Ill Never See Him Again Funny Girl
Funny Girl Movie Cut Scenes & Trims 1968
Streisand / Movies
"Funny Girl"
Cut & Trimmed Scenes & Musical Numbers
Playwright turned screenwriter Isobel Lennart re-incorporated scenes and ideas into Funny Girl that got cut from her Broadway volume drafts. And producer Ray Stark tossed several of Jule Styne's Broadway songs and secured the rights to two songs that Fanny Brice sang.
Isobel Lennart'due south final shooting script — which is very similar to the last edited film — contains lines, musical numbers, and scenes that were filmed, then cut or trimmed past the editors.
Picture editors cut lines and scenes for many reasons; sometimes information technology's just a thing of pacing — the movie runs long and it's not possible to linger on every punch line or quirky graphic symbol scene. An case in Funny Girl was Ms. Lennart'due south efforts to develop the characters of Fanny's female parent, the neighbor Mrs. Strakosh, and Fanny'southward friend, Eddie — these moments were mostly edited from the picture. So were several of the key scenes featuring Anne Francis as the Ziegfeld showgirl Georgia.
Barbra Archives presents this multi-page report on the scenes from Funny Girl that were filmed and left on the cutting room flooring. These pages reference the final shooting script by Isobel Lennart (revised in August and October of 1967) and too photos, video and sound from my collection of the excised scenes.
A note on the shooting scripts: It is fascinating to compare the Baronial 3, 1967 "Last Draft" to the "Final Shooting Script" (FSS). The FSS is a compilation of all the script changes which are logged on the superlative of the page they occur. Flipping through the FSS, you can see that changes were beingness added in the middle of shooting the film: 8/21/67, viii/28/67, nine/5/97, 10/9/97. And it looks similar the majority of changes to the 2d act of the film were written and added mid-October 1967. I bring this upwardly because Funny Girl began filming in July 1967 and moved to Hollywood soundstages August 7th. This explains why some of the pre-recordings differ from the final motion-picture show, and why some scenes even appear to take been reshot.
We'll get into that beneath ....
The cut and trimmed scenes from Funny Girl are presented here in order as they occur in the motion-picture show.
Information technology should also be mentioned that Funny Girl is a very good film, and restoring these trimmed or cutting scenes probably wouldn't make information technology better. These scenes are non comparable to Garland's A Star Is Born, where the excised scenes were cut without whatsoever artistic merit and hurt the concluding pic. Garland'southward movie was restored years later on and the lost scenes made it better.
These Funny Girl pages just relate what was filmed, then lost or trimmed in the editing room. I hope they also illustrate how a pic tin can be remade in the editing room.
— Compiled and reported past Matt Howe, Barbra Archives
Scene 10.—Trim. MED. SHOT, A CARD Tabular array, FOUR WOMEN
The first trim in the Funny Girl movie comes very early: Fanny's first flashback subsequently she says to herself: " Did you hear that, Mrs. Strakosh? Ziegfeld is waiting for me. For me! Y'all see, you were wrong, Mrs. Strakosh... "
The editors then Dissolve to a close up of Fanny, looking in the mirror — You lot can see the continuity lapse: In the mirror, Fanny already has on her sailor jacket while Mrs. Strakosh is speaking to her!
The next cut shows Fanny putting the jacket on !
There were a few more lines in this scene which were cut out:
MRS. STRAKOSH
No, Fanny, dolling, I'm not wrong! Ziegfeld ain't waiting that fast!
FANNY
And so information technology isn't Ziegfeld — it's Keeney and his Oriental Palace. But he has a stage show and an audition and ...
MRS. BRICE
Hurry up, you'll exist late the first mean solar day. Come on, ladies, play ball!
MRS. STRAKOSH (shuffling cards)
If I was you, Mrs. Brice, I wouldn't tell her hurry upwards. I'd tell her amend — don't go! End wasting your life already!
MRS. BRICE
Mrs. Strakosh, my daughter is nineteen years of age. And she's been earning her living in show business organization since she was xiv. That'southward wasting her life past yous?
MRS. STRAKOSH
She wouldn't be amend off with a husband? A nice homo that's crazy about her?
