Information
| Year: | 2004 |
| Rating: | 8.0(95616) |
| Listed in: | Drama, Romance |
| Directed by: | Nick Cassavetes |
| Actors: | Ryan Gosling Tim Ivey James Garner Sam Shepard Anthony-Michael Q. Thomas Ed Grady Rachel McAdams Starletta DuPois Gena Rowlands Joan Allen |
| "Behind every great love is a great story." | |
Cast
| Directed by | |
|---|---|
| Nick Cassavetes | |
| Actors | |
| Ryan Gosling | as Noah Calhoun |
| Tim Ivey | as Rower |
| James Garner | as Duke |
| Sam Shepard | as Frank Calhoun |
| Anthony-Michael Q. Thomas | as Nurse Keith |
| Ed Grady | as Harry |
| James Marsden | as Lon Hammond Jr. |
| Geoffrey Knight | as Barker |
| Kevin Connolly | as Fin |
| Andrew Schaff | as Matthew Jamison III |
| Matt Shelly | as Seabrook Boy |
| Michael D. Fuller | as Seabrook Boy |
| Jonathan Parks Jordan | as Seabrook Boy |
| Jude Kitchens | as Tommy the Ferris Wheel Operator |
| David Thornton | as John Hamilton |
| Tim O'Brien | as Mr. Tuffington |
| Cullen Moss | as Bodee |
| Pat Leonard | as Lieutenant Davis |
| James Middleton | as Aaron |
| Frederick Bingham | as Postman |
| Daniel Czekalski | as Recruitment Officer |
| Peter Rosenfeld | as Professor |
| Bradley D. Capshaw | as Injured Soldier |
| James Scott Deaton | as Injured Soldier |
| Obba Babatundé | as Band Leader |
| Chuck Pacheco | as Bus Driver |
| John Cundari | as Maitre d' |
| Hugh Robertson | as Pastor |
| Robert Washington | as Elgin |
| Todd Lewis | as Reporter |
| Mark Johnson | as Photographer |
| Robert Fraisse | as Buyer #1 |
| Daniel Chamblin | as Buyer #3 |
| Robert Ivey | as Dressmaker |
| Mark Garner | as Lon's Employee |
| Scott Ritenour | as Lon's Employee |
| Milton Buras | as Lon's Employee |
| Matthew Barry | as Dr. Barnwell |
| Madison Wayne Ellis | as Noah, Jr. |
| Riley Novak | as Edmond |
| Ronald Betts | as Male Nurse |
| David Abrams | as Recruit |
| Jonathan Dickson | as Soldier |
| Taylor Engel | as Guy in Movie Theatre |
| Bob Forrest | as Man Having Dinner in Retirement Home |
| Paul Johansson | as Allie's Mom's Ex Boyfriend |
| Michael L. Nesbitt | as Carnival Worker |
| Nicholas Shelly | as Sailor On Bus |
| Adam Sumner | as Lumberyard Worker |
| Bruce Williamson | as Carnival Patron |
| Actresses | |
| Rachel McAdams | as Allie Hamilton |
| Starletta DuPois | as Nurse Esther |
| Gena Rowlands | as Allie Calhoun |
| Joan Allen | as Anne Hamilton |
| Heather Wahlquist | as Sara Tuffington |
| Jennifer Echols | as Nurse Selma |
| Renée Amber | as Nurse at Counter |
| Leslea Fisher | as Seabrook Girl |
| Meredith O'Brien | as Mrs. Tuffington |
| Traci Dinwiddie | as Veronica |
| Kweli Leapart | as Willa the Maid |
| Eve Kagan | as Sarah Lawrence Girl |
| Stephanie Wheeler | as Sarah Lawrence Girl |
| Erin Guzowski | as Sarah Lawrence Girl |
| Barbara Weetman | as Buyer #2 |
| Sasha Azevedo | as Wife of Buyer #3 |
| Jamie Anne Allman | as Martha Shaw |
| Rebecca Koon | as Aunt Georgia |
| Sandra W. Van Natta | as Aunt Jeanette |
| Deborah Hobart | as Aunt Kitty |
| Lindy Newton | as Heather Lynn |
| Sherril M. Turner | as Linda Jean |
| Sylvia Jefferies | as Rosemary |
| Elizabeth Bond | as Lon's Secretary |
| Nancy De Mayo | as Mary Allen |
| Meredith Zealy | as Maggie |
| Julianne Keller Lewis | as Davanee |
| Patricia Buckley-Moss | as Dancer |
| Cheryl Cantrell | as Dancer |
Movie info
| Languages: | English |
| Filming dates: | 7 November 2002 - February 2003 |
| Budget: | USD 30,000,000 |
| Gross: |
USA - 81,001,787 USD (21 November 2004) UK - 785,209 GBP (4 July 2004) Netherlands - 28,196 EUR (10 October 2004) |
| Plot: | An old man in a nursing home reads a story to an old woman each day. The story he reads follows two young lovers named Allie Hamilton and Noah Calhoun. They met one evening at a carnival many years ago. Allie's parents separate Noah and Allie. They disapprove of Noah's lack of wealth, and move Allie away. After waiting for Noah to write her for several years, Allie meets and becomes engaged to a handsome young soldier named Lon. In a local newspaper, Noah's picture catches Allie's eye. He is standing in front of a fully restored, 200 year old home. The article is filled with praise for his accomplishments. Allie's heart nearly bursts. The last time she saw this house it was a rotted decaying shamble. She stood enfolded in Noah's arms in the great entryway and listened to his plans to buy and restore this house. Just the way she wanted it. With her love for Noah still alive, the picture pulls at her heart. She has to go back, see if Noah is okay, and tell him about her marriage. They both think the echo deep in their hearts, the one that has lasted all these years, is not shared by the other. The cry they could not stifle. It wasn't over for me. |
