were in Palm Springs. | 0:32:21 | 0:32:24 | |
Yeah, the road got washed out. | 0:32:24 | 0:32:26 | |
I'll see you on the set, Joan. | 0:32:26 | 0:32:27 | |
You want to explain that? | 0:32:33 | 0:32:35 | |
Explain? To you? | 0:32:35 | 0:32:38 | |
I don't have to explain a goddamn thing to you. | 0:32:40 | 0:32:44 | |
You're the one who left me this weekend, | 0:32:44 | 0:32:47 | |
leaving me here all alone. | 0:32:47 | 0:32:49 | |
I think it's time to recast. | 0:32:49 | 0:32:52 | |
Recast? | 0:32:52 | 0:32:53 | |
Recast you. | 0:32:53 | 0:32:55 | |
Your lines are stale. | 0:32:55 | 0:32:58 | |
You delivery's predictable. | 0:32:58 | 0:32:59 | |
I'm going downstairs. | 0:32:59 | 0:33:01 | |
When I come back, I want you gone. | 0:33:01 | 0:33:04 | |
It's a relief! | 0:33:15 | 0:33:17 | |
Where is she? | 0:33:29 | 0:33:30 | |
What the hell is this? | 0:33:36 | 0:33:37 | |
I'm sorry, Miss Joan. She's small, but she's quick. | 0:33:37 | 0:33:39 | |
Why, that looks like an exclusive. | 0:33:41 | 0:33:43 | |
In The Examiner, in Louella's column. | 0:33:43 | 0:33:45 | |
You deliberately called up that incontinent cow just to scoop me. | 0:33:45 | 0:33:50 | |
Thank you, Sven. That'll be all for now. | 0:33:50 | 0:33:53 | |
No, Sven's staying put. | 0:33:53 | 0:33:55 | |
I want this young man to bear witness. | 0:33:55 | 0:33:57 | |
He should know whose carcass it is he's been handling, | 0:33:57 | 0:33:59 | |
and just how many others in this town | 0:33:59 | 0:34:02 | |
could identify it in the dark. | 0:34:02 | 0:34:03 | |
That column has already been written. | 0:34:03 | 0:34:05 | |
"Joan Crawford's Early, Tawdry Years" - | 0:34:05 | 0:34:08 | |
and it's been locked away in my desk drawer since 1946, | 0:34:08 | 0:34:11 | |
the last time you went to Louella behind my back. | 0:34:11 | 0:34:14 | |
Oh, I told you, then, Hedda, I didn't go to Louella | 0:34:14 | 0:34:17 | |
about my divorce from Philip. | 0:34:17 | 0:34:20 | |
No, she came to me. | 0:34:20 | 0:34:21 | |
And you confirmed it - and after I gave you your career back. | 0:34:21 | 0:34:25 | |
Box Office Poison. | 0:34:25 | 0:34:26 | |
That's what they called her, | 0:34:26 | 0:34:28 | |
until I started promoting her in my column | 0:34:28 | 0:34:30 | |
because I felt sorry for her. | 0:34:30 | 0:34:31 | |
Well, she is right about that. | 0:34:31 | 0:34:33 | |
When I was down on my luck, | 0:34:33 | 0:34:34 | |
Hedda is the only person in this Christless town | 0:34:34 | 0:34:38 | |
to extend a hand in friendship, | 0:34:38 | 0:34:40 | |
to show some human decency. | 0:34:40 | 0:34:42 | |
She didn't have to, | 0:34:42 | 0:34:44 | |
and I have always been truly grateful to her for doing it, | 0:34:44 | 0:34:48 | |
truly, truly grateful. | 0:34:48 | 0:34:50 | |
Well, then why would you go to my mortal enemy? | 0:34:50 | 0:34:52 | |
