Little red prayer book app
And, if the time feels kind of event-drenched, how can a never-quite-was become umbrella enough to distract America from the downpour?Īh, who's she kidding? Lucille knows what her life's real heavy weather is. Streetcar with Brando, armistice negotiations at Kaesong, Judy Garland at the Palace-Lucille has found herself in a rainy news season it won't stop drizzling headlines. Nobody likes dialogue that exists just to tell the viewers who is with whom. Her hair's kerchief comes to top knots like puppy ears.Īnd Vivian/Ethel is saying: "Yes, Wednesday's our wedding anniversary." "Isn't that your big night, Ethel?" she's saying. It's odd-crass and superficial-to need to be the most famous person in the world. But jeez-o-pete, Lucille thinks, don't just mumble it in. I mean, if Vivian Vance fails to see the appeal of television. Well, if Vivian Vance doesn't want to be here, fine.
LITTLE RED PRAYER BOOK APP TV
Vivian/Ethel: "Oh, right! About Wednesday evening." That half-decibel-too-loud 1950s TV voice, if a bit mumbled. "Ethel, you wanted to ask me something about you and Fred?" Lucille had not wanted the throne-it was shoddy, its legs were s***-yet the world's unseen topplers had come to topple her anyway. Ball, the contract player on Phil Baker's Gulf Headliner, also helmed nine low-budget program melodramas last year, including RKO's Five Came Back. It took Daily Variety two sentences to end Wray's brief epoch. She can name the coronation date: January 23, 1939. Ten years before, the press had named Lucille "Queen of B Movies." They had seized Fay Wray's crown of invisible plastic and set it on Lucille's almost-famous 'do. (Let Lucy scrub Lucille, on the other hand, hasn't cleaned a thing in at least seven years. But why would her character be doing the dishes midafternoon-and accompanied by a friend? Not important. The script wants Lucille to come off as miserable here, a housewife scrubbing at a greasy life. The other speaker is a heavy-haired actress named Vivian Vance-tonight and forever Ethel Mertz.
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The audience's laughter: respectful, obedient, we'll give you this one. "Can't you see? Flowers in a pattern of gravy." A specially calibrated comic beat. "Positive, Ethel"-pointing to the mark on the plate. (No, she can't show that the applause makes her happy.) "That's a floral decoration!" Her character is doing housewifely work in the kitchen. That's not schmutz," Lucille, as Lucy, responds. The first line of aired I Love Lucy dialogue-"You didn't get that dish clean, you know"-isn't spoken by Lucille Ball. The farm towns, sure, but mainly the hopeful and somehow still rural-in-feel urban centers of greater America, your Lansings, your Tulsas, pale towns-thataway, past Piscataway-where, to hear Lucille tell it, neighbors provide a real community (it's the sense of many hands giving you a boost), which can be lovely until in one way or another you distinguish yourself, and the many hands slide up and seize your throat. States where adults are judged too prissy to see a married couple in their marriage bed. Her image is going to be sent out via unfathomable technology-or maybe it is fathomable, but in the way prayer is fathomable-and aimed at the montage of states between New York and Los Angeles. Lucille swears this is beyond the last chance for her. (Though nobody knows yet, in 1951, if TV can bring that intensity of stardom.) But maybe huge stardom-the golden super-prominence she's after-involves more than acting. Turning to applause is acting's opposite. But turning your face to applause is not acting. The pilot episode was terrible.Īn audience wants you to be happy, and that goes into your blood and makes you happy. There had been a pilot episode-she and Desi filmed it back in March. Red camera lights blink like alien eyes.Ĭall it, this blinking red evening, her last last chance. The soundstage as Lucille crosses it feels awfully big. You can't just turn your face to the wind of applause. STAGE 2, GENERAL SERVICES STUDIO, LOS ANGELES, SEPTEMBER 15, 1951, EIGHT P.M.