Fegele. Fegele.
Ah. Ah.
Fegele?
Fegele?
Hmm.
Olive.
Drusilla.
Richard.
Susan.
Suzie.
For a black-eyed|little Susan, eh?
What's this then?
America.
No.
England, dear.
Shall I have that?
Let me have that,|shall I?
Uh, would you|give it to me?
Can't I have it?
It's for her own good, mind,|because it will only make her upset.
There. That's better|then, Suzie.
Isn't it?|Nice and clean.
Where are you from?
Where is she from?|She don't know.
She can't speak.
Maybe she don't speak|English. She's a gypsy.
Gypsy.|Raggle-taggle gypsy.
Stop it!
Gypsies! Come and have|a look at the gypsies.
All things bright|and beautiful
All, all|Things.
All|Things.
"Tings" "Tings" Things.
Things. Things. Bright. Things
Br-
Bright and beautiful.|Bright.
Canish.
Canish.|No!
No more of that!|Now, you're in England now.
So you speak English,|don't you?
They wouldn't let me|speak Welsh, either.
But it did me|the world of good...
in the end.
You see, Suzie, you've|got to learn to fit in.
Am laid
In earth
May my wrongs create
No trouble
No trouble|in thy breast
Remember me
Remember me
But
Forget my fate
Nice, dear. Very nice. But I'm afraid|a nice voice is not quite enough.
You see, our girls are famous|on the continent for their legs.
And other things.
- Why are you here, actually, dear?|- I want to go to America.
Ah, I see.|Another one.
Well, I suppose Paris is|a step in the right direction.
And there's no harm|in dreaming, dear.
I like a bit of ambition|in my girls.
Which way?|Here.
We'll follow you. I don't|know where we're going.
we should go out tonight.|I'll show you how to have fun.
Listen. Do you speak|French? Um, not really.
I can teach you some very important|words which, you must know, are amour-
So you live all by yourself,|you poor little duck.
Oh, this is, you know,|not too bad.
There's plenty of room.
In Moscow there would be|three families in here.
- What are you doing?|- I'm saving.
- What for?|- To go to America.
Suzie, you take my advice.
Buy yourself a nice dress...
and you will find a rich man|who will take you there, hmm?
I have a plan.
I will help you|find little extra jobs.
What kind of jobs?|Oh, cabarets, parties.
Oh, Suzie, it's easy if you know the right|people. And I will stay here with you, yes?
And we will share everything,|everything. And...
maybe we will have money left in|our pocket at the end of the week.
It's a good idea, yes?
Hello.
- Something is missing.|- Like what?
Huh? The food.
My friends.
Even the cold.
This is nothing.
Winter was winter|in Moscow.
But that's all finished with.
Forward.
Forward. We must always|look forward.
Isn't that true, Suzie?
This is my father.
That's your father, yes.
Abramovitch.
But this is in Russian.
Why didn't you|tell me before?
Suzie?
You don't|understand Russian?
Abramovitch.
Ah.
So, he was a Jew.
Silence. Silence, everyone.|Please, mes amis.
Tonight we're lucky to have the guest|star of Felix Perlman's new opera company.
So please welcome Dante Dominio who has|kindly agreed to sing something for us.
The best. The best|- You are fantastic.
I just had to say that|to you, that's all.
Ah, the girl with the horse. Oh,|yes, but I don't usually do that.
Oh, no? No, no, no.|I'm a dancer, actually.
Ah, really?|Trained dancer.
Uh-huh. Where?
Uh, from Kirov.
So, you, uh, liked it, then?|Oh, yes!
You are-|You're sublime.
I can't imagine, myself,|how it must be to-
to be on the stage|at the same time as you.
You know, just somewhere|in the background listening,
in the chorus,|for example.
Felix.
This, uh,|young Russian lady...
should come to your|auditions. And I have a friend.
She can sing.|Oh, is that so?
Say has a lovely voice.|La bella bambola.
She's very talented.|Eh?
So you sing too? No. I|- A little, little bit, but I dance.
Suzie, there you are.
There.
Hold it! Hold everything.
Hold it. Felix, you really|want me to stand here?
Not over there, huh?|No, over there, Dante.
Here you block the entrance|of the horse.
The horse?
It- It looks good, Dante.
"It"? "It" looked good?
Felix, tell me. Is this,|uh, opera or a spectacle?
I see no contradiction.|Allora, I put another way.
Do you want the public|to look or to listen?
Both, Dante, both. The|eyes and the ears. Ah.
It's opera for the people. And|the people need to be entertained.
I came to Paris to sing.
Strangely, I believe the public|are coming to listen to me,
not to look at scenery|or horses.
But then what|do I know, huh?
Mmm. I am just|a foolish singer.
Hello.|Ecola.
La bella bambola. Hey. Mm-hmm. Lola.
Lola. Bellissima.
