All language subtitles for Baby 1969--

Run!

Mum.

I'm home.

No, I won't, so he's my friend.

Oh, hello, love.

I've just got a few letters I want to do.

They still haven't done
anything to the study.

Yes, I know.

Give me that, I'll give you a glass.

Yes, thanks.

Harry's up to his usual tricks.

Oh, yeah.

Okay? - Yes, that's fine.

I'm with you in five minutes.

Ah, there you are.

Why did she pick on you
after all these years?

Well, we did grow up together.

Darling, it all
happened a long time ago.

It doesn't matter now.

Did you know she had cancer?

Yes, yes I did.

She talks about your letters.

Yes?

What letters?

Amy, I also sent her money.

Why?

You wouldn't understand.

The poor bitch, she had nothing.

Nobody to turn to, only me.

What about this daughter, luci.

That's her.

Is she yours?

Now, come on, don't be stupid.

She's a lovely child.

Oh no.

Come on.

Luci.

I'm Dr. quayle.

Yes, I know.

They told me
at the welfare office

you'll be here.

I wanted to meet you.

Hello.

Thank you.

You're older than I thought.

What did you expect?

Don't know, really.

Someone about 20, you know,
like you are in mum's photos.

That was a long time ago.

Mum was always talking about you.

- Luci...
- Did you love her very much?

Yes I did.

But you left her all on her own.

Is it time, then?

Luci, you don't
have to go to this thing.

I've got to.

Ah, Mrs. Carmichael,

this is luci. - Hello, dear.

Can I take your case?

Come on.

Mrs. quayle, this is luci.

Hello, luci.

This is Nicky. - Hello.

Right, well...

What about a cup of tea?

Yes, you two men go ahead
it's ready in the kitchen.

I'll take luci upstairs.

This way, luci.

Our bedroom's on the first floor.

Yours and Nicky's is on the second.

I'm afraid you'll have to
share a bathroom with him.

I hope you don't mind.

Any phone calls for me?

Nick? - Hmm?

Oh, one or two, Mrs. Carmichael took them.

Tea.

I'll leave you to make
yourself comfortable.

The bathroom's two doors along
if you want to have a wash,

and come down and have tea with us.

Do you like it?

Here you are.

Tell me, luci,

are you as crazy about pop music as Nicky?

I don't know.

Yes.

Ah, luci, you let me down.

- Thank you, Mrs. Carmichael.
- Thank you, Mrs. Carmichael.

Oh yeah, she's what we call
in this part of the world,

Mrs. quayle's treasure.

Well, what do you do then?

I suppose I run the household.

Nicky, sit up straight, darling.

Nick.

Nick!

Beautiful girl, isn't she?

Oh yes, very.

- Is she like her mother?
- No, nothing like that.

What was she like?

Well, you know.

No, I don't know.

Why won't you talk about her?

Because it's 12:32.

Goodnight, darling.

You're not sorry she's here, are you?

Hmm.

You know, in a way
I'm rather glad she is.

Robert?

Robert? - Hm?

Have you thought about her schooling?

Oh, plenty of time for that.

Holidays have just started.

Besides, we've agreed to take
her only for a trial period.

Oh, we might.

- Morning.
- Hello, pet.

Good evening.

Oh!

- Good evening.
- It's not that late.

She's not down yet.

I'm off.

Oh, give her some pocket
money, will you now?

- Yes.
- Not you.

Bye-bye. - Bye-bye.

Luci?

Luci, are you awake, dear?

Luci?

Luci?

Luci, open the door.

Luci?

Come on, young lady, get dressed.

Breakfast is getting cold.

There we are.

I don't want to go down!

I want to stay up here!

It's a beautiful morning.

Oh, dear.

Come on, let's find you something to wear.

We must get you some new things.

They were new at Christmas.

They're very pretty.

What have you got there?

Nothing.

Well, show me.

Luci, please?

Shh.

Come on.

Darling, listen.

If ever you feel unhappy,

don't you lock yourself
in again like this.

You just come to me and
we'll talk about it.

You'll see it'll make it all much better.

You know I act daft sometimes.

Don't be cross with me.

- Of course not.
- Please don't send me back.

Come on.

Come on.

You dry those eyes.

Come on.

Dry your eyes and come down
and have some breakfast.

Yes?

Come on!

Luci.

Luci.

Luci, darling.

It's all right.

Luci.

It's all right.

Sit her up.

Right up.

Now luci, drink this.

That's it.

All of it.

And that bit there.

That's fine.

Don't leave me please.

No.

No, of course not.

Don't be silly.

Come on, darling.

Good girl.

Tomorrow I've got a nice surprise for you.

- No, I don't like this.
- You look very nice.

- No I don't.
- Do hurry.

No, oh, I like this.

No, no, I like this.

Come on then, let's try.

Stand there, boy.

David.

David, come here.

Think they're all mine.

Yeah, I like this one.

Look, isn't it gorgeous? - Luci.

What are you doing?

Luci.

Where you going?

Come back here. - Luci!

Luci, darling!

Luci.

Go in!

Yes, it's lovely.

Come on, in.

Quickly.

Yes yes yes yes yes.

Quickly.

Wait.

Look. - Oh, my god.

Yes, that's mine as well.

Luci please go and put some clothes on.

Can I have it?

Yes, it's lovely darling.

- Can I have it?
- Yes, of course you can.

Thank you.

Ah.

Well?

Couldn't be much shorter, could it?

It's all right, I suppose.

Oh, now, Nicky.

Now look, the two of you have a snack,

then you take luci out the
afternoon, and don't be late.

This little piggy

went to London Smithfield market,

where together with a lot of his mates,

he helps to keep the British larder full.

You'll never guess where
these fellows come from.

You guessed it.

Master butchers like this one

are quick to spot the right
bird, and their experience

and know-how is the key

to the young housewife's satisfaction.

Meat auctions attracts the crowds.

Some keen, some just curious.

Here the butcher can see
just what he is getting.

This is a free for all,
and anybody is welcome.

Today the standard is very, very high,

but a little rough meat
still finds its way

onto the British market.

Judging meat on the hoof
is an expert business,

and it would seem there
are fewer master butchers

buying from the markets these days.

Some say they are getting older,

and that there are the
youngsters going into the trade.

Even so, these are the men

who enjoy the excitement
of the market auctions.

Yet, the master butcher remains
what he has always been,

a craftsman, descendant of a long line.

We're all Jack spratts of heart, you know.

We like it lean.

The modern taste is for small joints.

