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(George). Honey I'm home.
Where's my dinner?
Where's my dinner?
[thunder and lightinng].
Where's my dinner?
(Big Bob). [laughing].
George?
What happened?
Are you alright?
What is it?
(George). Rain.
(Big Bob). Real rain?
[loud thunder and lighting].
(Big Bob). Oh my God.
Are you alright?
(George). I came home like I always do,
II went in the front door and I took off my coat
and I put down my briefcase, and I said "Honey, I'm home."
Only there was no one there.
No wife, no lights, no dinner.
I went to the oven, you know, I thought maybe
she had made me one of those TV dinners.
She hadn't, she was gone.
I looked and looked and looked.
She was gone.
(Big Bob). It's going to be fine George,
you're with us now.
(Gus). What are we going to do, Bob?
(Big Bob). Well, we're safe for now,
thank goodness we're in the bowling alley.
But if George here doesn't get his dinner,
any one of us could be next.
It could be you Gus, or you Roy, or even you Ralph.
That is real rain out there gentlemen,
this isn't some little virus that will clear up on it's own.
Something is happening to our town,
and I think we can all see where it's coming from.
Roy, why don't you show them what you showed me before.
(Big Bob). It's okay Roy, come on up here.
I know Roy.
He asked her what she was doing, she said nothing,
she was just thinking.
My friends this isn't about George's dinner,
it's not about Roy's shirt, it's a question of values,
it's a question of whether we want to hold up those values
that made this place great.
So a time has come to make a decision.
Are we in this thing alone or are we in it together?
(Ralph). Together.
(Gus). Together.
(men in unison). Together.
(all the men chanting). Together!
[thunder and lighting].
(Dr. Lesage). Now earlier when Bud had
been with young people, it started to rain and they were
afraid of it, but he showed them how fun it was to just
be out in the rain and then young people all danced
around in the rain and had a good time.
So this is George, the father's reaction to the rain.
I think it's very interesting to see the visual presentation of
these worried men.
George, when he's left at home alone is in a lonely,
threatening place like gothic or film noir.
In many of the shots in these films there's lighting from
below common to the horror film.
And in the case of Big Bob, it sort of emphasizes his kind of
dulap down here and makes him look really jowly.
There's a similar lighting on the men's faces in the bowling
alley especially on Big Bob, and then the camera angles up on him
to make him seem bigger and more threatening and
angles down on George to make him seem even more a victim.
And there's lots of tableaus here, the empty house and
George, the men's faces lined up in agreement with Big Bob.
I think that you find two sets of moral contrast.
One are the moral judgements of the men which stand in
opposition to the viewers' moral judgement.
So it's interesting.
We see the disdain of the burn on the shirt,
and the wife was just thinking, and both things were bad,
the burnt shirt and the wife just thinking.
So I'm not showing the climax, the courtroom scene,
but it depends on these visual contrasts.
In this instance, the gray George has to agree that the
technicolor Betty, his wife, is beautiful just as she is.
George's admission and his realization of his emotional
committment is what foils Big Bob's abuse of authority.
And in fact, I would suggest that if you can,
take another look at the whole film.
You'll see how artfully it's worked out,
the contrast between the technicolor Betty
and Mr. Johnson who turns technicolor and the teens
who all turn technicolor on the one hand,
and the gray town's people, mostly men who resist change.
The theme or the message of the film is actually created by the
spectacle of the film's shift to color.
So I'm going to end here, and I'll take any questions
that you might have.
Well that's alright, I'm not going to put you on the spot.
I'll be very happy to just let you get out of class, okay?
[audience applause].
[no dialogue].