FANNY
Well, gee, Mrs. Strakosh, I'thousand planning to have the whole earth crazy about me. That's a lot to give up for merely i man.
MRS. STRAKOSH *
Fanny. Honey-agglomeration. For a girl — for boilerplate — yous're a pleasure. Just when people pay good money in the theayater .......
MRS. STRAKOSH'Southward Cut VOCALS
As well absent from the concluding film is Mrs. Strakosh singing another verse of the song. You can hear it below (actress Mae Questel is backed by piano; Music managing director Walter Scharf would have added the orchestrated accompaniment later in the picture-making process).
Information technology's also interesting to note that some of Mrs. Strakosh's vocals are included on the Funny Daughter soundtrack album & CD, even though they do non appear in the movie.
Scene 23. EDDIE & FANNY. OUTSIDE DRESSING ROOM, KEENEY'S
After Fanny said good day to Nick Arnstein at Keeney's, there was a scene between Eddie, Fanny, and a chorus girl (played by Elaine Joyce) which was cut from the picture show.
This is an example of the Eddie subplot of the film (he has a crush on Fanny) which was mostly excised.
The edit used to comprehend the cut is clever, but obvious. Fanny closes the stage door once Nick leaves, but the movie subtly DISSOLVES to Fanny closing her dressing room door.
This scene would have fallen in between the Deliquesce.
FANNY
Did you come across him? Boy, that'south my idea of course! You know where he asked me out to? Delmonico'due south!
EDDIE
So how come yous didn't go?
FANNY
Just because a man'due south polite is no reason to ruin his evening. Listen, Eddie — how do yous recall it went?
EDDIE
Stop fishing — you know how it went! And Keeney says I tin can give you a number of your ain — how do you like that?!
(Fanny stares at him. Every bit a last CHORUS-GIRL COMES OUT of the dressing room and stops to hook a stocking:)
FANNY
A specialty! I'm going to have a specialty?!
CHORUS Daughter
I wouldn't have a specialty if Keeney begged me! When I find a guy that'll take me outa this dump, for him I'll practice my specialty!
(And she EXITS, tossing her head. Fanny and Eddie laugh. Then, turning into the dressing room:)
FANNY
Come talk to me while I change ...
INT. DRESSING ROOM
FANNY
Oh, Eddie, everything's really starting, isn't it? And so much of information technology'southward because of yous! I don't know how to thanks—
EDDIE
In that location must be a way. Similar — what are you doing after the bear witness Saturday nighttime?
Scene 3 0 . Cutting Song. "Temporary Arrangement"
"Temporary Arrangement" was a song originally written for Nick Arnstein to sing in the Broadway play, but information technology was cut during out-of-town tryouts. Jule Styne and Bob Merrill retooled the song for the movie and Omar Sharif, adding an introduction.
In the last screenplay, Nick's solo begins right after the scenes at Keeney'southward Music Hall.
Set in a hotel room, Nick and the Attendant unpack his suitcases and fix the room with beautiful things: a Castilian shawl, a folding shade over the bare light bulb, a crystal cigarette box, and a bluish marble egg on the bureau.
NICK (sings)
THIS Haven OF CRUMBLING PLASTER I DON'T Expect UPON Every bit DISASTER I Simply SAY ALAS, ALAS IN TIME THIS As well SHALL PASS!
Information technology'S A TEMPORARY Organisation WHEN YOU'RE DOWN, THERE'South NOWHERE TO Get BUT UP. I FIND THAT LADY LUCK CHANGES AFFECTION FORTUNE'S A FICKLE DAME. HAVEN'T RUN INTO THEM LATELY BUT BOTH OF THEM KNOW MY NAME.
IT'S A TEMPORARY Organisation FROM THE CRYSTAL DISH AND THE SILVER Knife Simply THERE'S Some other SIDE TO THE Coin TOMORROW NIGHT — TENDERLOIN! 'Cause A TEMPORARY System IS THE Just PERMANENT THING IN LIFE.
NICK, having removed the wall calendar, is hanging a small painting in its identify.