This helps the farmer who can grow

the end product more
quickly, and that means

more and more meat goes
into the British oven.

And here is the result
of all the farmer's work

and the butcher's craft.

A prime cut of the protein.

You don't have to ask whether
they like it.

Nick, stop acting.

Nick... - You're filthy.

You're such a stupid little boy.

Why did you let him touch you?

- Don't try hurting me!
- Why did you?

Next time I'll kill you.

Nick?

Nick!

Nick!

Have you ever given a French kiss before?

Get out!

- Luci, please!
- Don't touch me.

- You didn't mind earlier.
- Get out!

You didn't mind
behaving like that in the cinema.

Don't say that again!

I'm sorry, I didn't mean it!

- Get out!
- Luci, please.

Get out or I'll call your dad.

- Luci!
- Robert!

Robert!

What is it?

Luci?

Yes.

I just wanted to thank you

for the lovely new things I got today.

Would you like me to show them to you?

Luci, do you know what time it is?

I'm glad you like them, anyway.

Robert?

Could I just ask you something?

What?

Mum used to read to me sometimes.

Would you?

You should be asleep.

No, it's in the tin.

The what?

Under the bed.

Do you think she'd be dead now,

if you'd never have left her?

Luci, I loved your mother very much.

And because of that, I want
to do the best I can for you.

Now, where's the book?

If you had have loved
her, you'd have married her.

And all this wouldn't have happened.

You might have been me dad.

You never even came to
see her when she was sick.

Luci it's very late.

I'm tired.

Is it true I'm like mum?

Go to sleep.

Is she all right?

She worries me.

What you talking about?

I've decided I'm gonna have
a talk with her on Wednesday.

Why Wednesday?

Because I'm back down
to Brighton on Wednesday

to see Charles's new annex

and she asked if she could come with me.

She wants to see to sea.

Wednesday?

Wednesday.

She can't.

She's asked me to take
her to a fashion show.

Has she?

Do you know, it wouldn't surprise me

if she hasn't done it on purpose.

Oh, don't be stupid,

she made a simple mistake, that's all.

She forgot.

Amy, don't get too
attached to that girl.

What a priceless remark.

You know, if I didn't know you so well

I'd say you were jealous.

Jealous?

Well, she made a simple mistake,

you can't accept a simple
logical explanation.

Oh no.

Clinical mind gets to work.

What are you getting excited about?

Just don't start using her
for your own ulterior motives.

Do you know what you're talking about?

Yes, Robert, I do.

Try to divide us, as your
peculiar way of punishing me.

Just because you feel inferior.

Oh, whenever I get attached to something

you try and break it up.

When do you attached?

You use people.

You use me, you use my family.

Yes, I know.

And you use luci's mother.

Now, just be careful.

Just after you leave
her, she has an abortion.

Well, who left her in that
condition, the milkman?

Don't try and be cheap, Amy.

You're very embarrassing.

We were discussing luci.

What else has the wicked child done?

Just remember that I knew her mother!

Morning.

Darling, you don't have to do that.

Oh, let me do it, please.

Mrs. Carmichael said I could,
I always did it at home.

- Are you sure you can manage?
- Mm.

How marvellous to have
a girl about the house.

Did Mrs. Carmichael lay the table?

No, I did.

Today is your day at
the clinic, isn't it?

Friday is always my day at the clinic.

Thank you for reminding me.

- Wasn't it all right?
- What?

The breakfast.

I'm not very hungry this morning.

Bye.

If he wants to be difficult, let him.

Don't you run after him.

I cause trouble
between you two, don't 1?

Oh, don't be silly.

But I heard you last night.

Luci, grown ups have
quarrels all the time,

doesn't mean anything really,
it was all a stupid mistake.

There we are.

And who are you telephoning?

Cassie's place.

When did you last wash behind your ears?

Yesterday, honest.

Cross me heart and hope to die.

You're a baby.

Will you ever grow up?

Never.

I don't ever want to be old and plain.

Like me?

You're not old and plain.

Can I use some of your eye makeup?

With a complexion like yours,
why do you want to spoil it?

Let's see you.

I'm going to paint my face.

And paint, and paint and be utterly evil.

What you wearing tonight?

Aha.

That's a surprise.

You can't be serious.

But they're all the rage.

Really?

Not here.

Don't you like it?

Get dressed.

J where's the one she gave her heart to j

j yesterday stays away too long j

j he's the one who's there beside her j

j he's the one she really loved &

j where's the one she gave her heart to j

j yesterday stays far too long j

j there's the one who's been denying her &

j he's the one she's thinking of I

j baby love j

j it's baby love j

J baby love j

j baby love j

j baby love j

do you want a drink?

Dance, girl? J reason why j

j feeling my body into the night &

you got a pretty figure, you know that?

Thanks.

J I lose my mind j

j ltisn't right j

j time is so unkind j

j I didn't know about this j

j'l can understand j

j what ugliness really is j

j it's all, we wonder what j

j out of my life &

where d'you live?

I'm staying with friends

I've got some good friends too.

Over there.

You alone?

No.

Come and meet the gang.

J I wouldn't think if it's really true j

j I would be, I really could sacrifice j

j life can make you high j

j all the hurt you're feeling inside j

j all the one I learn j

j that it's myself that I must find j

j and it's all we wondered what j

j out of my life &

jnanananad

- come home.
- Oh, shut up.

Luci!

Jnanananad

- where are you going?
- Home.

I'm staying here.

I've got the money and
you're coming with me.

Jnananananald

jnanananad

- luci.
- No.

- Please.
- No!

You bloody well change your mind.

You'll be such a stupid little boy.

Why don't you grow up.

You like old men, like my father.

You wouldn't let him
do anything, would you?

Maybe.

This is little girls' time.

I think you better go, don't you?

And shut the door.

Amy, Amy!

Amy!

Amy!

Amy!

Are you all right darling?

It's all right.

Please don't leave me.

Please.

No, I won't.

It's all right, darling.

Shh.

You know what I think?

Hm?

I think she's
deliberately staging

a return to childhood.

Bedtime reading.

It's perfectly natural.

At her age?

I thought I might sleep
in her room for a few nights

that's exactly what she's after,

and it's exactly what you mustn't do.

Oh really?

Even if she does just want attention,

what's wrong with that?
Everything.

What do you think of Cassius Clay?

He's a good boxer.

I think he's terrific.

Do you think you find me attractive?

You won't let me because I'm ugly.

You think I'm ugly, don't you?