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Tags
Original Soundtracks
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"I'll Be Seeing You" (1937) Music by Sammy Fain Lyrics by Irving Kahal "I'll Be Seeing You" (1937) Music by Sammy Fain Lyrics by Irving Kahal Performed by Billie Holiday Courtesy of The Verve Music Group Under license from Universal Music Enterprises "Alabamy Home" (1937) Written by Duke Ellington and Dave Ringle Performed by Aaron Zigman "Prelude for Piano, Op. 28, No. 4" (1838-9) Written by Frédéric Chopin Performed by Robert Thies "Where or When" (1937) Music by Richard Rodgers Lyrics by Lorenz Hart Performed by Aaron Zigman "Opus One" (1943) Written by Sy Oliver Performed by Aaron Zigman "Sonata No. 19 in G Minor for Piano, Op. 49, No. 1" (1802) Written by Ludwig van Beethoven Performed by Robert Thies "I'll Be Seeing You" (1937) Music by Sammy Fain Lyrics by Irving Kahal Performed by Jimmy Durante Courtesy of Warner Bros. Records Inc. By Arrangement with Warner Strategic Marketing |
Goofs
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Continuity: During the scene where the family are playing music and dancing outside the front of the house, Allie appears to be sitting on the porch playing a Jew's Harp, when the camera changes angles it vanishes. SYNC: In the scene with Noah and Allie in the Windsor Plantation, after Noah explains about the significance of the stairs, we can hear Allie say, "This place is gigantic," but her mouth doesn't move until a few seconds after it was said. SYNC: When the band is playing on Noah's front porch and his father is playing the spoons with the band, as his father gets up to dance with Allie, he lays them down, but the sound of the spoons playing can still be heard in the music. Revealing mistakes: During the first love scene at the plantation house when Noah begins to get up, if you look quickly, you can see that he is actually wearing boxers. Continuity: When Allie and Noah are in the boat (just before it starts to rain), Allie's fringe/bangs are curled up tightly. A few moments later (when it begins to rain), Allie's fringe/bangs are perfectly straight. This could not have happened so quickly. CHAR: The sign on the window of the stationery store in the town early in the movie is misspelled. Continuity: When Duke is having an exam by the doctor two chest x-rays are on the light box behind him. The films are both reversed left to right but in a later shot they are correct - right to left. DATE: In the scene showing Allie and Noah walking after the movie, parking meters are clearly visible. Parking meters in South Carolina were introduced in 1947. Continuity: In the shot where Noah and Allie are eating lunch after he's read to her some, he is wearing his reading glasses. In the next shot he is wearing his bifocals. Continuity: The position of Allie's left earring changes from two pearls on top and on the bottom to one on the top and two on the bottom. CHAR: During the scene when Noah and Allie are in the middle of the road, Noah states that he and his dad used to watch the light change "from green to red to yellow" when street lights go from green to yellow to red. Revealing mistakes: When Noah goes to mail his final letter to Allie, we can see sunlight shining through the envelope right before he puts it in the mailbox and there is obviously no letter in it. Continuity: When the older Allie and Noah are having the candlelit dinner for two, Allie is wearing a plaid shawl over her red jacket as she begins to sit down. In the next shot of her seated, the shawl is off, with no time for her to have removed it. In the next shot, it's back on again. Crew: When Allie and her mum are outside Noah's newly restored house, crew and equipment are reflected in the side mirror of her car. Continuity: When Noah and Allie are talking in front of Allie's house (the last time they met before she goes to NY), she's wearing a necklace in some shots and not wearing it in others. Continuity: When Allie and her mother are talking in front of Noah's house, their shadow goes from right to left in all shots except when her mother gets up, in which the