NICK
Too, a room with a Matisse on the wall can't be all bad!
As the Bellboy grins and shoves the suitcases under the bed, the telephone RINGS.
NICK
Hello — Oh, yeah, Branca ... At the odds you quoted? ... That'll be xx chiliad then — very overnice. Very nice indeed! ... Uhhh, no you tin can ship it around to the Plaza — the paint must be dry past now ... Cheers, Branca. Keep in bear upon!
Equally he hangs up, the Bellboy, used to the routine, starts pulling the suitcases from under the bed. NICK SINGS:
NICK (sings)
IT'S A TEMPORARY ARRANGEMENT WHEN YOU'RE Downwardly THERE'S NOWHERE TO GO BUT UP!
CUT TO: EXT. PLAZA HOTEL — NICK getting out of a cab, striding briskly to the entrance, SINGING:
NICK (sings)
AH Aye, Information technology'S GOOD TO BE BACK AT THE PLAZA. MODEST Just WITH APPEAL.
CUT TO: INT. PLAZA SUITE — Spacious and elegant, every bit a Attendant ushers Nick in, and a caryatid of Bellboys follow with his luggage and a tray on which there's a canteen of champagne in a cooler. Nick looks around contentedly, pours himself a drinking glass of champagne and SINGS:
NICK (sings)
I MUST ADMIT Information technology HAS A Unproblematic AND HOMEY Feel.
But A TEMPORARY ESTRANGEMENT FROM THE CRYSTAL DISH AND THE SILVER Pocketknife. BUT LIFE'S A THING OF JOY THEN TRAVAIL ONE Difficult RULE MUST PREVAIL—
A TEMPORARY ARRANGMENT IS THE ONLY PERMANENT Matter IS THE ONLY PERMANENT THING IS THE ONLY PERMANENT THING IN LIFE!
It should exist noted regarding "Temporary Organisation" — over the many years I've been researching Barbra Streisand'southward career, and out of the hundreds of photos I've seen and collected from Funny Girl … I take never run beyond shots from "Temporary Arrangment."
It is also curious that the vocal was non included on Funny Girl 's advance recording — an LP of the movie songs, including several which were cut from the picture (like Sharif's other number, "Pink Velvet Jail").
It makes me wonder if this vocal was ever filmed, and peradventure cut early in production to relieve time and coin.
Scene 48-49. "His Honey Makes Me Cute" Edits & Changes
Paul Helmick, Unit Production Director, recalled that director William Wyler (who had "concluding cutting" of the musical numbers fifty-fifty though they were directed by Herbert Ross) did non similar the assembled edit of "His Love Makes Me Beautiful." Helmick said Wyler thought the number "was much besides long." He wrote that "there ensued quite a discussion, pro and con …"
So the song was edited down. The introduction, sung by the men in acme hats, and newly written for the film, was the first role to be shortened by a few lines. "Tonight, all of America swells with pride / for a nearly ravishing dazzler shall be glorified …" was excised.
The chorus girls sung an abundance of "oohs" betwixt phrases of the vocal, which definitely slowed the number downward and broke upward the melody, and so they were removed.
In the original version of the song, some of the orchestrations were different, especially during the procession of brides down the staircase. As well, it is obvious that the "Horn of Enough" girl was re-dubbed for the concluding film.
Pictured hither, likewise, are curious photos from the product of Barbra Streisand wearing a unlike headpiece (more than like a bonnet) for the number. In the final film, she wears a flowered headband with a wedding ceremony veil. Information technology'south unclear whether these are costume tests (taken on the actual ready with the chorus girls present) or outtakes from an before version filmed with the bonnet.
Scene 61. Trim. MRS. BRICE'S SALOON / A Serial OF QUICK CLOSE SHOTS.
When Fanny and Nick return to Henry Street for a party at Mrs. Brice's saloon, you tin spot where a few lines were trimmed from the scene. The screenplay wanted to present several "graphic symbol moments" during the celebration, but the final edit really concentrated on Fanny and Nick'due south budding romance instead.
