Babes in Arms (1939)

- How's Florrie?
- She's okay, Joe.
- Take her to the hospital?
- We didn't have time.
- I want to see her.
- Your public's calling, get back out there.
Thanks, folks.
It's been five years now
since you've said hello to me and Florrie...
...but this time she asks to be excused.
Joe, it's a boy.
Go on.
Well, it looks like I've got a son.
Born in the Palace Theater.
Here's a toast to vaudeville,
the greatest entertainment in the world.
It made me what I am today, a papa.
And it's pretty nice, I tell you.
Having that little home down there
on Long Island...
...where you can take
the wife and kiddies.
Where you can lay off all summer long... the country instead of a crowded
boarding house in the roaring '40s...
...where there's nothing but streets
to play in, like I had when I was a kid.
What other business is like that,
I ask you? There ain't none.
Vaudeville, boy, you're something.
Listen, you mugs, quiet.
With so many of the best in one bunch,
I'm tempted to warn you.
There's a shadow coming up,
may change things a whole lot.
It's getting taller, that shadow,
and wider, very fast.
The motion picture.
Shadow is right, making faces.
Flash in the pan.
Motion pictures change things?
Not until the Hudson catches fire.
- Yeah. he's right.
- Okay, okay, boys, I hope you're right.
Here's to 40 weeks, may it last forever.
I tell you, Joe,
there's no vaudeville anymore.
Now, take the Palace Theater...
...go there any day in the week,
even Monday, what do you see?
A lot of people buying tickets
for a talking picture.
I don't know what to make of it.
Something's gotta be done.
Every vaudeville performer in Seaport
is broke, and owes everybody in town.
I never thought that pictures
would take the place of vaudeville.
- Maybe if you and Mom had a new act.
- New act, new act?
You talk like your brother.
- Where is Mickey?
- He's in town at the music publisher's.
He wrote a song last night.
He'll write another tonight,
like last night and the night before.
Kids have to go through their
song writing age, I remember when you did.
And I wrote some pretty good ones too.
And what did it get me, nothing.
Mickey is wasting his time.
He'd better learn a trade
and forget about show business...
...or he'll wind up like me.
- There must be some theaters left, Dad.
- A lot of empty ones.
But, darling, with a good bill
you could open them.
There's a lot of good acts here that would
be tickled to death to have the opportunity.
Say, that's an idea.
A road show with a lot of old-timers.
So a guy's got to do it himself, eh?
I'm going over to Brice's
and see what he thinks.
And that 10-percenter said
that vaudeville was dead.
Not with a lot of troupers like us
around here.
- Will you okay this lyric?
- Wait a minute, I want to hear this song.
Good morning, good morning
We've danced the whole night through
Good morning, good morning to you
Good morning, good morning
It's great to stay up late
Good morning, good morning to you
When the band began to play
The stars were shining bright
Now the milkman's on his way
It's too late to say good night
So good morning, good morning
Sunbeams will soon smile through
Good morning, my darling, to you
Here we are together
A couple of stayer-uppers
Our day is done at breakfast time
And starts in with our suppers
Here we are together
But the best of friends must party
So let me sing this parting song
From the bottom of my hearty
- Good morning
- It's a lovely morning
- Good morning
- What a wonderful day
- We've danced the whole night through
- Danced the whole night through
- Good morning, good morning to you
- Good morning, good morning to you
- How do you do, do, do?
- I said good morning
- See, the sun is shining
- A good morning
Hear the birdies sing
- It's great to stay up late
- It's great to stay up late
- Good morning, good morning to you
- Good morning, good morning to you
When the band began to play
The stars were shining bright
Now the milkman's on his way
It's too late to say good night
Good morning, good morning
Sunbeams will soon smile through
Good morning, good morning
Sell it, Ma, sell it.
Good morning, my darling, to you
- How was it?
- Where did you swipe that?
Oh, quit your kidding.
Words and music by Michael Z. Moran.
Why, it'll sweep the country. Won't it?
- Nothing very new there, Mickey.
- Oh, what good is new?
It's the same old rose
you see every year.
But it's just a little fresher,
but it's the same thing, isn't it?
- How many have you brought me, Mickey?
- I brought you five that you didn't publish.
But I ain't mad,
I'm gonna give you another chance, see?
You can't be wrong all the time,
nobody is.
- How much do you want for it?
- The usual, 1000.
I'll give you 100.
- A hundred.
- A hundred.
- Honest?
- Oh, that's wonderful.
Mickey, he's gonna publish it.
He is.
Oh, he's fainted. Quick, get some water.
He's... Get some water.
Oh, Mickey, please speak to me.
Wake up. Oh, dear.
It was too much for him.
He couldn't believe it.
Good thing I didn't say yes
to the thousand...
...or he'd have dropped dead.
- Yeah.
Are you all right, Mickey?
Speak to me, Mickey.
- What happened?
- Mr. Randall's gonna publish your song.
Look, here's your advance check
for $ 100.
Gee, Mr. Randall,
you don't know what this means to me.
I'll never forget you.
You know, you can always be my publisher.
I'm telling you that.
You better get him home
before he passes out again.
- Don't have to worry.
- I understand.
I'm not ever gonna get
the big head like...
- You can always be my publisher.
- Okay.
Wait a minute, friend, you've got my head.
Didn't hurt, though. Didn't hurt.
- See you later.
- It's all right.
You know, it's just like coming home
from a big battle the winners.
- Yeah, it was a tough fight, Ma, but we won.
- Oh, Mickey, I'm so proud of you.
But think of all the time lost
because my stuff wasn't recognized before.
Oh, well, all geniuses
have trouble getting started.
Sure, that's what makes them geniuses.
Oh, Mickey, aren't they pretty?
Wait a minute, I wanna pick some.
Just think of it, Pat. My first 100 bucks.
- And it's only the beginning too.
- Is it really the beginning?
Does it mean
that I'm really on my way in the theater?
- I want success so.
- And you'll have it.
I know you will, Mickey.
Just think when our names
are up in electric lights.
You, the big composer and producer,
and me, the singing star.
Oh, and I'll work hard for you, Mickey,
honest I will.
Yeah, then when we go
on our vacations to Europe... know, like you read in the paper.
- Our folks won't have to worry.
- No.
We can pay the bills then.
Pat, sometimes
do you ever feel older than your folks?
Lots. Especially when they talk about
40 weeks on the road.
Yeah, and making a comeback.
Gee, it must be terrible to be a has-been.
Don't talk like that. It scares me.
We gotta work hard
and make a lot of dough for our folks.
That will be fun.
Oh, won't it be fun, Mickey?
Oh, with both of us in there pitching,
it certainly will be.
It's got to be.
Pat, I'd like to buy you a little something
out of this 100 bucks, but l...
Oh, we gotta pay our grocery bill too.
Well, l... Just the same
I'd like to show my appreciation some way.
Would you like my pin?
It's your music class pin.
Well, what do you want me to say?
You know what I want you to say.
Well, I won't.
All right then, don't.
Oh, Pat, I do.
You do what?
I do,
what you want me to say and I won't.
Very much.
- Well, that settles that.