Nicky...

Mum, mum...

I'm sorry, I overslept.

I hope you didn't wait for breakfast.

I had mine with Nick.

What are you gonna do about the pearsons?

The pearsons?

Well, they're your friends.

You can't keep on putting them off.

Next Sunday.

Right?

Yes, fine.

Nick!

Excuse me, Dr. quayle.

Oh sorry.

Did you burn yourself?

No, I'm all right, don't!

You'll only make it worse.

Go on, go outside.

Breakfast outside.

Hello.

Hello.

Feeling better?

Better than what?

Than you did this morning.

I was perfectly well this morning.

Oh, if you say so.

When are you going to get the
painters out of the study?

Tessa?

Yes.

No.

Course not.

Hm, we're looking forward to it.

How is margo?

Oh.

Well, it's quite natural.

Mm, yeah.

Listen, Tessa.

No, it's all right, I'll
talk to you on Sunday.

Oh, yes, she's fine.

Yes, settling in very nicely.

Okay.

Yes, I will.

Bye, Tessa.

Oh, get out.

Bitch.

So this is where you hide.

Work.

What are you doing now?

I'm trying to write an article.

No, please.

You're pretty clever, aren't you.

You must do pretty well.

I do.

Sometimes.

Better than you would have
done as a doctor up our way.

Agreed.

Why did you leave her?

Luci I'm not...

You never answered me when
I asked you why you left her.

Why didn't you stay with her?

She always said she was happiest with you.

Luci.

Listen.

You've got to try to understand

that people's lives can change.

Are you listening to me?

Now, I changed mine.

After university, things could never

be the same again for me.

Now your mother...

She didn't want you to go!

Just let me finish.

Let me finish.

I didn't want to leave her.

But I was ambitious.

Luci, come here.

Come here, come here, come here.

Luci, now you're here with us.

Same eyes, same face.

Luci I'm going to look after you.

And again.

Faster.

- Two.
- Two.

- Four.
- Four.

- One.
- One, that's mine.

- Two.
- Two.

That's mine.

Two.

That's mine.

That's mine.

You laid the queen.

Come on, get that sorted.

Faster.

- Two.
- Two.

That's mine.

Come on, have another one.

You're not quick enough, Nick.

Go on.

Faster.

Two.

They're mine.

Two, put another one.

That's mine, wait.

Try again.

Four.

Two.

Amy!

That's yours.

Thank you.

Are you going up for the night?

Yes, I think I'd better.

Just to reassure her while
she's having these nightmares.

Come on, Nick.

Three.

Amy?

Please sleep with me, Amy.

I'm so lonely.

Please.

Pretty little thing, isn't she?

I bet young luci's
got a lot of admirers.

Yes, she has.

I don't mean me.

Don't you?

No.

24.

25.

20, ah...

Oh, cut it out, luci.

- How's the water?
- Very nice, thank you.

Mind you don't catch a cold.

If I do, will you look after me, sir?

Bah.

D'you know, one of the advantages

of approaching middle age

is to have the things
you really appreciate.

Like this champagne, for instance.

By the time we get them

it's usually too late to enjoy them.

Oh, I don't know.

Do you?

Daddy and Robert getting stoned.

What are you doing about schooling?

We had a party
the last night of term.

Veronica wedaborne drank
half a bottle of gin.

We pay 700 a year to send
her to a school like that.

She threw up all night.

We thought she was going to die.

That's enough, luci.

Oh, leave her alone.

I said that's enough, luci.

Cheers.

Did you notice how our
little teaser behaved?

Shall I drive?

Why?

Come on, wipe that pious
look off your face.

Is that all you learn to your convent

for poor little rich girls?

I was forgetting.

They ought to have taught
you how to spread your legs

for me on the riverside at Oxford.

The girl needs a psychiatrist.

She's not the only one.

You were disgusting
tonight, you and Harry.

You should have seen yourselves.

She was disgusting with me.

Just out of curiosity,

was it luci or the mother you wanted?

Come on, come on, don't be stupid.

No.

No!

No!

No!

Ah!

No, wait a minute.

This way?

That's very good.

That way?

Suits you.

Come in number five.

Come in number five.

Your time's up.

I repeat.

Come in number five.

Oh!

Row!

Row, row!

Come on, row!

Row!

Come on.

We've lost our team, you miserable bugs.

15 lashes for the lot of you.

Careful.

Bunch of idiots.

Good afternoon ladies and gentlemen.

Good afternoon ladies and gentlemen.

Come on, luci.

Come on!

I recall a nice looking pair of...

Which?

The fella isn't bad looking either.

Do you think the young fella would mind

if I inspected his jacket?

You think so?

Come on, luci.

Get off!

Anything the matter?

What do you think?

Leave her alone!

Get stuffed.

Get stuffed.

Leave her alone!

Would you like to watch what goes on?

Timothy.

Timothy, don't go too far now.

Timothy, come back.

You're too easy, love.

Too easy.

As for you, you little pansy.

I'll kill you.

I'll kill you!

Nick, you all right?

Nick!

Say something, Nick.

You did it on purpose.

You knew what they're after don't you?

I did not.

My father's right, boarding
school will do you good.

What do you mean?

What do you mean?

Yes, they're sending you away.

You're lying!

You're lying, you're lying!

Luci, what is it?

Luci, what's happened to you?

I was attacked.

You were what?

Darling...

Darling, tell me.

Some fellows.

There were four of them by the river.

They were fooling around,
for laughs, you know.

Then suddenly...

Oh, it was horrible.

Luci, darling.

Tell me what happened.

It became vicious, especially
one of them, vicious.

Darling what happened?

What happened?

Nothing really happened.

It was just...

Oh, my darling.

Men are horrible.

Filthy.

I hate them.

Amy?

Don't let Robert send me to
boarding school, will you?

Would you like to be with other girls?

No, Amy.

No, I want to stay here.

I won't let him send you away.

I wouldn't.

I'll speak to Robert.

And you speak to Robert, be nice to him.

Robert?

Could you please come up a moment?

Please?

I can't very well shout from here.

Come up, please, it's important.

If it's that important,
you come down here.

Robert?

Well?

What do you want?

No, it doesn't matter, you're busy.

Come on, what is it?

You're sure you can spare the time?

Yes, I can spare the time.

These nightmares, every night.

That's why I can't sleep.

I'm frightened, Robert.

Luci, for somebody of your age,

you've experienced emotions
which you can't understand.

Now, these dreams always
involve your mother, right?

