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This film contains some strong language. | 0:00:02 | 0:00:10 | |
STAFF SPEAK IN OWN LANGUAGE | 0:00:55 | 0:00:58 | |
WOMAN PLAYS PIANO | 0:00:58 | 0:01:01 | |
Thank you, ladies. Octavia's usual spot. | 0:01:01 | 0:01:04 | |
-There we go. Is that OK for you? -Yes. | 0:01:05 | 0:01:08 | |
GARGLING | 0:01:22 | 0:01:24 | |
MUSIC: Brindisi by Giuseppe Verdi | 0:01:28 | 0:01:30 | |
# Oh, ooohhhhhhhh! # | 0:01:30 | 0:01:33 | |
# La-la-la-la-la, la-la-la-la-lah, lah... # | 0:01:35 | 0:01:37 | |
HE STARTS WHISTLING "BRINDISI" | 0:02:35 | 0:02:37 | |
# Godiamo, la tazza, la tazza e il cantico | 0:03:04 | 0:03:10 | |
# La notte abbella e il riso... # | 0:03:10 | 0:03:12 | |
CELLO TUNING | 0:03:19 | 0:03:21 | |
HE PLAYS JAZZY PIECE ON CLARINET | 0:03:27 | 0:03:29 | |
HE SIGHS | 0:03:33 | 0:03:34 | |
#... in questo, in questo paradiso | 0:03:40 | 0:03:45 | |
# Ne scopra il nuovo di | 0:03:45 | 0:03:47 | |
# Ah! Ah! Ne scopra il di | 0:03:47 | 0:03:50 | |
# Ah! Ah! Ne scopra il di | 0:03:50 | 0:03:53 | |
-# Ahhhh -Ne scopra il di, ne scopra il nuovo | 0:03:53 | 0:03:55 | |
-# Diiii! -Siiii! # | 0:03:55 | 0:03:59 | |
Nowhere near where you should be, Bobby. | 0:03:59 | 0:04:01 | |
Give me the score, will you? | 0:04:01 | 0:04:02 | |
Wilf, the gala's only a month away. | 0:04:02 | 0:04:05 | |
I couldn't work out what you were doing. | 0:04:05 | 0:04:08 | |
Can we take it from the top, please? | 0:04:08 | 0:04:10 | |
SHE PLAYS INTRO ON PIANO | 0:04:10 | 0:04:12 | |
# Ah, si, godiamo, godiamo, godiamo | 0:04:12 | 0:04:15 | |
# La tazza e il cantico... # | 0:04:15 | 0:04:17 | |
You're... | 0:04:17 | 0:04:18 | |
Bobby, you're going too fast for me. | 0:04:18 | 0:04:20 | |
I'm sorry, Cedric. | 0:04:20 | 0:04:21 | |
-It's "Cee-dric". -Oh, Cee-dric. | 0:04:21 | 0:04:23 | |
Could you give me the intro again, please? | 0:04:23 | 0:04:26 | |
SHE PLAYS INTRO AGAIN | 0:04:26 | 0:04:29 | |
-# Ah, si, godiamo... # -LAUGHTER | 0:04:29 | 0:04:32 | |
You did it again! I'm on fire here and you're holding me back! | 0:04:32 | 0:04:36 | |
Be quiet! You find this amusing. I don't! | 0:04:36 | 0:04:39 | |
It won't be amusing if they shut this place down. | 0:04:39 | 0:04:41 | |
# Ah, si, godiamo, godiamo, godiamo, la tazza e il cantico... # | 0:04:41 | 0:04:46 | |
Thank you, Nigel. You are so kind to do that, thank you. | 0:04:46 | 0:04:48 | |
Now stop, please. | 0:04:48 | 0:04:49 | |
-# Godiamo... # -The man said thank you. That's it. | 0:04:49 | 0:04:52 | |
Is there no end to your bloody talent? | 0:04:52 | 0:04:54 | |
Cissy! Please...pay...attention. | 0:04:54 | 0:04:58 | |
-Ready. -You must listen. | 0:04:58 | 0:05:00 | |
Never bother with him, Cissy. He's a bully. | 0:05:01 | 0:05:03 | |
Now, Lottie, in bars 17, 18 and 19, you were deeply flat. | 0:05:03 | 0:05:07 | |
No, I don't think I was. I think the piano needs tuning. | 0:05:07 | 0:05:10 | |
Anne, darling, would you mind singing it for us? | 0:05:10 | 0:05:12 | |
I don't do chorus, Cedric. I never have. | 0:05:12 | 0:05:14 | |
I achieved immediate international success at the Royal Opera | 0:05:14 | 0:05:18 | |
when I was only 21 years old. | 0:05:18 | 0:05:20 | |
Cedric, we should have been using this room five minutes ago. | 0:05:20 | 0:05:23 | |
Oh, yeah. The space is entirely yours, gentlemen. | 0:05:23 | 0:05:27 | |
The rehearsals are over. | 0:05:27 | 0:05:28 | |
Come along, Bobby. Come on. Hurry up. | 0:05:28 | 0:05:29 | |
# Ahhh, la-la | 0:05:30 | 0:05:32 | |
# Dee-dee-dee, dee-dee-dee | 0:05:32 | 0:05:34 | |
# Da-da-da, da-da-da-da-da, da-da, dee-dee-dee | 0:05:34 | 0:05:37 | |
# Dee-dee | 0:05:37 | 0:05:39 | |
# Ah-ah-ah, ah-ah-ah | 0:05:39 | 0:05:41 | |
# Ah-ah-ahhhh | 0:05:41 | 0:05:42 | |
# Oh-oh-oh, oh-oh-ohhhh | 0:05:42 | 0:05:44 | |
# Ohhhh. # | 0:05:44 | 0:05:47 | |
Beautiful. | 0:05:47 | 0:05:48 | |
APPLAUSE | 0:05:48 | 0:05:50 | |
LAUGHTER | 0:05:50 | 0:05:52 | |
You're making a fool of my part. | 0:05:52 | 0:05:54 | |
INSTRUMENTALISTS PRACTISE | 0:05:59 | 0:06:02 | |
Reggie, it's empty. You can't save seats, Reg. | 0:06:09 | 0:06:12 | |
He's not coming. | 0:06:12 | 0:06:14 | |
-Wilf - he's not coming. -Why now? | 0:06:14 | 0:06:15 | |
You seem to think that you own the thing. | 0:06:15 | 0:06:17 | |
-We've been sitting at this table since I first came here. -Yes. | 0:06:17 | 0:06:20 | |
-That's precisely the point. -It's not fair, Reggie. | 0:06:20 | 0:06:22 | |
We want the window sometimes, don't we? | 0:06:22 | 0:06:24 | |
Yes. If this place has to shut down in six months, | 0:06:24 | 0:06:27 | |
which it very well might, | 0:06:27 | 0:06:28 | |
then I want to try and remember I once had a fucking window seat. | 0:06:28 | 0:06:31 | |
Excuse me, please. | 0:06:31 | 0:06:32 | |
You can't deny it, Wilf, | 0:06:32 | 0:06:33 | |
you soloists would be lost without us. | 0:06:33 | 0:06:36 | |
Say that once more, | 0:06:36 | 0:06:37 | |
and I swear I'll ram a fork up your jacksy, Harry. | 0:06:37 | 0:06:39 | |
-He's right, Wilf. -Anybody got a fork? | 0:06:39 | 0:06:41 | |
-And you know he is. -Make that two forks. | 0:06:41 | 0:06:44 | |
Ah, merci, Angelique. Have you done something new with your hair? | 0:06:44 | 0:06:48 | |
-No, I just put my fringe in front. -Oh, I love your fringe in front. | 0:06:48 | 0:06:51 | |
I give you extra slice of fried bread this morning. | 0:06:51 | 0:06:55 | |
-I noticed. -And your favourite, apricot jam. | 0:06:55 | 0:06:57 | |
Oh. Magnifique, Angelique. | 0:06:57 | 0:07:00 | |
Fancy vous a little rumpy-pumpy ce soir? | 0:07:00 | 0:07:02 | |
Qu'est-ce que c'est, "rumpy-pumpy"? | 0:07:02 | 0:07:04 | |
Oh, secrets of the marriage bed, | 0:07:04 | 0:07:06 | |
you'll have to answer my proposal at once. | 0:07:06 | 0:07:08 | |
-Bon appetit. -Cissy? Cissy! | 0:07:08 | 0:07:10 | |
Ready. | 0:07:10 | 0:07:11 | |
-Remember the emergency meeting, 12:15. -Cedric. Cedric. | 0:07:11 | 0:07:14 | |
-Breakfast time. -This is critical. | 0:07:14 | 0:07:16 | |
CEDRIC TAPS HIS GLASS | 0:07:16 | 0:07:17 | |
All members of the gala committee, please note, | 0:07:17 | 0:07:19 | |
we have a serious problem with our star tenor, Frank White. | 0:07:19 | 0:07:22 | |
As such, there's an emergency meeting at 12 noon - precisely. | 0:07:22 | 0:07:26 | |
Reggie, don't forget to remind me. | 0:07:26 | 0:07:29 | |
I'll set my watch. | 0:07:29 | 0:07:30 | |
Hey, what's this? Look. | 0:07:32 | 0:07:33 | |
-Didn't you say today was the day, Reg? -What's today? | 0:07:33 | 0:07:36 | |
Tadek setting off to fetch the new arrival. | 0:07:36 | 0:07:38 | |
There's to be a new arrival? | 0:07:38 | 0:07:39 | |
Cissy, we've talked about it for days. | 0:07:39 | 0:07:41 | |
-You, too. -Really? | 0:07:41 | 0:07:43 | |
-Yeah. -Who is it? | 0:07:43 | 0:07:44 | |
-They'd only send the van for a star. -Mm-hm. | 0:07:44 | 0:07:47 | |
When I came, I had to pay for me own taxi. | 0:07:47 | 0:07:49 | |
They sent a private car with a chauffeur for me. | 0:07:49 | 0:07:51 | |
This is a replacement for Leonard Timms. | 0:07:51 | 0:07:53 | |
He was a real dear friend of mine. | 0:07:53 | 0:07:55 | |
I'm really going to miss him terribly. | 0:07:55 | 0:07:57 | |
He was a genius, you know. | 0:07:57 | 0:07:58 | |
-He could fart at will. -Wilf, we're having breakfast. | 0:07:58 | 0:08:00 | |
-I'm not kidding. -But don't let that stop you. | 0:08:00 | 0:08:02 | |
I swear it's true. I saw it with my own eyes. | 0:08:02 | 0:08:05 | |
He got down on all fours and went into a meditative state. | 0:08:05 | 0:08:08 | |
And when he was ready, | 0:08:08 | 0:08:10 | |
he could exhale and inhale through his anal canal. | 0:08:10 | 0:08:14 | |
-I suppose that's the stroke talking. -I suppose it must be. | 0:08:14 | 0:08:18 | |
Hey, Cissy, do you think I could replace Nobby | 0:08:18 | 0:08:20 | |
for a quick one in the long grass? | 0:08:20 | 0:08:23 | |
You have the nicest tits I've ever seen in my life. | 0:08:23 | 0:08:26 | |
Thank you. | 0:08:26 | 0:08:27 | |
Reg, you've got to try this jam. It is unbelievable. | 0:08:27 | 0:08:32 | |
It's like eating Christmas. | 0:08:32 | 0:08:34 | |
FOOTSTEPS APPROACH | 0:09:01 | 0:09:04 | |
CASE CLANKS, SHE GASPS | 0:09:09 | 0:09:10 | |
Be careful with that one. | 0:09:10 | 0:09:12 | |
It's fragile. | 0:09:12 | 0:09:14 | |
I come back for the trunk. And for you. | 0:09:16 | 0:09:18 | |
I...I...I apologise. | 0:09:28 | 0:09:31 | |
Please be kind. | 0:09:31 | 0:09:33 | |
We were different people then. | 0:09:33 | 0:09:35 | |
Be kind. Be kind. | 0:09:35 | 0:09:37 | |
I can't do this. I can't. Stop. Stop. | 0:09:39 | 0:09:41 | |
-You say to me something? -What did you say? | 0:09:41 | 0:09:44 | |
-Why are we stopping? -We...We are not. | 0:09:44 | 0:09:47 | |
-We're on the way. -Right. | 0:09:47 | 0:09:48 | |
-Should I call Dr Cogan? -No. No, thank you. | 0:09:50 | 0:09:53 | |
These hydrangeas are beautiful. Do you like them, Marta? | 0:09:59 | 0:10:02 | |
Yes, I do, but I would never put on my table. | 0:10:02 | 0:10:04 | |
Well, well, well, this is new. | 0:10:04 | 0:10:06 | |
I've never seen you arranging flowers before, Dr Cogan. | 0:10:06 | 0:10:09 | |
Really, Wilf? Haven't you noticed | 0:10:09 | 0:10:10 | |
we've cut down on staff in the past few months? | 0:10:10 | 0:10:12 | |
And is this for the new arrival? Is it? Or is that a secret? | 0:10:12 | 0:10:16 | |
Is it, Marta? | 0:10:16 | 0:10:18 | |
Is that a new skirt you're wearing, Dr Cogan? | 0:10:18 | 0:10:21 | |
It clings beautifully to you. | 0:10:21 | 0:10:23 | |
And how it accentuates your already beautiful legs. | 0:10:23 | 0:10:26 | |
My goodness. What do you think of that, Marta? | 0:10:26 | 0:10:29 | |
I don't talk such things. | 0:10:29 | 0:10:30 | |
You're overstepping the line, Wilf. Go for your walk. | 0:10:30 | 0:10:34 | |
I would love to, if only you would come with me. | 0:10:34 | 0:10:36 | |
Go for your walk. | 0:10:36 | 0:10:38 | |
May I? | 0:10:38 | 0:10:39 | |
I wonder if you could help me. I can never do this without my glasses. | 0:10:39 | 0:10:42 | |
I can't see a thing. | 0:10:42 | 0:10:44 | |
You don't have a buttonhole, Wilf. | 0:10:46 | 0:10:48 | |
Well, there you go. | 0:10:48 | 0:10:50 | |
You know, I could propose to you, | 0:10:50 | 0:10:51 | |
but this is as close to kneeling as I get. | 0:10:51 | 0:10:53 | |
Go for your walk. | 0:10:53 | 0:10:55 | |
Sure. Would you like to join me, Marta? | 0:10:55 | 0:10:57 | |
I don't do such things. | 0:10:57 | 0:10:59 | |
He's a very naughty boy, Marta. | 0:10:59 | 0:11:01 | |
He could be your father or your grandfather. | 0:11:01 | 0:11:03 | |
Like that. OK? Swing it close to the ground. | 0:11:04 | 0:11:07 | |