shadow goes the opposite way. Continuity: When Allie's mum brings Allie to see her ex love, Allie's mum's ring starts upside down then turns right side up again in the next shot. Continuity: When Noah and Allie are sitting on his front porch talking, Noah stands up angrily and throws the chair he was sitting in down, with the flowers falling on the ground. In the next shot, the chair is back up and the flowers are on the arm of the chair. Continuity: When Allie goes to Noah's newly finished house to "see if he's okay", Noah is holding a beer bottle in his left hand. When he walks up to the car after she drives through the fence, he is no longer holding a bottle; his left hand is in his belt loop. DATE: When Allie is driving to see Noah, there is a plastic lace wrapped steering wheel cover visible. These did not exist in the 1940s. Continuity: When Allie talks to her mother on the porch, the way the red blanket is wrapped around her changes a few times. Continuity: When Lon gets out of the hospital waiting for Allie by the car to ask her about his date, his hair is clearly brown. In all subsequent shots his hair is black. Continuity: SPOILER: In most of the movie Noah has brown eyes (contacts because Ryan Gosling 's eyes are blue in real life) but after the scene where Allie and Noah fight after her mother brings her back home from the drive and Noah is trying to stop Allie from leaving by standing in front of her car his eyes are blue, you see that his eyes are shining blue in the sunlight. Revealing mistakes: In many of the scenes that take place in June and July, the grass is brown. It should be green during the summer in South Carolina. Continuity: In the scene in which they are lying in the street, their position moves from dead center of the road (they are in line with the center line) to being over in the right-hand lane when the shot moves from tight to wide. SYNC: When Noah and Martha are leaving the house after dinner, Martha says "thank for dinner" and Allie replies and is clearly seen washing dishes through the window, but her mouth is not moving. Continuity: When Allie and Noah are breaking up and are having the fight outside, Noah closes the truck door, but in the next shot when Allie pushes him up against the truck, it is open. SYNC: When Noah jumps into the ferris wheel seat that Allie and a boy are sitting in, we hear Allie's voice yell, "Get off me!", but Allie's lips do not move to say the words. While the words are said, Allie's mouth is simply open, as she is gasping. DATE: Some of the carnival rides seen at the carnival are clearly modern rides not available in the 1940s. DATE: When Noah meets Allie for the second time a sign in the window say "Peaches 3 for $1.00" Those are modern prices. GEOG: The beach scenes are shot on a rocky beach, however South Carolina does not have a rocky coast. DATE: Vintage scene with modern wood: during the riverside rope swing scene (circa 1940) there is a momentary glimpse in the foreground of a "telephone pole" style dock piling. Such pilings existed then, but the wood's all-around light green coloration is distinctive of modern "treated" wood soaked in chromated copper arsenate (CCA). A 30's pole should have been brown or weathered-gray (or, if creosote-soaked, black). CCA-treated wood didn't become commercially available until at least 40 years after when the scene was meant to be. In the mid-late 2000's some municipalities began banning the green toxic wood preservative. DATE: On the movie marquee (which is very 50s for a 1940 S.C. neighborhood theater) announcing the picture Li'l Abner (1940) one of the stars is identified as Jeff York though he appeared in the film using his original stage name of Granville Owen. He wasn't credited as Jeff York until after WW2 in They Were Expendable (1945). Continuity: Near the end of the movie in the scene where Allie is leaving Noah to go to town and talk to Lon, the car she leaves in is blue. When she arrives at the hotel, the car is two tone blue and gray. Continuity: When Allie and Noah were making out at Noah's newly built house, Noah already dropped his pants on the stairs but when they entered the room, he still had it on his feet and dropped it near the door. Continuity: In one scene when Allie is talking to Noah, her arm below the sleeve seems to be see through, then after that scene her arm comes back. Continuity: When Allie is trying on her wedding dress, a lock of her hair on the