Joseph Yore, bandage equally Bertrum, the dentist (Sadie's husband) verified this in his memoir. "The outset couple of days, I did nix but watch the famous William Wyler with awe while he was directing the others. The scene I was in took place in a bar. My big 2 lines were cut downward to five words. In my big scene, I waltzed around the room with Barbra Streisand, who was portraying Fanny Brice. I said my 5 words at the bar. Then, I waltzed her over to the door where she could see Omar Sharif and where I gave her a big hug and a kiss. That took three takes, because she said my kisses were too sloppy."
Pictured hither are two more moments:
Mr. Keeney is seen getting beer foam on his mustache at the bar. Fanny says to him: "Believe me, Mr. Keeney—Ziegfeld isn't half every bit tough as you!"
And and then in that location's Dolly, one of the party guests, tackling Nick on the dance floor before Mrs. Brice has to interfere.
Correct earlier Mrs. Strakosh, dancing with Nick, says "You lot married?", Fanny and Eddie had an exchange that avant-garde Eddie'southward subplot and explained why he was working for Ziegfeld in future scenes.
FANNY
But if you worked for Ziegfeld, I'd at least see you once in a bluish moon!
Likewise, Sadie had one line that got trimmed. In the terminal film, Mrs. Strakosh and Nick come into the frame and you tin meet where they trimmed Sadie's line away. Sadie said, "Personally, a squeamish husband like I've got is improve than a career. I would say to her — Fanny, I'd say..." And then Sadie is interrupted by Strakosh. (See frame, beneath).
Finally, there was a niggling more to the "sponge fits in anyplace" scene. In the terminal film, the editor dissolves the scene out only as Eddie enters the frame.
The scen e, nevertheless, continued ...
MRS BRICE
A sponge fits in anyplace. To me, when a person's a stranger, they should deed a little foreign.
EDDIE (drunk)
What'due south he practice — I mean, for a living?
FANNY
He'southward in finance — high finance.
EDDIE (mulling that over)
High finance.
Cut — "Who Taught Her Everything She Knows"
Immediately following "People," the next scene and musical number was filmed but cut completely from the motion picture Funny Daughter.
A left-over from the Broadway show, Mrs. Brice and Eddie sang "Who Taught Her Everything She Knows."
The scene began with Mrs. Brice receiving a letter from Fanny almost her travels beyond America equally a Ziegfeld star.
Eddie and Mrs. Brice lament losing a daughter (and friend) and gaining a star ...
Hither are 2 stills that bear witness the vocal was filmed! And below is an excerpt from the audio track of the song, equally recorded for the moving-picture show!
Scene 7half dozen. Trim. EXT. TRAIN, BALTIMORE
The kickoff scene which expanded the Georgia James (Anne Francis) graphic symbol was cut. Every bit the Ziegfeld girls arrive by railroad train in Baltimore, they disembark and become their photos taken.
Georgia emerges, looking a petty worn and unkempt (hinting at her alcoholism).
As the girls are walking down the platform, Georgia says, "A buck I get a rise out of him!" — And Georgia flashes an old man pushing a produce cart, who reacts with shock.
The scene in Baltimore continues, every bit Fanny spots Nick and he invites her to dinner. The end of the scene was to be another reprise of the "Nicky Arnstein" vocal—but was cut. It'due south unclear if it was even filmed; no audio exists, and the shot would have been achieved as a "process shot" in the studio (i.e. not on location).
Fanny, having told Nick that "there'due south no police force against waiting," left the station and got in a cab. In the cab, she was to have sung:
Baronial 1967 VERSION
Fanny (singing)
NICKY ARNSTEIN, NICKY ARNSTEIN,
Yous'VE GOT A Beautiful, Beautiful LINE!
Y'all CAN Await TILL HELL FREEZES OVER
OR ZIEGFELD DOES SHAKESPEARE
THAT'S YOUR PROBLEM, MR. ARNSTEIN -- Non MINE!
SEPTEMBER 1967 VERSION
Fanny (singing)
NICKY ARNSTEIN, NICKY ARNSTEIN,
IMAGINE REMEMBERING It WAS I Year AND Ii WEEKS,
AND NOW ALL OF A SUDDEN OUT OF A CLEAR BLUE SKY
AN INVITATION TO DINNER
(spoken) Simply y'all tin yet go to hell!