Now you are here, with us,|huh? Yes. Thank you very much.
Bellissimo.
Yes, it's a great,|great aria.
You see, Verdi,|he understands that...
the voice can express|the highest ideals for man-
his search for strength|and glory...
and beauty.
Madonna.
No, but what is it like|to be a star,
to have everybody looking|at you all the time?
I was not always where I am now. Really?
Oh, no. When I was a child,|we had nothing, nothing.
But that is incredible.|We were immigrants.
Allora, from the south|of Italy to the north.
It was cold?
It is the people. They look down|on you if you come from the south.
How terrible.|And because we were poor,
we all lived in one little room|- the whole family.
No. The whole family?
That must have been|so difficult for you.
Come on.
No.
Did you see|how he looked at me?
You see, Suzie,
there are rules|of how you get your man.
Rules? What rules?
Well, first,
you must play hard to get.
If it is too easy, he loses interest.|He must feel that he is, uh, a hunter,
and you are a beautiful|wild animal he is hunting.
It's a primitive instinct,|you see.
Second, if you want to make|a man want you,
and only you,|you must smile.
And you must listen.|You always listen.
Mmm. He needs attention.|Men, you see, they are very,
very fragile.
And third,|you must look good.
Very good.
Actually, that's probably|the most important thing of all.
You know, without my looks,
I would never have|got out of Russia.
Never. Will you tell me|something frankly, Suzie?
Do you think...
I should get my hair bleached some|more or should I leave it like this?
Hmm?
So what do you think explains the|rise of Fascism in your country?
An artist must be|above politics.
- Don't you agree, Felix?|- So they say.
But, you know,|there has been "caos. "
- Come se dice "caos"?|- Chaos.
Chaos. Chaos and confusion|in my country.
Mussolini believes|in order and organization.
He understands that the Italian|people must regain back...
their self-respect.
By putting on black shirts and marching|up and down in one of those rallies?
Ah, you intellectual, huh?
For the working man, the rallies|are about dignity and strength.
The lighting, the music, the|choreography creates an atmosphere.
Magnifico!
- Mussolini most certainly|has a great sense of theater.
Certo. Certo, huh?
And everything he does,|huh, is big.
Yes. Yes.
You could learn something, Felix. He|really knows how to reach his public, huh?
Felix, thank you|very much.
Oh, oh, oh, oh, oh.
Let's go.|They're just gypsies.
So you, uh,|sleep here, hmm?
And your, uh, friend...
sleeps over there?
Da.
This is, uh,
how it was...
for me.
Yes.
This is, uh, how it was.
My mother and a baby|in one bed.
And my brothers and me|in the other.
End to end.
The sacrifices my mother|made for me.
But why?
Why did your|little friend, huh,
refuse my invitation?
It's here.
It's too big for you,|the room?
Perhaps soon there'll be not two, not|three, but four occupants in the residence.
Would you say that again,|Madame Goldstein?
So now I understand why you didn't|seem like the other English girls.
Eat.|Thank you.
Isn't it gorgeous?
Did he buy that too?|- Yes.
You would not believe some of the|restaurants he has taken me to.
Oh, my God. You have never|seen such luxury.
It's beauty, this one.|Don't touch.
Get back. Your hands,|they're dirty.
It fits me like a glove.|He knows my size.
I won't tell you how he knows,|but he knows it.
Les enfants.|Stop.
Please!
Thank you.
Is she yours?
All the children here|are mine.
And all the old ones,|my parents.
We are family.|We are one.
No?
When I am laid
Am laid in earth
May my wrongs create
No trouble
No trouble
In thy breast
Remember me
But
Forget my fate
Remember me
But
Forget my fate
Who is in the photo?
Darling, why are you looking at|that? It's just a photo of her father.
Ah, so the little|English girl has a secret.
She is not what|she seems, huh?
According to the Poles,|it was at about 6.:00...
this morning that the first|full-scale attacks began.
It's happened! My God, it's|happened like I knew it would!
What has happened?|Sit, sit, sit.
I got out in time,|but... my father,
he said he was too old|to walk a step.
Madame Goldstein,|what has happened?
Germany has invaded Poland.
Now...
England and France must declare|war on Germany.
They can't just sit back and watch|the Nazis grab any country they want.
But here they will|never come, child.
It's the land|in the east they want.
Don't worry.
We are safe here|in Paris.
After all, this is the country where they|wrote the Declaration of the Rights of Man.
Liberte, egalite,|fraternite.
Now eat.
Why should we care what|Germany does in Poland?
I agree. They're always fighting|about something over there.
Like it says here, "Who wants to die for|Danzig?" Where the hell is Danzig anyway?
On the Baltic Sea.
Left of Russia.
Why should we care|what Germany does at home?
They must have their reasons. I|agree. It's none of our business.