- Yeah.
Gee, you know, it's good for a man
to have responsibilities.
Your act is just as sure fire as it was
when you were knocking them in the aisle.
Say, Dad. Dad, what's going on here?
Mickey, we're going on the road,
all of us.
- Oh, gee, that's swell, Dad. When do leave?
- Mickey, none of us kids can go.
None of the kids can...
What do you mean, Dad?
Well, you see, son, it's only the acts
that go, no excess baggage.
You call talent excess baggage?
Dad, there's a lot of entertainment
on this side of the room.
You folks are responsible for it.
We're your kids, chips off the old block.
Most of us were born in theaters,
greasepaint in our veins.
You say you don't want us
to go on a stage. No.
You want us to be lawyers and brokers
and your girls to marry rich guys.
- I suppose that's bad being a broker.
- Clark Gable ain't on relief.
- You're too young, all of you.
- Oh, yeah?
I suppose I'm too young
to sell a song I wrote.
Look, 100 bucks in advance.
- What?
- Mickey, you sold your song.
- Yeah, Mom, and it's all yours too.
- Oh, Mickey, I'm so proud of you.
- Thanks.
- Of course, I always knew you had talent.
Well, so do the other kids.
I've seen them do their stuff.
Take our sister for instance.
What a voice, a natural.
Two more years and she'll be in the Met.
Patsy and Don Jr. and Dody
are swell dancers.
- But our acts are routine, they're standard.
- I'll say they're standard.
So standard that when you miss a line
the audience can prompt you.
All right, I'm sorry.
I don't mean to be fresh,
but I've got a new slant on things.
Got my finger on the pulse of the public.
You wanna hear something?
Molly and Patsy come on over here.
Look out. Spread out kids,
give us room to work here, will you?
Get set. We'll show them
whether we got talent or not.
Wait, until you hear,
this will send you solid.
Now, come on, kids, give your all.
To look at us you'd never dream
The two of us were twins
In fact it's quite ridiculously odd
But speaking pedagogically
And not too biologically
We're really just like two peas in a pod
We both like to swim
And we both like to dance
We both could fall in love with Gable
If we had the chance
Our tastes are just the same
Except for just one thing
I like opera
I like swing
We both like to eat
But it pains us to discuss
The fact we like potatoes
But potatoes don't like us
But when we want to sing a song
We're really on a spot
For I sing sweet
And I sing hot
You are my lucky star
My darling, you're my lucky star
I saw you from afar
Robert Taylor
Minneapolis and St. Paul
You are
My lucky star
Once there was a barber
A barber who lived in Spain
He was a barbering fool,
A shaving fool, shaving fool from Spain
He was kind of crazy,
He was always singing in the rain
His name was Figaro
The barber of Seville
Figaro was Spanish
Every time there's a bullfight
He quits
Shave and a hair cut, six bits
Hi de ho Figaro, Hi de ho Figaro
Hi de ho ho de ho fig fig Figaro
Hi de ho Figaro, Hi de ho Figaro
Hi de ho ho de ho fig fig Figaro
We're gonna break it up tonight
Stand back
Give them room
- You've gotta clown
- Yeah, you gotta clown on old Broadway
Broadway rhythm, it's got me
Everybody dance
Broadway rhythm, it's got me
Everybody dance
Out on the gay white way
And each merry cafe
Orchestras play
Taking your breath away with that
Broadway rhythm, it's got me
Everybody sing
Everybody stand right up and dance
- Hey, Pop, how did you like that?
- Oh, it was fine. Grand, son.
Great, but you see, for instance,
that number, it just wouldn't fit in.
- Well, for Pete's sake, why?
- Because we're doing a comeback show.
The kind of acts we did on the big time.
They've got value, a selling point.
Oh, I get you, Pop.
I've gotta show you,
just like the rest of the world.
I thought we could help you, but
you don't want us on the stage, do you?
- Just because you're all... Just because...
- Wait a minute, Mickey.
All right, I hope you're all a big success.
Mickey's sort of excited, that's all.
- Wait a minute, Mick.
- Don't mind what the folks say, Mickey.
- We're with you.
- Sure we are.
- Everything will be all right.
- Buck up, Mickey.
I shouldn't have shot my mouth off
the way I did.
It's all right, they understand.
I wouldn't wanna hurt Dad
for all the show business in the world.
- Forget it.
- Certainly, our time will come.
- You bet it will.
- Sure, sure.
Listen, you kids,
I think our time has come.
- What do you mean?
- I'll tell you.
Might as well face it, our folks
are up against it, and up against it good.
I've been snooping around...
...know what I found out?
- What?
There's a frame up to get the actors
and their kids out of it.
Our houses are mortgaged unless payments
are up to date by July 1 st or out we go.
Yeah, I know something else too.
Miss Steele of the Welfare Society... getting a petition to send us
to a state work school.
- Work school?
- Are you kidding?
- Can I go too, Mickey?
- Quiet, will you, Bobs?
She thinks we ought to be learning a trade
instead of the theater.
She's against show business.
Just be her chance,
while our folks are on the road.
We can't go on the road.
No, we're too young.
We're excess baggage.
You willing to stick together
and pull yourselves out?
- You bet.
- I've got an idea.
Our folks think we're babes in arms?
We'll show them whether we are or not.
I'm gonna write a show for us
and put it on right here in Seaport.
The most up to date thing
these hicks here have ever seen.
Opening night, we'll have Max Gordon,
Sam Harris down to give us the once over.
How about it, kids?
We'll get every kid in this town on our side
and we'll start now. What do you say?
All right. Come on kids, let's go.
They call us babes in arms
But we are babes in armor
They laugh at babes in arms
But we'll be laughing far more
On city streets and farms
They'll hear a rising war cry
Youth will arrive
Let them know you're alive
Make it your cry
- They call us babes in arms
- We never dance
- They think they must direct us
- Got no chance
- But if we're babes in arms
- To find romance
- We'll make them all respect us
- Why our arms?
- Why have we got our arms?
- And what's our eyes?
- What have we got our sight for?
- Our sight for, fight for.
Play day is done
We've a place in the sun
We must fight for
So babes in arms
- To arms
- To arms
To arms, babes in arms
- We don't wanna go to county farms
- No
Come on, you babes in arms
Stand up for your rights
We're coming, we're coming
Come on, you sons and daughters
We gotta fight
We're coming, we're coming
George Washington was just a kid
When he chopped down that tree
But if they'd locked him up for that
Where'd this country be?
- We gotta stand
- We gotta stand
- We gotta stand right up
- We gotta stand right up
We got to stand right up
And tell them that we're right
Yeah, we gotta fight. Yeah, we gotta fight
Fight, fight
What do we cheer for?
What are we here for?
Why were we born?
What do we cry for? What do we die for?
Why do we mourn?
Life doesn't stop, life doesn't wait
It goes on
We've got to step
We've got to skate into the dawn
It's a new day
It's a new day, our flag's unfurled
Come on, let's tell it to the world
On city streets and farms
You'll hear a rising war cry
Youth will arrive, let them know you're alive
Make it your cry
They call us babes in arms
A tisket, a tasket,
Who wants your yellow basket?