Cut. Scene 87. INT. EMPTY THEATRE — FANNY
At this point in Funny Girl , the audience was reminded that the entire movie was occurring in flashback. Streisand, equally Fanny, was filmed in the empty New Amsterdam Theatre nevertheless sitting in the audience.
This cutting scene, falling right later "You Are Woman, I Am Man," showed Fanny remembering that night with Nick with tears welling in her eyes.
Underneath the scene, the music from the card players' theme begins playing .....
Scene 8eight. Trim. INT. BRICE SALLOON
The movie returned to its flashback motif and picked up the story back at Henry Street, with Mrs. Brice and her friends playing cards and singing a few lines of a song that opened the original Broadway bear witness —"I think you're bluffing .... Yous think so? I think so ..."
In the motion-picture show every bit we know it, they simply Dissolve from "You Are Woman" to Mrs. Brice, at the carte du jour table, maxim, "I'chiliad calling you. What take you lot got?" and continuing with Mrs. Brice discussing her daughter's featherbrained behavior.
However, the scene, every bit filmed, ended a little differently. Subsequently Mrs. Brice explained that Fanny was seeing the guy with"the ruffled shirt!" there were two more than lines (and some other Strakosh moment that was edited out):
MRS. STRAKOSH
That lovely Mr. Arnestein. I knew she'd see him again. I put the idea in their heads. I planted a little seed.
MRS. BRICE
You planted a fiddling seed on Henry Street and a year later a tree grows in Baltimore.
Scene 122-140 . "Sadie, Sadie, Married Lady"
The side by side large cut — or reworking — in Funny Daughter occurs after "Don't Rain On My Parade," intermission, and Fanny and Nick on the boat to Europe. Fanny gets married to Nick and wakes up in bed singing "Sadie, Sadie."
"Sadie, Sadie" was recorded and filmed one fashion, then some of it was re-filmed again with a new opening lyric and vocal past Streisand. The original version had a postcard motif — Fanny would write postcards to her friends and family while on a European honeymoon with Nick; her correspondence would exist sung over shots of them reading the postcard. ( see photo of Ziegfeld holding a postcard) .
There are revisions to the script dated 10/nine/67 in which much of the postcard scenes are gone, equally is Anne Francis' short solo. Instead, the terrace scene has been added where Fanny sings "merely sit at home, become a slob!" while surrounded by Eddie, Mrs. Brice, Ziegfeld and Georgia.
Here'southward the original version'south lyrics:
FANNY ( in bed )
I'm Sadie, Sadie, married lady,
Run into what's on my hand,
There'south nothing quite as touching
Every bit a simple wedding ring.
Oh, how that wedlock license works
On chambermaids and hotel clerks.
The honeymoon was such delight
That we got married that same nighttime.
I'm Sadie, Sadie, married lady,
Yet in bed by apex
Racking my brains deciding
Between orange juice and prune.
Nick says Cypher is too good for me,
And who am I not to hold?
I'grand Sadie, Sadie, married lady, that'south me!
As she gets up, starts writing a post menu, NICK, in a robe and ascot, comes out of the bathroom.
NICK
Sending out the news?
FANNY
Starting with the person most concerned.
123. Cutting TO: POST CARD - Mrs. Strakosh, puzzled, is showing the post card of the disguised Captain to Mrs. Brice, Mrs. Meeker, and Mrs. O'Malley.
MRS. STRAKOSH
What kind of a rabbi wears a uniform?
MRS. BRICE
Reformed.
124. Cutting TO: POST CARD - Monte Carlo. Angle widens to reveal KEENEY AND EDDIE looking at it:
FANNY (on track)
Hello from Monte Carlo
Where we gave the wheel a endeavor
Good luck non simply kissed us
But it spit right in our centre.
125. CUT TO: Mail service CARD - Tower OF LONDON. Bending widens to reveal ZIEGFELD reading the card.
FANNY (on track)
Nick's prospects oasis't been too bright
So I'll play London 1 fortnight.