But do you think they're right? Do you think|the Jews are really controlling everything?
Who do you think is controlling|the money here in the theater?
I don't think|Monsieur Perlman is a Catholic.
That's it! Finished!|Finito! Chegazzo!
No more horses!
No more shit on the stage.|No more dirt in the theater.
Dante, please,|don't take it personally.
The horse was not making|a comment on your performance.
Be careful, Felix. You need me for|the success of your little project.
I think it would be more accurate to|say that we need each other, Dante.
Non lo so. The people come and|they pay. I sing, they applaud.
You are just the ticket taker-|the man in the middle.
Thank you, Dante. I take that as|a compliment. I could be singing...
in any theater in Europe,|but I agreed to sing in yours.
However, I do not recall a|clause in my contract saying...
I was joining a circus-|a gypsy circus!
Fafangulo!
You gypsies should go back|where you belong, huh?
You have no place|in the world of the opera.
You understand me?
I talk to you.
His name is Cesar.
Allora, allora, she speaks.|La brunetta, huh?
But she speaks to them,|but not to me.
Perhaps I do.|And why not?
- They are dirty.|- How would you be if you lived on the road?
Ah, well, but I don't.|I live in an apartment...
with two bathrooms and beautiful furniture|which I pay for with money I have earned.
Why do they live like that? Because|they are dirty, lazy thieves.
Because they don't want to work,|to make something of themselves.
They live on the road because|their homes were taken away.
They have nowhere else to go.
Allora, Lola.
Your little friend|has become a gypsy lover.
I don't need you|to fight for me.
I don't need any woman|to fight for me.
I was fighting for myself.
And you say I am dirty.
You who are one of them,|the gadges, the unclean.
No, no, I said-
Why are you accusing me?|I'm not one of them.
Then what are you?
Shh. Hush. Hush.
Oh, no more|boring money problems.
I can't believe it.
He's a very kind man,|Suzie, hmm?
I thought you said you'd never move|in with a man unless you were married.
I thought that was|one of your rules.
Well, who says|we won't get married?
He adores me.
Why do you criticize me all the|time? Don't you want me to be happy?
Don't you want me|to look nice and eat well?
Why do you accuse?|You always accuse.
But I don't.|I haven't said a word.
No. You and|your kind never do.
No!
What shall we do?|I don't know what to do.
The show can't go on.|There's nobody here.
You're here.
You look more beautiful|than before, Suzie.
Why, thank you, Dante.
My mother was|dark like you.
You, uh, have a good voice.
I... could help you.
But I don't|need your help.
Why do you|resist me, huh?
What do you see in men|who have nothing, huh?
Hmm?
I- I like a girl|with spirit.
That's why you could|become... somebody.
Because you are|a fighter like me, hmm?
Oh, we understand each other.
You have to fight|to get somewhere...
in this world, huh?
Maybe even fight...|to kill.
If you are|fighting to kill,
you must be very, very sure|you have God on your side.
Otherwise-
Otherwise what?
Otherwise, you are nothing|more than a murderer.
Let me tell you|something...
about murderers.
It was the Jews...
who killed Christ.
The Jews!
This crazy war...
which is caused by a|conspiracy of our bankers...
is stealing my public.
I stand like a fool|singing to an empty house.
You think you are|better than me, huh?
Right?
You think that I am a peasant,
an Italian peasant,|and you are special.
You are chosen.|Well, let me remind you,
nobody knows what you are.
Nobody needs to know,|but you forget,
I know, and I can-
I agree, Signor Dominio.
No one needs to know|and no one needs to tell.
Anyway, I came to tell you we're closing|the production, which is sad for all of us.
- We're closing?|- Yes.
Half the population of Paris|has already left the city.
But my contract?
- It's meaningless. I have|nothing left to give you.
I must tell you, if Italy allies|herself with Germany against France,
I'm afraid your position here as an Italian|in Paris will not be an enviable one.
Is that a threat?
A threat? From me?
The Germans are in northern|France, heading for Paris.
And my name is Perlman.
Oh, Maria,
what do I have|but my voice,
the voice that you gave me?
I am nothing|if I cannot sing.
Oh, Maria-
For the love of Italy,|for the love of music,
I- I- I beg you.
Let the Germans win.
Shh, shh, shh.
Shh.
Hello?
Allez, allez,|allez, musique.
One has to admit these gypsies|can play their instruments well.
Yes, but, uh, there is no|control, no refinement, feeling.
Tell me, Dante. Are you going|to sing for us tonight?
Oh, well, uh-
He sang for us last year, but|perhaps now he feels that it is...
beneath his dignity|after such a huge success.
He sang in Perlman's company. Uh-
Dante Singing Opera
Hey, little Suzie.
You have found your place|at last amongst the animals.
And you have found yours.
So you know|the little girl, Dante?
Oh, she was one of the, uh,|oddities employed by, uh, Perlman.