That's it. That's it. Like a pendulum. Just like this. | 0:11:07 | 0:11:10 | |
When you're finished being a croquet expert, Nigel, | 0:11:10 | 0:11:12 | |
I have a pound says I'll kick your arse. | 0:11:12 | 0:11:14 | |
Ah, the way you play, you probably will. | 0:11:14 | 0:11:16 | |
You forget - I saw your Barber Of Seville, | 0:11:16 | 0:11:19 | |
and your singing brought tears to my ears. | 0:11:19 | 0:11:21 | |
Saw you in Carmen - I'll never forget it, but I'll try. | 0:11:22 | 0:11:25 | |
THEY CHUCKLE | 0:11:25 | 0:11:26 | |
CLARINET PLAYS, THEN STUTTERS | 0:11:33 | 0:11:36 | |
CLARINET RESUMES | 0:11:54 | 0:11:57 | |
-Morning, Nobby. -Ah, morning, Mr Bond. | 0:11:59 | 0:12:02 | |
-Simon, what's up? -All good, mate. | 0:12:02 | 0:12:04 | |
Oh, by the way, Nobby, | 0:12:04 | 0:12:05 | |
if you get a chance, I could use another one of the usual. | 0:12:05 | 0:12:08 | |
-Do you need any money? -No, it's all right. | 0:12:08 | 0:12:10 | |
Look, I've got some change from last time. | 0:12:10 | 0:12:12 | |
I'll stick it in the usual place. | 0:12:12 | 0:12:13 | |
Oh, and watch it, Cissy Robson's been looking for you all morning. | 0:12:13 | 0:12:17 | |
Can't think why. I'm the most attractive man in the place. | 0:12:17 | 0:12:20 | |
MUSIC: La Donna e Mobile by Giuseppe Verdi | 0:12:21 | 0:12:25 | |
I read somewhere that the average man | 0:12:26 | 0:12:28 | |
thinks of sex every seven seconds. | 0:12:28 | 0:12:30 | |
Do you? | 0:12:30 | 0:12:31 | |
I wish it was only every seven seconds. | 0:12:31 | 0:12:34 | |
Do you know, the first time I set eyes on her, | 0:12:35 | 0:12:38 | |
I thought she was the most beautiful, sexiest creature | 0:12:38 | 0:12:41 | |
I'd ever clapped my eyes on. | 0:12:41 | 0:12:42 | |
-ALARM BUZZES -Oh. | 0:12:42 | 0:12:44 | |
Oh, Cissy - Cissy, my love, | 0:12:44 | 0:12:46 | |
can you imagine the passionate love we might have made? | 0:12:46 | 0:12:49 | |
But it's not too late. | 0:12:49 | 0:12:51 | |
We can still dive beneath the blankets | 0:12:51 | 0:12:53 | |
and cuddle till the end of time. | 0:12:53 | 0:12:54 | |
-What do you say to that, sweetie? -Ready. | 0:12:54 | 0:12:58 | |
Why are you laughing? | 0:12:58 | 0:13:00 | |
You'll never guess what I've been listening to. Our Rigoletto. | 0:13:00 | 0:13:03 | |
We are so lovely... | 0:13:03 | 0:13:04 | |
-Uh, Cissy, the gala committee. -Oh... | 0:13:04 | 0:13:07 | |
This was the last time we sang it. Remember, Reggie? | 0:13:07 | 0:13:09 | |
-Why have they reissued it? -I don't know. | 0:13:09 | 0:13:12 | |
I remember the recording session, the production, everything, | 0:13:12 | 0:13:15 | |
like it was yesterday, | 0:13:15 | 0:13:16 | |
and yet I can't remember what I had for breakfast this morning. | 0:13:16 | 0:13:19 | |
-Apricot jam. -"Rigoletto - Horton and Paget". | 0:13:19 | 0:13:21 | |
You'll notice my name isn't there, of course. | 0:13:21 | 0:13:23 | |
I should've been top of the bill - I had the named part. | 0:13:23 | 0:13:26 | |
Still, I made a living from it, which was all I really wanted. | 0:13:26 | 0:13:28 | |
I'm not like you, you see, Reggie - you're an artist, I'm an artisan. | 0:13:28 | 0:13:32 | |
Where's my bag? I can't find my bag. Where is it? | 0:13:32 | 0:13:35 | |
Oh. Thank you, Reggie. | 0:13:35 | 0:13:36 | |
And you're safe back from Karachi, and I'm so glad. | 0:13:36 | 0:13:39 | |
Oh... | 0:13:39 | 0:13:40 | |
Why Karachi? | 0:13:42 | 0:13:44 | |
Well, her father was Indian army. | 0:13:44 | 0:13:45 | |
-Do you think she's getting worse, Reg? -Yes. | 0:13:45 | 0:13:48 | |
# I'm born famous, I'm sorta known | 0:13:48 | 0:13:51 | |
-# If your son doesn't... -# If your... | 0:13:51 | 0:13:52 | |
-# Son doesn't, I bet your... # -# I bet your daughter knows. # | 0:13:52 | 0:13:56 | |
Boom, boom, chh! | 0:13:56 | 0:13:58 | |
Reg, you might as well get used to it - rap's here to stay. | 0:13:58 | 0:14:00 | |
Oh, I don't think it is. | 0:14:00 | 0:14:02 | |
That's what you said about The Beatles. | 0:14:02 | 0:14:04 | |
-Well, it isn't music. -They think it is. | 0:14:04 | 0:14:06 | |
-Who? -The kids you're talking to. | 0:14:06 | 0:14:08 | |
# That's what we mean | 0:14:08 | 0:14:10 | |
# When we say that a thing | 0:14:10 | 0:14:11 | |
# Is welcome as flowers that bloom in the spring | 0:14:11 | 0:14:14 | |
# Tra, la-la-la-la-la Tra, la-la-la-la-la | 0:14:14 | 0:14:17 | |
# The flowers that bloom in the spring | 0:14:17 | 0:14:19 | |
# Tra, la-la-la-la Tra, la-la-la-la | 0:14:19 | 0:14:21 | |
-# Tra, la-la-la, la-la. # -That's better. That was good. | 0:14:21 | 0:14:26 | |
Now this is a bloody disaster! Really! | 0:14:27 | 0:14:29 | |
Come in, Cissy. | 0:14:29 | 0:14:31 | |
-Who? What? -Cissy. | 0:14:31 | 0:14:32 | |
-You're late. -Sorry. I said I was sorry. | 0:14:32 | 0:14:35 | |
Sit down. | 0:14:35 | 0:14:36 | |
Frank White has just pulled out. He doesn't feel up to the gala. | 0:14:36 | 0:14:39 | |
It's even in the local paper. | 0:14:39 | 0:14:40 | |
-He's not well. -Darling, Frank White! | 0:14:40 | 0:14:43 | |
Oh, he's such a lovely man. | 0:14:43 | 0:14:45 | |
This is a disaster. | 0:14:45 | 0:14:47 | |
Because he's pulled out, ticket sales have already fallen by 60%. | 0:14:47 | 0:14:51 | |
The givers aren't giving. | 0:14:51 | 0:14:52 | |
If we can't make the gala into the hottest ticket in town, | 0:14:52 | 0:14:55 | |
this house could collapse about our ears. | 0:14:55 | 0:14:57 | |
Oh! We could lose it! | 0:14:57 | 0:14:58 | |
We have to find a replacement for Frank immediately. | 0:14:58 | 0:15:01 | |
Who was it who said, "Old age is not for sissies"? | 0:15:01 | 0:15:04 | |
I always remember that, you know, | 0:15:04 | 0:15:06 | |
because it's my name... and "sissies". | 0:15:06 | 0:15:07 | |
Cissy, if you must speak, please raise your hand. | 0:15:07 | 0:15:12 | |
Now, where was I? | 0:15:12 | 0:15:13 | |
"This is a disaster." | 0:15:13 | 0:15:15 | |
Of course. Yes, it is a disaster. Yes? What? | 0:15:15 | 0:15:18 | |
-She's raising her hand. -What? | 0:15:18 | 0:15:20 | |
Bette Davis. Bette Davis. | 0:15:20 | 0:15:22 | |
She said, she said, "Old age is not for sissies". | 0:15:22 | 0:15:25 | |
PIANO PLAYS | 0:15:25 | 0:15:26 | |
-Silenzio! -# Tra, la-la-la-la | 0:15:26 | 0:15:29 | |
-# Tra, la-la-la-la... # -Silenzio! | 0:15:29 | 0:15:31 | |
Shut it! You will choose a different song immediately. | 0:15:31 | 0:15:34 | |
I'll have no "tra-la-la" at my gala! None of it! | 0:15:34 | 0:15:38 | |
What about Reggie? La Donna e Mobile. | 0:15:39 | 0:15:41 | |
I just had a brilliant idea - | 0:15:41 | 0:15:43 | |
to ask Reggie if he'll sing La Donna e Mobile. | 0:15:43 | 0:15:46 | |
Oh...yeah, what? | 0:15:46 | 0:15:48 | |
Reggie's a bit funny about La Donna e Mobile. | 0:15:48 | 0:15:51 | |
Your job is to ask him. | 0:15:51 | 0:15:52 | |
Please put your hand/arm down. | 0:15:52 | 0:15:55 | |
-He won't do it. -That was my idea. | 0:15:56 | 0:15:59 | |
Yes, it was. | 0:15:59 | 0:16:01 | |
Look. | 0:16:23 | 0:16:24 | |
-Oh, my God. -Oh, my. | 0:16:28 | 0:16:30 | |
- Excuse me, love. - Oh. | 0:16:35 | 0:16:37 | |
Here. | 0:16:41 | 0:16:43 | |
DOOR CLOSES | 0:16:47 | 0:16:49 | |
Most of our residents are on the floor upstairs. | 0:16:53 | 0:16:57 | |
This is Sir Thomas Beecham. | 0:16:58 | 0:17:01 | |
He was one of Britain's greatest conductors. | 0:17:01 | 0:17:03 | |
Yes. I know who he was. | 0:17:03 | 0:17:05 | |
He inherited a fortune. His grandfather made laxatives. | 0:17:05 | 0:17:08 | |
Naming a nursing home after him is frighteningly apt. | 0:17:08 | 0:17:12 | |
Um...these flowers are here to welcome you. | 0:17:12 | 0:17:14 | |
I'll have them sent up to your room. | 0:17:14 | 0:17:16 | |
We're very lucky to have you here. | 0:17:16 | 0:17:18 | |
Your room is as large as Anne Langley's. | 0:17:18 | 0:17:20 | |
Oh, God, is she here? | 0:17:20 | 0:17:21 | |
It's a beautiful suite in what we call the B Wing. | 0:17:21 | 0:17:24 | |
Well, it sounds like a prison. | 0:17:24 | 0:17:26 | |
The service lift is currently being repaired, | 0:17:26 | 0:17:28 | |
but we have the chairlift, which will be much easier for you. | 0:17:28 | 0:17:30 | |
Chairlift? What do I do when I get to the top, ski down? | 0:17:30 | 0:17:34 | |
APPLAUSE | 0:17:34 | 0:17:36 | |
Brava! | 0:17:36 | 0:17:39 | |
Brava! Brava! | 0:17:39 | 0:17:42 | |
Brava! Brava! | 0:17:44 | 0:17:46 | |
Oh. | 0:17:46 | 0:17:48 | |
-Brava! -Oh, how very kind. | 0:17:51 | 0:17:54 | |
Oh... | 0:17:56 | 0:17:57 | |
Brava! | 0:17:57 | 0:17:59 | |
Yeah, we could always do the Barber - | 0:18:10 | 0:18:12 | |
you, Cissy and me. | 0:18:12 | 0:18:13 | |
For the gala. | 0:18:13 | 0:18:15 | |
-Oh. You moved your ball. -That's unthinkable! How dare you! | 0:18:15 | 0:18:18 | |
I just saw you move it. With your foot. | 0:18:18 | 0:18:20 | |
Uh, Wilf, uh, she's married. | 0:18:20 | 0:18:23 | |
She gave me a look. | 0:18:23 | 0:18:25 | |
-Your shot. -Thank you, Wilf. | 0:18:27 | 0:18:29 | |
You're never going to get it from there, anyway. | 0:18:29 | 0:18:31 | |
Oh, you watch me. | 0:18:31 | 0:18:33 | |
Told you. | 0:18:33 | 0:18:34 | |
I always wanted to sing Wagner - Tristan. Never came my way. | 0:18:34 | 0:18:37 | |
Wilf, what are you doing? | 0:18:37 | 0:18:39 | |
What does it look like I'm doing? | 0:18:39 | 0:18:41 | |
-Wagner! -There are people watching. | 0:18:41 | 0:18:43 | |
The British should stick to British composers | 0:18:43 | 0:18:45 | |
like Rossini, Donizetti, Verdi. | 0:18:45 | 0:18:47 | |
Boys! Boys! Boys! | 0:18:47 | 0:18:49 | |
I know who it is. | 0:18:49 | 0:18:52 | |
I saw her. I saw her! | 0:18:52 | 0:18:54 | |
George was right - it is a star. | 0:18:54 | 0:18:56 | |
But you'll never, never guess who it is. | 0:18:56 | 0:18:58 | |
-Never. -Well, tell us. | 0:18:58 | 0:18:59 | |
Don't keep us in suspense for eternity. | 0:18:59 | 0:19:01 | |
No, you won't believe it. | 0:19:01 | 0:19:03 | |
As large as life and twice as terrifying. | 0:19:03 | 0:19:05 | |
Um...oh, it's gone. Um...uh... | 0:19:05 | 0:19:07 | |
Think, Cissy. Think. | 0:19:07 | 0:19:09 | |
-Soprano, beginning with G. -Mary Garden. | 0:19:09 | 0:19:11 | |
-No, no, no, no. -Rita Gorr? | 0:19:11 | 0:19:12 | |
-Galli-Curci. -No! No! Oh, God! | 0:19:12 | 0:19:15 | |
Gilda. | 0:19:16 | 0:19:18 | |
-Gilda? -Our Gilda. | 0:19:18 | 0:19:20 | |
-Rigoletto? -Yes. | 0:19:21 | 0:19:24 | |
-Jean Horton? -Yes. | 0:19:24 | 0:19:26 | |
Jean Horton. Yes. | 0:19:26 | 0:19:27 | |
Oh, my darling. | 0:19:32 | 0:19:34 | |
Steady, Reg. | 0:19:37 | 0:19:39 | |
Excuse me, Dr Cogan. | 0:19:41 | 0:19:42 | |
That's why you've kept it such a secret. | 0:19:42 | 0:19:44 | |
