Ted is at first excited, but then wonders if Lisa will view the dinner as a date or as just a meeting between coworkers. Throughout the dinner, Ted receives mixed signals on whether it is a date or not, and Lisa eventually reveals she had once dated a New York Yankees player.
Ted is so intrigued he urges her to tell who; she reveals him to be Derek Jeter just as she casually describes their meeting as "a lovely date", but when Lisa shows him a picture, Ted is annoyed to find out it is actually Barney. The next story begins with Robin having recently broken up with one of her ex-boyfriends Marshall is unable to remember who , and is unashamedly shoveling down sweets at a bakery.
She then runs into Simon and is surprised to see he is more clean-shaven and professional than before, but quickly becomes dejected when he reveals he's engaged to be married. In anger, Robin steals Simon's wedding cake and begins eating it at Ted's apartment, much to Ted's scolding and bewilderment. When Robin has finished nearly half the cake, Lily arrives, and Robin feels remorse for her actions and decides to stop.
Lily, however, convinces Robin to be strong and finish the cake. Her struggle to finish soon draws others to the apartment to cheer her on, including Barney who brings a keg of beer. She eventually finishes, then proceeds to do a keg stand Marshall adds that afterwards they had to get her stomach pumped. The final story has the gang at McLaren's, where Barney has his sights set on a girl who just walked into the bar. Barney relates a story of how, after bedding Lisa, he was called before the High Council of Players, a group of pickup artists of differing social backgrounds each with a specific borough of New York City in which they can seduce women the members are all played by Neil Patrick Harris : hipster Pickle Jar Bob in Brooklyn , guido Staten Island Lou in Staten Island, airline pilot impersonator Captain Bill in Queens , New York Yankee impersonator Bronx Donnie in the Bronx, and upper class Tuxedo Charlie with whom Barney shares Manhattan , using Fifth Avenue as the boundary; Charlie gets the eastern side, Barney the western side.
Barney agrees, then offers a toast of champagne to everyone. Then this film was created in , and marked the only time David Niven and Marlon Brando co-starred in a comedy. That is the title that shall always be recalled with this story, especially since it has been turned into a successful musical show in London and New York City. Truth be told, I favor the version, because the two male leads manage to squeeze more reality out of their characters than Niven and Brando did.
Brando had too much intelligence for playing the slovenly conman Freddy Benson, while Steve Martin showed his intellectual limitations far better. Niven got carried away showing Jamieson's intellectual philanthropy from the proceeds of his swindles , while Caine took the same material and showed it for what it really was - an emotional hobby. That said the film was good within it's own limits not notable for nearly a quarter century.
The only other alteration was a final surprise which makes the remake much superior. Lawrence Jamieson has set himself up in a mansion on the gold coast of the Riviera, and attracts wealthy women with the assistance of the local police chief - who is in his pay. He convinces wealthy women pretending he is doing it in a noble cause to give him thousands of dollars for the purpose of freeing his country from the tyrants it is obvious he is supposed to be a deposed Balkan monarch, fighting the Communists.
The con is perfect, and the machinery is well oiled. But along comes Freddy Benson, an American conman, who threatens to ruin the con Jamieson sets up. They try to work together for awhile, but Jamieson sees Freddy as an apprentice at best a junior partner and that irks Freddy.
So they set up a bet - winner takes over the local Riviera town as his preserve. Freddy pretends that he is a soldier suffering from some psychological shock that has left him crippled he is actually spoofing, in part, his serious performance in his first movie THE MEN where he was a crippled war hero. Jamieson pretends he is a famous Vienese psychologist who Freddie claims he has tried to contact. And the film gets into a series of feints and pretenses that both men play on each other to get them out of the way while they work out their wiles on Jones.
Jones is a perfectly decent type, who gradually is very attracted to Brando. It turns out that Jones is the winner of a big contest from the American Soap Company, and she is not a millionaire.
Niven learns this first and then Brando. But Brando has slowly gotten to like Jones too, so he ends up returning to America with her as her husband. Niven accepts that he must struggle on as a bachelor to the end - and heads back to the glittering life of the Riviera. That is not how the remake ended.
