“The 90th Birthday or Dinner for One”

Originaltitel: Dinner For One
Produktionsland: Deutschland
Erscheinungsjahr: 1963
Länge: 18 Minuten
Originalsprache: Englisch
Regie: Heinz Dunkhase
Drehbuch: Lauri Wylie

Besetzung:
May Warden: Miss Sophie
Freddie Frinton: Buttler James
Heinz Pieper: Conférencier

May Warden (* 9. Mai 1891 in Leeds; † 5. Oktober 1978 in London) war eine englische Schauspielerin.
Freddie Frinton (* 17. Januar 1909 in Grimsby, Lincolnshire, Großbritannien; † 16. Oktober 1968 in London; gebürtig Frederic Bittener Coo) war ein englischer Komiker.

Der 90. Geburtstag oder Dinner for One ist eine Fernsehproduktion des NDR aus dem Jahr 1963. Es handelt sich um einen 18-minütigen Sketch des englischen Komikers Freddie Frinton mit seiner Partnerin May Warden. Regie führte Heinz Dunkhase, wenngleich Frinton der eigentliche Schöpfer der Inszenierung und der Geschichte ist. Die erste Ausstrahlung erfolgte am 8. Juli 1963 in der ARD-Live-Sendung „Guten Abend Peter Frankenfeld. Die Einleitung in der deutschen Version spricht Heinz Piper. Autor des Sketches ist der Brite Lauri Wylie.
Zu Anfang führt Heinz Piper in die Geschichte ein: Miss Sophie (May Warden) feiert ihren 90. Geburtstag. Wie in jedem Jahr lädt sie dazu ihre vier engsten Freunde ein: Sir Toby, Admiral von Schneider, Mr. Pommeroy und Mr. Winterbottom. Allerdings ist jeder von ihnen bereits verstorben, weshalb Butler James (Freddie Frinton) die Rollen aller vier Herren übernehmen muss.
James muss nun nicht nur seiner Arbeitgeberin das Essen indische Hühner-Suppe (Mulligatawny Soup), Schellfisch aus der Nordsee (North Sea Haddock), Hühnchen (Chicken) und Obst (Fruit) servieren, sondern auch den vier imaginären Herren die jeweils passenden Getränke (Sherry, Weißwein, Champagner und Portwein) einschenken, in ihre Rollen schlüpfen, auf die Gastgeberin einen Trinkspruch ausbringen und den Drink leeren. Dadurch wird er immer betrunkener und verliert seine würdevolle Haltung sowohl in der Mimik als auch den Bewegungen. Schließlich zeigt er unzählige Varianten des Einschenkens und trinkt das Wasser aus der Blumenvase.
Im Stück gibt es mehrere Running Gags. So stolpert James insgesamt elf mal über den Kopf eines ausgelegten Tigerfells, wobei auch ein Nicht-Stolpern als Pointe vorkommt. Vor jedem Gang und zunehmend lallend fragt Butler James: „The same procedure as last year, Miss Sophie?, mit Betonung auf „last. Diese erwidert regelmäßig: „The same procedure as every year, James, wobei die Betonung meist auf „every (year) liegt (Deutsch: „Der gleiche Ablauf wie im vergangenen Jahr, Miss Sophie? „Der gleiche Ablauf wie in jedem Jahr, James mit Betonung auf „(in) jedem (Jahr)). Dieser Dialog kommt insgesamt fünfmal vor und hat sich durch fortwährende Wiederholung zu Silvester über vier Jahrzehnte zu selbstironisierender Tradition bis hin zur Selbstbezüglichkeit konkretisiert.
Schließlich beendet Miss Sophie den Abend mit einem Augenaufschlag und einem einladenden „I think Ill retire („Ich denke, ich werde mich zurückziehen), was James nach dem obligatorischen „The same procedure as last year? The same procedure as every year mit einem Augenzwinkern und einem nonchalanten „Well, Ill do my very best („Ich werde mein Bestes geben) quittiert, um sich dann mit ihr in die oberen Räumlichkeiten zurückzuziehen.

DINNER FOR ONE Original 1963 HQ

Dinner for One: Script
A German New Year's Tradition
Full Sketch - Annotated Script

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“Der 90. Geburtstag oder Dinner for One”
“The 90th Birthday or Dinner for One”

The original English-language sketch was filmed in Hamburg (in black-and-white) for German television in 1963. For more information about "Dinner for One" see Part 1.

Scene from "Dinner for One"
with Freddie Frinton as James,
and May Warden as Miss Sophie.
Foto: Radio Bremen

DINNER FOR ONE

NOTE: The many sight gags by Freddie Frinton in this sketch can not be fully conveyed in a written script.