You didn't want me to know. | 0:19:44 | 0:19:45 | |
-You mean Jean Horton? -I should have been consulted. | 0:19:47 | 0:19:50 | |
She was such a huge star... | 0:19:51 | 0:19:52 | |
I should have been consulted. | 0:19:52 | 0:19:54 | |
Well, she didn't want media attention... | 0:19:54 | 0:19:56 | |
She didn't want? Nothing changes! What about what I didn't want?! | 0:19:56 | 0:19:59 | |
-It had nothing to do with you, Reggie. -Obviously not! | 0:20:01 | 0:20:04 | |
I mean, it was simply at her request. | 0:20:04 | 0:20:05 | |
She did know that I live here? | 0:20:05 | 0:20:08 | |
She DID know that I live here? | 0:20:08 | 0:20:10 | |
Reggie, I'm sure she's going to be amicable... | 0:20:12 | 0:20:14 | |
With great respect, Dr Cogan, you don't know her. | 0:20:14 | 0:20:18 | |
You don't know her. | 0:20:19 | 0:20:20 | |
I wanted a dignified senility. | 0:20:27 | 0:20:29 | |
Fat chance, now she's here. | 0:20:31 | 0:20:33 | |
I'll have to find somewhere else to live. | 0:20:35 | 0:20:37 | |
Sod it. | 0:20:37 | 0:20:39 | |
Don't you have one of your talks tomorrow, Reggie? | 0:20:40 | 0:20:42 | |
-What? -Your talk, with the children, tomorrow. | 0:20:42 | 0:20:45 | |
Oh, God. | 0:20:45 | 0:20:46 | |
Uh...excuse me. | 0:20:48 | 0:20:51 | |
# Ahhhh... # | 0:20:55 | 0:20:58 | |
Why don't they have tenors like Jon Vickers anymore? | 0:20:58 | 0:21:00 | |
They just don't exist. | 0:21:00 | 0:21:02 | |
And Freni was such a wonderful Desdemona. | 0:21:02 | 0:21:04 | |
Oh, I loved singing that role. | 0:21:04 | 0:21:06 | |
It was so easy for me. | 0:21:06 | 0:21:08 | |
Poor thing. She's having such a hard time. | 0:21:08 | 0:21:11 | |
-Cissy, canasta! You've won! -I win! I win! | 0:21:11 | 0:21:14 | |
-You cheated -Nonsense. | 0:21:14 | 0:21:15 | |
-How dare you. -Any of you seen...? | 0:21:15 | 0:21:17 | |
Who is that smoking? | 0:21:17 | 0:21:19 | |
-George and Harry. -Nobody, nothing. | 0:21:19 | 0:21:21 | |
I don't know how many times I have told you, smoking kills. | 0:21:21 | 0:21:23 | |
-Put those out. -What? -Drop them on the floor, please. | 0:21:23 | 0:21:26 | |
-Thank you. -Oh, for goodness' sake. | 0:21:26 | 0:21:28 | |
Give them a break. George is 78, Harry's 82. | 0:21:28 | 0:21:31 | |
Suppose they were to stop smoking - | 0:21:31 | 0:21:32 | |
how much longer are they going to live? A week? | 0:21:32 | 0:21:35 | |
It would probably rain that week, anyway. | 0:21:35 | 0:21:37 | |
-You are a bad influence, Wilfred. -I think so. | 0:21:37 | 0:21:39 | |
-Have you seen Reginald? -He went to bed early. | 0:21:39 | 0:21:41 | |
Don't worry about him. He's as tough as a monkey's tit, our Reggie. | 0:21:41 | 0:21:44 | |
I think we should worry more about Jean Horton. | 0:21:44 | 0:21:47 | |
Ms Horton? | 0:22:04 | 0:22:06 | |
-Are you all right? -Yes. | 0:22:08 | 0:22:10 | |
Isn't it a lovely room? | 0:22:12 | 0:22:14 | |
Well, you've had a very long day. You might want to retire early. | 0:22:18 | 0:22:21 | |
Yes, I've not yet entered second childhood, | 0:22:21 | 0:22:23 | |
so please don't talk to me as though I have. | 0:22:23 | 0:22:25 | |
Just leave me be. And I'll take my meals in my room. | 0:22:25 | 0:22:28 | |
Uh...we don't usually serve the residents in their rooms. | 0:22:28 | 0:22:31 | |
I presume you do when the residents are unwell. I am unwell. | 0:22:31 | 0:22:34 | |
Well, I...I hope you feel better soon. | 0:22:36 | 0:22:38 | |
CELLO PLAYS | 0:23:12 | 0:23:13 | |
# So, please, sir, we much regret If we have failed in etiquette | 0:24:01 | 0:24:05 | |
# Towards a man of rank so high We shall know better by and by | 0:24:05 | 0:24:09 | |
# But youth, of course, must have its fling | 0:24:09 | 0:24:11 | |
# So pardon us, so pardon us | 0:24:11 | 0:24:13 | |
# And don't, in girlhood's happy spring | 0:24:13 | 0:24:15 | |
# Be hard on us, be hard on us... # | 0:24:15 | 0:24:17 | |
-Where do you want it, Nobby? Here? -That's it, yeah. | 0:24:17 | 0:24:19 | |
# But youth, of course, must have its fling, so pardon us... # | 0:24:20 | 0:24:24 | |
# La, la, la, la, la, la, la, la, la. # | 0:24:24 | 0:24:27 | |
Yoo-hoo, Nobby! Hello, big boy. | 0:24:27 | 0:24:29 | |
-Morning, Ms Robson. -I'm coming right down. | 0:24:29 | 0:24:31 | |
Good morning, Nobby! | 0:24:31 | 0:24:32 | |
# La, la, la, la, la, la, la, la, la. # | 0:24:32 | 0:24:35 | |
THEY CHUCKLE | 0:24:35 | 0:24:37 | |
Reggie? | 0:24:52 | 0:24:53 | |
MUSIC: Pass Out by Tinie Tempah | 0:24:53 | 0:24:56 | |
# You're the foundation I'm the cornerstone | 0:24:56 | 0:24:58 | |
# I'm born famous, I'm sorta known | 0:24:58 | 0:24:59 | |
# And if your son doesn't I bet your daughter knows... # | 0:24:59 | 0:25:02 | |
MUSIC: Toccata and Fugue In D Minor by Johann Sebastian Bach | 0:25:02 | 0:25:06 | |
-Oh. -Excuse me. | 0:25:23 | 0:25:24 | |
This room is occupied, Wilf. | 0:25:24 | 0:25:26 | |
Oh, I'm sorry. | 0:25:26 | 0:25:27 | |
Oh, and don't do your toes the same colour - | 0:25:27 | 0:25:29 | |
it's considered gauche. | 0:25:29 | 0:25:31 | |
No breeding. | 0:25:34 | 0:25:36 | |
Doctor, have you seen Reggie? | 0:25:36 | 0:25:37 | |
Yes. He's using the computer in my office. | 0:25:37 | 0:25:39 | |
Thanks. | 0:25:39 | 0:25:41 | |
-Morning. -Good morning. | 0:25:49 | 0:25:51 | |
Oh. | 0:25:52 | 0:25:54 | |
You OK, Mr Bond? | 0:25:56 | 0:25:58 | |
Mr Bond, are you OK? | 0:26:01 | 0:26:03 | |
I'm...just a bit dizzy. | 0:26:03 | 0:26:06 | |
I'm fine. Fine. | 0:26:07 | 0:26:09 | |
Ooh. | 0:26:13 | 0:26:14 | |
RAP MUSIC PLAYS | 0:26:25 | 0:26:27 | |
Reg? You OK? | 0:26:27 | 0:26:30 | |
-Can I get you a coffee? -I'm preparing my talk. | 0:26:33 | 0:26:35 | |
Anything? | 0:26:37 | 0:26:38 | |
Reg? Coffee? | 0:26:43 | 0:26:45 | |
Close the door behind you, please. | 0:26:45 | 0:26:48 | |
Yeah. OK. | 0:26:48 | 0:26:49 | |
# I said, bitch, listen up... # | 0:26:49 | 0:26:52 | |
KNOCK ON DOOR | 0:26:55 | 0:26:57 | |
Well, come in. | 0:26:57 | 0:26:59 | |
Jean? | 0:27:03 | 0:27:04 | |
It's me, Cissy. | 0:27:06 | 0:27:07 | |
Cicely Robson. | 0:27:08 | 0:27:10 | |
Oh! Yes, of course. Course it is. Yes, do come in. | 0:27:11 | 0:27:16 | |
Ah, lovely room. Bigger than mine. | 0:27:16 | 0:27:18 | |
-How nice to see you. -You haven't unpacked yet. | 0:27:18 | 0:27:21 | |
I've been telling everyone you still look like a young girl. | 0:27:21 | 0:27:24 | |
Well, I don't feel it. | 0:27:24 | 0:27:25 | |
Look. Huh. | 0:27:25 | 0:27:27 | |
I'm on the waiting list for a new hip. | 0:27:27 | 0:27:30 | |
Oh, dear. Lovely jewels. | 0:27:30 | 0:27:33 | |
You look beautiful. | 0:27:34 | 0:27:36 | |
You haven't changed a bit. | 0:27:39 | 0:27:40 | |
Did they serve you breakfast in your room? | 0:27:40 | 0:27:42 | |
Of course. | 0:27:42 | 0:27:43 | |
CHATTER AND LAUGHTER | 0:27:44 | 0:27:46 | |
Who are all those children? | 0:27:48 | 0:27:49 | |
It's probably Reggie giving one of his classes. | 0:27:49 | 0:27:52 | |
Yes, of course. | 0:27:53 | 0:27:55 | |
Reginald Paget's here, isn't he? | 0:27:55 | 0:27:57 | |
Yes. | 0:27:57 | 0:27:59 | |
Now, I'd like to ask if any of you have a favourite singer. | 0:28:01 | 0:28:07 | |
Don't be shy. | 0:28:07 | 0:28:09 | |
-Lady Gaga? -Lady Ga-who? | 0:28:09 | 0:28:11 | |
LAUGHTER | 0:28:11 | 0:28:12 | |
I'm sorry. Lady Gaga. I don't know about Lady Gaga. | 0:28:12 | 0:28:15 | |
Anyone else? You? Do you like Lady Gaga? | 0:28:15 | 0:28:17 | |
Nah, Lady Gaga's pop. | 0:28:17 | 0:28:20 | |
I like hip-hop, period. | 0:28:20 | 0:28:22 | |
"Hip-hop, period"? | 0:28:22 | 0:28:25 | |
Is that the same as rap? | 0:28:26 | 0:28:28 | |
No, it's different, slightly. | 0:28:28 | 0:28:29 | |
-Would you mind telling me what rap is? -Tell me what opera is. | 0:28:29 | 0:28:33 | |
No, yes, uh, well, yes, I will... I will eventually. | 0:28:33 | 0:28:36 | |
No, you tell me what rap is | 0:28:36 | 0:28:38 | |
and then I'll tell you what opera is. | 0:28:38 | 0:28:40 | |
How about you tell me what opera is | 0:28:40 | 0:28:41 | |
and then later on I'll tell you what rap is? | 0:28:41 | 0:28:43 | |
There you go. What can I do? | 0:28:43 | 0:28:46 | |
Uh, well, you know, originally, | 0:28:46 | 0:28:48 | |
it was people just like you went to the opera. | 0:28:48 | 0:28:51 | |
Casual clothes, they took food, | 0:28:51 | 0:28:53 | |
they took alcohol, they threw things. | 0:28:53 | 0:28:56 | |
Anyway, that was a long time ago | 0:28:56 | 0:28:58 | |
that rich people took over the world of opera | 0:28:58 | 0:29:00 | |
with their fancy dress, | 0:29:00 | 0:29:02 | |
and they took the soul out of it - | 0:29:02 | 0:29:04 | |
they made it something that it's not. | 0:29:04 | 0:29:08 | |
What is it? Uh, what is it? | 0:29:08 | 0:29:11 | |
Would you wait for me, Cissy, dear? | 0:29:11 | 0:29:13 | |
What? Oh, sorry, sorry. I'm so excited. | 0:29:13 | 0:29:14 | |
Even I... Even I...I've woken up with the black dog on my shoulder | 0:29:14 | 0:29:18 | |
from time to time, and it doesn't last for long. | 0:29:18 | 0:29:20 | |
You see, how could it? | 0:29:20 | 0:29:22 | |
Because everyone here looks after each other and... | 0:29:22 | 0:29:25 | |
Make up your mind, dear, please. | 0:29:25 | 0:29:28 | |
And there's so much to enjoy here - people coming and going, | 0:29:28 | 0:29:30 | |
-new faces, old friends, new hobbies. -SALSA MUSIC PLAYS | 0:29:30 | 0:29:34 | |
What's that dreadful noise? | 0:29:34 | 0:29:36 | |
I'm meant to be in there. | 0:29:36 | 0:29:37 | |
Side to side, basic. Cissy, you're missing my class. | 0:29:40 | 0:29:44 | |
Come in, darling. | 0:29:44 | 0:29:46 | |
Forward and back. | 0:29:50 | 0:29:51 | |
Nice, hips, move those hips. | 0:29:53 | 0:29:56 | |
Side to side now. Shake it, ladies. Shake it. | 0:30:03 | 0:30:05 | |
This is not a retirement home, this is a madhouse. | 0:30:05 | 0:30:08 | |
God. | 0:30:09 | 0:30:10 | |
Hello. | 0:30:12 | 0:30:13 | |
Jean? Jean? | 0:30:19 | 0:30:22 | |
Birthday benefit gala, emergency, top secret. | 0:30:24 | 0:30:26 | |
-Jean? -Didn't that used to be Bobby Swanson? | 0:30:28 | 0:30:31 | |
-Yes. -Well, he didn't seem to recognise me. | 0:30:31 | 0:30:33 | |
Isn't that odd? | 0:30:33 | 0:30:34 | |
"Birthday benefit gala, emergency, top secret." | 0:30:34 | 0:30:37 | |
Oh, whose birthday? Mine isn't till January 6. | 0:30:37 | 0:30:39 | |
No, no, no. Not yours, darling, no. No, Verdi's birthday. | 0:30:39 | 0:30:42 | |
There's a benefit gala and we're all expected to perform. | 0:30:42 | 0:30:45 | |
-Wha...? Perform? -Yes, we all do...what we do. | 0:30:45 | 0:30:48 | |
At our age? That's ridiculous. | 0:30:48 | 0:30:50 | |
No, it isn't. Everybody can do something. | 0:30:50 | 0:30:52 | |