Because it was the only way | 0:34:52 | 0:34:54 | |
I could get your attention. | 0:34:54 | 0:34:57 | |
Thank you, Sven, I'll see you on Friday. | 0:34:57 | 0:34:59 | |
Hedda, Hedda. | 0:34:59 | 0:35:02 | |
Yes. | 0:35:02 | 0:35:03 | |
Let's go down to the pool, soak up some vitamin D. | 0:35:05 | 0:35:09 | |
WHISPERS: Listen, we have to talk. | 0:35:09 | 0:35:10 | |
OK. | 0:35:10 | 0:35:12 | |
Give me a moment to change. | 0:35:12 | 0:35:13 | |
Oh. | 0:35:16 | 0:35:18 | |
I'll just say it, Hedda. | 0:35:18 | 0:35:20 | |
I'm in trouble. | 0:35:20 | 0:35:22 | |
What kind of trouble? | 0:35:22 | 0:35:24 | |
No, no, no. This isn't for publication. | 0:35:24 | 0:35:27 | |
I'm appealing to you as a friend. | 0:35:29 | 0:35:30 | |
All right. Closed. | 0:35:36 | 0:35:38 | |
Shoot. | 0:35:39 | 0:35:41 | |
I'm broke. | 0:35:41 | 0:35:43 | |
-Up to my eyeballs in debt. -No. | 0:35:44 | 0:35:47 | |
No. You practically own Pepsi-Cola. | 0:35:47 | 0:35:51 | |
Pepsi-Cola owns me. | 0:35:51 | 0:35:53 | |
Or it owned Al, at any rate, | 0:35:53 | 0:35:55 | |
and when he died, his debts became mine. | 0:35:55 | 0:35:57 | |
Two million dollars. | 0:36:00 | 0:36:01 | |
Hedda, that's what I owe. | 0:36:01 | 0:36:04 | |
Two million dollars. | 0:36:04 | 0:36:06 | |
Joan, I had no idea. | 0:36:06 | 0:36:08 | |
No, nobody does - and-and they mustn't. | 0:36:08 | 0:36:10 | |
Look, I'm a single mother | 0:36:10 | 0:36:11 | |
working in Hollywood. | 0:36:11 | 0:36:13 | |
I've got three children whose schooling is not yet complete. | 0:36:13 | 0:36:18 | |
Cocktail time. | 0:36:18 | 0:36:20 | |
Come on, I need a drink. | 0:36:22 | 0:36:24 | |
All right. | 0:36:28 | 0:36:30 | |
Look at this, Hedda. | 0:36:30 | 0:36:32 | |
All of this could be gone in an instant, | 0:36:32 | 0:36:34 | |
everything I've worked for, my entire life. | 0:36:34 | 0:36:37 | |
I mean, where, at my age, am I going to find | 0:36:37 | 0:36:40 | |
another rich man to save me? | 0:36:40 | 0:36:42 | |
You've never needed a man. | 0:36:42 | 0:36:44 | |
Neither one of us have. | 0:36:44 | 0:36:45 | |
And yet we've always been at their mercy. | 0:36:45 | 0:36:49 | |
-Hmm. -At least I have. | 0:36:49 | 0:36:52 | |
You don't know how lucky you are, Hedda, | 0:36:52 | 0:36:54 | |
that being an actress didn't work out for you, | 0:36:54 | 0:36:57 | |
that you were never a star. | 0:36:57 | 0:36:59 | |
I mean, you're the one who has real power in this town. | 0:36:59 | 0:37:04 | |
Yeah, well, this town, it's in decline. | 0:37:04 | 0:37:07 | |
It's becoming base and common. | 0:37:07 | 0:37:09 | |
You know, pretty soon, | 0:37:09 | 0:37:11 | |
I won't even be able to shock it any more. | 0:37:11 | 0:37:13 | |
The whole thing's going to blow away, | 0:37:13 | 0:37:15 | |
and all that'll be left is the desert it's built on. | 0:37:15 | 0:37:18 | |
Oh, thank you, Mamacita. | 0:37:19 | 0:37:23 | |