Jones' character turned out to be a very successful female con-artist, who beats Caine and Martin. Caine, of course, fully appreciates the artistry of the woman Martin's just angry , but she returns, as she sees both men can be useful partners to her schemes especially the smarter Caine.
So the three of them go after their rich prey with glee at the end. The remake had the better ending It kept the surprises coming up to the conclusion of the film. But the original had some nice moments. Brando playing the silent assistant to Niven as his apprentice has to play a half-wit brother Prince to Niven's exiled King Prince Rupprecht , who wears "Napoleon" suits.
He also, towards the end, does a nice brief imitation of Niven as the art and culture lover, admiring a "Stradavarius violin". The Chief of Police helping Niven also has an interesting plan to get rid of Brando with a gun whose fingerprints will lead to a weird historical dead end you have to hear the plan to understand it.
So I would recommend the film as a worthy comedy, but one that eventually was far improved upon. Niven is great, Brando is not such a good choice as Freddie Benson. TxMike 4 December Enough so to make them different movies, instead of the latter being a remake. I enjoyed 'Bedtime Story', but I strongly prefer 'Dirty, Rotten Scoundrels', which has come to be my all-time favorite comedy.
I will watch it over and over, but one viewing of 'Bedtime Story' is enough for me. I never liked Brando as an actor, his delivery of lines, which sounds to me like a speech impediment, is distracting. I only liked him in the 'Godfather' movies, where he was the perfect choice. I also thought the 'Rupreckt' sub-character was played much better by Steve Martin, who is clearly better than Brando ever could be in this type of role.
Niven is perfect here, even better than Michael Caine, and I love Shirley Jones Janet Walker, not Colgate in anything, but they are not enough to bring this marginal comedy any higher than '7' of Plus, 'Bedtime Story' was obviously filmed on a set, with filmed scenes of Germany and southern France shown in the background. In contrast, 'Scoundrels' was filmed in France, which makes it a much more authentic movie. In 'Scoundrels', it turns out that Janet has scammed both of them, disappears, and turns up later, with a group of investors, looking for help from the boys to work this real estate scam.
This film is a bedtime fairy tale, with princes, wolves and preyed-upon damsels, castles and woods. Fairy tales are often designed to be instructive, or to inculcate a moral. Like the traditional fairy tale, it ends in marriage, which is another word for soul-destroying prison, the final trap set by a master conman. It may not be very cinematically inventive, but there are sequences here of such audacity, cruelty and gasping hilarity that it puts even the Peter Sellers bits of 'The Pink Panther' movies to shame.
Its influence, furthermore, can be seen in two of the most important films of the last five years. Like 'In the Company of Men', two men coldly wager on winning the affections of an innocent woman.
Like 'The Idiots', one of the characters pretends to be disabled to 'subvert' bourgeois normality in this case, to wring money and jewels from them. Maybe this is why comment on the film is silent, some people confusing a character as morally callous as Freddy Benson, who would impersonate the disabled for his own gain, with a general attitude of mockery towards the disabled.
It is true that these scenes are very uncomfortable, which is why they are so eye-poppingly funny; maybe it IS offensive to use being disabled as character short-hand - even though it is a good metaphor for Brando's physicality being paralysed by mental grace, he still gets to walk up again.
I don't know. I loved 'Me Myself and Irene' too. Maybe I'm not a nice person. The film's air of cold bonhomie extends to its structure which operates with a mathematical precision appropriate to its German setting, not only in its three act structure introduction of characters; working together; final wager , but in the way in introduces its characters, seperately, before putting them together, like a theorem, or a chemical experiment.
The chief joy of this film is the way it plays on their stars' very well-developed personae, both public and private; David Niven is the conman with perfect English elegance and etiquette, with suave, quick, alert movements figuring the practical clockwork in his head, whose sense of morality and decency conveniently gets competition out of the way.