The Setting: "Dinner for One" is set in a large dining salon with a table set for five people, including Miss Sophie, who is seated at the head of the table (on the right). A stair case is seen on the right, a serving bar on the left side of the room. On the floor between the table and the serving bar is a tiger rug, complete with head. Miss Sophie (played by May Warden) comes down the stairs into the dining salon. Her butler, James, greets her...

James: Good evening, Miss Sophie, good evening.

Miss Sophie: Good evening, James.

James: You are looking very well this evening, Miss Sophie.

Miss Sophie: Well, I am feeling very much better, thank you, James.

James: Good, good...

Miss Sophie: Well, I must say that everything looks nice.

James: Thank you very much, Miss Sophie, thank you.

Miss Sophie: Is everybody here?

James: Indeed, they are, yeah. Yes... They are all here for your anniversary, Miss Sophie.

Miss Sophie: All five places are laid out?

James: All laid out as usual.

Miss Sophie: Sir Toby?

James: Sir Toby, yes, he's sitting here this year, Miss Sophie.

No one except Miss Sophie is seated at the table as James indicates where the four invisible guests are seated.

Miss Sophie: Admiral von Schneider?

James: Admiral von Schneider is sitting here, Miss Sophie.

Miss Sophie: Mr. Pommeroy?

James: Mr. Pommeroy I put round here for you.

Miss Sophie: And my very dear friend, Mr. Winterbottom?

James: On your right, as you requested, Miss Sophie!

Miss Sophie: Thank you, James. You may now serve the soup.

James: The soup, thank you very much, Miss Sophie, thank you. They are all waiting for you. Little drop of mulligatawny soup, Miss Sophie?

Miss Sophie: I am particularly fond of mulligatawny soup, James.

James: Yes, I know you are.

Miss Sophie: I think we'll have sherry with the soup.

James: Sherry with the soup, yes... Oh, by the way, the same procedure as last year, Miss Sophie?

Miss Sophie: Same procedure as every year, James. Is that a dry sherry, James?

James: Yes, a very dry sherry, Miss Sophie... very dry. Straight out of the cellar, this morning, Miss Sophie.

James goes around the table pouring sherry for each guest. Then he walks over to the serving bar with the sherry bottle, tripping on the tiger rug head as he does so. He puts the bottle down and goes back to the table, standing behind the chair where Sir Toby is supposedly seated. He lifts Sir Toby's glass and makes a toasting gesture towards Miss Sophie, who also has a glass in her hand.

Miss Sophie: Sir Toby!

James: Cheerio, Miss Sophie!

James takes a drink for Sir Toby.

Miss Sophie: Admiral von Schneider!

James: Ad... Must I say it this year, Miss Sophie?

Miss Sophie: Just to please me, James.

James: Just to please you. Very good, yes, yes... Skol!

James drinks and clicks his heels together as he says "Skol!" and reacts in pain.

Miss Sophie: Mr. Pommeroy!

James: (in falsetto voice) Happy New Year, Sophie!

James drinks the entire glass for Mr. Pommeroy.

Miss Sophie: And dear Mr. Winterbottom!

James: (in a deep voice) Well, here we are again, old lovely...

Miss Sophie: You may now serve the fish.

James: Fish. Very good, Miss Sophie. Did you enjoy the soup?

Miss Sophie: Delicious, James.

James: Thank you, Miss Sophie, glad you enjoyed it.

James hobbles over to the serving bar, once again stumbling over the tiger head. Takes the fish over to Miss Sophie.

James: Little bit of North Sea haddock, Miss Sophie.

Miss Sophie: I think we'll have white wine with the fish.

James: White wine with the fish? The same procedure as last year, Miss Sophie?

Miss Sophie: The same procedure as every year, James!

James: Yea!

James goes over to get the white wine, once again stumbling over the tiger head. He gets the wine bottle and fills each person's glass. As he pours for Sir Toby, he has an imaginary, silent conversation with Sir Toby, then pours him some more wine as if it had been requested. As he takes the bottle back to the serving bar he fails to stumble over the tiger head, provoking laughter from the studio audience. Then he heads back to the table and stumbles over the tiger head.

Miss Sophie: Sir Toby!

James: Cheerio, Miss Sophie, me gal.

James drinks the wine from the glass of each guest as he toasts/greets Miss Sophie.

Miss Sophie: Admiral von Schneider!

James: Oh, must I, Miss Sophie?

Miss Sophie: James, please!

James: Skol! Clicks heels together and again reacts in pain.

Miss Sophie: Mr. Pommeroy!

James: Happy New Year, Sophie gal!