They think they must direct us
Babes in arms are growing up,
Growing up, growing, growing
But if we're babes in arms
Going around the mulberry bush
Who wants to go around the mulberry bush?
We'll make them all respect us
Hooray, hooray, it's Emancipation Day
- Why have we got our arms?
- We got arms so we can fight
What have we got our sight for?
Play day is done
We've a place in the sun
We must fight for
So babes in arms
To arms
In the beginning,
we will see Patsy singing...
...the most recently published song
number "Good Morning," followed by...
Where is the other piece of music?
What are you doing, son?
Oh, nothing. Just scribbling.
- Another song?
- A show.
You're so much like me, you're funny.
- I am?
- Exactly.
You know, I used to troupe
with your grandpop, was he stubborn.
I used to try to get him
to put new things in the act.
You know, like you do to me?
- Wouldn't he do it either?
- Not a chance.
- What happened?
- What happened?
He was the greatest headliner in vaudeville,
right up to the day that he died.
Yeah, I know what you mean, Pop.
You know, Mickey,
you're like a lot of kids.
You think your old man is finished,
washed up.
Why, Dad, listen here.
They don't come any better than you.
Anyway, your mom and me
are leaving in the morning.
I'm sorry you can't go along
the way you used to.
I'm going to miss you, a lot.
I know, Dad.
But I'm depending on you to stay here
and take care of things.
- I hope things break real big for you, Dad.
- Thanks.
- Is Judge Black in?
- Yes, ma'am.
I wonder what cause
she's agitating for now.
I never saw a woman get so excited
over other people's business.
My duty is concerned
with those poor children.
And something has got to
be done about it.
I want my nephew to tell you
what he knows.
Go on.
Well, the vaudeville kids
kind of run in a gang.
They seem to be
cooking up something.
Next thing you know, we'll have
a series of filling station robberies.
- Who's the ring leader?
- A tough little kid named Moran.
There's no doubt about it, judge,
he's a bad influence around town.
- Do you know him very well?
- No. Just to speak to.
I go to military school upstate.
Just step outside, Jeff.
I want to talk to Judge Black alone.
As you very well know, John,
I'm head of the welfare board here.
And I'm serving notice on you...
...that I'm not gonna let
innocent children be the victims of society.
Their parents have no income. We don't
know if those youngsters eat regularly.
We know they stay away from school
half the time. They're undisciplined.
They haven't a chance of learning
an occupation that'll support them.
I call that criminal.
But, Martha, you'd be taking them away
from their homes.
Homes? Those poor little things
haven't any worthy of the name.
Martha, my whole life's
been lived in this town.
I saw the actors come in.
They built their homes here.
They built the church, the library.
Why, their taxes even paved the roads.
They're sweet lovable people.
Just grownup children.
And we ought to thank God...
...for the pleasure and laughter
they've given us in our drab lives.
Right now they're having hard times.
And you want me to help you
torment these poor folks... taking their children
away from them?
I won't do it, Martha.
- You mean, you won't...?
- And that's final.
You'd sacrifice the children
for the grownups.
All right, John, I accept your challenge.
I'll see this thing through alone.
Our bankroll will only stand two Cokes.
I never drink anything
but Cokes anyway.
Two great, big, large,
wonderful, expensive Cokes.
- Here.
- Patty, look, let's pretend.
All right, where are we?
We're in the Stork Club in New York City
and it's after our opening night.
- I'm in tails and a white tie.
- And I have on an ermine coat.
Oh, Mickey,
I've just got to have an ermine coat.
Oh, sure, sure.
And the Cokes here, this is champagne.
Oh, aren't you just mad
about champagne?
Yeah, but if this was champagne,
I'd rather have the money it costs instead.
Now, don't worry about it.
You thought up that big parade
to advertise the show...
...and anybody that can think that up...
...can think up anything.
- Thanks.
Just think when those
New York producers sign us up.
You know, I've been thinking,
maybe we should get us an agent.
Sometimes you get worse than I do.
I'm worried about getting the show on.
I never realized how much a piece of
cellophane and a yard of cheesecloth cost.
What have you planned?
Our folks owe the stores a lot of dough,
I'll say:
"If you want to collect that money
you've got to put dough into our show... we can be a success
then pay you back."
I don't understand,
but it sounds wonderful.
I got the ideas out of a paper.
Seems a lot of countries are
borrowing money... why can't an American go in and
borrow money the same as anybody else?
Sometimes I think that being
a great Broadway producer...
...isn't going to be big enough for you,
Here comes trouble.
Do take the darlings, Alexander.
Let them walk around a bit.
In California, we have drive-ins.
You stay in the car.
- Who's the girl with him?
- I think it's... It is. It's Baby Rosalie.
- Remember the kid movie star?
- Oh, yeah.
Hello, Patsy. Miss Barton, this is
Miss Essex, the once famous Baby Rosalie.
How do you do?
I remember you very well.
Really? Did you see my biggest success,
The Queen's Little Daughter...
...or did you see my smash hit,
The Baby General?
Well, let me see, l...
It all seems so long ago.
Sauerkraut juice, please.
- I watch my weight very carefully.
- Yes.
I hear you're going to produce a show.
Oh, he is. This is Mickey Moran.
- How do you do?
- Anything for me in your show?
I'm dying to get back in the harness.
You? In...
Why, I think that would be swell.
And with your name and all...
You don't wanna fool around
with a punk like this.
You be quiet. You wanna come over
to my place for dinner and talk it over?
- Tomorrow night? Oh, l...
- Say, listen.
My aunt's gonna put you in
the state work school where you belong.
Why, you...!
- Please, don't fight over me.
- Stop it. Mickey!
- Don't worry, it's a pleasure.
- Stop it! Stop it!
Oh, my perfumes.
Hey, get out of here.
Get out of here.
Get out of here, all of you. Get out.
Come now, come now, quiet, please.
This is not a picnic.
This is a very serious matter.
Proceed, Mr. Marks.
And when these young roughnecks
finished up... drugstore looked as though
they'd taken an ax to it.
I want you to know that seven bottles...
...of my most expensive perfumes
were busted.
Forgive me if I say I told you so.
Martha, my faith in human nature
would be shattered if you didn't.
Why doesn't somebody tell
what he said to my brother?
I'll tell. I was there.
He told Mickey his aunt was
gonna put him in the state work school.
I hope you see
how this proves every point I made.
Even with provocation,
wrecking this man's shop...
Wait a minute. Wait a minute.
Young man, I'll trouble you
to step into my private office.
There are things I'd like to clear up.
The rest of you will kindly wait here.
- Mickey.
- Well?
Let you in on a little secret.
I don't need those glasses
any more than a rabbit.
But in times of stress,
they're the best safety valve I ever had.
Gives me time to think too before acting.
- You ought to find something like that.
- Oh, I got it.
You mean I ought to think first
and then bust-up drugstores afterwards.
Come over here and sit down.
- Quit school, huh?
- Yeah, last fall.
Tried to get a job. Started writing songs,
you know, show numbers.
Where's your father playing now?
Good booking?
I'm so worried about my family, judge,
I'm sick inside me.