Thank you, darling. | 0:37:23 | 0:37:24 | |
A few more years. | 0:37:24 | 0:37:26 | |
That is all I wanted, just a few more years, | 0:37:26 | 0:37:31 | |
but I've been undermined, sabotaged. | 0:37:31 | 0:37:34 | |
No, it's just not fair. | 0:37:34 | 0:37:37 | |
-Davis, she's never been one of us. -No. | 0:37:37 | 0:37:40 | |
She's never been a part of this town, not like you have. | 0:37:40 | 0:37:43 | |
And she doesn't need the work. Woman lives like a Yankee. | 0:37:43 | 0:37:46 | |
I just don't know what I'm going to do. | 0:37:46 | 0:37:49 | |
Don't you dare. No tears. | 0:37:50 | 0:37:53 | |
Hedda is here. | 0:37:54 | 0:37:55 | |
You want a few more years? | 0:37:57 | 0:37:59 | |
What about five more? | 0:37:59 | 0:38:02 | |
-Because that's what another Oscar will give you. -Oh! | 0:38:02 | 0:38:04 | |
Yes. | 0:38:04 | 0:38:05 | |
A down payment on five more years. | 0:38:05 | 0:38:07 | |
No, no, no, that is impossible. | 0:38:07 | 0:38:10 | |
That'll never happen. | 0:38:10 | 0:38:11 | |
Bette has the showier role. | 0:38:11 | 0:38:13 | |
Well, that's a matter of opinion - | 0:38:13 | 0:38:15 | |
and my opinion is the only one that matters. | 0:38:15 | 0:38:19 | |
Cheers. | 0:38:25 | 0:38:27 | |
-Chin-chin, my darling. -Mm. | 0:38:27 | 0:38:29 | |
Well, good morning, Miss Davis, I am such a fan. | 0:38:39 | 0:38:42 | |
Doughnut? | 0:38:42 | 0:38:43 | |
No - coffee, black, in my dressing room. | 0:38:43 | 0:38:45 | |
Oh, I'm not craft service. | 0:38:45 | 0:38:47 | |
I'm your leading man on this picture. | 0:38:47 | 0:38:49 | |
Beg your pardon? | 0:38:50 | 0:38:51 | |
I'm Victor Buono. | 0:38:51 | 0:38:53 | |
I'll be playing your love interest. | 0:38:53 | 0:38:55 | |
I was expecting someone... | 0:38:57 | 0:38:59 | |
Thinner? | 0:38:59 | 0:39:00 | |
Less...homosexual? | 0:39:00 | 0:39:03 | |
Mm. Mm! | 0:39:05 | 0:39:07 | |
Thanks for the great day, fellas. | 0:39:32 | 0:39:34 | |
-Say goodnight, BD. -Oh. | 0:39:34 | 0:39:36 | |
Goodnight, fellas. | 0:39:36 | 0:39:37 | |
Agh! | 0:39:37 | 0:39:39 | |
# Itsy bitsy teenie weenie yellow polka dot bikini | 0:39:45 | 0:39:48 | |
# That she wore for the first time today... # | 0:39:48 | 0:39:52 | |
MUSIC GETS LOUDER | 0:39:52 | 0:39:53 | |
Christ, this song! | 0:39:54 | 0:39:55 | |
You don't like it | 0:39:55 | 0:39:57 | |
because you can't wear one any more. | 0:39:57 | 0:39:59 | |
# ..two, three four Stick around we'll tell you more.. # | 0:40:00 | 0:40:03 | |
MUSIC STOPS | 0:40:03 | 0:40:04 | |
Pack your bags, BD. | 0:40:08 | 0:40:10 | |
Why? Are we going somewhere? | 0:40:10 | 0:40:12 | |
Not me, you. | 0:40:12 | 0:40:13 | |
To Maine for the entire summer. | 0:40:13 | 0:40:15 | |
You can't do that. | 0:40:15 | 0:40:16 | |
Watch me. | 0:40:16 | 0:40:18 | |
Christ, tonight I see you posing and laughing in front of the grips | 0:40:18 | 0:40:21 | |
