Annie Hall

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.


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