Miss Steele might be right, Mickey.
It's not fair for you youngsters
to be carrying grownup burdens.
I'm wondering if you were my son, if
I wouldn't rather see you in some school...
...getting an education.
Yes, I think if I were your parents,
I might sign Miss Steele's petition.
No, no, no, judge, you don't understand.
She don't understand either.
Why, she don't mean no harm to us...
...but we're not her kind of people
or yours either.
We belong in show business.
We gotta start young so we can get
some steel in our backbone.
Well, gee, we're developing it.
You couldn't teach us a trade.
We got one.
And you couldn't do without it.
We're only kids now...
...but someday we're gonna be
the guys that make you laugh and cry.
Think that there's a little stardust left
on life's dirty old pan.
She don't understand.
Why, she'd put butterflies to work
making rubber tires.
I'm not saying I hate her, but why can't
people leave other people alone?
Defense sustained. Case dismissed.
I'll give you 30 days probation
to square yourself with Mr. Marks.
Here he is now.
- What happened, Mickey?
- Was it all right?
Oh, everything's swell.
I guess I showed you, twerp.
The judge bought out the whole front row.
Look at that.
Come on, kids,
we got some rehearsing to do.
Isn't that marvelous?
It seems we stood
And talked like this before
We looked at each other
In the same way then
But I can't remember where or when
The clothes you're wearing
Are the clothes you wore
The smile you are smiling
You were smiling then
But I can't remember where or when
Some things that happen
For the first time
Seem to be happening again
And so it seems that we have met before
And laughed before
And loved before
But who knows where or when
Come on, put some life in that song,
will you?
Patsy, will you hook my collar
in the back for me, please?
So you're going to dinner
with Rosalie tonight?
Don't go getting jealous.
We haven't got time for that.
- She made eyes at you.
- Oh, you're crazy.
I'm not. She's practicing to be a glamour
girl, so she can get back into pictures.
If those two sing that song like that,
the audience will think it's a lullaby.
It seems we've stood
And talked like this before
We looked at each other
In the same way then
But I can't remember where or when
That's right. With feeling like that.
I figure you have to know
what you're singing about...
...before you can give
the idea to others.
Don and Molly don't know
what they're singing about?
They're just bashful in front of people,
that's all.
Come on, let's go out
and see if we can't needle them up a bit.
And so it seems that we have met before
And laughed before
And loved before
- But who knows where
- But who knows where
- Or when
- Or when
That's what the audience will be doing
if you sing the song like that.
- We were just rehearsing.
- Yeah. Well, that's no excuse.
Molly's heard pop say a million times,
do your best always if you wanna improve.
Wait until Dad's suit fits you
before you try to talk like him.
The coat fits all right. I can button it up so
nobody can see how loose the pants are.
I wanted my white pants,
but wouldn't they be at the cleaners?
She'll be so busy talking about herself
that she won't notice.
Maybe not, but lay off me.
You gotta get some feeling into this.
This show is all business.
- Get in there and try the number again.
- Do we have to do it in the canoe?
It's cramped in there, you can't move.
All right.
Then come on, do it over here... long as you get some feeling into it.
Spread out.
Kids, get back to your places.
We're gonna try the number again.
- Bring that settee down here, please.
- I wish they would make up their minds.
Spread out.
Give them plenty of room to work.
Start the number back of the settee here
and later on you can come around in front.
For goodness' sake,
put some real feeling into it.
All right, Antonio.
Give them the introduction.
It seems we stood
And talked like this before
We looked at each other
In the same way then
But I can't remember where or when
The clothes you're wearing
Are the clothes you wore
The smile you are smiling
You were smiling then
But I can't remember where or when
Some things that happened
For the first time
Seem to be happening again
And so it seems that we have met before
And laughed before
And loved before
But who knows where
Or when
And so it seems that we have met before
And laughed before
And loved before
- But who knows where
- But who knows where
- Or when
- Or when
Swell. Swell.
That's the way to sing. In a few minutes,
go over the number again... you'll be sure you got it perfect.
Tony, listen.
Go over that interlude again,
that was terrible.
Well, I gotta go, kids.
Good night, everybody. Come on, Pat.
Send them all home at 9 and tell them
to be here at 10 in the morning.
Okay. I hope you have a nice dinner.
Oh, this is all business, Pat.
You look wonderful, Mickey.
Thanks, for always saying the right thing.
I can lick wildcats now.
- Good night.
- Good night.
I beg your pardon, sir.
Whom do you wish to see?
Baby... Miss Essex.
- I'm afraid she'll be unable to see you, sir.
- Why not?
Miss Essex is expecting
an important theatrical impresario.
Hey, that's me.
Oh, I don't believe I heard the name, sir.
I know you didn't, because I didn't say it.
It's Moran, Michael Z. Moran.
Oh, I'm sorry, sir.
Won't you... Won't you step in, sir?
Oh, Michael.
I hardly expected you so soon.
So nice to see you again.
Yes, nice to see you too.
I know I kept you waiting.
No, you haven't kept me waiting.
I mean, that is...
...I have been waiting to see you
ever since I met you in the drugstore.
You're just as impetuous
as I thought you were.
I am?
Dinner is served, Miss Rosalie.
Thank you, Bartlett.
Oh, I almost forgot.
You haven't met my darling yet.
This is Kai.
- Cute, isn't he?
- This is Mr. Moran, Kai, baby.
You give him a nice wet kiss.
Oh, I hope he didn't frighten you.
No, no, no. No, he didn't at all.
He's an affectionate little fellow,
isn't he?
Now, you run along and play,
Kai, darling.
He has temperament,
just like me, daddy says.
Gee, the crickets
are pretty thick out tonight, aren't they?
I've never tasted a tastier...
Miss Essex.
Oh, don't call me that.
Call me Baby, everybody does.
Well, all right.
What do you do with yourself, Baby?
I study voice, French and dancing.
That's why I didn't
go to Maine with father.
You see, I'm preparing for a comeback.
I don't see why I should accept failure.
Why I should let them tell me I'm through.
Do you?
Heck, no. That's why I think my production
would be perfect for you.
Do you think so?
Oh, I was praying you'd say that.
Oh, Michael, don't tell me you're going
to give me my chance.
Well, if I had the dough, I would.
How much do you need?
Well, let me...
Let me see.
We're gonna use a barn some actors used
last summer, turn it into an outdoor theater.
I figured if we all pitched in together...
That is, for the scenery and the costumes
and everything, it would run us about $287.
Have you got it yet?
Well, you have now.
Move over here where we can talk.
- Oh, it will be exciting.
- Yeah, yeah.
I can hardly wait.
We'll work together wonderfully,
you and I. How about an orchestra?
We can have the Rangerettes
in for nothing.
Enchanting. It'll be a great show.
Shall we drink to that?
Why, you bet.
Good luck.
I hope so.
Cigar, sir?
Oh, do have one. They're daddy's best.
Well, I can't pass up anything like this.
I suggest, sir, it would draw better
if one bites the end off.
How could I make a mistake like that?
Don't draw the cigar smoke in,
Mr. Moran.
Blow it out for your own sake.