like a streetwalker. | 0:40:21 | 0:40:22 | |
You're jealous. | 0:40:22 | 0:40:23 | |
I'd smack you across the face for that | 0:40:23 | 0:40:25 | |
if your braces hadn't cost a fortune. | 0:40:25 | 0:40:27 | |
You're jealous because men don't look at you any more | 0:40:27 | 0:40:29 | |
and they look at me. | 0:40:29 | 0:40:30 | |
You can't take it that your turn is over, | 0:40:30 | 0:40:33 | |
so you're punishing me. | 0:40:33 | 0:40:35 | |
What a joke! | 0:40:35 | 0:40:36 | |
For years when I was growing up, | 0:40:38 | 0:40:39 | |
all I ever heard from you was, "Christ, when is that old buzzard | 0:40:39 | 0:40:42 | |
"Claudette Colbert going to retire?" | 0:40:42 | 0:40:43 | |
"When is Norma Shearer going to realise the ship has sailed?" | 0:40:43 | 0:40:46 | |
I am not going to apologise for having ambition! | 0:40:46 | 0:40:48 | |
I am not going to apologise for being a working mother | 0:40:48 | 0:40:51 | |
who has to have opportunities | 0:40:51 | 0:40:52 | |
so she can put food on the table for her family. | 0:40:52 | 0:40:55 | |
You know what those women had that you don't, mother? | 0:40:55 | 0:40:57 | |
Dignity. | 0:40:57 | 0:40:58 | |
They moved aside with class | 0:40:58 | 0:40:59 | |
after their spin on the carousel was over, | 0:40:59 | 0:41:02 | |
and that's something you refuse to do. | 0:41:02 | 0:41:04 | |
And now look at you. | 0:41:04 | 0:41:06 | |
You're single, lonely and doing this ridiculous role | 0:41:06 | 0:41:10 | |
because you can't live without being in the spotlight. | 0:41:10 | 0:41:13 | |
Well, guess what? | 0:41:13 | 0:41:15 | |
Nobody wants you any more. | 0:41:15 | 0:41:16 | |
Nobody's watching you any more. | 0:41:16 | 0:41:18 | |
You see me out there having fun and being young | 0:41:18 | 0:41:21 | |
and taking my turn, and you can't take it. | 0:41:21 | 0:41:24 | |
So, fine. | 0:41:24 | 0:41:26 | |
I'll go, gladly. | 0:41:26 | 0:41:28 | |
Anything to get away from you and your sadness. | 0:41:28 | 0:41:31 | |
PHONE RINGS | 0:41:42 | 0:41:43 | |
-Hello? -Is it one of the kids? | 0:41:50 | 0:41:52 | |
One of yours. | 0:41:54 | 0:41:56 | |
Bette Davis. | 0:41:57 | 0:41:58 | |
Oh. | 0:41:58 | 0:42:00 | |
Bette? | 0:42:04 | 0:42:06 | |
KNOCK ON DOOR | 0:42:19 | 0:42:20 | |
Well, here I am, Bette. | 0:42:21 | 0:42:23 | |
What could you possibly need | 0:42:23 | 0:42:24 | |
that couldn't wait till tomorrow? | 0:42:24 | 0:42:26 | |
A friend. | 0:42:27 | 0:42:29 | |
Oh... | 0:42:30 | 0:42:32 | |
She'll be back. | 0:42:36 | 0:42:37 | |
She's a teenager. | 0:42:37 | 0:42:38 | |
You can't take anything they say to heart. | 0:42:38 | 0:42:40 | |
You should hear the way my kids talked to me | 0:42:40 | 0:42:42 | |
when they were teenagers. Hell, they still do. | 0:42:42 | 0:42:44 | |
But she's right, Bob. That's the trouble. | 0:42:44 | 0:42:46 | |
My time has passed. | 0:42:46 | 0:42:47 | |