left side of her face falls down and then returns to its place between angles. Continuity: When Allie says "this is 'the' room?" and turns to look at the piano during reunion dinner at Noah's house she is holding a fork and in the next scene she has no fork. DATE: When Allie arrives at the hotel and mop her face because she cried, you can see that she has French manicure at her nails. That wasn't at all common in 1940. Continuity: While Noah and Allie are out in the boat and it begins to storm, Allie's eye make-up is smudged and running down her cheeks. As they run into the house, and both during and after their love scene, her make-up is fine. Also, both Noah and Allie have soaking wet hair when they enter the house, but by the time they are undressed a minute or two later, their hair appears to be dry. DATE: Li'l Abner (1940) was not in theaters during the summer of 1940. RKO did not release the picture until 1 November of that year. Continuity: After Noah and Allie get in the fight by her car at the end, he has his hands on his heart then walks towards the back of the car turns around and puts his hands on his head. About two seconds later she pulls away and he is in front of her car with his hands on his head. Revealing mistakes: In scenes set in June-July 1940, cold breath is visible and grass is brown rather than green, indicating that the scenes were filmed in winter. FAIR: SPOILER: Allie Hamilton in her youth has a black mole on her left cheek, but the older Allie Calhoun doesn't have it. Moles can fall off or be removed. Crew: When Noah is hanging on the ferris wheel you can see his microphone clipped to his shirt in middle of his back. Continuity: After their unofficial double date with Fin and Sarah when Noah and Allie are about to walk home, the same blue car passes them going the same direction within a 10 second interval. Continuity: When Noah takes Allie to the plantation for the first time she is instructed to stay outside. When she looks at the river into the moonlight her silhouette reveals flowing curls, and when she turns around her hair is slightly curled at the ends, but not nearly as much as 2 seconds earlier. Continuity: When returning to Allie's summer home, Allie and Noah walk through the front door which is clearly solid wood. Upon entering the home, the door now has decorative glass. DATE: Noah and Allie watch the film "Lil' Abner" in the summer of 1940. This film was not released until November of that year. DATE: Noah and Allie's signature song, Billie Holiday's rendition of "I'll Be Seeing You", was not recorded until 1944. Four years after their summer romance. |
Quotes
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Young Noah: [while hanging from the Ferris Wheel] Will you go out with me? Young Allie: What? No. Young Noah: No...? Young Allie: No. Young Noah: Why not? Young Allie: I don't know, because I don't want to. Young Noah: OK, then you leave me no other choice. Young Allie: [Lets go with one hand] AHHHH! Young Noah: I'm gonna ask you one more time, will you or will you not go out with me? I think my hand's slipping. Young Allie: OK, OK. Fine I'll go out with you Young Noah: No, don't do me any favors. Young Allie: No, no I want to. Young Noah: Say it. Young Allie: I wanna go out with you. Young Noah: Say it again. Young Allie: I WANNA GO OUT WITH YOU! Young Noah: All right, all right we'll go out. Young Allie: [lying in the middle of the street] What happens if a car comes? Young Noah: We die. Young Noah: Get in the water. Young Allie: No! I'm scared. Young Noah: [yelling] Get in the water, woman! Get in the water! Young Allie: [looks at him, puzzled] Young Noah: [calmly] No I'm sorry baby, please just get in. Young Allie: [hesitates] Young Noah: [once his friends start yelling again] GET IN THE WATER! Young Allie: Painting. Young Noah: What? Young Allie: You asked me, what I do for me... Young Noah: What now? Young Allie: I love to paint. Young Noah: Really? Young Allie: Mmm-hmm. Most of the time I have all these thoughts bouncin' around in my head... but with a brush in my hand, the world just gets kinda quiet. Young Noah: Unbelievable, Unbelievable. Young Noah: You don't know me, but I know me. Young Noah: It's not about following your heart and it's not about keeping your promises. It's about security. Young Allie: What's that supposed to mean? Young Noah: [yelling] Money. He's got a lot of money! Young Allie: You smug bastard. I hate