This is... This is delightful.
When does the show start rehearsing?
Well, as soon as I can get it...
Well, I'll phone you.
I'll phone you tomorrow
and let you know.
You'll have to excuse me, please.
I've got another appointment.
Thanks for the dinner.
It was swell while it lasted.
- Hey, Mickey, here's your pants.
- Where have you been?
Go on, get up there in your place,
would you?
All right, kids, that's enough.
Take a rest. We'll try the dance later on.
In the meantime, we'll take a reprise
of this "Where or When" number.
Pass the parts out.
We'll take the other in a little bit.
- Hey, Mickey.
- What do you want?
Have you told Patsy yet?
No, I've tried to get it out a million times.
I just can't do it.
Well, she's on her way in and
Baby Rosalie will be here any minute now.
Well, I guess it's gotta be now.
- Come on, take over, will you, Don?
- Sure.
Oh, Mickey,
I've practiced until I'm nearly hoarse.
- Gosh, isn't it wonderful?
- Yes, it sure is, Pat.
But come over here, l...
I wanna talk to you for a minute.
What is it?
- We're in a tough spot, Pat.
- Yeah?
Yes, we've gotta have a lot of dough
to put on this show.
Well, we need an angel,
you know, and...
Can you take it?
Dish it out.
Well, we found an angel.
But in order to keep her,
we have to give her the lead in the show.
Sing my songs?
The songs you wrote for me?
Say my lines?
Oh, Mickey...
We were gonna do it together.
This was gonna be our first show.
You and me in there pitching,
just like you said.
Yes, I know, but what can we do?
I can't bear it.
Oh, don't cry, Pat, because if you do,
then I'm just gonna call the whole thing off.
Because, I mean,
this is too much for me.
Who's crying?
Don't be silly.
Pat, would you punch me right in the nose
if I asked you to understudy?
Katherine Cornell did it.
I should be proud.
It's gonna be a tough job, kid...
...because this Baby Rosalie
is just a bundle of temperament.
Will you help me keep her quiet,
and will you stick in there and pitch?
Put her there.
Pat, you're...
You're the tops.
Hello, there.
Hello, everybody. Hello.
do take the little darlings for a walk.
Just getting the kinks out.
All right. Come on, kids,
let's try the Antony and Cleopatra sketch.
And I want the scene set just like we're
gonna have it with props and everything.
A little pepper now.
Stand up, honey, so I can brush you off.
It's so close today.
Yes, it is sultry, isn't it?
- May I get you a glass of water?
- Thank you, my dear.
Isn't she a sweet little girl?
All right...
...bring the window up in position.
Over the divan, please. There, that's fine.
Okay, give me the parts now, will you?
There, that's fine Bobs.
Don, here's your part. Sid?
- Yeah.
- Miss Essex, please.
And I'd like Miss Essex's
headdress now.
This is the gate here
and the guard keepers right there.
Now, this Cleopatra's throne room.
A very luxurious layout
overlooking the Nile.
This is a swell divan covered
with satin cushions and ostrich feathers...
...jewels and pearls, things like that.
- Glorious.
Don, you entrance from over here
and you see Baby reclining...
Will you recline, please, Miss Essex?
That's fine. Now, look.
This Mark Antony
is a sort of a man about town.
Very... Very suave, see?
You, Baby, you're Cleopatra,
the queen of Egypt.
Very beautiful, lovely and...
And suave, see?
You hardly know him.
He's busted up your army... the only way you can keep
your throne is to have him fall for you.
Listen, Don. You're a...
You're a Clark Gable-type.
Very modern, polished, and, well,
full of suaveness. You see what I mean?
- Yeah, you mean we're suave.
- Yeah, that...
Come on, now.
Let's try it once everybody.
From the beginning now,
from the curtain.
Ready? Curtain.
- Greetings, Mark. What's new?
- Your Majesty.
No, no, no, that's not quite it, Miss Essex.
Look, do you mind if I show you?
Stand over there. Now, watch me.
You're down here.
You're reclining here. You watching?
Now, I want you to get up
and I want you to slink.
Slink, a regal slink.
Sort of bouncing-like, see what I mean?
All right, go ahead, Don.
Your Majesty.
- What's your name?
- Just call me Baby, everybody does.
Just call me Baby, everybody...
No, what I meant was,
what was your line?
The only man in the world
who I would go to meet.
You're the only man in the world
I'd go to meet.
See? More... More...
- Suave?
- Yes.
Well, go on. Now, let's try it again.
Come on, right from where we left off.
Here we go.
You're up there, Baby. That's it, fine.
Your Majesty.
I have a feeling
I'm going to find Egypt fascinating.
Terrible. Terrible. Don, terrible.
- I didn't think so.
- It's the way you read the lines.
There's no feeling to it or anything.
Maybe we'd better try it here on the couch.
Don, come and sit beside her.
I want a more virile approach,
like Clark Gable would do it.
Come on, do it once for me, will you?
Your Majesty, I have a feeling
I'm going to find Egypt fascinating.
No, no, that's still not it, Don.
Let me show you, will you?
Just stand up there for a minute. Look.
Now, see here, Cleo.
You've stalled me for the last time.
You can't push Mark Antony around
like that and get away with it.
Last month, I took over the south side.
Now, I'm taking over the palace.
And what's more,
I'm taking over you, see?
Get your things packed.
We're taking a honeymoon on the Nile.
I've got a barge waiting
with the motor running.
Now, you see?
That's more the way Gable would do it.
- Well, Gable and I work differently.
- Yeah, that's why he works more often.
Okay, Sid, it's your cue.
Don, you're over here now.
Cleopatra, who is this man?
- Who's this?
- Well, that's your uncle, Croesus.
But Cleopatra didn't have an uncle.
Well, she has now.
- Shall I keep going while I'm hot?
- You're as cold as an ice cube.
Look, I want this uncle
to be a violent character.
Like Lionel Barrymore would play it.
I mean, when he comes into this room...
...and finds his niece here
with a strange man, he's...
He's gotta be...
- Suave?
- No, furious.
Look, Sid,
let me show you what I mean, huh?
Now, this is the way Barrymore would do it.
Now, watch, Sid.
Now, see here, Cleo.
This isn't by chance
one of your latest admirers, is it?
Why, uncle,
I don't know what you mean.
Don't try to act innocent, my child.
The whole town's talking.
Now, see here, sonny, we don't like
strangers hanging around this place.
I'll give you just 48 hours to get out.
Pardon me, Don.
When I go, Cleo goes with me.
I love her, you see?
Out of the way, uncle. We're leaving.
Now, look here, Cleo. I'm your uncle.
I love you as if you were my own niece.
But this man is marrying you
just for your money.
She's going with me, understand?
Do you love me
because I'm worth $50 million?
Nonsense. I'd love you
if you only had $40 million.
Money isn't everything.
And I love you.
Yes, that's fine, Miss Essex.
That's just right.
Here, Don, you take over from there.
Come on, Clark Antony,
finish the scene.
Well, if you insist.
- Is this the sleeper bus for Schenectady?
- Yes, sir.
Have you seen a little girl about...?