I admire the Palladium
Simply mad for the British
And did you know, chum, the male monarch is really Yiddish
126. CUT TO: POST CARD - EPSOM DOWNS. Angle widens nosotros meet GEORGIA AND VERA in dressing room, looking at postcard
FANNY (on rails)
At Epsom Downs Nick actually clicked
The money filled a sack
I tin't, of course, forgive the equus caballus
What he did on the track!
127. Cut TO: POST CARD - ANNE HATHAWAY'S COTTAGE. Eddie reading information technology to Mrs. Brice in her kitchen.
EDDIE
"Nick's putting his Epson Downs fortune into something similar this — simply on Long Island, then nosotros'll exist closer to mama'south chicken soup."
FANNY (on track)
Nosotros're sailing abode,
So Rosie, dear,
Bring chicken soup down to the pier
I'grand Sadie, Sadie, married lady
That's me!
At this point in this alternate version of the number, the photographic camera focuses on a POST Carte du jour of a Long Island estate. The picture comes alive every bit Nick and Fanny's car pulls up to the business firm. Fanny and Nick enter the house — there'south a short flake of dialogue nigh living in a Long Island house , then the scene plays much like information technology does in the final film, with Fanny — inside the new house — saying, "This is the perfect house for a millionaire!" to which Nick replies/sings, "And for — Sadie, Sadie, married lady ..."
After that section of the song, the script (and advance recording) departs from the last picture show again:
136. CUT TO: EXT. TERRACE - Fanny & Nick entertaining EDDIE, MRS. BRICE, GEORGIA, ZIEGFELD and the ZIEGFELD GIRLS & their escorts.
FANNY
I swear I'll do my wifely chore
But sit at home, become a snob!
Sadie, Sadie, married lady
That'southward me!
137. INT. DINING ROOM - Fanny checking the dinner table, GEORGIA looking on.
GEORGIA (singing) **
Fanny, y'all did the trick!
FANNY (speaking)
Information technology's nothing!
GEORGIA
Not every girl can get herself
A guy who looks like Nick
FANNY
To tell the truth, it hurt my pride —
The groom was prettier than the bride.
** Y'all can hear the bars of music on the recording where Georgia was to have sang; the recording does not include Anne Francis' vocals.
The song finishes with Fanny, pregnant, singing "A husband, a business firm and a beautiful reflection ..."
However, the October 9 t h revisions use a dissimilar version of the song for the terrace. You can meet in the production photos that the group stands at the table, paired off into their corresponding dialogue scenes.
FANNY (sings)
I swear I'll do my wifely job
Just sit at home, go a snob!
Sadie, Sadie, married lady
That's me!
NICK (to Mrs. Brice)
I'll do my best to make her happy.
MRS. BRICE
Who tin make anybody else happy? If it's right, you'll both be happy. If not — not. Just be polite to each other. People get married, they shouldn't stop being polite.
BUTLER
Luncheon is served, madame.
EDDIE
Madame? That's you?
FANNY
That's me.
Scene 140 . INT. Plant nursery
Two endings — and a cut scene that followed!
The tiptop photo is what appears in the moving-picture show — Fanny is meaning and the nursery is beingness painted.
The original ending (as filmed) took identify in the nursery — the babe was already born, and Fanny sang these lines to the baby in the bassinet, with Nick across from her.
Scene 140. INT. NURSERY — DAY
FANNY (sings)
A HUSBAND, A HOUSE,
AND A Beautiful REFLECTION
OF MY Dear'S Affection
SADIE, SADIE, MARRIED LADY …
THAT'South ME
If y'all pay close attention, you can meet the clever edit where Nick suddenly begins talking about an add-a-pearl necklace. The post-obit dialogue took place here, though ...
NICK
Come up sit down downwards, help me make a determination …
Nick explains the 2 offers he'due south had. One is a respectable desk task. The other is Oklahoma oil state. Fanny, still, supports him either way. "Fanny, y'all don't have to agree with everything I say!" Nick says. He reiterates that he is head of a family unit now and wants his anxiety planted firmly on the ground.