you for saying that. Young Noah: You're bored Allie. You're bored and you know it. You wouldn't be here if there wasn't something missing. Young Allie: You arrogant son of a bitch. Young Noah: Would you just stay with me? Young Allie: Stay with you? What for? Look at us, we're already fightin' Young Noah: Well that's what we do, we fight... You tell me when I am being an arrogant son of a bitch and I tell you when you are a pain in the ass. Which you are, 99% of the time. I'm not afraid to hurt your feelings. You have like a 2 second rebound rate, then you're back doing the next pain-in-the-ass thing. Young Allie: So what? Young Noah: So it's not gonna be easy. It's gonna be really hard. We're gonna have to work at this every day, but I want to do that because I want you. I want all of you, for ever, you and me, every day. Will you do something for me, please? Just picture your life for me? 30 years from now, 40 years from now? What's it look like? If it's with him, go. Go! I lost you once, I think I can do it again. If I thought that's what you really wanted. But don't you take the easy way out. Young Allie: What easy way? There is no easy way, no matter what I do, somebody gets hurt. Young Noah: Would you stop thinking about what everyone wants? Stop thinking about what I want, what he wants, what your parents want. What do YOU want? What do you WANT? Young Allie: It's not that simple. Young Noah: What... do... you... want? Whaddaya want? Young Allie: I have to go now. Young Noah: If you're a bird I'm a bird. Young Allie: When I'm with Noah I feel like one person and when I'm with you I feel like someone totally different. Lon: Allie, it's normal not to forget your first love but I want you for myself. I don't want to convince my fiancée that she should be with me. Young Allie: You don't have to. I already know I should be with you. Fin: [after Noah and Allie kept saying 'You look great.'] [to Allie] You look great. [to Noah] You look great. And I know I look great. Martha Shaw: Look, a woman know when a man looks into her eyes and sees someone else. Young Noah: Now you know that I want to give you all the things that you want, right? But I can't, because they're gone... They're broken. Young Noah: My Dearest Allie. I couldn't sleep last night because I know that it's over between us. I'm not bitter anymore, because I know that what we had was real. And if in some distant place in the future we see each other in our new lives, I'll smile at you with joy and remember how we spent the summer beneath the trees, learning from each other and growing in love. The best love is the kind that awakens the soul and makes us reach for more, that plants a fire in our hearts and brings peace to our minds, and that's what you've given me. That's what I hope to give to you forever. I love you. I'll be seeing you. Noah Noah: I am nothing special; just a common man with common thoughts, and I've led a common life. There are no monuments dedicated to me and my name will soon be forgotten. But in one respect I have succeeded as gloriously as anyone who's ever lived: I've loved another with all my heart and soul; and to me, this has always been enough. Young Allie: Why didn't you write me? Why? It wasn't over for me, I waited for you for seven years. But now it's too late. Young Noah: I wrote you 365 letters. I wrote you everyday for a year. Young Allie: You wrote me? Young Noah: Yes... it wasn't over, it still isn't over [kisses Allie] Duke: That's my sweetheart in there. Wherever she is, that's where my home is. Duke: How's it hangin' Harry? Harry: I keep trying to die, but they won't let me. Duke: Well, you can't have everything. Young Noah: You wanna walk with me. Fin: What are you guys doing? Get in! Young Allie: Yeah. Young Noah: We're gonna walk. Fin: Do you guys love each other? [Young Noah snickers] Oh I get it, you guys do love each other! Young Noah: Okay. Goodbye. Young Noah: So it's not gonna be easy. It's going to be really hard; we're gonna have to work at this everyday, but I want to do that because I want you. I want all of you, forever, everyday. You and me... everyday. Frank: [Allie painted Noah a picture] Now that's a damn picture there! Young Noah: What am I gonna do in New York? Young Allie: ...Be with me. Lon: Should I be worried? Allie: They fell in love, didn't they? Duke: Yes, they did. Young Noah: It's not about keeping your promises, and it's not about following your heart. It's