Oh, never mind.
Oh, Pat. Patty.
Look, let me talk to you.
- Will you listen to me, please?
- No, I won' t.
- Wait a minute, that's acting like a big baby.
- I'm not a baby, Mr. Moran.
- Then why are you going to Schenectady?
- I wanna see my mother.
- Why?
- None of your business.
Wait a minute, Pat.
Listen, I'm doing the best I can.
Oh, you're doing grand for Baby Rosalie.
- Whatever I've done, I've had to do.
- Did you have to kiss Baby Rosalie today?
Well, that's my business, honey.
I'm a director.
Then you'd better get to work,
Mr. Ziegfeld.
The Girl Scouts
are just clamoring for you.
- Oh, you don't have to talk...
- Here. I suppose you want this too.
Indian giver.
Listen, how can I be an Indian giver...?
Oh, Pat, listen.
Won't you let me explain?
Hey! Hey, Patsy!
Give me a chance to explain, will you?
Will you let me...?
I cried for you
Now, it's your turn to cry over me
Every road has a turning
That's one thing you're learning
I cried for you
What a fool I used to be
But I'll find two eyes
Just a little bit bluer
I'll find a heart
Just a little bit truer
I cried for you
Now, it's your turn to cry
Over me
I know I'm no glamour girl like Baby...
Like her.
But maybe someday, you'll realize that
glamour isn't the only thing in this world.
If your show's a flop, you'll find
you can't eat glamour for breakfast.
I might be pretty good-looking myself...
...when I grow out
of this ugly duckling stage.
And you're no Clark Gable yourself.
But that's all right.
You go your way and I'll go mine.
Don't worry about me. I'll recover.
Time is a great healer.
But in the future, if we should meet again
at the opera or at a ball...
...and I'm dazzling in my diamonds
and pearls and ermine wraps...
...and surrounded by lords
and dukes and princes...'ll probably be sorry.
And you'll probably realize that life is...
...just an idiot's delight.
And as I speed through the dark night
into the abyss of oblivion...
...I can only say thanks.
Thanks for the memory.
I'll find two eyes
Just a little bit bluer
I'll find a heart
Just a little bit truer
I cried for you
Now, it's your turn to cry
Over me
- George, everybody in?
- All but Eddie.
- He'll be here shortly.
- Fifteen minutes. Fifteen minutes.
- You're on seconds, folks.
- Okay.
- Who opens the show tonight?
- You fellows do.
We do? What's the idea...?
Hey, Joe, why do we open the bill?
Listen, we've gotta take turns
in opening the show.
- We're all headliners.
- But we got a terrific finish.
- You want to see anyone?
- Yes, I wanna see my mother, Mrs. Barton.
- Okay. Dressing Room Number 4.
- Thank you.
We'll try it that way tonight
and we'll see how it works.
- For the love of Mike, Patsy.
- Hello, Mr. Moran.
- What are you doing here?
- I got kind of lonesome for my mother.
Things got so tough
you had to come up here, huh?
- Oh, no. Everything's just fine.
- Lillian, Lillian, I got a surprise for you.
- Look what I found in the hall.
- Why, Patsy.
Why, did the house
burn down or something?
Can't a girl come to see her mother
without everybody thinking she's crazy?
Hello, Mrs. Moran.
- Hi, Patsy.
- When did you get in here?
Patsy, tell me, what's Mickey doing?
What's Mickey doing?
He's got a lot of kids together and he's
gonna put on a show, a wonderful show.
- He's doing what?
- Dear, don't get excited.
- He didn't say anything in his postcard.
- Is Junior in it?
- How's Dody?
- How Frankie's dance?
- It's grand.
- What's this baloney about a show?
It's the truth.
He wrote it, and now he's gonna produce it.
And he's got the Rangerettes
and Baby Rosalie and...
Oh, he's got a lot of kids.
No kidding. It's gonna be swell.
Why did Mickey do this?
Miss Steele said that
we weren't having the proper care...
...and she threatened to send us
to the state work school.
- What state work school?
- An institution?
How do you like that?
Our kids in a work school.
Listen, folks, let's give up
this silly tour and go home.
- I'm going home.
- Right.
George, we can't do that
just because the going is tough.
- I know business will pick up next week.
- You told us that last week...
I'm gonna put you all out of here...
...because I wanna talk to Patsy.
- Right you are. Everybody get out of here.
Mickey's show sounds elegant.
Where did he get the money?
- I don't know.
- Isn't Baby Rosalie the movie baby?
- She's the star of the show.
- Wonderful.
Now, dear, tell me, why aren't you in it?
Oh, I thought I wanted a theatrical career,
but I changed my mind.
Too many heartaches.
- Now, what do you know about heartaches?
- Well...
You and Mickey quarrel?
You did, didn't you?
And you quit the show
and came up here to see me?
You shouldn't have done that, Patsy.
Well, he took all my songs
and gave them to her.
Doesn't matter.
- Why not?
- Mickey was doing it for everybody.
Patsy, your daddy was a minstrel man.
So was his daddy.
They did plenty of crazy things,
but they never walked out on a show.
But, Mother, Mickey and I were...
And she kept putting her arms
around him and I just couldn't...
Sid, girls, what are you standing
around for? Hurry up, get ready.
Aren't you finished with that?
I may be a sap about the men I pick,
but I'm no quitter.
So there. My family are all troupers
and we don't walk out on any show.
Who said anything about
walking out on any...?
Oh, women.
See who it is, Millicent.
- Is Miss Essex dressed?
- Come in, Michael.
Oh, how's our little star? Fine, I hope.
- A little nervous. Sit down.
- Thanks.
- How's our director?
- I'm a little nervous too, and then some.
That's a sign of a good trouper.
Then I must be great. Gee, I wished I hadn't
plastered my name all over everything.
- You'll get used to it. Look at me.
- Well, maybe.
Get out of my way or I'll put you
in jail where you belong, the lot of you.
My father!
Well, there you are, young lady.
- Where's this Michael Z. Moran?
- I'm him.
So you're the smart twerp that was going to
exploit the prestige of an important name.
- Why, for a nickel...
- Wait a minute...
Wait nothing. Here, young lady,
get into this coat. We're getting out of here.
- But she's the star of the show.
- Don't make me laugh.
I'm grooming her for a comeback.
Millicent, you pack up. Come on.
- But, father, I've got a great part.
- Listen, you can't take her away.
- Take her. She's a pain in the neck.
- Come on.
- Listen. Will you listen?
- Father, dear...
- She's got money in the show.
- Kiss that goodbye.
I'll tell you when you have
a great part just as I always did.
- What are you gonna do?
- What about the audience?
- Are we gonna give a show?
- What's gonna happen?
Quiet, will you?
I don't know what I'm gonna do?
Give me a chance to think.
Come on with me, Patsy.
Everybody out but Patsy.
The show is going on.
The curtain goes up in seven minutes.
Now, snap into it, will you, kids?
Get your makeup on.
I wrote this show for you, see?
Get out there and show them
I wasn't crazy when I did it.
Don't think things have changed
between you and me. Go out and sell it.
- Oh, Mickey, you're...
- Never mind.