Yes, mum, always.

And she gave you
a rough time, didn't she.

No, no, she loved me!

Oh...

She said I was the only
reason she was stuck

in that rotten, stinking house.

She called me a little blonde bastard.

She wasn't always like that.

She was, luci.

Oh...

What's the matter?

I haven't mentioned it before.

It's always there, this
pain in the back of my head.

There?

Yes.

I suspect it's
there as well, right?

Yes.

Nervous tension, luci.

That's all it is.

Your nervous system is like, like strings

which can be stretched and stretched.

It's evitable that the
shock of your mother's death

should leave a Mark.

We're doing the best we
can to make you forget.

And be happy.

Will you, Robert?

Will you make me happy?

Don't you think I'm attractive?

Cover yourself up.

But I love
you, Robert, I love you!

Cover yourself up!

Oh!

My god, you are like your mother.

- Lam, am 1?
- Yes, you are.

Just like her.

Now, get up!

Oh, Nick, don't, no, please!

Don't touch me!

Please, Nick,
don't let them take me away!

I said don't touch me!

Look, I saw you downstairs!

You're a bitch, you're a bitch!

For being a naughty girl, luci.

For spying on your mum, luci.

I told you to stay out til 10.

What did you see?

Answer, what did you see?

What are you, like a spy?

Mum?

Forgive me, mum.

You never said, "I love
you," mum, not once.

I tried to make you say it, but you never.

And now you're sorry, and can't get up.

Come on, mum, just like this.

Mum?

Mum?

Nicky?

Nicky?

Say something, Nicky, please.

Say something.

Oh, Nicky.

Stop pretending!

Nicky!

Robert, Robert!

Just pull
yourself together, Amy,

just pull yourself together.

What are we going to do?

Amy.

The pearsons are
going to be here soon.

Look, it's no good for him,

he already left.

I can't go through with
it, Robert, I really can't.

We can do nothing.

It's five to seven now.

They'll be here in less than an hour.

Anyway, basic concussion,
that's all it is.

We'll be home here in a couple of days.

First thing in the morning
I'll get rid of her.

She has to go.

She has to go.

I said you're right.

She must go!

She's got to go, I can't have her here.

For the sake of all of us, you
must get rid of her, Robert.

She can't stay here.

I told you to
stay with Mrs. Carmichael.

Now, get up to your room!

Want to play with your little doll?

Get up to your room!

Don't you want to play
with your little doll?

Luci, please.

Don't you want to play
with your little doll, Amy?

Robert?

Bobby?

- Ah.
- Hello, Harry.

Hello.

Tessa's in the car.

Where's luci?

Oh, she's not coming, Harry.

She's got a bad headache.

Has she?

- There are three
things that are real.

God, human folly, and laughter.

Since the first two are
beyond our comprehension,

we must do the best
we can with the third.

Here is our star.

- Who?

Ye ye ye ye

Ya ya ya ya

- Jerry Lewis.

- He's cute.

He's fast.

He's nuts.

- He's scared.

- He's dear.

- He's sweet.

- He's what?

- He's sweet!

- But the question
still remains.

Who?

- Who is Jerry Lewis?

- Ay-yi-yi.

- Wow, I,

I wish I could tackle a
less complicated question.

- Is he the poor, neurotic
kid from Newark, New Jersey

who can't face the public?

Is he the accomplished
super star?

Is he this gifted film director?

Who is the real Jerry Lewis?

- Hold it!

Hold it!

Lover when I'm near you

- I was the class clown.

- Ha, ha, ha, ha!

- Ha, ha, ha ha!

Our teachers had gone all crazy.

Lover when I'm near you

- I was a troublemaker.

I'd make people laugh,
I'd do anything.

Softly in my ear

You breathe a flame

- It was fun.

Lover when we're dancing

- Mr. Lewis, you
are a complete nut.

Ye ye ye ye

Yeah yeah yeah yeah

Ye ye ye ye

Yeah yeah yeah yeah

- Well, roll it, go on.

Yeah yeah yeah yeah

Ye ye ye ye

Yeah yeah yeah yeah

- I was five.

That's never changed,
I've always been five.

It's the best age for a kid.

I was born in 1926,
Newark, New Jersey.

- Is Jerry
Lewis your real name?

- It is now!

It wasn't when I was born,
I was born Joseph Levitch.

L, E, V, I, T, C, H.

And I have some other
bits of information

that will choke you up.

I'm sure you're not
about to come back with,

why did you change it?

When chandeliers
start falling

On the heads of
the whole ploy

- My father.

Although you may think
it's an earthquake.

- Good-looking man.

I know that's my boy

- Wonderful
singer, great entertainer.

And funny man, funny.

- His father was a singer
and a comic who was very much

influenced by Al Jolson.

And his mother played piano
and would often accompany

Danny Lewis on his tours.

His parents came
from Eastern Europe,

fleeing the kind of
persecutions, they were Jewish.

And they were both show
business people as well.

So, in some ways, with
Jerry, show business

was in the blood.

One unfortunate
consequence of his parents

being entertainers was that
they were away from home

quite a lot.

So, he grew up kind of like
the only child with a family

but a very lonely child
as well without siblings

or without parental
contact all the time.

- One time, when his
father was performing,

his father motioned
to him to come out.

Come out, Joey, Why don't
you sing for these folks?

Sing, Brother, Can
You Spare a Dime?

Now, Jerry's five years old.

So, he walks out, all
proud and he slips.

Now, his foot hits a
foot lamp, it explodes!

He gets his first laugh.

He knows already
what he wants to be.

Then, you fast forward, and
Jerry's 15 years of age,

devises his own act, he
calls it a record act.

And he would have a record
player playing behind him.

And he would mime to whatever
the record was doing,

whether it be a bit of Caruso,
a female opera singer, etc.

He was hilarious.

Be my love for no one else

Can end this yearning

There's need that
you and you alone

Create

- He was a very anxious
child, but he could overcome

his anxiety by not having
to use his own voice.

So, he could purely focus
on his body and his face,

and the voices were
supplied by others.

Be my love

For no one else can
end this yearning

This need that you
and you alone create

Just fill my arms the way
you've filled my dreams

The dreams that you inspire

With every sweet desire

Be my love

- I went through school
and started as a writer,

and I wrote things
for comedians.

And when they didn't do it
like I wrote it, I did it.

Love

Is almost never ever

The same

- Danny Lewis was almost
resentful to Jerry's career.

Jerry's career progressed more
in one year than Danny's did

in 25, 30 years.