about security. Young Noah: [to Martha] You know I want to give you everything you want. But I can't. It's broken. Young Allie: Now, say you're a bird. Young Noah: If you're a bird, I'm a bird. Frank: [Allie painted Noah a picture] Now that's a damn painting that is. Young Noah: [raising fists in air] Dad! God... I stammered! Frank: Stammered, stuttered... what's the difference. You couldn't understand a damn thing he said. [Allie laughing] Frank: Anyway, I got him to read some poetry aloud and pretty soon his stuttering went away. Young Allie: Well, that's a good idea that poetry. Duke: I was just going for a walk. I couldn't sleep. Nurse Esther: You were going to see Miss Allie. Now you know you're not allowed. It's against the rules. You go back to your room. And as for me, I'm going downstairs to get a cup of coffee and won't be back for a while. Stay out of trouble. [Duke walks over to Nurse Esther's counter and sees a full cup of coffee] Young Noah: We can just finish out the summer and see what happens then. Young Allie: Please don't do this, you don't mean it. Oh why wait until the summer ends? Why don't you do it right now? [pushes Noah against car] Young Allie: Huh? C'mon. Do it! Do it! [repeatedly pushes Noah, starts hitting Noah, Noah starts hitting himself] Young Allie: You know what? I'm gonna do it! It's over. Okay? it's over. Young Noah: [opens his arms for a hug] Come here. Young Allie: Don't touch me! I hate you! I hate you! Young Noah: OK, I'm going. Young Allie: Why don't you just go then? [pushes Noah in the car] Young Allie: Get out! Leave! [kicks Noah's car] Young Allie: Go!... No, no, just wait a minute, we're not really breaking up are we? Come on. This is just a fight we're having and tomorrow will be like it never happend right? [Noah drives away] Frank: Well, Mr. Calho... What am I? *Old* or something? You can call me Frank. Allie: Do you think our love can make miracles? Duke: I do. [last lines] Allie: Do you think our love, can take us away together? Duke: I think our love can do anything we want it to. Allie: I love you. Duke: I love you, Allie. Allie: Good night. Duke: Good night. I'll be seeing you. Frank: Say, how would you like some breakfast? Would you like some breakfast? Young Allie: Breakfast? Frank: Yeah! Young Noah: Dad, it's ten o'clock. Frank: Well, what's that got to do with it, you can have pancakes any damn time of night you want! Come on in, you want some breakfast? Young Allie: Sure! Young Noah: You're gonna kill me woman! I need sleep, I need food, to regain my strength! Duke: They didn't agree on much. In fact they rarely agreed on anything. They fought all the time and they challenged each other everyday... Young Noah: [Allie and Noah are fighting] Don't push me! [Allie pushes Noah anyway] Duke: ...But in spite their differences, they had one important thing in common, they were crazy about each other. Anne: She is out foolin' around with that boy until two o'clock in the morning and it has got to stop! I didn't spend seventeen years of my life raising a daughter and giving her EVERYTHING, so she could throw it away on a summer romance! Young Allie: [Screaming] DADDY! Anne: She will wind up with her heart broken or pregnant! Now he's a nice boy, but he's... Young Allie: He's WHAT? He is what? Tell me! Anne: He is trash! Trash! Trash! Not for you! Allie: Did you write that? Duke: No, that was Walt Whitman. Allie: I think I knew him... Duke: I think you did too. Noah: Summer romances begin for all kinds of reasons, but when all is said and done, they have one thing in common. They're shooting stars, a spectacular moment of light in the heavens, fleeting glimpse of eternity, and in a flash they're gone. Young Noah: [humming] Bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum. Young Allie: [laughing] You're a terrible singer. Young Noah: I know. Young Allie: [laying her head on his shoulder] But I like this song. [they continue dancing in the street to I'll Be Seeing You] Young Allie: What do ya want? [asks after he tells her he needs to regain his strength after making love all day] Young Noah: Hmmm. I want some... uh... pancakes... and some bacon... and chicken. Noah: He got the notion into his head that if he restored the old house where they had come that night, Allie would find a way to come back to him. Some called it a labor of love. Others called it something else. But in fact, Noah had gone a little mad. Anne: 'Cause I might