Is she one of them?
Though she is very friendly|with the gypsies,
she is not, uh,|one herself.
No? Then what is she?
She is a Jew.
So many cameras.|So many uniforms.
Wherever I look, there's a|lens. I can't get away from them.
Suzie, do you need anything,|meat, butter-
Lola, what did you want to see|me for? Oh, Suzie, I missed you!
I miss the fun we had together|in that, um, little room.
Now, Suzie, I wanted to tell you|that... you should leave Paris.
It's not safe for you here.|What do you mean?
You should get out as soon as|you can. That's all. Believe me.
Suppose I could|get some tickets.
Some boat tickets to America|where you've always wanted to go.
I don't want to go there any more|- You do. Believe me.
You absolutely|do want to go.
If you knew what-|If I knew what?
Look, actually, I've got the|tickets right here in my bag.
There's one for you.|There's one for me.
One for you?|You're leaving Dante?
Uh, no, not exactly.|He hasn't thrown you out?
Don't be ridiculous. I|could have whatever I wanted.
No, it's just that he-|Well, men!
You can't trust them once|they've got what they want.
I should have known.|It's dangerous to trust.
Well, actually, it's dangerous|to love. Isn't that so, Suzie?
Anyway, one should|never look back.
One should never regret.
Never.
They're planning|to round everyone up.
Every foreigner,|every Jew.
Lola says I should|leave immediately.
But I don't want to go.
If you want to survive,
perhaps you've no choice.
Who is this?|That's my father.
A daughter should be|with her father,
if she's not|with her husband.
Don't leave me, Cesar.
Please don't go.
It is not me who is|leaving, Suzie. It is you.
But I don't want|to run away.
For you, at this moment,
running is good.
It is better to run and live|than to stay and die.
It is not the same for me.
I am not alone.
I have my family.
I must fight for my family.
I could stay|and fight with you.
You need to fight|for yourself.
But you're all I have.|No.
You have your father.
If he's alive.
Maybe I've been|chasing a ghost.
If he is a ghost,
then he is|watching over you.
And if he is not,
then he is waiting for you.
To my Suzie,
who will go to America|to find her father...
and sing.
To my Cesar,
who will stay|and fight for his family.
I only wish|I could be with you.
Sunday is gloomy
My hours are slumberless
Dearest, the shadows
I live with|are numberless
Little white flowers
Will never awaken you
Not where the black coach|of sorrow
Has taken you
Angels have|no thought of ever
Returning you
Would they be angry
If I thought of joining you
Gloomy Sunday
Well, frankly, Suzie,
Joe... is a little older...
than I like, but-
You know what?
He has promised to help me get|to- and you- get to Hollywood.
You see? Things always|turn out for the best.
Do they?
Your father, Suzie.
That will be nice for you|to see him at last, yes?
Yes, perhaps.
Anyway, we have|each other again.
We can have fun.
We can forget|those little differences,
can't we, Suzie?
Yes?
Dreaming
I was only
Dreaming
I wake and I find you
Asleep in the deep of my
Heart
Deep
Darling, I hope
That my dream
Never faltered you
Over there.
It looks like a woman.
Is she alive?|I think so.
You're all right now.
I'm pretty sure it's on|the border with Russia.
Sit. Let me check|the files from that region.
You know what? You're lucky|you have an English passport.
The quota from so many Eastern|European countries is full now.
You wouldn't believe|the stories I've heard.
America is a big country, but not big|enough to take all of us apparently.
But we should be able to trace|someone who remembers him.
Abramovitch? Yes.
I think I know of this man.
Wait a minute. Isn't it the guy|who lost his, uh, faith?
- That's the one.|- It has to be!
- What a voice.|- Please!
He said he had heard|that the shtetl...
where he had left his mother and his|daughter had been burned to the ground.
Everyone perished. Everyone! Yes. Yes.
He said... he could no longer|believe in a just God...
and therefore|could no longer sing.
It was a scandal.|Everybody talked about it.
Everybody. Everybody.
What happened to him?|He changed his name,
along with his profession|and went west.
A terrible thing. The man|was a Chazan, a religious man.
But he did well. You must|admit. He did very well.
If you have a vision and you work hard|like him, you can succeed over here.
Oh, yeah, sure.
All right.
Take this. Come with me.
Nice.
Excuse me. Do you know where|I could find Mr. Abrahams?
What do you want|to see my boss for?
Well, he's my father.|Your father?
I think I'd better take you|to our legal department.
Follow me.
I'd like to see my father.|That's all.
As you keep saying. And if that's who|he really is, then... you will see him.
But he's not well, you|understand? Not well at all.
His musicals|have eaten him alive.
Frankly, he's worn himself out.
His family is very upset.
Very upset.
He has a family?
Fegele.
Daddy.
Fegele.
My little... bird.