I know what I am, an Indian giver.
What's the delay, Mickey?
I didn't know
you could have so much trouble.
Would you do me a favor?
Would you make a speech...?
Mickey, here's your makeup.
You'd better hurry.
Tell them that Patsy's going on instead.
- What's happened?
- Tell you later.
Would you do that for me, please?
- All right, Mickey.
- Thanks.
My daddy was a minstrel man
When minstrels were the thing
When Mr. Bones and Mr. Jones
Danced the buck and wing
When Eddie Leonard was so great
And Primrose was the king
Gee, I'd like to be a minstrel man
I'd like to black my face
Put on a stovepipe hat
Get out an old banjo
And go once again down memory lane
With an old-fashioned minstrel show
Going to run all night
Going to run all day
I'll bet my money on the bobtail nag
Somebody bet on the bay
Here they come.
Hurry, we go on in a minute.
I'm hurrying.
Come from Alabammy
Come from Alabammy
Come from Alabammy
Come from Alabammy
Come from Alabammy
With my banjo on my knee
I come from Alabammy
With my banjo on my knee
I'm going to Louisiana
For my true love to see
Now, it rained all night the day I left
The weather, it was so dry
The sun so hot I froze to death
Susanna, don't you cry
Oh, Susanna, oh, don't you cry for me
I've come from Alabama
With a banjo on my knee
Oh, Susanna, oh, don't you cry for me
I come from Alabammy
With my banjo on my knee
Gentlemen, be seated
Mr. Bones, Mr. Bones
I've a question to ask
- There is something that I want to know
- Well, tell me, sonny
Mr. Bones, will you tell me
And answer me right
Who's that lady
You were with last night?
Now, Mr. Interlocutory
You are a curious man
But I will tell you if you want to know
Now, so help me, Moses
And upon my life
That was no lady, that was my wife
Hallelujah upon his life
That was no lady, it was his wife
Mr. Tambo
I've a question to ask you tonight
And with all your fancy knowledge
You should know
Mr. Tambo, will you tell us
And give us a treat
Tell us why does a chicken
Cross the street
I has studied up my geography
Studied up my history
Studied up my poultry with pride
And I am here to repeat
A chicken crosses the street
Just to get on the other side
Mr. Rooster, don't you hide
The chicken crossed the street
To reach the other side
There's a grand old minstrel man
Whose name we hold so dear
I know that you'll remember him
The moment that you hear
Ida, sweet as apple cider
Oh, sweeter than all I know
Know, know, know, know, know, know
Come out, oh, won't you come out
In the silvery moonlight
Of love we'll whisper so soft and low
We were sailing along
- We were sailing along
- On Moonlight Bay
Down the silvery bay
We could hear the voices ringing
They seemed to say
- You have stolen my heart
- A maiden's heart
- Now, don't go away
- Don't you ever go away
As we sang love's old sweet song
On Moonlight Bay
I am here to state
I am here to relate
To explain and make it plain
That I'm just wild about Harry
And Harry's wild about me
The heavenly blisses of his kisses
Fills me with ecstasy
He's sweet just like chocolate candy
Or like the honey from a bee
Oh, I'm just wild about Harry
And he's just wild about...
Cannot do without
He's just wild about me
I'm just wild about Mandy
And Mandy's wild about me
I'm just wild about Harry
And Harry's wild about me
The heavenly blisses of his kisses
Fill me with ecstasy
He's sweet just like chocolate candy
And just like honey from the bees
Wait a minute, folks!
Don't go. Please stay.
Don't leave. It's only a little shower.
Well, you'll have to admit,
it took a hurricane to stop me.
Mickey, that was a fine effort.
Where's Dad?
Mom, where's Dad?
You have to keep pounding on the piano?
Nobody can hear himself think.
- Nobody can think in this house anyways.
- You're so smart...!
Children, please.
Gee, I'm sorry, Mom.
Don't worry, he'll be home.
He'll be home? Say, what is this?
You two trying to keep something from me?
Something happen that I don't know about?
Where's pop?
Mickey, don't shout.
I'm nervous, that's all.
- I wish your father was home.
- He didn't come home.
He didn't get up and go out before I did.
- Where is he? What...?
- Mickey, quit picking on Mama.
If you must know, well,
we're afraid Dad's been drinking.
- Dad?
- No, no, it isn't that.
- I'm quite sure he's looking for work.
- What? For the act?
- No, he's through with show business.
- Through?
That's all he knows.
That's all he's good for.
He's trying to find something steady.
Something we can depend on.
Maybe you could sell Mr. Randall
a couple of your songs to tide us over.
- I was over there this morning.
- Well?
They got enough songs on the shelf
to drive the country crazy.
I'll still keep on trying.
Maybe Dad is right. Maybe he is through.
But I'm not.
Show business owes us something
and I'm gonna collect.
Is that so?
We're through. All of us.
Starting over.
And if ever I hear show business,
song writing...
...or that word vaudeville mentioned here,
I'll kick the tar out of you.
You didn't raise me
on that kind of talk.
I'll take that rap.
I didn't know any better. I do now.
Come on, take it easy. Take it easy.
The theater is full of promises,
great promises... long as you hand over
your heart and soul.
Then something new comes along,
you're tossed in the ditch.
The procession goes on.
Well, I got a job. I start tomorrow.
Doing what?
- Running an elevator.
- Listen...
- At least we'll eat.
- Yeah, that counts me out.
- What do you mean?
- I'm getting out on my own.
- No, you're not.
- No? You just try and stop me.
- Mickey.
- Well?
- Mr. Moran.
- Yes?
I've brought the papers.
Papers? What papers?
After you've signed them,
return them to Judge Black's office.
Have the children there
at 9:00 on Friday morning.
Hey, what...? What is this?
- Haven't you told them yet?
- I'll take care of this, thank you.
I'm sorry.
Dad, you've... You've turned against us.
- You, you...
- It'll only be for the time being.
You'll get education there.
I can't do it no other way and
I won't let you be a tramp in the streets.
Listen, son, you gotta be something.
You'll thank me someday, I know you will.
Quit talking like that.
It makes me sick to hear you.
Go on, sign the papers!
- But that Steele, she'll never get me!
- Shut up.
All right, Dad.
Here comes Mickey now.
- Wait a minute.
- What's happened?
- What's the matter?
- Something the matter?
- What's up?
- Anything wrong?
They're gonna sign us
to the state work school.
- They are?
- Oh, no.
- Did you near that?
- Hey, Mickey, here's a letter for you.
The mailman just brought it.
It's from Harry Maddox.
- Say, that's the big producer.
- Read it, Mickey.
- Yeah, go on.
- See what it says.
You read it, Don.
"Dear Mickey. Your friend, Judge Black,
talked me into coming to see your show.
It was the only time I came near
being drowned and liking it.
Drop in and discuss your
production with me.
Sincerely yours, Harry Maddox."
Say, anybody got a dime
that I can get to New York with?
- Here, I got two bits.
- Oh, what a pal.
- Come on, let's go to the station with him.
- All right.
Look what it says in the paper
about the show. "Babes In Arms..."
Come on, get back on the stage.