Jerry Lewis was a
household name in 1946.

Now, how would
you feel as a dad?

- Here
he is, Jerry Lewis!

- Thank you very much, good
evening, how are you all?

- His father had an
agent, Irving Kaye,

who encouraged Jerry
to become a performer.

And Danny was so
upset, he fired Irving.

At that point, Jerry hired
Irving, and Irving became

Jerry's manager for the
next several decades.

- I didn't hear you ma'am.

Where's your father?

- My father went up the
river with a sack of cats.

What I would like to say...

I'm only kidding, you like
the way the lady yells out

all of a sudden?

We have a two-act, it's
a road company now.

See it in your smile
I hear it in your sigh

That we have found a
feeling higher than high

My own

- And then, I met him.

My only

- What a
good day that was.

For you're my Mary

- I was at a bar in Las
Vegas, and there was a drunk

at the bar.

He was giving me problems.

And Dean walked over and
punched him in the mouth.

- You alright, kid?

- Yeah.

- You sure?

- He never touched me.

Well the wheels

Were rolling down
the trail one day

With my doggie at my side

Got my six-gun
and my big hat

And

- Jerry was an only child.

Dean was the brother
he never had.

He got to be cheeky. He
got to look up to somebody.

Who's this incredible,
handsome man?

That's the guy I need.

I dare sing a anthem

I don't need it

In writing

- Two and a half
hours, unrehearsed.

That audience went nuts.

That was the birth
of Dean and Jerry.

- The Dean
Martin & Jerry Lewis Show!

The Colgate Comedy Hour!

- Come here!

Everybody knows you love me

- You were mean to me, you
abused me and continued

to slap me and just how long
do you think I can stand it?

- The concept of the Martin &
Lewis performance is basically

a handsome man and his monkey,
or the playboy and the putz.

It was about two guys who
were very, very different,

who come together.

Martin represented sex, Jerry
Lewis represented slapstick.

- And we're gonna
be pals, right?

- I would think so, Dad!

- And Lewis was basically
the architect of the act.

He never wrote any
of the scripts,

but on a kind of sandwich
bag, he'd just scribble

a few notes about, OK, we have
these two guys doing this,

and they do that.

So, you have a basic structure

which he describes
as blueprints.

I'm singing

Singing in the rain

I'm sing in the rain

- I think Jerry saw in
Dean everything he wasn't

and vice versa.

Dean saw in himself everything
he wasn't through Jerry,

and they fulfilled
something in each other.

- You gonna sing the same song!

- Ah!

- Stay right there!

- I don't wanna!

- Yes, you're gonna, you're
going to if I can make it!

♪ I'm singing

Oh, not again!

- Jerry made Dean
cackle and laugh so hard

through his physical comedy,
but then Dean was such a wit.

That made Jerry laugh, and I
think that's what bonds anybody

in any partnership.

- He made my life.

I was hoping to be a success,
and he made sure I was.

We had so much fun, we
had such a good time.

And we'd say to one another,

and they're paying us for that?

We want to thank you!

- We now want to
invite you to swim!

- You've been wonderful!

Brush your teeth
with hello hello

- They were rock and roll.

They were rock and roll
before rock and roll.

They were sexy, they
were the missing link

between Frank Sinatra
and The Beatles.

We need each other
we need each other

We need each other

Brother

Without each other
we would be lost

Well as long as
we're together pal

All things will weather pal

We'll find when
sunshine turns to broad

When the sun on your lips

With your mugger and quips

We'll both get married like

- I want to see
the projectionist!

Turn off the film,
stop the music!

- During the war, men had
actually spent a lot of time

in one another's company.

They'd been away from women,
they relied upon on one another

for emotional sustenance,
for friendship, for safety.

And I think Martin & Lewis
became a way of carrying over

into the post-war period the
male bonding that had been

so intense during the
World War II years.

- Excuse me, little lady.
How about a little drink?

- Please!

Everybody

Needs to care

For somebody

All your dreams
weren't meant to share

With somebody

- Dean and Jerry broke up.

They broke up because other
outside influences got involved

that shouldn't have.

It was none of their business.

In the likes of, oh, Dean,
you don't need that kid,

Oh, Jerry, you're
better off without him.

Dean, you could make more
money without this kid.

After awhile, that
starts to become

your own thought
process, almost.

They did their
last film in 1956.

They didn't even
speak on the set

throughout that
whole production.

I don't think the audience,
even today, ever got over that.

That was the worst divorce
in showbiz history.

- After the split, Jerry
appeared in a series

of formula comedies.

They were formulas
like they had been

in the Martin & Lewis days,
pretty much putting him

in a situation and just
letting him run riot.

- One of the most important
relationships that develops

in this period is the
relationship he has

with film director,
Frank Tashlin.

By the time he's actually
a solo performer,

he wants to know more and
more about how to make movies,

and Tashlin is a great mentor.

He sees Tashlin as a
great metteur en scène,

but also as a great
director of comedy.

And he learns a lot
from Tashlin, and
Tashlin takes the time

to tell Jerry how to do it.

- The day I walked
on a motion picture set,

the first day, I knew I
wanted to learn everything.

And when they wanted
me for a scene,

I was in the wardrobe
department, or the
camera department,

or the make-up department,
the technical department,

the miniature department.

They could never get me on
the set, I was learning.

I was all over the yard.

And I knew that's what I
wanted to do for the rest

of my life.

I was 34 when I
directed my first film.

- The Bellboy!

- On January the 28th,
I began writing a screenplay

which I completed
eight days later.

170-page screenplay.

I sent for a crew of 150
people from Hollywood,

and I was shooting The
Bellboy in under two weeks

in the time that I told
them I'd give them product.

I closed there after
28 days of shooting,

I opened in Las Vegas, cut
the picture in Las Vegas

during the day, and
the picture made

over seven million dollars.

- If you think you're
gettin' a tip, you're crazy.

I'm using my case money
to buy a ticket to see

a bellboy, 'cause
I hear it's funny.

And it's got a series
of silly sequences,

and I like silly sequences.

And Jerry Lewis
is starring in it!

That's right, big J.L. himself!

The tall nut!

Now, get outta here.

You, too!

- I think one of the
reasons why he chooses

to make this particular film
is he wants to demonstrate

where his allegiances lie.

He's honoring his heroes,
Chaplin, Keaton, Stan Laurel,

but also trying to kind of
move away from the kind of

formulaic comedies he
made with Dean Martin.