Well, I'm not singing at Verdi's gala or anybody else's. | 0:30:52 | 0:30:56 | |
I don't sing anymore, and that is final. | 0:30:56 | 0:30:58 | |
Jean, I was listening to our Rigoletto this morning, | 0:30:58 | 0:31:00 | |
and we were all so good, but... | 0:31:00 | 0:31:03 | |
Jean, your Gilda, it was magnificent. | 0:31:03 | 0:31:06 | |
Yes, I know. | 0:31:06 | 0:31:08 | |
I know. I never took less than 12 curtain calls. Never. | 0:31:08 | 0:31:11 | |
Where is Reggie? | 0:31:13 | 0:31:15 | |
Um...I think he's round here. | 0:31:15 | 0:31:18 | |
Opera is when a guy is stabbed in the back, | 0:31:18 | 0:31:22 | |
instead of bleeding, he sings. | 0:31:22 | 0:31:26 | |
But it seems to me, after much research, | 0:31:26 | 0:31:28 | |
that rap is, when a guy is stabbed in the back, | 0:31:28 | 0:31:32 | |
instead of bleeding, he talks - | 0:31:32 | 0:31:34 | |
albeit rhythmically, even with feeling. | 0:31:34 | 0:31:36 | |
But because rap's spoken, | 0:31:36 | 0:31:39 | |
the feeling is sort of held in check, all on one note. | 0:31:39 | 0:31:43 | |
I think he's in here. This is the... | 0:31:43 | 0:31:45 | |
No, no, no, no. This is the little music room. | 0:31:45 | 0:31:47 | |
This is the little m... | 0:31:47 | 0:31:48 | |
He'll be in the big music room | 0:31:48 | 0:31:50 | |
because that's where they do all the big lectures, in here. | 0:31:50 | 0:31:53 | |
-Yes. -No, Cissy, don't. | 0:31:53 | 0:31:54 | |
-He'll be thrilled to see you. -Don't. | 0:31:54 | 0:31:57 | |
In opera, we sing what we're feeling, | 0:31:57 | 0:32:00 | |
and the song, the rise and fall of the music, | 0:32:00 | 0:32:03 | |
sets our emotions free. | 0:32:03 | 0:32:07 | |
If you ask me, I'd say to you that opera | 0:32:07 | 0:32:11 | |
is simply the outpouring of all the emotions | 0:32:11 | 0:32:16 | |
that all of us carry inside us. | 0:32:16 | 0:32:19 | |
Now, Joey, I think it's your turn. | 0:32:19 | 0:32:22 | |
Show him what you can do. | 0:32:22 | 0:32:24 | |
-Oh, he can actually do rap? -He's really good. | 0:32:24 | 0:32:26 | |
-Come on. -All right. | 0:32:26 | 0:32:27 | |
# Opera's where you sing your arse on stage | 0:32:27 | 0:32:30 | |
# Rap is where you're trying to get your arse paid | 0:32:30 | 0:32:32 | |
# You're talking horny but we get laid | 0:32:32 | 0:32:34 | |
# We can't help what we talk about | 0:32:34 | 0:32:36 | |
# We just talk and you sing it out | 0:32:36 | 0:32:38 | |
# Opera make you feel the pain too | 0:32:38 | 0:32:40 | |
# We wake up, we're 16 years old | 0:32:40 | 0:32:42 | |
# We look outside The sky stays cold | 0:32:42 | 0:32:45 | |
# See, there's pain in my heart | 0:32:45 | 0:32:47 | |
# And every day I wake up and it's damaged | 0:32:47 | 0:32:49 | |
# But opera, you sing it out loud | 0:32:49 | 0:32:51 | |
# Get stabbed in the back You seem to manage | 0:32:51 | 0:32:53 | |
# Everybody thinks that opera and rap | 0:32:53 | 0:32:55 | |
# Are two completely different things | 0:32:55 | 0:32:57 | |
# But it's just talking, for us | 0:32:57 | 0:32:59 | |
# And for you, it's just the way that you sing | 0:32:59 | 0:33:01 | |
# And everybody knows how we do it, Holmes | 0:33:01 | 0:33:03 | |
# Cos the sky... # | 0:33:03 | 0:33:05 | |
-Oh. I don't know - whatever, man... -Fantastic. | 0:33:05 | 0:33:07 | |
APPLAUSE AND WHOOPING | 0:33:07 | 0:33:11 | |
Thank you, Joey. Now, uh, very good, it's going very well. | 0:33:11 | 0:33:14 | |
Don't go away. | 0:33:14 | 0:33:16 | |
Um, we're going to, uh... | 0:33:16 | 0:33:19 | |
Uh, yes, come in. | 0:33:19 | 0:33:21 | |
It's us. | 0:33:21 | 0:33:23 | |
Can I help you? | 0:33:31 | 0:33:32 | |
Where was I? | 0:33:44 | 0:33:46 | |
Rigoletto is, uh... | 0:33:50 | 0:33:53 | |
..one of Verdi's, uh, masterpieces. | 0:33:54 | 0:33:58 | |
It's about infidelity. | 0:33:58 | 0:34:00 | |
-No. No... -Ah, Reggie, how'd the talk go? | 0:34:03 | 0:34:05 | |
Um... | 0:34:08 | 0:34:09 | |
Reggie? | 0:34:11 | 0:34:12 | |
HE HUMS BOCHERINI'S "MINUET IN E" | 0:34:14 | 0:34:17 | |
# You little beauty, yes... # | 0:34:26 | 0:34:28 | |
Jean, shall we just sit for a while? | 0:34:55 | 0:34:58 | |
I don't care what we do, really. | 0:34:58 | 0:35:00 | |
Oh! Nobby really ought to have a go at this pond. | 0:35:00 | 0:35:04 | |
-Ugh, it's filthy. -Yes. | 0:35:04 | 0:35:07 | |
Here we are. | 0:35:07 | 0:35:08 | |
Oh! There's Olly. | 0:35:10 | 0:35:12 | |
Daisy! Daisy-Jo! | 0:35:12 | 0:35:15 | |
Run, run, run, run, run, run, run! | 0:35:15 | 0:35:17 | |
Look at you! | 0:35:17 | 0:35:19 | |
Give me a hug! Mmmm! | 0:35:19 | 0:35:22 | |
-This is my friend, Jean. -Hello, Jean. | 0:35:22 | 0:35:25 | |
Uh, which hand? | 0:35:25 | 0:35:26 | |
That one. | 0:35:28 | 0:35:29 | |
Yes! | 0:35:29 | 0:35:31 | |
Daisy! It's time to go home. | 0:35:31 | 0:35:33 | |
Off you go. Say goodbye. | 0:35:33 | 0:35:34 | |
-Goodbye, Cissy. -Bye-bye, sweetheart. | 0:35:34 | 0:35:36 | |
-What's your name again? -Jean. | 0:35:36 | 0:35:40 | |
Bye, Jean. | 0:35:40 | 0:35:42 | |
Bye. | 0:35:43 | 0:35:45 | |
Mm... | 0:35:47 | 0:35:48 | |
Must be lovely to have visitors, like family. | 0:35:49 | 0:35:52 | |
Will you, Jean, have visitors? | 0:35:53 | 0:35:56 | |
-The grounds are nice. -Yes. Yes. | 0:35:56 | 0:35:58 | |
I'm not like you, Wilf - I positively liked getting old. | 0:36:02 | 0:36:05 | |
I think I can say that I made the transition | 0:36:05 | 0:36:07 | |
from opera singer to old fart with aplomb. | 0:36:07 | 0:36:11 | |
And then Jean arrives and shatters everything. | 0:36:11 | 0:36:14 | |
You know, I remember thinking about you when you got married. | 0:36:14 | 0:36:17 | |
She was always much more ambitious than you. | 0:36:17 | 0:36:19 | |
Of course she was. | 0:36:19 | 0:36:20 | |
She was more ambitious than everyone. | 0:36:20 | 0:36:22 | |
If I know anything about it... | 0:36:22 | 0:36:24 | |
-What can you know about it? -I was your best man. | 0:36:24 | 0:36:26 | |
Yeah, of course you were. | 0:36:26 | 0:36:28 | |
But you were married to the same woman for 35 years. | 0:36:28 | 0:36:30 | |
Call me old-fashioned, Wilf, | 0:36:30 | 0:36:31 | |
but did she know you were unfaithful to her God knows how many times? | 0:36:31 | 0:36:34 | |
You say some very harsh things, Reg. | 0:36:36 | 0:36:39 | |
I think I'll have myself a widdle. | 0:36:39 | 0:36:40 | |
And you were right, you know - I do hate getting older. | 0:36:45 | 0:36:48 | |
I hate every bloody moment of it. | 0:36:48 | 0:36:50 | |
If it isn't piles, it's bloody prostate | 0:36:50 | 0:36:54 | |
or peeing five times a night, if you're lucky. | 0:36:54 | 0:36:57 | |
Ah! Ladies! | 0:37:01 | 0:37:04 | |
You may want to avert your gaze. | 0:37:04 | 0:37:08 | |
A wise man goes when he can, a fool goes when he must. | 0:37:08 | 0:37:12 | |
Look, here's Jean in all her glory. | 0:37:12 | 0:37:14 | |
Oh, Jean. You haven't changed a jot. | 0:37:14 | 0:37:18 | |
Didn't I tell you? Didn't I say she still looks like a young girl? | 0:37:18 | 0:37:21 | |
Reggie? Don't I get a kiss? | 0:37:21 | 0:37:24 | |
Reg? | 0:37:25 | 0:37:26 | |
I apologise for hurting you. | 0:37:27 | 0:37:30 | |
Please...be kind to me. | 0:37:30 | 0:37:33 | |
We were different people then. | 0:37:33 | 0:37:36 | |
There, I've...I've been rehearsing that all the past week. | 0:37:38 | 0:37:41 | |
He's upset because he wasn't warned you were coming. | 0:37:41 | 0:37:43 | |
I'm not upset. | 0:37:43 | 0:37:45 | |
Oh, Reg. | 0:37:46 | 0:37:48 | |
This is the first time we've seen each other | 0:37:48 | 0:37:50 | |
in God knows how many years. | 0:37:50 | 0:37:52 | |
97. | 0:37:52 | 0:37:53 | |
-GASPING: -Is it really that long? | 0:37:53 | 0:37:56 | |
God. How time flies. | 0:37:56 | 0:37:58 | |
Oh...a joke! | 0:37:59 | 0:38:01 | |
BOBBY: Cissy! | 0:38:01 | 0:38:02 | |
Bobby, give us a clue, for God's sake. | 0:38:02 | 0:38:05 | |
Is it a book, a film, a play? | 0:38:05 | 0:38:07 | |
Cissy. The note? | 0:38:07 | 0:38:10 | |
I couldn't read your writing. | 0:38:10 | 0:38:12 | |
Meeting, now. | 0:38:12 | 0:38:14 | |
Oh, God. The emergency meeting. | 0:38:14 | 0:38:16 | |
-I wonder what that was all about. -Where's Reg? Where's Reg? | 0:38:16 | 0:38:20 | |
Reg! | 0:38:23 | 0:38:24 | |
Reg? | 0:38:52 | 0:38:54 | |
Reggie? | 0:38:58 | 0:38:59 | |
Reg, are you in here? | 0:39:04 | 0:39:06 | |
BOOK CRASHES TO THE FLOOR | 0:39:10 | 0:39:12 | |
Oh. There you are. | 0:39:12 | 0:39:14 | |
What you doing there? | 0:39:14 | 0:39:16 | |
Leave me in peace, Jean. | 0:39:17 | 0:39:19 | |
God...oh, dear, I've walked miles to find you. | 0:39:19 | 0:39:22 | |
Leave me in peace. | 0:39:22 | 0:39:24 | |
Reggie? | 0:39:26 | 0:39:27 | |
Leave! | 0:39:29 | 0:39:30 | |
SHE SOBS | 0:39:37 | 0:39:41 | |
Can't ever remember you crying. | 0:39:58 | 0:40:00 | |
I don't remember you being religious. | 0:40:00 | 0:40:02 | |
I'm not. I was trying to avoid you. | 0:40:02 | 0:40:06 | |
I apologise for hurting you. Please be kind. | 0:40:06 | 0:40:09 | |
-We were different people then. -No, you just said that, Jean. | 0:40:09 | 0:40:12 | |
You're repeating yourself. | 0:40:12 | 0:40:13 | |
Gosh. | 0:40:15 | 0:40:16 | |
Why do we have to get old? | 0:40:17 | 0:40:19 | |
That's what people do. | 0:40:19 | 0:40:21 | |
We have to come to some arrangement. | 0:40:24 | 0:40:26 | |
I don't want to talk about it. You're here. I'm here. Trapped. | 0:40:26 | 0:40:29 | |
So what are we going to do? | 0:40:29 | 0:40:31 | |
Grin and bear it. | 0:40:31 | 0:40:32 | |
What happened to forgive and forget? | 0:40:34 | 0:40:36 | |
This cologne... | 0:40:46 | 0:40:48 | |
Takes me back. | 0:40:49 | 0:40:51 | |
It takes me back to you, Reg. | 0:40:55 | 0:40:57 | |
HE COUGHS | 0:41:19 | 0:41:21 | |
MUSIC: Symphony 100 in G (Military) by Joseph Haydn | 0:41:26 | 0:41:29 | |
-It's flat. -I know. | 0:41:36 | 0:41:39 | |
Are there any other pianos? | 0:41:39 | 0:41:41 | |
We will make sure you get a better one next time, all right? | 0:41:41 | 0:41:44 | |
Have a little go, see how you get on. | 0:41:44 | 0:41:46 | |
OK. | 0:41:46 | 0:41:47 | |
APPLAUSE | 0:42:10 | 0:42:13 | |
Esme. | 0:42:15 | 0:42:16 | |
-Thank you. -Hello. My name's Isla Mathieson. | 0:42:18 | 0:42:21 | |
Hello. My name's Iona Mathieson. | 0:42:21 | 0:42:23 | |
-And we'll be playing... -Go Tell Aunt Rhody. | 0:42:23 | 0:42:26 | |
APPLAUSE | 0:42:26 | 0:42:28 | |
MUSIC: Go Tell Aunt Rhody | 0:42:33 | 0:42:36 | |
Would you like to go for a walk? | 0:43:34 | 0:43:36 | |
LIVELY STRINGS MUSIC PLAYS | 0:43:41 | 0:43:45 | |
Were you married four or five times? | 0:44:01 | 0:44:03 | |
I was only married twice. | 0:44:03 | 0:44:06 | |
After you. | 0:44:06 | 0:44:08 | |
Charlie Tripper. | 0:44:08 | 0:44:09 | |
