Annie Hall
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MAN IN LINE (Loudly to his companion right behind Alvy and Annie) We saw the Fellini film last Tuesday. It is not one of his best. It lacks a cohesive structure. You know, you get the feeling that he's not absolutely sure what it is he wants to say. 'Course, I've always felt he was essentially a-a technical film maker. Granted, La Strada was a great film. Great in its use of negative energy more than anything else. But that simple cohesive core ... ALVY I'm-I'm-I'm gonna have a stroke. ANNIE Well, stop listening to him. MAN IN LINE You know, it must need to have had its leading from one thought to another. You know what I'm talking about? ALVY He's screaming his opinions in my ear. MAN IN LINE Like all that Juliet of the Spirits or Satyricon, I found it incredibly ... indulgent. You know, he really is. He's one of the most indulgent film makers. He really is- ALVY Key word here is "indulgent." MAN IN LINE -without getting ... well, let's put it this way ... ALVY What are you depressed about? ANNIE I missed my therapy. I overslept. ALVY How can you possibly oversleep? ANNIE The alarm clock. ALVY You know what a hostile gesture that is to me? ANNIE I know-because of our sexual problem, right? ALVY Hey, you ... everybody in line at the New Yorker has to know our rate of intercourse? MAN IN LINE - It's like Samuel Beckett, you know-I admire the technique but he doesn't ... he doesn't hit me on a gut level. ALVY (To Annie) I'd like to hit this guy on a gut level. ANNIE Stop it, Alvy! ALVY Well, he's spitting on my neck! You know, he's spitting on my neck when he talks. MAN IN LINE And then, the most important thing of all is a comedian's vision. ANNIE And you know something else? You know, you're so egocentric that if I miss my therapy you can think of it in terms of how it affects you! MAN IN LINE Gal gun-shy is what it is. ALVY Probably on their first date, right? MAN IN LINE It's a narrow view. ALVY Probably met by answering an ad in the New York Review of Books. "Thirtyish academic wishes to meet woman who's interested in Mozart, James Joyce and sodomy." Whatta you mean, our sexual problem? ANNIE Oh! ALVY I-I-I mean, I'm comparatively normal for a guy raised in Brooklyn. ANNIE Okay, I'm very sorry. My sexual problem! Okay, my sexual problem! Huh? ALVY I never read that. That was-that was Henry James, right? Novel, uh, the sequel to Turn of the Screw? My Sexual ... MAN IN LINE It's the influence of television. Yeah, now Marshall McLuhan deals with it in termsof it being a-a high, uh, high intensity, you understand? A hot medium ... as opposed to a ... ALVY What I wouldn't give for a large sock o' horse manure. MAN IN LINE ... as opposed to a print ... ALVY What do you do when you get stuck in a movie line with a guy like this behind you? I mean, it's just maddening! (The man in line moves toward Alvy. Both address the audience now.) MAN IN LINE Wait a minute, why can't I give my opinion? It's a free country! ALVY I mean, d- He can give you- Do you hafta give it so loud? I mean, aren't you ashamed to pontificate like that? And-and the funny part of it is, M-Marshall McLuhan, you don't know anything about Marshall McLuhan's...work! MAN IN LINE Wait a minute! Really? Really? I happen to teach a class at Columbia called "TV Media and Culture"! So I think that my insights into Mr. McLuhan-well, have a great deal of validity. ALVY Oh, do yuh? MAN IN LINE Yes. ALVY Well, that's funny, because I happen to have Mr. McLuhan right here. So ... so, here, just let me-I mean, all right. Come over here ... a second. (Alvy gestures to the camera which follows him and the man in line to the back of the crowded lobby. He moves over to a large stand-up movie poster and pulls Marshall McLuhan from behind the poster.) MAN IN LINE Oh. ALVY (To McLuhan) Tell him. MCLUHAN (To the man in line) I hear-I heard what you were saying. You-you know nothing of my work. You mean my whole fallacy is wrong. How you ever got to teach a course in anything is totally amazing. ALVY (To the camera) Boy, if life were only like this! SŁOWNICTWO: to affect - oddziaływać, wywierać wpływ, wpływać na cohesive - spójny, spoisty, zwarty to deal with something - traktować, postępować z, to be depressed about - mieć depresję z powodu fallacy - błąd, sofizmat, fałszywe rozumowanie granted - pewne, zapewnione gut - jelito, wnętrzności, flaki to hit sb on a gut level - trafiać do wnętrza, przemawiać do wnętrza hafta = have to hostile - wrogi indulgent - pobłażliwy, folgujący insight - wgląd, intuicja key word - kluczowe słowo manure - gnój, nawóz to oversleep - zaspać raised - wychowany rate of intercourse - wskaźnik częstotliwości stosunków seksualnych sequel - kontynuacja (mówiąc o książce lub filmie) to spit - pluć stroke - atak, napad (choroby) validity - ważność whatta = what do GRAMATYKA (I NIE TYLKO): Warto zwrócić uwagę na szczególne użycie czasownika „to happen”: I happen to be - zdarzyło się, że jestem I happened to be there the day before the accident - Przypadkiem byłem tam dzień przed wypadkiem. I love him so I don’t care that he happens to be 40 years older than me. - Kocham go, więc nie zwracam uwagi na to, że jemu zdarzyło się być 40 lat starszym ode mnie. TEST
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