Oh, that's horseshit, Bette. | 0:42:47 | 0:42:49 | |
There's a scene in Eve from the back of the car | 0:42:49 | 0:42:51 | |
when Margo's talking about the long climb up | 0:42:51 | 0:42:53 | |
and all the things you drop along the way | 0:42:53 | 0:42:55 | |
that you forget you're going to need later. | 0:42:55 | 0:42:57 | |
I just turned 40 when we did that scene | 0:42:57 | 0:42:59 | |
and I remember thinking, | 0:42:59 | 0:43:01 | |
"Thank Christ that will never be me." | 0:43:01 | 0:43:03 | |
But it is. | 0:43:06 | 0:43:08 | |
That's exactly what happened. | 0:43:08 | 0:43:10 | |
All my failed marriages, my own daughter hates me. | 0:43:11 | 0:43:14 | |
And for what? | 0:43:14 | 0:43:15 | |
For the work. | 0:43:15 | 0:43:17 | |
Mm. | 0:43:17 | 0:43:18 | |
The goddamn work. | 0:43:18 | 0:43:20 | |
My one true love, | 0:43:20 | 0:43:22 | |
and now that's going to leave me. | 0:43:22 | 0:43:24 | |
You're a star, Bette. | 0:43:24 | 0:43:26 | |
Just as much of a star now as you were ten years ago. | 0:43:26 | 0:43:29 | |
20 years ago. | 0:43:29 | 0:43:30 | |
A star whose leading man is a chubby homosexual. | 0:43:30 | 0:43:34 | |
Ah, now we get to it. | 0:43:34 | 0:43:36 | |
Is this what it's come to? | 0:43:39 | 0:43:41 | |
What do you mean, "Is this what it's come to?" | 0:43:41 | 0:43:44 | |
Bette, he's a brilliant artist. | 0:43:44 | 0:43:46 | |
You say Crawford's no actor, well Victor Buono is. | 0:43:46 | 0:43:49 | |
He comes from Broadway, for Christ's sakes. | 0:43:49 | 0:43:53 | |
I am not going to fire him. | 0:43:53 | 0:43:54 | |
I don't want you to fire him. | 0:43:54 | 0:43:57 | |
I don't want you to fire him. I don't know what I want. | 0:43:57 | 0:44:00 | |
Bette, listen. | 0:44:05 | 0:44:06 | |
I understand everything you said. | 0:44:08 | 0:44:10 | |
You've had a brilliant career. | 0:44:10 | 0:44:13 | |
Me, I'm still on the B-list. | 0:44:13 | 0:44:15 | |
I'm working like a dog to keep a roof over my family's head. | 0:44:15 | 0:44:18 | |
I missed my kids growing up, | 0:44:18 | 0:44:19 | |
and my wife now wants to give me the heave-ho. | 0:44:19 | 0:44:22 | |
-At least you've got an Oscar. -Two. | 0:44:22 | 0:44:24 | |
Two. I beg your pardon. | 0:44:24 | 0:44:26 | |
I think maybe we both mucked things up. | 0:44:28 | 0:44:31 | |
Oh, you haven't mucked up anything. | 0:44:31 | 0:44:33 | |
You're a fine director, Bob. | 0:44:33 | 0:44:36 | |
A really fine director. | 0:44:36 | 0:44:38 | |
You should be very proud. | 0:44:38 | 0:44:40 | |
And you, you started from nothing. | 0:44:40 | 0:44:42 | |
Look at all you've accomplished. | 0:44:42 | 0:44:44 | |
My grandfather was a US senator. | 0:44:44 | 0:44:47 | |
My cousin is Nelson Rockefeller. | 0:44:47 | 0:44:50 | |
And you overcame all that. | 0:44:50 | 0:44:52 | |
ALARM RINGS | 0:46:13 | 0:46:16 | |
ALARM STOPS | 0:46:16 | 0:46:17 |