He was a businessman. | 0:44:10 | 0:44:12 | |
Mixed pleasure with business rather too often. | 0:44:13 | 0:44:16 | |
And Edward... | 0:44:16 | 0:44:18 | |
-Fitzroy? -Yeah. | 0:44:21 | 0:44:23 | |
Yeah. He wanted me to retire, have a family, | 0:44:23 | 0:44:26 | |
so that was the end of that. | 0:44:26 | 0:44:27 | |
-You never married again? -No. | 0:44:32 | 0:44:33 | |
-Why not? -Didn't want to. | 0:44:36 | 0:44:37 | |
When we did Boheme at the Met and you backed out, | 0:44:41 | 0:44:44 | |
was that because of me? | 0:44:44 | 0:44:45 | |
Yep. | 0:44:45 | 0:44:47 | |
-And Salzburg? -Yep. | 0:44:47 | 0:44:49 | |
Oh. | 0:44:51 | 0:44:53 | |
What brought you here? | 0:45:00 | 0:45:01 | |
Um...actually, Wilf was ill. | 0:45:01 | 0:45:05 | |
He had a stroke, didn't he? | 0:45:05 | 0:45:06 | |
Yes - it was only a mild one, thankfully. | 0:45:06 | 0:45:08 | |
It's affected his, um...his frontal lobe | 0:45:08 | 0:45:11 | |
and he has trouble censoring himself. | 0:45:11 | 0:45:14 | |
Is that it? | 0:45:14 | 0:45:15 | |
Well, so he says. | 0:45:15 | 0:45:17 | |
So I came here to see how Wilf was getting on. | 0:45:17 | 0:45:20 | |
-And stayed. -Mm. | 0:45:21 | 0:45:22 | |
I loved singing. But I like my life. | 0:45:24 | 0:45:28 | |
You can't have both. Can you? | 0:45:28 | 0:45:31 | |
-No. -No. | 0:45:33 | 0:45:35 | |
No, you can't. | 0:45:37 | 0:45:38 | |
I have nothing. | 0:45:42 | 0:45:43 | |
Well, my clothes, bit of jewellery | 0:45:43 | 0:45:47 | |
and a hip that gives me hell. | 0:45:47 | 0:45:49 | |
-And here you are. -Yeah, here I am. | 0:45:49 | 0:45:51 | |
On charity. God, it's embarrassing. | 0:45:51 | 0:45:54 | |
I wouldn't tell anyone. | 0:45:55 | 0:45:57 | |
I mean, the press have always been mean to me. | 0:45:57 | 0:45:59 | |
If they learned I'd landed up here, God, how they'd gloat. | 0:45:59 | 0:46:03 | |
Do the press still have any interest in you? | 0:46:03 | 0:46:05 | |
-Oh! -Ow. | 0:46:05 | 0:46:07 | |
Piss off, Reg. | 0:46:07 | 0:46:09 | |
W... Bitch! | 0:46:09 | 0:46:11 | |
There she goes. See her? | 0:46:11 | 0:46:13 | |
Angelique. Bitch! | 0:46:13 | 0:46:15 | |
Cow! Sodding frog! | 0:46:15 | 0:46:18 | |
She won't give me marmalade at breakfast. | 0:46:18 | 0:46:20 | |
She gives me apricot jam. | 0:46:20 | 0:46:22 | |
-Oh. You hate apricot jam. -Bitch! | 0:46:22 | 0:46:26 | |
-Skinny-arsed French twat. -Shh. | 0:46:26 | 0:46:29 | |
Stop it, Reggie. | 0:46:29 | 0:46:30 | |
So, Jean, what made you stop singing? | 0:46:37 | 0:46:40 | |
-You mean for good? -Yes, for good. | 0:46:40 | 0:46:43 | |
I just became so scared. Suddenly, the pressure was huge. | 0:46:44 | 0:46:49 | |
I became so aware of the critics, | 0:46:49 | 0:46:51 | |
and the importance of getting a good review, | 0:46:51 | 0:46:54 | |
that whatever you did had to be good, or, well, better than before. | 0:46:54 | 0:46:59 | |
And of course, it can't be. | 0:47:01 | 0:47:03 | |
I got so nervous, I just... | 0:47:04 | 0:47:06 | |
I just could not sing any more. | 0:47:06 | 0:47:08 | |
-I just... -Here. You know this? | 0:47:08 | 0:47:11 | |
"Works of art are of an infinite loneliness, | 0:47:15 | 0:47:18 | |
"and nothing... | 0:47:18 | 0:47:19 | |
"..can reach them so little as criticism." | 0:47:21 | 0:47:25 | |
We weren't doing anything. | 0:47:39 | 0:47:42 | |
Neither were we. | 0:47:42 | 0:47:44 | |
# Underneath the arches... # | 0:47:44 | 0:47:46 | |
Can you find us somewhere? | 0:47:46 | 0:47:47 | |
# We dream our dreams away... # | 0:47:47 | 0:47:49 | |
Where is she - Cissy? Where is she? | 0:47:49 | 0:47:51 | |
-She will be here. -Excuse me! | 0:47:51 | 0:47:53 | |
Are you planning to do this at the gala? | 0:47:53 | 0:47:55 | |
Certainly! | 0:47:55 | 0:47:56 | |
Well, I've changed my mind. I don't think it's sophisticated enough. | 0:47:56 | 0:47:59 | |
What do you mean it isn't sophisticated enough? | 0:47:59 | 0:48:02 | |
-Exactly what I say. What did I say? -"It's not sophisticated enough." | 0:48:02 | 0:48:05 | |
-There you are. -Well, we are going to do it. | 0:48:05 | 0:48:07 | |
# Underneath the arches... # | 0:48:07 | 0:48:11 | |
We started half an hour ago. You're late. | 0:48:11 | 0:48:13 | |
I had to get my bag. | 0:48:13 | 0:48:14 | |
Have you asked Reggie to sing La Donna e Mobile? | 0:48:14 | 0:48:16 | |
-God. No, I forgot. -Good. Don't. | 0:48:16 | 0:48:18 | |
I have a brilliant idea! | 0:48:18 | 0:48:21 | |
What is it? | 0:48:21 | 0:48:22 | |
Oh, I've forgotten it. Um...er... You remember it. What was that? | 0:48:22 | 0:48:25 | |
-You haven't said it yet. -I told you this morning. | 0:48:25 | 0:48:28 | |
-No, you didn't. -I told you at breakfast! | 0:48:28 | 0:48:29 | |
-You didn't. -And you. I've told you. | 0:48:29 | 0:48:31 | |
You were sitting outside with us. What is it? You must know... | 0:48:31 | 0:48:35 | |
Oh, for God's sake, you cretins. | 0:48:35 | 0:48:37 | |
I'll find it eventually. Go and find Wilf. Go on. | 0:48:37 | 0:48:41 | |
Now, where was I? | 0:48:41 | 0:48:43 | |
Who? | 0:48:43 | 0:48:45 | |
WILF! | 0:48:45 | 0:48:46 | |
MUSIC: Tit-Willow by WS Gilbert and A Sullivan | 0:48:46 | 0:48:49 | |
The reason I've asked you here | 0:48:49 | 0:48:50 | |
is because I've had a brilliant idea. | 0:48:50 | 0:48:52 | |
Excuse me while I shut out Tit-Willow, Cedric. | 0:48:52 | 0:48:55 | |
"Cee-dric". A brilliant idea. | 0:48:55 | 0:48:58 | |
Terrific. I can explain to you now. | 0:48:58 | 0:48:59 | |
I'm sorry, I missed that last bit, Cedric. | 0:48:59 | 0:49:01 | |
-"Cee-dric". -Oh, Cee-dric. Of course, of course. | 0:49:01 | 0:49:04 | |
Now that Jean is here and the four of you are together again, | 0:49:04 | 0:49:06 | |
I put it to you that you should perform at the gala | 0:49:06 | 0:49:10 | |
the quartet from Rigoletto. | 0:49:10 | 0:49:11 | |
That's amazing! I've...I've just been listening to us. | 0:49:11 | 0:49:14 | |
-The Rigoletto. -Think of the publicity! | 0:49:14 | 0:49:17 | |
The Times, The Telegraph, Opera Magazine. | 0:49:17 | 0:49:20 | |
We have four of the finest singers in English operatic history. | 0:49:20 | 0:49:24 | |
We already know the bloody thing. We'd hardly have to rehearse. | 0:49:24 | 0:49:27 | |
-But Jean won't sing it. -Put your hand up. | 0:49:27 | 0:49:29 | |
-Put your hand up? -Oh, but you must change her mind. | 0:49:29 | 0:49:31 | |
She's a huge draw. | 0:49:31 | 0:49:33 | |
Don't you put your hand up for anyone. | 0:49:33 | 0:49:35 | |
It would be as if Maria Callas were making a comeback. | 0:49:35 | 0:49:37 | |
I don't think I want to sing with Jean again. | 0:49:37 | 0:49:39 | |
Why not? | 0:49:39 | 0:49:40 | |
-They were married once, but it didn't work out. -Cissy, please. | 0:49:40 | 0:49:43 | |
I don't want to. It wouldn't be right. | 0:49:43 | 0:49:46 | |
Well, it's a shame. | 0:49:46 | 0:49:47 | |
I can't count the number of galas you have graced over the years | 0:49:47 | 0:49:50 | |
with your incomparable voice - and I mean that sincerely. | 0:49:50 | 0:49:52 | |
I don't think you realise it, Reggie, | 0:49:52 | 0:49:54 | |
but people still talk about your Celeste Aida four years ago | 0:49:54 | 0:49:57 | |
and your Ave Maria two years ago. | 0:49:57 | 0:49:59 | |
For what it's worth, | 0:49:59 | 0:50:01 | |
when I heard you sing Nessun Dorma at the gala last year, | 0:50:01 | 0:50:05 | |
all I thought was, "Eat your heart out, Pavarotti." | 0:50:05 | 0:50:09 | |
Reggie, I know you don't think much of me, but with this one concert, | 0:50:09 | 0:50:12 | |
we could get enough money to keep this place going | 0:50:12 | 0:50:14 | |
for the rest of the year. | 0:50:14 | 0:50:16 | |
-Or possibly even the next. -It's true. | 0:50:16 | 0:50:18 | |
You could help save Beecham House, Reginald. | 0:50:18 | 0:50:21 | |
But I have an important meeting now. Do excuse me. | 0:50:21 | 0:50:24 | |
# Tit-willow... # | 0:50:24 | 0:50:25 | |
Oh, shut up! For f... sakes, shut up! | 0:50:25 | 0:50:28 | |
And you could persuade Jean to sing. | 0:50:28 | 0:50:31 | |
It's only one gala, Reggie. | 0:50:31 | 0:50:32 | |
Why don't the three of us ask her out to dinner? | 0:50:35 | 0:50:38 | |
-Well done, Reggie. -Oh, Reggie! | 0:50:38 | 0:50:40 | |
-Thank you. -Excellent. | 0:50:40 | 0:50:42 | |
No, I'll, uh...I'll write her a little note, Cissy, | 0:50:42 | 0:50:45 | |
and perhaps you'll be good enough to deliver it. | 0:50:45 | 0:50:47 | |
Yes. | 0:50:47 | 0:50:49 | |
Sorry. | 0:50:58 | 0:50:59 | |
-Just two favours. -Exactly what do you propose? | 0:51:03 | 0:51:06 | |
The Swan restaurant. Just the four of us - Cissy, Reggie and me. | 0:51:06 | 0:51:10 | |
If we could convince Jean to sing at the gala, | 0:51:10 | 0:51:12 | |
we're talking serious money here. | 0:51:12 | 0:51:14 | |
I mean, even Cedric reckons we could charge Covent Garden prices. | 0:51:14 | 0:51:18 | |
In by 10:30. No later. | 0:51:18 | 0:51:19 | |
-12:30. -No. | 0:51:19 | 0:51:21 | |
-You sure? -Yes. | 0:51:21 | 0:51:23 | |
What kind of cigarettes is it you smoke again? | 0:51:23 | 0:51:25 | |
-12:30. No later. -Done, Lucy. | 0:51:31 | 0:51:34 | |
-Please call me Dr Cogan. -Done, Dr Cogan. | 0:51:34 | 0:51:36 | |
Why is it, Wilfred, I always get the impression you're up to no good? | 0:51:36 | 0:51:39 | |
Because I'm normally up to no good. | 0:51:39 | 0:51:41 | |
And please, call me Wilf. | 0:51:41 | 0:51:42 | |
We've done this, remember? You don't have a buttonhole. | 0:51:42 | 0:51:45 | |
Why do you persist in flirting with me, Wilf? | 0:51:47 | 0:51:50 | |
Because you're a cracker, a thing of beauty. | 0:51:50 | 0:51:53 | |
You're not a bimbo or a chick or any of those awful things. | 0:51:53 | 0:51:56 | |
You're one of that rarest of species - | 0:51:56 | 0:52:00 | |
you're a woman, Lucy Cogan. | 0:52:00 | 0:52:02 | |
Well, I'm flattered, but I have professional ethics to uphold. | 0:52:02 | 0:52:05 | |
Ah, throw caution to the wind. | 0:52:05 | 0:52:08 | |
What if we were to make beautiful music together? | 0:52:08 | 0:52:11 | |
Your husband would never know. | 0:52:11 | 0:52:13 | |
That's reassuring, Wilf. | 0:52:13 | 0:52:15 | |
-Think about it, huh? -No, Wilf. | 0:52:15 | 0:52:18 | |
-No-one would ever know. -I -will know, Wilf. | 0:52:18 | 0:52:20 | |
Older man. Vintage wine. | 0:52:20 | 0:52:23 | |
Seasoned wood. | 0:52:23 | 0:52:25 | |
-Did you say wood? -Seasoned. | 0:52:25 | 0:52:28 | |
SHE CHUCKLES | 0:52:28 | 0:52:30 | |
MUSIC: Bella Figlia dell'Amore by Giuseppe Verdi | 0:52:30 | 0:52:33 | |
Remember, wait until she's totally legless | 0:52:42 | 0:52:44 | |
before we hit her with it. | 0:52:44 | 0:52:46 | |
Yes. Don't speak till she's legless. | 0:52:46 | 0:52:47 | |