( at some signal, the couple moves into the bordering sitting room, right off the nursery)
"Nick, I fell in love with yous floating ten feet over the ground," Fanny replies. "Get dig yourself an oil well!" she concedes.
Fanny jumps into Nick'south arms and he sings:
MRS. ARNSTEIN, MRS. ARNSTEIN
WHAT A WONDERFUL, WONDERFUL Dame!
Trimmed. Scene 146B. INT. ZIEGFELD STAGE
Later on the song, "Sadie, Sadie," the moving-picture show cuts to Eddie property Fanny's anxiety as she does sit-ups, getting back in shape later on having her baby.
However, the balance of this scene was shot but cut out, every bit the production photos testify.
This lost scene is another case of how Eddie'southward part was truncated ... and it'southward another loss for Anne Francis as Georgia.
The cut scene involves Eddie asking Fanny well-nigh Nick. She informs him that Nick is in Oklahoma drilling for oil (which was mentioned in the cutting scene in the plant nursery). Eddie'south face becomes serious ...
EDDIE
You oasis't put money into that deal, Fan, have you? Your ain coin?
FANNY (Frowning)
Our money. Why?
EDDIE
Information technology's merely that y'all've worked and then hard for everything you accept.
FANNY
What did I take besides work earlier I got married? I used to think — when does the fun begin? When do the clowns come up on?
EDDIE (dryly)
And then you met Nick.
FANNY
We've piled upwardly a lot of time, Eddie, and so I'm going to let you get away with that. Just this one time.
EDDIE
Distressing. I accept this old habit of worrying nearly you.
FANNY
Break information technology!
Eddie stands miserably as Fanny turns and starts off. At the same moment, GEORGIA ENTERS HURRIEDLY.
GEORGIA
Hey, Fanny!
FANNY
Georgia! Like former times, huh?
GEORGIA
Oh, Fan, I'm so happy you're back.
ZIEGFELD
You're an hour belatedly, Georgia. Are you sure you want to be in this show?
GEORGIA (coldly)
I couldn't care less, Flo. So if you'd rather —
FANNY
Hey, cut it out, you two! Talk nice on my kickoff solar day dorsum...
The scene continues in the wings ...
GEORGIA
This is my fourth Follies. So it's probably my last.
FANNY
Sure, if you continue coming tardily to rehearsals.
GEORGIA
It isn't that. If all y'all have to sell is a face and a body, it better exist a fresh face and a fresh body.
FANNY
Oh, come on, Georgia, you're practiced for x more shows!
GEORGIA (smiling)
Marvelous, that dream world you lot alive in ...
Fanny says to Eddie, looking sheepish and miserable: "Want to try that routine again?" The scene continues, as it does in the final film, with Eddie and Fanny dancing beyond the stage.
Cut. Scene xv3. EXT. LONG ISLAND HOUSE & GROUNDS
In the picture, Fanny and Nick accept a scene in which he reveals that he "lost his ruffled shirt" in the Oklahoma oil deal. Fanny says she "wouldn't be insulted" if they moved into an apartment New York City.
What followed was a scene in which Fanny and Nick walk across the backyard and thave a frank discussion about money and marriage.
Cut. Scene 153. "Pinkish VELVET JAIL"
Nick, left lone by Fanny after the garden scene, sings ...
What does a man demand?
Some shirts and some neckties
An address to pick up his mail
So some adult female claims him
And after she tames him
He'southward locked in a Pink Velvet Jail
In that location's coffee and quiet
And lite conversation
The earth seems so distant and stake
Y'all need her, you need her
But honey's made her freer
And you're in a Pink Velvet Jail
You're locked in a Pink Velvet Jail.
"Swan Lake"
The existent Fanny Brice performed in a ballerina tutu several times in her career. On screen, she is shot with an arrow by a huntsman while singing "It's Gorgeous to exist Graceful" in the flick Be Yourself. On tape, she sang "Becky is Back in the Ballet." And on phase in the Follies of 1916, Fanny wore a pink ballet skirt as she danced "The Dying Swan."