His performance plays most obviously on his 'Pink Panther' role, but there is a touch of Phileas Fogg in his Freudian doctor impersonation, which allows him to inflict clinically methodical cruelty, to uproarious results. Brando, meanwhile, is a comic revelation. Like Robert De Niro, his serious, dramatic roles are always laced with a menacing, self-aware humour, but his straight comic vehicles have been humorless mugfests.
He is in his element here as the kind of brash, unprincipled, cheating, thieving, blackmailing American the real Brando despises, making fun of the solemn brilliance of his best films, especially 'The Men', with that familiar Brando whine and hurt-baby-face-in-tough-guy-body look. Because this is a film about acting, about two of cinema's greatest performers, from totally different traditions, trying to outskill each other; there is genuine admiration to be seen as each watches the other do his stuff, just as each character's bluff is outbluffed by the other.
And this is what gives this marvellous film its depth, the idea of acting in life, of assuming roles, of constructing identities, as a necessary defence against the stolid domesticity to which Brando is apparently condemned.
The film seems to have a moral after all - better the settled married man over the aging, 'free' bachelor, which Jameson acknowledges, while mock-sadly making off to indulge that freedom. The story is mostly the same: an elegant English conman on the Riviera is annoyed to find his pitch invaded by an uncouth American huckster.
They briefly become partners, then rivals. In the original, the leads are taken by David Niven and Marlon Brando, of all people. But it's a comedy masterclass - in how not to do comedy. Just about every scene in the remake milks the full comic potential far better. Steve Martin has a loud check shirt, a big white Panama hat and big shades, he's the epitome of the loud American abroad and out of his depth as, leaning against the bars,he goes all self- pitying and pleading to the unimpressed French inspector.
Watching the original we find that Martin filched the entire performance from Brando, with one crucial difference - Martin is funny. Brando - he just ain't funny At one point, Freddie is asked if he has a reliable local character witness. Martin goes through a minute of exasperated tip-of-his-tongue recall, jumping up and down, banging his head until he gets it at last.
Brando just gives him the name. Later you may recall Caine is required to impersonate a German psychotherapist. He has a cold sadistic tone that works well against Martin's horrified incredulity. Niven, who plays the same role, is called upon to impersonate a Swiss doctor. And just plays him as Niven, with the same voice and everything. Critics say Caine is always the same, but Niven though urbane really is shown to be a one-note actor in this.
The comic scenes are generally leaden, though to be fair Martin borrowed Rupret's hulking suspicious demeanor from Brando, except again he's funny and Brando is not. Worst of all, the film ditches the surprise twist of DRS, ending with a real cop out. But bland Niven and unfunny Brando sink it. Bedtime Story is a fine comedy with two superb actors.
The story, the rhythm of the movie and the acting is characteristic of the best period of the English, American, Italian and French comedy.
No special effects, just a good story and good acting. Develop Memories Together Reading a bedtime story to your children is a great way to connect with them. Benefits Of Bedtime Stories Telling bedtime stories is beneficial. Resources Be sure to check out the following classic stories to get some ideas for telling a great story.
The Garden of Paradise 21 mins read. The Real Princess 1 min read. Maid Maleen 7 mins read. The Little House in the Wood 7 mins read. The Nix of the Mill-Pond 8 mins read. The Shoes that were Danced to Pieces 5 mins read.
The Goose Girl at the Well 14 mins read. One eye, Two eyes and Three Eyes 10 mins read. We should just say, watch everything on Amazon Prime. Again, you can watch this on Amazon Prime in collaboration with Starz. It also features Marilyn Monroe at her absolute best. You can also see this on Amazon in collaboration with Starz. Watch it on Amazon Prime. It's on Amazon Prime.
But it also helped to shape a new kind of teen counterculture and made Dustin Hoffman a star.A Bedtime Story in Simple English for Kids. A toy rabbit learns that through a child's love it can become real. Read this Story. Pocahontas and John Smith Story ~ Folktales Stories for Kids. A Bedtime Story of Friendship, Courage and Acceptance.. The story tells of the time Pocahontas saved the life of settler John Smith from her father.