-She's coming. -Legless. | 0:52:47 | 0:52:49 | |
-I should never have agreed to this. -Here she comes. | 0:52:49 | 0:52:52 | |
She looks fairly all right-ish. | 0:52:54 | 0:52:56 | |
You look lovely, Jean. | 0:52:56 | 0:52:57 | |
Oh. Thank you. | 0:52:57 | 0:53:00 | |
You give a whole new meaning to the word "chic". | 0:53:00 | 0:53:03 | |
-It's so very, very kind of you. -It's the least we can do. | 0:53:03 | 0:53:06 | |
-May I, Jean? -Thank you. | 0:53:06 | 0:53:07 | |
For you, Jean, a little toast, | 0:53:36 | 0:53:38 | |
from all of us, to make you feel welcome. | 0:53:38 | 0:53:41 | |
Oh-oh, now, don't forget, | 0:53:41 | 0:53:43 | |
you've got to make eye contact or it's bad luck. | 0:53:43 | 0:53:45 | |
I never heard of anything like that in my life. | 0:53:45 | 0:53:47 | |
-It's the truth. -Nonsense. | 0:53:47 | 0:53:49 | |
Jean, do you ever listen to your old recordings? | 0:53:51 | 0:53:53 | |
-Oh, no. No. -I do. | 0:53:53 | 0:53:55 | |
I listen to us a lot. | 0:53:55 | 0:53:56 | |
As a matter of fact, | 0:53:56 | 0:53:58 | |
Reggie was meant to be singing La Donna e Mobile | 0:53:58 | 0:54:00 | |
at the gala concert. | 0:54:00 | 0:54:02 | |
-But even more exciting, guess what? -Shh, shh, shh. | 0:54:02 | 0:54:04 | |
What? | 0:54:05 | 0:54:07 | |
"La donna e mobile, qual piuma al vento." | 0:54:07 | 0:54:09 | |
"Women are as fickle as a feather in the wind." | 0:54:09 | 0:54:11 | |
Oh, I fell in love with you when I first heard you sing that. | 0:54:11 | 0:54:14 | |
Yeah, that's why I never sang it again. | 0:54:14 | 0:54:16 | |
I took 12 curtain calls. | 0:54:16 | 0:54:18 | |
No. No, you took nine. I took 12. | 0:54:18 | 0:54:20 | |
WILF SNORTS WITH LAUGHTER | 0:54:20 | 0:54:21 | |
-Stop. -If you say so. | 0:54:21 | 0:54:23 | |
You know, the other night | 0:54:23 | 0:54:25 | |
I was at the Garden, I was Sir George's guest, | 0:54:25 | 0:54:28 | |
and I received a standing ovation. | 0:54:28 | 0:54:30 | |
Oh, how lovely! | 0:54:30 | 0:54:32 | |
You're doing it again, Jean. | 0:54:32 | 0:54:33 | |
-Doing what? -Repeating yourself. | 0:54:33 | 0:54:36 | |
Oh, what's it matter? | 0:54:36 | 0:54:37 | |
In opera, we repeat ourselves all the time, | 0:54:37 | 0:54:39 | |
all the time, all the time... | 0:54:39 | 0:54:40 | |
In opera we repeat ourselves all the time, | 0:54:40 | 0:54:42 | |
-repeat ourselves over and over... -Repetito... | 0:54:42 | 0:54:45 | |
I think you two are drunk. | 0:54:45 | 0:54:46 | |
I think I possibly am, | 0:54:46 | 0:54:48 | |
although I find it very difficult to tell the difference at this age. | 0:54:48 | 0:54:51 | |
-You always drink. -Let's have a toast to our quartet. | 0:54:51 | 0:54:53 | |
-To the quartet. -What quartet? | 0:54:53 | 0:54:56 | |
Cedric wants us all to sing in the gala concert. | 0:54:56 | 0:54:59 | |
What, us to sing? | 0:54:59 | 0:55:01 | |
He wants us to sing... | 0:55:01 | 0:55:02 | |
ALL: The quartet from Rigoletto. | 0:55:02 | 0:55:05 | |
It's such an honour. | 0:55:05 | 0:55:07 | |
It's a great honour, Jean. | 0:55:07 | 0:55:08 | |
-Great honour. -Very great honour. | 0:55:09 | 0:55:12 | |
The quartet? | 0:55:13 | 0:55:14 | |
Is that why you're...? | 0:55:15 | 0:55:17 | |
I don't want any of this, please. Please. | 0:55:17 | 0:55:19 | |
Is that why you asked me for this dinner? | 0:55:19 | 0:55:21 | |
No. We asked you because... | 0:55:21 | 0:55:23 | |
-Well... -Why? | 0:55:23 | 0:55:25 | |
-Because we love you. -Aye. Yeah. | 0:55:25 | 0:55:27 | |
Well, I'm not singing in any quartet. | 0:55:34 | 0:55:37 | |
I think you really are despicable. | 0:55:40 | 0:55:42 | |
Phew! | 0:55:50 | 0:55:51 | |
Did she say yes? | 0:55:52 | 0:55:54 | |
No. | 0:55:55 | 0:55:56 | |
MUSIC: Caro Nome by Giuseppe Verdi | 0:56:02 | 0:56:05 | |
# Festi primo palpitar | 0:56:05 | 0:56:12 | |
# Le delizie dell'amor | 0:56:12 | 0:56:20 | |
# Mi dei sempre rammentar | 0:56:20 | 0:56:28 | |
# Col pensier il mio desir | 0:56:28 | 0:56:37 | |
# A te sempre volera | 0:56:37 | 0:56:46 | |
# E fin l'ultimo sospir | 0:56:46 | 0:56:54 | |
# Caro nome, tuo sara. # | 0:56:54 | 0:57:01 | |
Excuse me. | 0:57:15 | 0:57:17 | |
Let me ask you something. | 0:57:17 | 0:57:18 | |
When did you last sing? | 0:57:18 | 0:57:20 | |
This morning in the shower? | 0:57:20 | 0:57:23 | |
Has anybody heard you recently? | 0:57:23 | 0:57:25 | |
Any idea of the noise you make? | 0:57:25 | 0:57:28 | |
I mean, what were you thinking of? Why did you ask me out to dinner? | 0:57:28 | 0:57:31 | |
Why didn't you just say you want us - average age, what, 198 - | 0:57:31 | 0:57:35 | |
to sing the quartet from Rigoletto? | 0:57:35 | 0:57:37 | |
"It's an honour." It's not an honour. | 0:57:39 | 0:57:41 | |
It's insanity. | 0:57:42 | 0:57:44 | |
Is this your idea of revenge? | 0:57:46 | 0:57:48 | |
I'm going to say something very rude to you. | 0:57:50 | 0:57:52 | |
Fuck you. | 0:57:53 | 0:57:55 | |
And you. | 0:58:02 | 0:58:03 | |
GASPS AND GIGGLES | 0:58:03 | 0:58:07 | |
Can't believe it. | 0:58:13 | 0:58:14 | |
Can you believe that bitch? | 0:58:14 | 0:58:16 | |
Oh, my God. It's Olly! | 0:58:22 | 0:58:24 | |
Dwayne. Olly's been taken ill. | 0:58:35 | 0:58:37 | |
I'm going to explain to everybody. Can you...? | 0:58:37 | 0:58:40 | |
Morning. | 0:58:41 | 0:58:42 | |
Ladies and gentlemen, can I have your attention, please? | 0:58:44 | 0:58:46 | |
Sorry to interrupt your breakfast. | 0:58:46 | 0:58:48 | |
Er...it seems that Olly Fisher is unwell. | 0:58:48 | 0:58:52 | |
It's his recurring condition, | 0:58:52 | 0:58:53 | |
but he is in the safest hands. | 0:58:53 | 0:58:56 | |
I want to reassure you he's on his way to hospital | 0:58:56 | 0:58:58 | |
and he's going to be absolutely OK. | 0:58:58 | 0:59:00 | |
He's going for a check-up. | 0:59:00 | 0:59:01 | |
Dr Cogan, he is still conscious, isn't he? | 0:59:01 | 0:59:03 | |
He's fully conscious, Norma, yes. | 0:59:03 | 0:59:05 | |
And he wouldn't want any of us worrying, now. | 0:59:05 | 0:59:07 | |
Would he? So, you just enjoy your breakfast, OK? | 0:59:07 | 0:59:10 | |
With everything in life, | 0:59:14 | 0:59:16 | |
I'd just like to ask you one question. | 0:59:16 | 0:59:19 | |
# Why, you silly so-and-so | 0:59:19 | 0:59:22 | |
# With all your dough | 0:59:23 | 0:59:25 | |
# Are you havin' any fun? | 0:59:25 | 0:59:27 | |
# What y'gettin' out of livin'? | 0:59:28 | 0:59:31 | |
# What good is what you've got | 0:59:31 | 0:59:34 | |
# If you're not havin' any fun? | 0:59:34 | 0:59:36 | |
# Are you havin' any laughs? | 0:59:38 | 0:59:40 | |
# Are you gettin' any lovin'? | 0:59:41 | 0:59:45 | |
# If other people do | 0:59:45 | 0:59:47 | |
# So can you | 0:59:47 | 0:59:48 | |
# Have a little fun | 0:59:48 | 0:59:50 | |
# After the honey's in the comb | 0:59:51 | 0:59:55 | |
# Little bees go out and play | 0:59:55 | 0:59:57 | |
# Even the old grey mare down home | 0:59:57 | 1:00:01 | |
# Has got to have hay | 1:00:01 | 1:00:04 | |
# Are you havin' any fun? | 1:00:04 | 1:00:06 | |
# You ain't gonna live forever | 1:00:07 | 1:00:11 | |
# Before you're old and grey | 1:00:11 | 1:00:13 | |
# Still OK | 1:00:13 | 1:00:15 | |
# Have a little fun, son | 1:00:15 | 1:00:19 | |
# Have a little fun! # | 1:00:19 | 1:00:21 | |
Go away. | 1:00:26 | 1:00:28 | |
Jean? | 1:00:28 | 1:00:29 | |
-It's me, Cissy. -Just go away, Cissy, please. | 1:00:29 | 1:00:32 | |
I know you're upset, so I brought you some flowers | 1:00:32 | 1:00:35 | |
and I picked them myself. | 1:00:35 | 1:00:36 | |
Aren't they lovely? Look. | 1:00:36 | 1:00:38 | |
I thought these might really cheer you up. | 1:00:38 | 1:00:40 | |
And Nobby doesn't usually allow us to pick any flowers | 1:00:40 | 1:00:42 | |
and especially not the ones in the woodland, not even those. | 1:00:42 | 1:00:45 | |
And I really wanted to get you bluebells | 1:00:45 | 1:00:47 | |
because I know you love bluebells. | 1:00:47 | 1:00:48 | |
Because we talked about them before. | 1:00:48 | 1:00:50 | |
But I wondered also, would you like to talk about the quartet? | 1:00:50 | 1:00:53 | |
No! I would not like to talk about the quartet! | 1:00:53 | 1:00:56 | |
-Oh! Oh! -Get out! | 1:00:56 | 1:00:58 | |
Why did she do that? Why did she do that? | 1:00:59 | 1:01:02 | |
Ahhh! | 1:01:02 | 1:01:04 | |
Is this my house? | 1:01:47 | 1:01:48 | |
It's a lovely place. | 1:01:49 | 1:01:51 | |
This is Beecham House. | 1:01:51 | 1:01:53 | |
It's not your room. It's another room. | 1:01:53 | 1:01:55 | |
You've come here to have a rest, Cissy. | 1:01:55 | 1:01:59 | |
You're... you're... | 1:02:01 | 1:02:03 | |
my friend. | 1:02:03 | 1:02:05 | |
Sheryl. | 1:02:05 | 1:02:06 | |
Sheryl. Yes. | 1:02:06 | 1:02:08 | |
Sheryl. Mm-hmm. | 1:02:09 | 1:02:11 | |
And this is? | 1:02:11 | 1:02:12 | |
Reggie. | 1:02:18 | 1:02:19 | |
And, of course, | 1:02:25 | 1:02:26 | |
this is a naughty, naughty man. | 1:02:26 | 1:02:29 | |
Hi, Cissy. | 1:02:29 | 1:02:31 | |
Where's... where's... | 1:02:31 | 1:02:33 | |
...where's my, um... | 1:02:33 | 1:02:34 | |
Where's my... my thing? | 1:02:34 | 1:02:36 | |
I got your bag here, Cissy. | 1:02:36 | 1:02:38 | |
That's my bag. | 1:02:40 | 1:02:42 | |
-This is my... -Mm-hmm. | 1:02:43 | 1:02:45 | |
Yes. | 1:02:45 | 1:02:46 | |
See? | 1:02:48 | 1:02:49 | |
-That's mine. -Mm-hmm. | 1:02:49 | 1:02:51 | |
-And what were you listening to? -Mmm... | 1:02:51 | 1:02:54 | |
What's that? | 1:02:54 | 1:02:56 | |
Cissy... this is our quartet. | 1:02:56 | 1:02:59 | |
You... you've been listening to us. | 1:03:00 | 1:03:02 | |
It's new. It's new. | 1:03:02 | 1:03:04 | |
-Mm-hmm. -Yes. | 1:03:04 | 1:03:05 | |
-This is... -The one they re-issued. | 1:03:05 | 1:03:07 | |
This is new. Yep. That's mine. | 1:03:07 | 1:03:10 | |
Wilf... Wilf, that's... | 1:03:14 | 1:03:18 | |
that's my swimming costume. | 1:03:18 | 1:03:19 | |
It certainly is, Cissy. | 1:03:19 | 1:03:21 | |
-Mmm. -Yes. | 1:03:21 | 1:03:22 | |
Yes. | 1:03:23 | 1:03:25 | |
This... this place is a God-send for me. | 1:03:37 | 1:03:41 | |
Because I've got no husband and no children. | 1:03:41 | 1:03:45 | |
I've got you. | 1:03:45 | 1:03:47 | |
-Mm. -Indeed you have, Cissy. | 1:03:47 | 1:03:50 | |
All of you. | 1:03:50 | 1:03:51 | |
I think she should get some rest. | 1:03:59 | 1:04:01 | |
Lovely girl. | 1:04:03 | 1:04:05 | |
Beautifully endowed. | 1:04:06 | 1:04:08 | |
-Have you seen Cissy? -Yes. | 1:04:13 | 1:04:16 | |
How is she? | 1:04:16 | 1:04:17 | |
-She's... -Fine. | 1:04:17 | 1:04:19 | |
I'll come back in the morning. | 1:04:42 | 1:04:43 | |
Yes, of course, Ms Horton. | 1:04:43 | 1:04:45 | |
You be sure to tell her I came to see her. | 1:04:45 | 1:04:47 | |
Absolutely. | 1:04:47 | 1:04:48 | |