"The Swan" was probably inspired by Brice's comedic forays into ballet. The song was newly written by Styne and Merrill for the Funny Daughter picture and did not appear in the Broadway play. Musically, it quotes from Tchaikovsky's Swan Lake Suite, Op. 20: Scène, Lake in the Moonlight. "The Swan" also acquired several creative arguments between star and directors.
Beneath: A photo gallery of the Swan number.
Cut. Scene 17ii. INT. ARNSTEIN DEN — NIGHT
Cut from the film completely was a scene that featured Anne Francis (equally Fanny's friend Georgia James) who bursts into Fanny's New York apartment (drunk!) and tells Fanny that she lives in a fantasy world and that people, including Nick, find it very hard to live upward to her high expectations.
The scene with Georgia took identify as Fanny and Mrs. Brice are playing cards (which appears in the movie).
Georgia asks Fanny for a bed "because I wanna go to bed alone for a modify." Then she chastises Fanny: "Don't you ever expect at the people you intendance near? Don't you ever see them?"
Georgia continues when she says, "Depressing how large you are, old friend. Makes the rest of united states experience and then small. So I won't thank you. And some day Nick won't either."
Mrs. Brice easily drunken Georgia off to Emma, then sits downwards and continues the scene with Fanny, which is in the final film.
"You're his wife! You have to sit downwards with him, talk to him well-nigh information technology ..." Mrs. Brice says.
Even though Georgia's scene was a showcase of Anne Francis' talents, it was most likely cut because it was redundant — Georgia tells Fanny she lives in a fantasy globe, then Mrs. Brice basically says the same thing. The mother/girl scene was probably deemed to be more than poignant.
Trimmed. Scene 174. INT. ARNSTEIN LIVING ROOM
After the scene in which Branca offers Nick a partnership in a new lodge—and Nick discovers that Fanny put up fifty one thousand dollars for his share—Nick then escorts Fanny out the door to her rehearsal. He goes to the telephone and calls Peterson to accept the junk bond deal which eventually puts him in jail.
The filmmakers considered using Omar Sharif's vocal as he goes to pick up his drink afterward the call. (In the final film, an orchestrated "Don't Rain on My Parade" scores the scene.)
NICK (singing)
One scroll for the whole shebang,
1 throw, that bell will go clang.
This time nosotros play with my deck
Out of my mode, information technology's my neck!
This fourth dimension the setup feels correct,
Infant, it'southward opening night!
Hey, Mrs. Arnstein, here I go!
Trimmed. Scene 184. INT. THE Courtroom ANTEROOM
A small-scale portion of dialogue between Nick and Fanny was cutting. The dialogue clarified that Nick knew he was guilty.
FANNY
You had a chance. All you had to say was that Peterson tricked you.
NICK
I couldn't say that.
FANNY
Why not?
NICK
Because he didn't. I pleaded guilty because I am.
F ANNY
You're a very classy fella. Also a large schlemiel. Then, what's a little xviii months between friends? I'll visit you lot, I'll broil cakes for you — with inside, room for a file! I'll ...
Northward ICK
No, Fanny! I don't desire you lot to wait for me! I want u.s.a. to call it a day!
F ANNY
A noble spoken communication, kiddo. Then now you've fabricated information technology. Forget it. Because ...
North ICK
I mean it, Fanny. I want you to divorce me...
Trimmed. Scene 185B. INT. EMPTY THEATRE ("Funny Daughter")
The song "Funny Daughter" had a unlike, dramatic ending than what was used in the final film.
The commencement role of the song was as it appears in the movie—with Streisand singing and crying in the courthouse.
The second office, nevertheless, was filmed but edited out. Fanny rose from her theater seat, and walked into her dressing room. Turning on the light and taking off her glaze, she sang the last verse while looking at a photograph of Nick Arnstein.
The 45-rpm single which was released to record stores to promote the film besides featured a like arrangement, with the long orchestrated pause before the last poetry.
Of course, in the last pic, the reprise was eliminated, Fanny walked up on the phase, and the final scene in the backstage dressing room began.
Barbra Archives has recreated the scene with original audio and stills from the excised parts.
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Source: https://www.barbra-archives.info/funny-girl-cut-scenes-unreleased-streisand
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