We got a lot of rehearsing to do. Come on.
Hello. Yes, this is the Harry Maddox
Theatrical Productions.
Yes, ma'am. Yes, we're casting children
for the new show.
You're welcome.
Stage mother. Why doesn't Mr. Maddox
produce lbsen instead of kid shows?
You got me.
Sorry, Mr. Maddox is busy.
You'll have to wait.
Hello. Yes, Mr. Maddox.
No, he hasn't come in yet. Yes, sir.
- I beg your pardon.
- Only casting children today.
I'm Joe Moran. Mr. Maddox sent for me.
Mr. Moran. Oh, yes, he's expecting you.
Please come right this way.
Hello, Joe.
By golly, it's good to see you.
Thanks, Mr. Maddox.
Cut it out. Where did you get that
Mr. Maddox stuff?
- Well, you're a big shot now, Harry.
- Apple sauce.
You know show business, up today
and down tomorrow and back up again.
Sit down, sit down, I wanna talk to you.
Say, Joe, do you know it's taken me
a month to find you?
Well, Florrie and me have got
a place down near the job.
- You know, the kids went out on their own.
- Yeah.
Yes, I know. They'll...
They'll do that, kids will.
What I wanted to see you
about was this.
- I'm in a spot where you can help me out.
- Oh, no show business.
The world has been changing so rapidly
in the last few years, it's kept us all dizzy.
The public...
The public is like the Frenchman's flea... put your finger on them
and boom, they aren't there.
They're always hungry
for something new.
I'm not interested in the public.
Didn't talk like that the night Mickey
was born, back in the Palace Theater.
When everybody in the audience got
to be your brother and your sister.
Gee, they were great that night.
- Yeah, they were.
- A lot of that's come back, Joe.
Old-fashioned sentiment's
not taboo anymore.
And, Joe, a song-and-dance man
as great as you are... just as much of a miracle
as he ever was.
Leave me alone, Harry.
I want no part of it.
I stood on Broadway corners
and watched the business I grew up in...
...that I was good in.
I watched it pass me by
like I had no place in it.
Never turned around to see
if your feelings were hurt.
Kids had nothing.
Home gone.
I got up out of the rosin
as often as I could.
I'm tired.
- I'll stay where I am.
- You...
Kidding yourself that you can live
without doing what you were put here for.
You mean to say that you think you can
keep away from show business? No.
Joe, I'm offering you a job.
A job where you'll see the people crowding,
sure they're gonna have a good time.
You get to the theater,
you meet your pals... get your makeup on.
You hear the orchestra tuning up.
The stage manager calls, "First act places,
please. Curtain's going up."
Then the curtain goes up.
Oh, boy, what a thrill.
No, Joe. You and I,
we can't ever live without it.
We know too much about it.
What's your proposition, Harry?
Well, I've got a show.
A new show. A bunch of kids, see?
As fresh and sparkling as anything
that ever hit Broadway.
But, well, they don't know as much about
song and dance as they think they do... I want you to teach them.
Show them how.
What do you say?
- All right, Harry.
- I knew you would.
You run home and tell Florrie
all about it. And listen... and she are having dinner
with me tonight, just like old times.
Joe, by the way, there's somebody
in the show that you know.
- Mickey.
- Mickey.
Now, now, now, don't get excited.
Just keep cool. The kid is swell.
No fooling, he's immense,
but he needs you, Joe.
He needs you more than anything
in the world.
All right, call your rehearsal.
I'll make a trouper out of him.
A real trouper.
Give my love to Florrie.
Gee, I didn't think you were gonna
be able to make it.
What a man. Thanks, Mr. Maddox.
You see, Mickey, I've loved your father
much longer than you have.
I'm gonna make good for him too.
- You'll make good for a lot of people.
- Who?
For the kids who never had a chance.
For the kids a lot of wiseacres are telling...
...there is no such thing
as an American dream.
Well, those kids have got
their eyes on you.
Because you're being
given your chance...
...and by the bones of Bacchus,
you'd better make good.
Gee, it's bigger than just a show.
Say, it's everybody in the country.
Look at that kid, will you?
Hi there, neighbor
Going my way?
East or west on the Lincoln Highway
Hi there, Yankee
Give out with a great big thankee
You're in God's country
Where the grass is greener
And timber's taller
The mountains bigger
And troubles smaller
Hi there, chappy
Look over the seas be happy
You're in God's country
A hundred million rooters can't be wrong
So give a hand
Give a hand
Give a cheer for your land
Where smiles are broader
And freedom's greater
Where every man is his own dictator
Hi there, Yankee
Give out with a great big thankee
You're in God's
God's country
- Skies bluer
- God's country
- Hearts truer
- God's country
All of you who think
It's so much easier to give in
Count your many blessings
For this wondrous land
We live in
Love its highways
Love its alleys
lts Rocky Mountains and ruby valleys
Hi there, neighbor
You don't need a sword or saber
You're in God's country
We've got no duce
We've got no Fhrer
But we've got Garbo and Norma Shearer
- Got no goosestep
- But we the got a Suzie Q step
Here in God's country
A hundred million rooters can't be wrong
- So give a hand
- Give a smile
- Give a cheer
- For your land
We've got Nelson Eddy, lots of others
We've got three of the four Marx brothers
Hi there, Yankee
Give out with a great big thankee
You're in God's
God's country
- Grass greener
- Trees taller
- Mountains bigger
- Troubles smaller
- Sun brighter
- Skies bluer
- Loads lighter
- Hearts truer
Here we go a-marching
A bunch of happy residents
Here we go a-marching
The nation's future presidents
Hail to the chief
He's a very charming fellow
With a hi
With a ho
Hail to the chief
He's a most disarming fellow
Stand up my friends and shout hooray
- Hooray
- Hooray
- Hooray
- Hooray
My friends, my friends
It's been a lovely day
I signed a bill declaring war
On bugs in Carolina
I refereed a game of chess
Between Japan and China
I rang a bell that launched a ship
That sunk off Asia Minor
My friends, it's been a lovely day
My day, my day
Has been a lovely day
I breakfasted in Idaho
Then lunched in Indiana
I opened up a Turkish bath
In Helena, Montana
I launched a lovely Ferris wheel
And then dined in Louisiana
My day has been a lovely day
- It's been a lovely day
- It's been a lovely day
- Here in the U.S.A.
- Here in the U.S.A.
- What about Romania?
- India?
- And France?
- I can only say one thing
- What?
- Dance
What about the tepee girls
Who haven't got a chance?
I can only say to you
- What?
- Dance
- What about Pango Pango?
- Teach them to do the tango
- What of Brazilian mocha?
- It's better if you polka
- What about our wages when we dig?
- Brother, teach them to jig
- What about a pension for ma and pa?
- What about a pension for Artie Shaw?
What about the budget?
Relief? Finance?
- Gentlemen
- What?
Come on, students
Just dance, just dance
Wherever freedom's banners are unfurled
Sing this song from our hearts
To the hearts of the world
We send our greetings to friendly nations
We may be Yanks but we're no relations
Drop your sabers
We're all gonna be good neighbors
Here in God's
God's country