Jean, is that you? | 1:04:48 | 1:04:49 | |
I thought I recognised your voice. | 1:04:49 | 1:04:52 | |
As if one couldn't. | 1:04:52 | 1:04:53 | |
Frank? | 1:04:54 | 1:04:56 | |
Frank White! | 1:04:57 | 1:04:58 | |
It's nothing serious, just one of my dizzy spells. | 1:04:58 | 1:05:01 | |
But I won't be taking part in the gala. | 1:05:01 | 1:05:03 | |
I had no idea you were here. I would've come to see you earlier. | 1:05:03 | 1:05:07 | |
Oh, dear, dear Frank. | 1:05:07 | 1:05:10 | |
I'm sorry you're not well. | 1:05:12 | 1:05:13 | |
What a fling we had. | 1:05:13 | 1:05:16 | |
What a fling indeed. | 1:05:18 | 1:05:20 | |
Short, but giving. | 1:05:20 | 1:05:22 | |
And that beautiful hotel. | 1:05:22 | 1:05:24 | |
-You... -Yes. | 1:05:25 | 1:05:27 | |
You've been up to your usual tricks. | 1:05:29 | 1:05:30 | |
Poor Cissy. | 1:05:35 | 1:05:36 | |
I don't know what came over me. | 1:05:36 | 1:05:39 | |
I feel so ashamed. | 1:05:39 | 1:05:41 | |
She does so want to perform the quartet. | 1:05:43 | 1:05:46 | |
Jean. | 1:05:47 | 1:05:49 | |
Take part. | 1:05:51 | 1:05:53 | |
If you can't sing at the gala, | 1:05:54 | 1:05:56 | |
do conjuring tricks. | 1:05:56 | 1:05:58 | |
The only alternative | 1:06:01 | 1:06:02 | |
is to be guest of honour at the crematorium. | 1:06:02 | 1:06:04 | |
MUSIC: Ah! Qual Colpo Inaspettato! by Rossini | 1:06:08 | 1:06:10 | |
-# Dolce nodo -Nodo | 1:06:10 | 1:06:13 | |
# Avventurato | 1:06:13 | 1:06:17 | |
-# Che fai paghi -Andiamo | 1:06:17 | 1:06:21 | |
# I miei desiri | 1:06:21 | 1:06:25 | |
-# Dolce nodo -Nodo | 1:06:26 | 1:06:30 | |
-# Avventurato -Presto andiamo | 1:06:30 | 1:06:33 | |
# Che fai paghi... # | 1:06:33 | 1:06:38 | |
-Oh, thank you. -There's some change, Ms Horton. | 1:06:39 | 1:06:41 | |
No, you keep that. Could you give this to Mr Paget? | 1:06:41 | 1:06:44 | |
-Of course I will. -Thank you. | 1:06:44 | 1:06:47 | |
It's the only trio we could come up with, Bobby. | 1:06:47 | 1:06:49 | |
Are you sure about this, Wilfred? | 1:06:49 | 1:06:51 | |
Well, the three of us must have sang the Barber a dozen times. | 1:06:51 | 1:06:54 | |
You'll need at least six sessions. | 1:06:54 | 1:06:55 | |
-Six? -Mmm. | 1:06:55 | 1:06:57 | |
-Who's that from? -Ms Horton. | 1:06:58 | 1:06:59 | |
Did she say yes? | 1:07:03 | 1:07:05 | |
Oh. How good of you to come. | 1:07:06 | 1:07:09 | |
Please. Please sit down. | 1:07:10 | 1:07:12 | |
Why don't you sit on the bed, Cissy? | 1:07:13 | 1:07:15 | |
I have some little gifts for you. | 1:07:15 | 1:07:17 | |
First, I want to apologise, | 1:07:17 | 1:07:19 | |
especially to you, Cissy. | 1:07:19 | 1:07:20 | |
What I did to you was appalling, | 1:07:22 | 1:07:23 | |
and I am... I'm so very sorry. | 1:07:23 | 1:07:26 | |
Thank you. | 1:07:26 | 1:07:27 | |
This is for you, Wilf. | 1:07:27 | 1:07:29 | |
Oh, thank you. | 1:07:29 | 1:07:30 | |
I don't even remember you throwing flowers at me. | 1:07:30 | 1:07:32 | |
This is for you, Reggie. | 1:07:34 | 1:07:35 | |
There. | 1:07:35 | 1:07:36 | |
I really am very sorry. | 1:07:39 | 1:07:40 | |
My fault entirely. | 1:07:40 | 1:07:42 | |
I think I know what it is. | 1:07:43 | 1:07:45 | |
-Lime marmalade. -A CD of our Rigoletto. | 1:07:46 | 1:07:49 | |
How lovely. | 1:07:49 | 1:07:51 | |
Yes, I know you have copies, | 1:07:51 | 1:07:52 | |
but these are signed, so they're rather valuable. | 1:07:52 | 1:07:54 | |
And I wrapped them myself. | 1:07:54 | 1:07:56 | |
I thought perhaps you did. | 1:07:56 | 1:07:58 | |
-Well, is that it? -Yes. | 1:07:59 | 1:08:01 | |
This should do rather well on eBay, I would imagine. | 1:08:01 | 1:08:04 | |
Come on, Cissy. | 1:08:04 | 1:08:06 | |
Have you changed your mind about the gala? | 1:08:06 | 1:08:08 | |
Well, of course, she hasn't. I mean, why should she? | 1:08:08 | 1:08:10 | |
It's only a celebration | 1:08:10 | 1:08:11 | |
in honour of the greatest composer for the human voice | 1:08:11 | 1:08:14 | |
who ever bloody lived, that's all. | 1:08:14 | 1:08:16 | |
You must understand. I was someone once. | 1:08:16 | 1:08:18 | |
I thought I was someone now. | 1:08:18 | 1:08:20 | |
I can't insult the memory of who I was. | 1:08:20 | 1:08:22 | |
What are you talking about, "memory"? Whose memory? Your fans? | 1:08:22 | 1:08:25 | |
Your fans are dead! Gone, split, bought the farm! | 1:08:25 | 1:08:28 | |
Except the ones who've moved in here, | 1:08:28 | 1:08:30 | |
and they're just waiting to die. | 1:08:30 | 1:08:31 | |
We've all aged. It's crept up on all of us without us even noticing. | 1:08:31 | 1:08:35 | |
I'm the same old Wilf I always was, | 1:08:35 | 1:08:37 | |
thankfully, with a little bit of testosterone to keep me interested. | 1:08:37 | 1:08:40 | |
Now, I'm going to say something that's a wee bit rude here. | 1:08:40 | 1:08:43 | |
Just fucking do it! | 1:08:43 | 1:08:46 | |
My gift deserted me. | 1:08:48 | 1:08:49 | |
It deserts us all, Jean. It's called life. | 1:08:49 | 1:08:52 | |
Oh, my darling. Old age is not for sissies. | 1:08:52 | 1:08:54 | |
No. | 1:08:54 | 1:08:56 | |
Jean? | 1:08:57 | 1:08:59 | |
Let go. | 1:08:59 | 1:09:00 | |
What's it matter now what anyone says or thinks? | 1:09:00 | 1:09:03 | |
You might even enjoy it. | 1:09:03 | 1:09:05 | |
Are you telling me to go out and smell the roses? | 1:09:05 | 1:09:07 | |
No, I'm telling you to sing. | 1:09:07 | 1:09:08 | |
The roses are long gone. But the chrysanthemums are magnificent. | 1:09:08 | 1:09:11 | |
They certainly are, Cissy. | 1:09:11 | 1:09:13 | |
Jean, if you say yes, | 1:09:13 | 1:09:15 | |
Cedric will give us the finale instead of Anne Langley. | 1:09:15 | 1:09:18 | |
-Anne Langley? -Yes. | 1:09:18 | 1:09:20 | |
Yes, she wanted to sing Violetta. | 1:09:20 | 1:09:22 | |
And she was, of course, a very fine Violetta. | 1:09:22 | 1:09:24 | |
Oh, pull yourself together, Cissy. | 1:09:24 | 1:09:26 | |
Violetta's supposed to be dying of tuberculosis. | 1:09:26 | 1:09:29 | |
She sounded as if she was singing Falstaff. | 1:09:29 | 1:09:31 | |
Well, she's singing Tosca now. | 1:09:31 | 1:09:32 | |
Over my dead body. | 1:09:38 | 1:09:40 | |
Is that a yes? | 1:09:43 | 1:09:44 | |
So, you decided to sing in the gala after all. | 1:10:03 | 1:10:06 | |
Yes, they've persuaded me to join them in the quartet. | 1:10:06 | 1:10:09 | |
Really? I would've thought you would want to sing an aria, dear. | 1:10:09 | 1:10:12 | |
No, I prefer to sing with my friends. | 1:10:12 | 1:10:14 | |
How are your high notes nowadays? | 1:10:14 | 1:10:16 | |
Just a little shaky, dear. | 1:10:16 | 1:10:18 | |
Oh, I'm so sorry. | 1:10:18 | 1:10:20 | |
Now, when I sang Gilda... | 1:10:20 | 1:10:21 | |
Yes, I heard it was a triumph. | 1:10:21 | 1:10:23 | |
I remember my mother telling me about it. | 1:10:23 | 1:10:26 | |
# Happy birthday to you | 1:10:26 | 1:10:29 | |
# Happy birthday to you | 1:10:29 | 1:10:33 | |
# Happy birthday, dear Octavia | 1:10:33 | 1:10:39 | |
# Happy birthday to you. # | 1:10:39 | 1:10:46 | |
Speech! Speech! | 1:10:48 | 1:10:50 | |
Now, when I played Gilda...! | 1:10:50 | 1:10:53 | |
LAUGHTER AND APPLAUSE | 1:10:53 | 1:10:57 | |
I may crack on the high notes. | 1:11:59 | 1:12:01 | |
MUSIC: Toccata and Fugue in D Minor by JS Bach | 1:12:03 | 1:12:06 | |
And then Sir Thomas Beecham did the same in Britain. | 1:13:45 | 1:13:47 | |
-Hence Beecham House. -Ladies? | 1:13:47 | 1:13:49 | |
Lady Mayor. Sorry. Thank you. | 1:13:49 | 1:13:51 | |
Thank you so much for coming. | 1:13:51 | 1:13:52 | |
Ah. Hello there. | 1:13:52 | 1:13:55 | |
Nice. Thank you. Yeah, one more. | 1:13:55 | 1:13:57 | |
Lady Mayoress, will you come this way, please? | 1:13:57 | 1:14:00 | |
Well, I don't think that's... | 1:14:06 | 1:14:08 | |
Is that going to be too late in the day for that? | 1:14:08 | 1:14:10 | |
I'd say something like, "Verdi's Rigoletto is a masterpiece | 1:14:10 | 1:14:14 | |
"and the quartet is one of the great milestones in the history of opera." | 1:14:14 | 1:14:18 | |
Now, look at that. Perfect. | 1:14:18 | 1:14:19 | |
And then I'll introduce each of us in turn. | 1:14:19 | 1:14:21 | |
No, wait a minute, Reggie. | 1:14:21 | 1:14:23 | |
-What? -I'll go on last. | 1:14:23 | 1:14:25 | |
I'm sure we can live with that. | 1:14:25 | 1:14:26 | |
We certainly can, yes. | 1:14:26 | 1:14:28 | |
-I remember. -What? | 1:14:28 | 1:14:29 | |
I've got to do Anne Langley's make-up. | 1:14:29 | 1:14:31 | |
It's not make-up she needs. It's a paper-hanging job. | 1:14:31 | 1:14:34 | |
-That's very naughty, Jean. -And very true. | 1:14:34 | 1:14:37 | |
Make it nice and tight. | 1:14:37 | 1:14:39 | |
Make sure the middle bit's tight so it stays that way. | 1:14:39 | 1:14:41 | |
-cos it ends up listing to starboard. -No, no, no. I promise you... | 1:14:41 | 1:14:45 | |
This too much, Reg? | 1:14:45 | 1:14:46 | |
Do you think it's too much? | 1:14:46 | 1:14:48 | |
No, no. Lovely. | 1:14:48 | 1:14:50 | |
Well, I don't think it'll work. | 1:14:50 | 1:14:52 | |
I do. | 1:14:52 | 1:14:53 | |
Hello, good afternoon. | 1:14:57 | 1:14:58 | |
Hello, ladies and gentlemen. | 1:14:58 | 1:15:00 | |
Welcome to Beecham House | 1:15:00 | 1:15:02 | |
and our annual gala in honour of Giuseppe Verdi's birthday. | 1:15:02 | 1:15:05 | |
First of all, I would like to express our debt of gratitude | 1:15:05 | 1:15:08 | |
to the amazing Mr Cedric Livingstone for organising the event. | 1:15:08 | 1:15:11 | |
-APPLAUSE -Thank you so much. | 1:15:11 | 1:15:13 | |
Thank you, thank you, ladies and gentlemen. | 1:15:13 | 1:15:15 | |
Let me just say, in all modesty, | 1:15:15 | 1:15:17 | |
that all great artists need a great director, you know. | 1:15:17 | 1:15:21 | |
And I... Here I am. | 1:15:21 | 1:15:22 | |
Well said! | 1:15:22 | 1:15:25 | |
Thank you. Thank you so much. | 1:15:25 | 1:15:27 | |
Thank you. | 1:15:28 | 1:15:29 | |
This year, in aid of our rebuilding programme, | 1:15:29 | 1:15:32 | |
you have all given so generously, | 1:15:32 | 1:15:33 | |
and we thank you for that with all our hearts. | 1:15:33 | 1:15:35 | |
And, because of that, the quartet and you have done it - | 1:15:35 | 1:15:38 | |
Beecham House lives on! | 1:15:38 | 1:15:40 | |
I'd also like to thank all those taking part in the gala itself. | 1:15:50 | 1:15:53 | |
The preparations and rehearsals | 1:15:53 | 1:15:55 | |
have kept everybody busy and very excited | 1:15:55 | 1:15:57 | |
for the past few months. | 1:15:57 | 1:15:59 | |
I and all my staff here feel highly privileged | 1:15:59 | 1:16:02 | |
to have in our care such talented performers, | 1:16:02 | 1:16:06 | |
gifted musicians who seem to find renewed energy | 1:16:06 | 1:16:08 | |
when they anticipate performing before an audience. | 1:16:08 | 1:16:11 | |