Miss Sophie: Mr. Winterbottom!

James: You look younger than ever, love! By gum, you look younger than ever, luv, younger than ever! Ha, ha, ha...

James is now showing the effects of his many toasts, weaving about and hesitating as he rounds the table. He takes Miss Sophie's plate.

Miss Sophie: Please serve the chicken!

James: Ya...

James stumbles over to the serving bar, tripping over the tiger head. He brings the chicken to Miss Sophie, wobbling as he does so.

Miss Sophie: That looks a very fine bird!

James: That's a lovely chu... chuk... chicken, that I'll tell you, a lovely...

Miss Sophie: I think we'll have champagne with the bird!

James: Champagne, ya... Same, same prosheeed-ure as last year, Miss Sophie?

Miss Sophie: The same procedure as every year, James!

James stumbles over to the serving bar for the champagne, again tripping over the tiger head. He pours champagne for each person, now wobbling and weaving even more than before.

James: Sophie, me gal...

Miss Sophie: Admiral von Schneider!

James: Must I, Miss Sophie?

Miss Sophie: James!

James: Schkol!

James tries to click his heels but misses and dances about for a moment.

Miss Sophie: Mr. Pommeroy!

James: Happy New Year, Sophie, gal...

Miss Sophie: Mr. Winterbottom!

James: It's one of the nicest little women... hic... one of the nicest little women, that's ever breathed, that's ever breathed... I now declare this bazaar opened! So forth...

James makes a loud burping sound, then grabs Miss Sophie's chair, almost tipping her over backwards. He somehow manages to take her plate of chicken over to the bar, stumbling over the tiger head as the plate flies up in the air.

James: Would you like some fruit?

Takes a fruit plate over to Miss Sophie, zooming past her and half-way up the stairs, then back down to her.

Miss Sophie: I think we'll have port with the fruit!

James: Oh, no! Sa... same procedure, sa... same procedure as last...

Miss Sophie: Yes, the same procedure as every year, James!

James gets the bottle of port and returns, shakily, to the table. He has difficulty pouring the port, sloshing it all over as he attempts to pour for Miss Sophie and her guests. Finally, he takes a swig from the bottle as he hops over the tiger head. He then returns to the table, wobbily.

Miss Sophie: Sir Toby!

James: Sugar in the morning, sugar...

Miss Sophie: Admiral von Schneider!

James: Schkol!

Miss Sophie: Mr. Pommeroy!

James: (Spills glass) I'm sorry, Madam, sorry. (Scoops the spilled port off the table cloth into his glass and drinks.)

Miss Sophie: Mr. Winterbottom!

James accidentally grabs a flower vase, removes the flowers and drinks from the vase.

James: Huuhh, I'll kill that cat!

Miss Sophie: Well, James, it's been a wonderful party!

James: Well, it's been most enjoyable.

Miss Sophie: And I, I think I'll retire.

James: You're going to bed? Sit down, I'll give you a hand up, Madam.

James escorts Miss Sophie to the base of the stairs.

Miss Sophie: As I was saying, I think I'll retire.

James: Ya... ya, ya. By the way, the same procedure as last year, Miss Sophie?

Miss Sophie: The same procedure as every year James!

James: Well, I'll do my very best!

The two go up the stairs and disappear off-stage.

Una versión moderna de Otto Walkes...en alemán (logisch)

Karendaniela says:

ridiculo enfermoooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
estupidoooooooooooooooooooooooooooooooooooooooo
apuesto q no has conseguido nada ...

Yo respondo:

tontuela,
Por si no entiendes
Lo de las lagartijas indica que nunca leistes literatura colombiana (100 años ...)
Lo dela agenda indica que no tienes sentido del humor.
Lo del sexo puro y el resto indica que no sabes ni te imaginas que hay hombres tan sinceros como directos.
Lo de las sábanas indica que no entiendes lo que significa una diferencia entre un motel con sábanas usadas por miles y las sábanas de un hombre como yo.
NO por eso deba ser enfermo o estúpido
Bien, lástima que no entrego mensajes a cualquiera, pero en tu caso lo hice y por tu respuesta  pareces una cualquiera más que puede perder apuestas.
No apuestes ni el cocho ni el culo, que puedes recibir doble...
besos mil

Karendaniela says:

q te haces el romantico imbecil!!!!
el de la literatura...
unas sabanas como las de un hombre como vos???
nunca...
cualquiera tu ...
q vino a tener un especimen como vos...
empieza a podrirte...
enfermo!!!
y pagate una cirugia!!!

YO PIENSO:
Estoy empezando a gustar de tagged.com
Es bueno leer algo de mujer a hombre ...