know you a little better than you think. And I don't want you waking up one morning thinking if you'd known everything you might have done something different. Young Allie: What's going on? Anne: We're going home. Young Allie: We're leaving now? Anne: Mm-hmm. Young Allie: No, we're not supposed to be leaving for another week. Anne: Get dressed, come downstairs and have some breakfast. Willa will pack your things. Willa: Why, I'd be happy to pack your things, Miss Allie. Young Allie: No, I don't want you to pack my things, I don't want you to touch my stuff I'm not going! Anne: Yes, you are. Young Noah: When I see something I like, I gotta... I love it. Young Allie: [after making love to Noah for the first time] You gotta be kiddin' me. All this time, that's what I've been missin'? Let's do it again. Young Noah: [at the Carnival] Who's that girl with Sara? Fin: Her name is Allie Hamilton. She's here for the summer with her family. Dad's got more money than God. Young Allie: This place is gigantic! Young Noah: Yeah, a gigantic piece of crap! Young Noah: I'm Noah Calhoun. Young Allie: So? Young Noah: So it's really nice to meet you. Edmond: Allie, who is this guy? Young Allie: I don't know, Noah Calhoun. Young Noah: I'm not usually like this, I'm sorry. Young Allie: Oh yes you are. Young Noah: I could be fun, if you want. I could be pensive, uhh... smart, supersticious, brave? And I, uhh, I can be light on my feet. I could be whatever you want. You just tell me what you want, and I'm gonna be that for you. Young Allie: ...You're dumb. Young Noah: I could be that. Young Noah: Come on, one date, what's it gonna hurt? Young Allie: Mmm, I don't think so. Young Noah: Well what can I do to change your mind? Young Allie: [Noah is about to lie down in the street intersection] You're gonna get hit. Young Noah: [Looks around for oncoming cars, there aren't any in sight] Uhh, by all the cars? [first lines] Nurse Selma: Excuse me. Come on, honey, let's get you ready for bed Duke: I am no one special. Just a common man with common thoughts. I've led a common life. There are no monuments dedicated to me and my name will soon be forgotten, but in one respect I've succeeded as gloriously as anyone who ever lived. I've loved another with all my heart and soul and for me that has always been enough. Duke: She had come back into his life like a sudden flame; blazing and streaming into his heart. Noah stayed up all night contemplating the certain agony he knew would be his if he were to lose her twice. Lon: [to Allie] The way I see it, I got three choices. One, I can shoot him. Two, I can kick the crap out of him. Or three, I leave you. Well, all that's no good. You see, 'cause none of those options get me you. Young Noah: I see you got my letters, finally. What are you gonna do, Al? Young Allie: I don't know. Young Noah: We're back to that? Are we back there? What about the past couple of days? They happened, you know. Young Allie: I know that they happened, and they were wonderful. But they were also very irresponsible. I have a fiancé waiting for me at a hotel who's going to be crushed when he finds out what I did. Young Noah: So you make love to me, and go back to your husband. Was that your plan? Was that a test I didn't pass? Young Allie: No, I made a promise to a man. He gave me a ring and I gave him my word. Young Noah: And your word is shot to hell now, don't ya think? Young Allie: I don't know. I'll find out when I talk to him. Duke: Science only goes so far and then comes God. Young Allie: It was real, wasn't it? You and me. Such a long time ago, we were just a couple of kids. But we really loved each other, didn't we? Duke: Southern summers are indifferent to the trials of young love. Armed with warnings and doubts, Noah and Allie gave a remarkably convincing portrayal of a boy and a girl traveling down a very long road with no regard for the consequences. Duke: It was an improbable romance. He was a country boy. She was from the city. She had the world at her feet, while he didn't have two dimes to rub together. Duke: Allie was surprised how quickly she fell in love with Lon Hammond. He was handsome, smart, funny, sophisticated, and charming. He also came from old Southern money and was fabulously wealthy. Young Noah: Stop thinking about what everyone wants, stop thinking about what I want, what your parents want! What do *you* want Allie? |
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