It keeps them young. | 1:16:11 | 1:16:12 | |
And, actually, let me just say something else, if I may, | 1:16:14 | 1:16:17 | |
before we start. | 1:16:17 | 1:16:19 | |
I, and all my staff here at Beecham House, | 1:16:20 | 1:16:22 | |
we owe those in our charge an enormous debt. | 1:16:22 | 1:16:26 | |
They inspire us. | 1:16:27 | 1:16:29 | |
Their love of life, as you well know, is infectious, | 1:16:29 | 1:16:33 | |
and gives us all faith in the future. | 1:16:33 | 1:16:35 | |
I mean that. | 1:16:35 | 1:16:37 | |
Thank you so much. | 1:16:38 | 1:16:39 | |
Whoops! | 1:16:47 | 1:16:48 | |
MUSIC: Libiamo Ne' Lieti Calici by Verdi | 1:16:54 | 1:16:57 | |
# Godiamo, la tazza, la tazza e il cantico | 1:17:03 | 1:17:07 | |
# La notte abbella e il riso | 1:17:07 | 1:17:11 | |
# In questo, in questo paradiso | 1:17:11 | 1:17:16 | |
# Ne scopra il nuovo di | 1:17:16 | 1:17:18 | |
# Ah! Ah! Ne scopra il di | 1:17:18 | 1:17:20 | |
# Ah! Ah! Ne scopra il di | 1:17:21 | 1:17:23 | |
# Ahhhh | 1:17:23 | 1:17:24 | |
# Ne scopra il di ne scopra il nuovo | 1:17:24 | 1:17:27 | |
# Diiii! Siiii! # | 1:17:27 | 1:17:30 | |
Thank you. | 1:17:36 | 1:17:38 | |
Oh, my darling! It's so exciting! | 1:17:42 | 1:17:45 | |
-They loved the Brindisi. -Oh, good. | 1:17:45 | 1:17:47 | |
Tadek, quick! Come and do my dress. | 1:17:47 | 1:17:50 | |
OK. OK. | 1:17:50 | 1:17:51 | |
Make sure there's no black showing, yeah? | 1:17:51 | 1:17:53 | |
-OK. -OK. | 1:17:53 | 1:17:55 | |
Dress is done. | 1:17:56 | 1:17:58 | |
Reggie likes this one, but I think... | 1:18:05 | 1:18:07 | |
-I think I'll wear this. -Yes. | 1:18:09 | 1:18:10 | |
MUSIC: Vissi d'arte by Puccini | 1:18:10 | 1:18:17 | |
# Vissi d'amore | 1:18:17 | 1:18:24 | |
# Non feci mai male ad anima viva | 1:18:24 | 1:18:32 | |
# Con man furtiva | 1:18:35 | 1:18:42 | |
# Quante miserie | 1:18:42 | 1:18:47 | |
# Conobbi aiutai... # | 1:18:47 | 1:18:50 | |
Hey, Reg, remember the Barber of Seville | 1:18:50 | 1:18:52 | |
-in the '60s in Covent Garden? -Yeah? | 1:18:52 | 1:18:55 | |
Who was that big, fat, mezzo-soprano | 1:18:55 | 1:18:57 | |
who was doing it with a little tenor in the bathtub? | 1:18:57 | 1:18:59 | |
She got suctioned in. What was her name? | 1:18:59 | 1:19:01 | |
I can't remember. | 1:19:01 | 1:19:03 | |
London. Remember. The wee guy couldn't get out! | 1:19:03 | 1:19:05 | |
She was Italian. | 1:19:05 | 1:19:07 | |
The tenor had to dial the emergency services. | 1:19:07 | 1:19:10 | |
What was her name? | 1:19:12 | 1:19:13 | |
Oh, uh... uh... Elizabeta Botticelli. | 1:19:13 | 1:19:16 | |
That's it. Elizabeta Botticelli. | 1:19:16 | 1:19:19 | |
They say her high notes were never the same again. | 1:19:19 | 1:19:21 | |
True. | 1:19:21 | 1:19:23 | |
# ..sincera | 1:19:23 | 1:19:25 | |
# Diedi fiori... # | 1:19:25 | 1:19:30 | |
I always think you take the last bit too quick. | 1:19:30 | 1:19:32 | |
-No, we don't take it too quick. -No, it's the last four bars. | 1:19:32 | 1:19:34 | |
Listen to Tony on the trumpet. | 1:19:34 | 1:19:36 | |
What about the trumpet? Doesn't matter about the trumpet. | 1:19:36 | 1:19:39 | |
Sometimes he'd slow down at the end. | 1:19:39 | 1:19:41 | |
We'll just take two steps after the end, the way we always do. | 1:19:41 | 1:19:43 | |
# ..rimuneri cosi? # | 1:19:43 | 1:19:51 | |
Brava! | 1:19:58 | 1:19:59 | |
MUSIC: Three Little Maids From School | 1:20:14 | 1:20:17 | |
# Three little maids from school are we | 1:20:20 | 1:20:22 | |
# Pert as a schoolgirl well can be | 1:20:22 | 1:20:24 | |
# Filled to the brim with girlish glee | 1:20:24 | 1:20:26 | |
# Three little maids from school | 1:20:26 | 1:20:28 | |
# Everything is a source of fun... # | 1:20:28 | 1:20:30 | |
Jean, is that too much? | 1:20:32 | 1:20:34 | |
No. | 1:20:34 | 1:20:35 | |
I'm so happy to be here doing this. | 1:20:35 | 1:20:37 | |
And you and Reggie are friends again. | 1:20:37 | 1:20:40 | |
-How long were the two of you married? -Nine hours. | 1:20:40 | 1:20:42 | |
-Nine hours? -Yes. | 1:20:42 | 1:20:44 | |
Ha! Nine hours! | 1:20:44 | 1:20:45 | |
We were together for about a year, | 1:20:46 | 1:20:48 | |
and he finally got down on his knees and asked me to marry him | 1:20:48 | 1:20:51 | |
and I said yes - he's very old-fashioned. | 1:20:51 | 1:20:53 | |
-He still is. -I know. | 1:20:53 | 1:20:55 | |
And we were going to get married in the January | 1:20:55 | 1:20:57 | |
and then I got that offer from La Scala. | 1:20:57 | 1:20:59 | |
I remember that. I remember. | 1:20:59 | 1:21:01 | |
But when I was at La Scala, I had... | 1:21:01 | 1:21:04 | |
I had a fling with a tenor. | 1:21:04 | 1:21:06 | |
Why on earth would you do that? | 1:21:06 | 1:21:08 | |
Because I'd had too much champagne. I was pissed! | 1:21:08 | 1:21:11 | |
MUSIC ENDS AUDIENCE APPLAUSE | 1:21:11 | 1:21:13 | |
Shh, shh, shh, shh. | 1:21:13 | 1:21:15 | |
Must hurry. | 1:21:15 | 1:21:17 | |
What's his name, that tenor? | 1:21:19 | 1:21:21 | |
I know who you mean. Roberto di Angelis. | 1:21:21 | 1:21:24 | |
-But he was so persuasive. -I know. | 1:21:24 | 1:21:27 | |
Anyway, we came back. | 1:21:27 | 1:21:29 | |
We had this wonderful wedding breakfast, | 1:21:30 | 1:21:32 | |
champagne and scrambled eggs. | 1:21:32 | 1:21:34 | |
And I told him about Roberto. | 1:21:34 | 1:21:36 | |
Why on earth did you do that? | 1:21:37 | 1:21:39 | |
I wanted to be honest. | 1:21:39 | 1:21:41 | |
Anyway, he was very angry. | 1:21:41 | 1:21:42 | |
-So he walked out? -He ran. | 1:21:42 | 1:21:44 | |
He was heartbroken, Jean. | 1:21:44 | 1:21:47 | |
So was I. | 1:21:47 | 1:21:48 | |
So was I. | 1:21:48 | 1:21:50 | |
It was the biggest mistake of my life. | 1:21:52 | 1:21:54 | |
Darling girl, you still have your future. | 1:21:54 | 1:21:59 | |
There's not a lot of it. | 1:21:59 | 1:22:01 | |
Most of it's been. | 1:22:01 | 1:22:02 | |
No, it hasn't. | 1:22:05 | 1:22:07 | |
# Underneath the arches | 1:22:07 | 1:22:09 | |
# We'll dream our dreams away. # | 1:22:09 | 1:22:14 | |
Amen! | 1:22:14 | 1:22:15 | |
Wonderful! | 1:22:19 | 1:22:20 | |
-Are you having any fun? AUDIENCE MEMBERS: -Yes! | 1:22:20 | 1:22:23 | |
# Are you havin' any fun? | 1:22:23 | 1:22:25 | |
# What y'gettin' out of livin'? | 1:22:26 | 1:22:29 | |
# What good is what you've got | 1:22:29 | 1:22:31 | |
# If you're not havin' any fun... # | 1:22:31 | 1:22:34 | |
Do you know, darling, I last wore this in 1983. | 1:22:34 | 1:22:37 | |
Arts Council tour of India. | 1:22:37 | 1:22:39 | |
And I fell in love with the maharajah. | 1:22:39 | 1:22:41 | |
I'll help you with it. | 1:22:41 | 1:22:43 | |
Ooh, thanks. Yeah. | 1:22:43 | 1:22:45 | |
Oh, this isn't... God, this is tight, Cissy. | 1:22:46 | 1:22:49 | |
-What's... What's the matter? -I can't fasten it. | 1:22:49 | 1:22:51 | |
Oh. Come on. | 1:22:51 | 1:22:53 | |
Well, I altered it. I altered it. | 1:22:54 | 1:22:57 | |
Yeah, well, I'm... I'm trying, I'm try... | 1:22:57 | 1:22:59 | |
-I can't do it. -Well, try. Just try... | 1:22:59 | 1:23:02 | |
I cannot fasten it, Cissy! I can't fasten it. | 1:23:02 | 1:23:04 | |
Oh, all right. Well, I'll... I'll let it out a bit more. | 1:23:04 | 1:23:06 | |
All right. Well, I've got some safety pins somewhere. | 1:23:06 | 1:23:09 | |
-My scissors. -Cissy? | 1:23:09 | 1:23:11 | |
Cissy? | 1:23:11 | 1:23:13 | |
Cissy, where are you going? | 1:23:13 | 1:23:15 | |
I... I have to go home. | 1:23:15 | 1:23:16 | |
What are you talking about? | 1:23:16 | 1:23:17 | |
Mother and Father are waiting for me. | 1:23:17 | 1:23:19 | |
Cissy's gone walkabout! Reg, Wilf! | 1:23:19 | 1:23:21 | |
Cissy! | 1:23:25 | 1:23:27 | |
Oh! | 1:23:27 | 1:23:28 | |
I nearly forgot to say goodbye to you. | 1:23:28 | 1:23:30 | |
Goodbye, Wilfred. Goodbye, Reginald. Wish me bon voyage. | 1:23:30 | 1:23:33 | |
-Cissy?! -I'm late! | 1:23:33 | 1:23:35 | |
Cissy. | 1:23:35 | 1:23:37 | |
-Don't let them see her like this. -Cissy. | 1:23:38 | 1:23:40 | |
I have to go. | 1:23:40 | 1:23:42 | |
Cissy. | 1:23:42 | 1:23:43 | |
You mustn't leave. | 1:23:43 | 1:23:45 | |
We're doing the quartet, Cissy. | 1:23:45 | 1:23:47 | |
-The quartet from Rigoletto. -No. I want to go home. | 1:23:47 | 1:23:49 | |
Jean? | 1:23:49 | 1:23:51 | |
Is that Jean Horton? I thought she wouldn't sing any more. | 1:23:51 | 1:23:53 | |
Cissy, come with me and we'll get your luggage. | 1:23:53 | 1:23:56 | |
My big case? | 1:23:58 | 1:23:59 | |
Yes, your big case. | 1:23:59 | 1:24:01 | |
Come with me. And your passport. | 1:24:01 | 1:24:03 | |
Yes. | 1:24:03 | 1:24:04 | |
Yes. There we are. | 1:24:04 | 1:24:06 | |
The ship doesn't leave for two weeks, you know. | 1:24:07 | 1:24:10 | |
-Doesn't it? -No. We've got plenty of time. | 1:24:10 | 1:24:13 | |
-# Mais la vie... # -It's all right. | 1:24:13 | 1:24:16 | |
It's the little things that get you down. | 1:24:16 | 1:24:18 | |
I know. But we'll get your dress fixed. | 1:24:18 | 1:24:20 | |
That was a close one. | 1:24:20 | 1:24:22 | |
Jean was very good. | 1:24:22 | 1:24:23 | |
She was indeed. | 1:24:23 | 1:24:25 | |
-CLAPPING -Shh! | 1:24:30 | 1:24:33 | |
We're getting close, gents. | 1:24:53 | 1:24:55 | |
-Thank you, Simon. -Thanks, Si. | 1:24:55 | 1:24:57 | |
Getting near, ladies. | 1:24:58 | 1:25:00 | |
Ready! | 1:25:00 | 1:25:01 | |
Where shall I...? | 1:25:08 | 1:25:10 | |
It's through there, Cissy. | 1:25:10 | 1:25:11 | |
WHISPERS: Mr Paget. | 1:25:11 | 1:25:13 | |
-You're on next. -Thanks. | 1:25:14 | 1:25:16 | |
Jean, I was thinking about the sticks. | 1:25:17 | 1:25:19 | |
I think we could get through without them. | 1:25:19 | 1:25:21 | |
Oh, no. No, I don't think I could. My hip's very bad today. | 1:25:21 | 1:25:24 | |
Well, I'm not so good, but I think we should try. | 1:25:24 | 1:25:26 | |
It's more distinguished, more operatic. | 1:25:26 | 1:25:28 | |
I may have to lean on you. | 1:25:28 | 1:25:30 | |
Lean on Reg. You'll be much safer. | 1:25:30 | 1:25:32 | |
And he'll love it because he adores you. | 1:25:32 | 1:25:35 | |
Trust me. | 1:25:35 | 1:25:37 | |
How do you know? | 1:25:37 | 1:25:39 | |
I don't believe he ever stopped loving you. | 1:25:39 | 1:25:41 | |
How do you know? Did he say so? | 1:25:44 | 1:25:46 | |
Wilf! | 1:25:46 | 1:25:48 | |
It's the man from Opera Today. | 1:25:48 | 1:25:50 | |
You look very handsome. | 1:26:04 | 1:26:05 | |
You look very beautiful. | 1:26:07 | 1:26:08 | |
We're both very old. | 1:26:11 | 1:26:14 | |
Thanks. | 1:26:14 | 1:26:16 | |
Then let's get married. | 1:26:16 | 1:26:18 | |
Were you serious? | 1:26:59 | 1:27:01 | |
Yes. | 1:27:01 | 1:27:02 | |
OK. | 1:27:02 | 1:27:03 | |
MUSIC: Bella Figlia dell'Amore | 1:27:34 | 1:27:40 |