This is pure comedy.

- Jerry really wanted Stan
Laurel to be in a film with him.

That was his dream.

And Stan agreed to
be in this movie.

And just before they
went into production,

he felt quite ill
and pulled out.

So, if you watch the film
today, there's a Stan Laurel

impersonator in the movie
doing all the scenes

that Stan should have done.

They became very close.

He almost mentored Jerry
in Jerry's earlier career.

One and all in the
hall at the ball

- He used to
say something to me,

when you go out in
front of an audience,

tell them you're gonna
do something, then do it,

then tell them it's been done.

He was the genius
behind Laurel & Hardy.

They had a real love-in,
they loved one another.

They were great friends,
just like Dean and I were.

One and all In the
hall at the ball

That's all

Some ball

Commence to dancing

- I lived with Charlie
in Switzerland for two weeks

at his home.

Incredible!

For two weeks, we were
arguing about what was funny

and what was not funny.

- Chaplin was the one
that was embraced,

and any comedian
who came afterwards,

who wrote and directed
his own films,

suffered by comparison.

So, when Jerry came along,
Jerry Lewis, of all people,

the loud, crazy kid from
the Martin & Lewis films,

decided he wanted to
be a filmmaker, well,

I think that's a lot of the
backlash, because they thought,

who does this guy
think he is, Chaplin?

- No autographs, please.

- He also makes a guest
appearance in the film

as Jerry Lewis, the
famous movie star.

This is one of the first
of many films in which

Jerry Lewis is
self-reflexively dealing with

the phenomenon of being
Jerry Lewis in the films.

- Stop with the brushing!

Let me have another
cigarette please.

I'll smoke it dry,
I'll smoke it dry.

- Yes, sir, Mr. Lewis,
we're all quite excited

about your appearance
at the Fontainebleau.

- Lewis, once he actually
starts directing films,

wants his name on the movies.

Very important that his
films say, written, produced,

directed by Jerry Lewis,
his stamp in the film

with his own marker,
with his own signature.

- In the credits, he credits
the character Jerry Lewis

to Joseph Levitch.

So, we're working on
a few levels here.

Jerry Lewis is not
actually a person.

Jerry Lewis is an act.

He's a performance by
whoever Joseph Levitch is.

- The
mighty director.

Ssh swine, can't you
see I'm creating!

Oh, it's you, Mr. Bird, it
pleasure to have you on the set.

- Any director that
I've ever dealt with

and those that asked me about
my direction of the film,

I think we all concur that
you have to have a direction

as the director, who is the key
factor in the film creation.

You have to have a direction.

Now, in the beginning, you're
given the opportunity to start

in creating the comic
sequences without a form,

without a pattern or
direction because people want

to see where you go.

But once they've established
the fact with you

that they are satisfied,
that you're capable,

they now want to see growth.

And they want to see a formula
and a pattern established

or they won't accept it.

Because without pattern and
without form in filmmaking,

then you could always be
referred to as a novice.

And people will resent that.

I'm going to work, kids.

Alright, places please!

Alright, let's hear it

for the movie star!

- Hey, stupid!

- Hey!

- Hollywood's
biggest, most elaborate,

most expensive studio stage
set of all time is constructed

before your eyes, and
only one thing is missing

to complete it
all, the SuperNut!

And here he is!

- Ah!

- He's got an incredible
kind of mise-en-scène

in this movie.

He's constructed this
huge dollhouse set,

and the camera cranes up
and down around the set

and constructs the film
through this very artificial

use of high-resource
kind of technology,

if you like.

And the Wellenmellon house
where the film is set

becomes a metaphor for the
artifices of Hollywood.

And although he's not
actually influenced

by the French critics like
Godard, Truffaut at this time,

he's doing something
very, very similar.

He wants to use film as a
way of shaping a perspective

on the world.

And at the same time, his
films have been marketed

to juveniles, they're
children's films.

So, when he makes a film
like The Ladies Man,

which is basically an art film,

critics in America are
confounded, my God,

what's he doing here, why
isn't he just being funny?

- You felt
you had to have a crane?

You had to have
practically everything

that Hollywood could give you?

- And more.

- And more,
and you feel that you need

everything there is?

- Absolutely, I don't
think anyone is good enough

to work within four walls,

and to work with
antiquated equipment.

Our business is technology.

- You've even
invented a system of shooting.

- Yeah well, in order for me
to direct and be in two places,

I had to devise an electronic
concept alongside my cameras,

so that I could see what I
was doing and see the actors

on monitors, on
television monitors.

There wasn't anyone out there
I would trust to say that

it was OK, etc.

It's my ball and
bat, that's all.

- And you're
also able to judge yourself.

I mean, where you've
gone wrong yourself.

- Absolutely, I've seen
many, many situations where

I wasn't happy with the
comedian, and I had to get them

to do it again.

And if you think it's easy
talking to me, you're crazy.

- Jerry Lewis was certainly
a rebel, but he was sometimes

a rebel in spite of his
own maybe desire to be.

I think it has a lot
to do with class, too.

People don't often
talk about that.

You know, poor boy who
becomes a rich boy,

and how you're supposed
to behave in relationship

to all of that.

In one of his
autobiographical books,

he talks about soon after
he made it big in Hollywood,

driving down in his convertible
down Hollywood Boulevard

or something, just blasting
his horn as loud as possible

just to show how
important he was.

It's like, you know,
something that you could say

is offensive, but it's
exactly what somebody,

who is powerless and has no
money and then becomes rich,

is tempted to do.

- He's more a
painter maybe than a director.

- Hi, honey.

- Uh!

- He's
working with space.

- He's not tracking like those
so-called modern movie-makers

and making fancy
with their camera.

He's just interested
in framing it.

He's a very good framer,
like great painters.

He has a lot of
sense of geometry.

To be a comic of, to be
very capable in geometry.

- It's difficult to
make a good picture.

And he knows, and I think
he should be supported,

and I am one of his supporters.

- But most people don't
go to movies to see

framing and technical.

They want to laugh or
be entertained or--

- Yeah, but they receive
pictures through that.

- Boy, what an
imagination can do for ya!

- Do you
also find him funny?

- Very, very.

If not, no, I think
it's very funny.

Even when it's not
funny, it's more funny,

because it's not funny.

- Robert
Benayoun, good friend.

The French want everyone to
think that they discovered me.

And that's OK, they
don't do that in Italy.

They don't do that in Germany,
anywhere in the world.

But the French, Jerry is mine.

I am happy to see you!

- The key champion of Jerry
Lewis in France, of course,

is Robert Benayoun, who is
fascinated by comedy in general,

by American comedy, The
Marx Brothers, W.C. Fields.

He was somebody who saw
artistry in this form of comedy

that could transcend reality.

- In the world, we have
10,000 men who can do Hamlet,

-O, what a rogue and
peasant slave am I!-

But we only have
these men who can go

Not only because it is difficult

but because it carries
a heavy responsibility.

And the 10,000 actors
that do Hamlet don't have

to check in with Shakespeare.

But we have to check with them!

They are our responsibility.

Shakespeare didn't
even show up today.

Where he is, I don't know.

I used brush!

- When you see someone
having an epileptic fit,

a little part of your
person is somehow,

sees that as a mirror,
a mirror of something

hidden far inside.

And I think that the
French spectators

are more comfortable
with pathology.

It's true that in the 1900s,
deformity was the thing

that made the public
laugh the most.

I won't translate that because
I was telling that you are

a terribly good director
and a fantastic technician.

- The French, in a sense,
gave us American cinema.

The post-war critics in
France, they hadn't seen

any American films during
the German Occupation,

and then all those films
flooded to the country at once,

and their appreciation
of the films allowed us

to see our pictures
in a different way.

But in Jerry Lewis's case,
the idea that the French

revered him became a joke in
and of itself, and nowadays,

the people who are keeping
the joke alive know really

nothing about Jerry Lewis
and particularly his films.

And, of course, there's
also the fact that he's,

in terms of our culture,
considered a mere comedian.

- American society is, by
you, examined very deeply,

I don't know if you are aware
of it, how deeply it is,

and you also question it
as you would in any society

in which you live.

- I try to knock down

people who have

no longer allowed themselves
to be just people.

You cannot make fun of
throwing a snowball at a man

in a felt hat,

but you can make fun
of when you throw

the snowball at a black top hat.

The why of it is because
the black top hat

is the man at the
bank, a diplomat,

a politician,

or the man who owns
the funeral parlor.

- Both The Errand Boy and The
Patsy are similar in the sense

that they're Jerry's
response to his lack

of critical acceptance
and, to a degree,

the way he was treated
by the Hollywood bigwigs,

meaning that they just didn't
understand why he wasn't

content to turn up
the same product

or why he wasn't
falling in line,

why he had to be an individual.

- Ah!
- Ah!

- Ah!

- Marty!

- I know, I know.

- There are questions
that don't get answered there.

But it gives the audience
time to think about it,

which is good.

If you get your
audience thinking,

you got half of the job done.

- Oh OK, let me
start over again.

They just didn't understand
why he wasn't content

to turn up the same product
or why he wasn't falling

in line, why he had
to be an individual.

And tellingly, he did
not change his path.

- Ah!

- Do you realize that
that screw loose,

imitation of a human
being has disrupted

this studio beyond control?

- In a way, it's like a
planned culture in America.

But it's a culture that's
planned by the studios,

not by critics, not
by the government.

In fact, you could
almost say the studios

are the government.

- You have to remember
that in the United States,

in the 1950s and 60s, the
model of the male model,

Jimmy Stewart, of
course, comes to mind,

but Jerry Lewis's
character somehow evokes

for that audience, the same
audience, evokes a problematic

male figure to say the least.

A male figure that is totally
unpredictable, for one thing,

can go off on an irrational
tangent, is not in control.

He's a dangerous figure
for the American ideal

of the proper way to behave.

- Are there any requests?

- Yeah, get off!

- I, thank you!

- As a child, you have no
filter, and you don't know

the rules of life
or to be human,

so you are much more
open to exploring,

and as you grow older, you
become self-aware and want

to fit in and you're taught
not to be as extroverted.

That's not as accepted.

But then when you're in society,
and you go, wait a minute,

I loved being a kid,
and I loved doing that.

And you don't lose that?

I think Jerry's never lost that.

And I think it's important
for any performer,

to never lose that kind of
freedom to just kind of say,

you know, F you, I'm
gonna be out and open

and a ball of energy.

And if anybody has a problem
with it, it's your problem.

It's not mine.

- How old are you?

- Six years.

- Me, too!

- One of the things
that seems to me,

that is the most profound
thing that happened in his life

was that his parents failed
to turn up for his bar mitzvah

when he was 13.

It seems to me this
explains an awful lot about

Jerry Lewis's character because
when you're that neglected,

you could never get
enough attention.

No matter how much attention
you get later in life,

it'll never be enough.

- Jerry Lewis has said
that an audience is like

a thousand mommas and poppas
patting you on the head

and saying, good boy.

So, that validation
and endorsement,

that maybe was absent because
the parents were absent,

is provided by an audience
and maybe that accounts

for the hunger and
the need to perform.

- Hey!

- I think there's
something with Jerry Lewis

that might explain his
international profile.

He's somebody who plays a
little guy who's hard done-by,

who has to win through by
virtues of the heart and also

through his efforts to greater
acclaim and acceptance.

I don't think he
necessarily represents

the American Dream, although
he's a very successful figure.

I think he exposes problems
within the American Dream

and problems within
American social values

in many of his films.

- I think in a very profound
way, Jerry Lewis is America.

That's what's so
fascinating about him.

And Americans don't
like to see themselves

in the mirror when they
look like Jerry Lewis.

So, the real
interesting phenomena

is not
Americans-hate-Jerry-Lewis,

but that they love Jerry Lewis
and don't want to admit it.

- I'm just a human being
with all of the foibles

and all of the traps.

The show, the pressure, the
groupies, the autograph hounds,

the crew, the incompetence.

those behind-the-scenes
you think are your friends,

but you're not too sure if
they're gonna be there tomorrow

because of their incompetence.

There're wonderful pressures
that make everyday a glowing,

radiant day in your life.

It's terrific, OK.

If all of that means nothing?

If I'm wrong in spite of
all that, then I apologize.

I'm sorry.

- In 1983, there is a
very interesting turn

in Lewis's career.

He appears in a Martin Scorsese
film, The King of Comedy,

playing a role that's very
unlike the Jerry of old.

He's a talk show host.

He's very sober, very stern,
very joyless in this film.

It's a very astonishing
performance,

but critics responded to this
film as if they've never seen

Jerry Lewis act before.

So, it's almost like the
critics don't really have

a framebook for valuing,
for understanding

comic performance at all.

It's only when Lewis
becomes a serious actor

that somehow he's
seen to be credible.

- Oh, Jerry, I love this guy!

Always coming up with
these great lines!

I love him, I love him!

- I know he's a great
actor., I worked with him

on The King of Comedy.

He played it pretty
straight, strong.

After a point, too, he'll look
at me at one point and say,

I can't do anymore of this take.

It doesn't matter, you got it,
six, seven times, whatever.

I think you can see this
though in a lot of pictures

with Dean Martin, The
Stooge maybe, The Bellboy,

The Ladies Man,
which is visually

one of the greatest, I think.

But you can obviously,
it's so obvious

in The Nutty Professor.

I mean the Julius Kelp
character is grotesque.

It's like a gargoyle
that's come to life.

It's frightening and funny,
but the change to Buddy Love

is the real scare.

That's where you see
the acting, that tilt-up

when you see who it is, from
the shoes to the silk suit,

and he's Buddy Love.

And this is a great performance.

- Professor?

Professor!

- Since I
was probably five,

I thought about, one
day, I'm going to perform

in a great classic,
and then I found it.

Jekyll & Hyde.

Hey, that was terrific!

Hey, did ya hear that, folks,
A regular George Bernard Shaw.

Good boy!

And he did it all by himself,
you did all by yourself,

and nobody helped you.

That's terrific and with
your very own big mouth!

Now, if you don't want this
cocktail shaker to be a part

of your gums, mix the
drink, shut your mouth

and pay attention,
is that clear?

Repeat after me, I'll.

- I'll

- I'll pay.
- I'll pay.

- I'll pay attention.
- I'll pay attention.

- Alright, let's continue!

- I don't think it's
a matter of proving

your skills in drama.

Maybe that's true of comic
actors, but that's not Jerry,

I think, I think
he's a visual artist,

a visual artist like
Chaplin and Keaton.

And he's got his own physical
instrument as an actor,

would call it as a key element
in the creation of his art.

So in a sense, he was
virtually alone in his time.

- I don't know how many
years of articles there

has to be written of sad clowns.

I mean, every person who's
in the comedy business

has a very serious side,
and I love it when people

are shocked to learn that.

It's like how many stories
do you have to read

before you realize, yeah,
comedy comes from pain.

Any comedy comes from pain.

And so that pain is real, and
the pain is also another side

to be explored as an artist.

- When I look at
Jerry Lewis, him,

I know him, I know
what he can do.

I, therefore, try to
steer his characters

and his personalities
in the areas where he

is most comfortable, for
he is a strange, unique,

neurotic strange,
unique, neurotic.

- As soon as I
find out what are travel--

- You see, most people
look at that and think that

that is total make-up.

I'll tell you something
that I've never told anyone.

This is make-up, that's clean.

'Cause if you look at that,
he won't hurt anybody.

And he is who I think
of all the time.

No more make-up.

No more ghastly one-nighters.

No more squealing brats!

- He raises the enigma
of identity to an
interesting level.

We can watch Jerry Lewis
exploring who Jerry Lewis is

across from film
to film and across

various different
media articulations.

I think he remains an enigma.

Just when you think you've
identified who Jerry Lewis is,

he does something else that
challenges that presupposition.

When you walk
through a storm

Keep your chin up high

And don't be
afraid of the dark

- By the 1970s, Jerry became
less active in filmmaking.

A good part of that reason
was because he became

more involved with the
annual MDA Telethon

which was taking up more of
his time and his attention,

but also the fact that he was
experiencing health problems,

and they precluded such a
physically demanding process

as directing movies.

Of the long

- His fundraising actually began

in the Martin & Lewis days.

The very first MDA Telethon
was hosted by Jerry and Dean.

And it just blossomed
from there because Jerry

has always been interested
in humanitarian causes,

the muscular dystrophy cause
being the closest to his heart.

Though your dreams be taut.

- So this is something that
Lewis has devoted himself,

body and soul, to for
a very, very long time.

In fact, it was very hard to
disentangle muscular dystrophy

from Jerry Lewis.

He became such a
personification of the cause,

and although that's actually
now over, still in America,

most people knew
Lewis, as I suspect,

for his humanitarian work
rather than for his films.

You'll never walk alone

Walk on walk on

With hope in your heart

And you'll never walk alone

You'll never alone

Thank you and goodnight.

When I went to the circus
when I was five or six,

I met a lot of the clowns.

And I met them throughout
the years every time

I went to the circus.

Same clowns, older but smart,

very smart.

I was putting on my clown
make-up, and I had 24 of them

around my table
watching me make up.

And in the mirror, you see 24
different clowns watching me.

It was beautiful.

Oh my God.

This was my first
professional picture.

I was 16.

The King!

The King.

Fou.

This was the greatest love
of my life, right there.

With her.

Great love affair.

All of my crew would
go home after a day,

and I'd take it home with me.

From the time I was a
kid, I always wrote about

what I see in the world.

I'm always looking
and seeing the world.

And I see it as it is,

but I can tweak it
and make it funny.

He was closer to me than
a brother, than a father,

than a mother.

He was closer to me than
anyone else in my life ever.

And I miss him today like I
missed him the day he died.

Doesn't change, everyday,
I think about him.

There's my hero.

Nutty, Nutty!

Marty Scorsese.

The American critics
are full of shit.

They have no idea
what I'm doing.

They never have.

See, they wrote great
critiques on The King of Comedy

because it wasn't low-brow,
it wasn't taking falls.

It wasn't, ah!

None of that.

And they liked that, Jerry's
now working for them.

You don't worry about them,
you don't think about them.

Or you're screwing your life.

If you start to do what
they say, you'd be finished!

You'd be a critic in a small
paper in Rochester, New York.

My writing was to give pleasure.

Every script I've written
was for the audience

to have a good time.

I'm nostalgic about everything.

Not in any one thing,
but many things.

I've been very lucky,
look at all that!

That's a lifetime of
wonderful moments.

I'm very lucky, I'm blessed.

I've been given some wonderful
abilities that helped me

get through to the public.

And that's the bottom line
of all of that, it's love.

If you give love
to your audience,

they're gonna give it back.

You can't explain fame.

So, I said it's like a big
balloon and a bunch of children

around it with long pins.

And if they buy a ticket,
they got the right to do that.

Go marching in ha

Oh when the saints

Go marching ah

Oh ah ha ha ha

Ah

Marching in

- Aw gee, you don't have
to get excited about it.

After all, I'm only out
here trying to sing a song!

Here we go.

I can smile

Just because I'm young

- Cut.