Todo por las huríes!

...Marry women of your choices, two or three or four.

Debo cambiar de religión!

Caperucita y la loba feroz de las "niñas buenas"

Source

Little Red Riding Hood Uncloaked

Forget everything you ever thought you knew about fairy tales, and "Little Red Riding Hood.

" In this book, Catherine Orenstein explores the history of the fairy tale, from the French court, Charles Perrault, Hans Christian Anderson, the brothers Grimm, Bruno Bettelheim, Italo Calvino, Gwen Strauss, and Anne Sexton.

As she explains, "The endeavor of this book is to draw Little Red Riding Hood forth from her literary crypt, to unwrap the protective vellum that mummifies her in the rare book section of the library."
In this survey of literature, Orenstein inspects the derivations of Little Red Riding Hood, who has been depicted as a seductress, a victim, a femme fatale, and a she-wolf in various works. Changes in society have dramatically affected the evolutions of the tale.
The Origins of the Fairy Tales
Fairy tales are fantastical tales, with talking creatures, great heroes, fair maidens, magical and miraculous deeds, and heroic quests. While the tales are often considered part of children's literature, the tales can be horribly grotesque. Although the Grimms' brother popularized fairy tales for children, they also censored many of the tales, removing the explicit or potentially controversial elements from the tales.
According to Orenstein, "The first recorded reference to a fairy tale seems to occur in a letter Madame de Sevigne wrote to her daughter in 1677 describing one of 'the stories they amuse the ladies with at Versailles'." The tales became popular in French salons, entertaining men and women with "utopian musings.

" Fairy tales were "frequently about marriage, love, education, and the roles of men and women."D'Aulnoy is given credit for publishing the first fairy tale in 1690, but it wasn't long until Perrault and others carried on the tradition.
An Epic Journey Re-invented
As a standard in children's literature, Little Red Riding Hood is a little girl who makes her epic quest to her grandmother's house to visit her ailing grandmother. Along the way, the girl meets a wolf, who discovers her intent and runs on ahead to Grandmother's house. The wolf then eats Little Red Riding Hood's grandmother and awaits the girls arrival.
The tale has many derivations. And, with the arrival of Little Red Riding Hood, the tale is told in several ways. In Charles Perrault's tale, the wolf (interpreted as a man who seduces women) hides under the covers, and urges the girl to "climb into bed with me." The girl comments on "what big" arms, legs, ears, eyes, and teeth the wolf has, which ends with the wolf saying "The better to eat you!" The wolf then "threw himself upon Little Red Riding Hood and ate her up." In Perrault's fairy tale, published in 1697, no woodsman comes to rescue her; and Little Red Riding Hood does not save herself.

It's a morality tale, warning girls and women that "Wolves may lurk in every guise.""Little Red Cap," by Jacob and Wilhelm Grimm, is one of the most famous derivations of the Red Riding Hood tale. After the wolf ate Little Red Cap, he fell to sleep and his snoring drew the attention of a hunter. The hunter enters the house, sees the sleeping wolf and says: "So here you are, you old sinner... I've been looking for you for a long time." Then, instead of shooting the wolf, he cuts open the wolf and lets out Little Red Cap and her grandmother. The hunter then puts heavy stones in the wolf's stomach. When the wolf wakes up, he drops dead. The hunter then skins the wolf and goes home. Of course, Little Red Cap has learned her lesson. She will never again stray from the path, or be fooled by a wolf's deception.
Not all of the Little Red Riding Hood versions are as familiar or as tame. In an oral folktale, "The Grandmother's Tale," the wolf arrives at Grandmother's house, kills her, and puts her flesh and blood in the pantry. Upon arrival, the wolf tells the girl to eat the flesh and drink the wine (blood) in the pantry. And, as she eats, the cat says, "She is a slut who eats the flesh and drinks the blood of her granny."

Despite the bloody gore of this tale, the girl manages to escape from the wolf. From there, Orenstein discusses the case of Stubbe Peeter, a man who was accused of taking on the form of a werewolf, as he enticed men, women and children to their deaths. According to Orenstein, "if Stubbe Peeter's trial was sensational, his crime was not unique. Indeed, in certain areas, at this particular moment in history, it seems to have been almost commonplace."

Red Riding Hood Turned Sexy

In more recent years, Little Red Riding Hood has changed dramatically, as she appears in movies, commercials, advertisements, cartoons, and more. She has also been reinvented by modern writers like Anne Sexton, Roald Dahl, and Gwen Strauss. Feminist analysis also plays a part in more recent interpretations of the Little Red Riding Hood tale.

Orenstein features a quote by Susan Brownmiler, who says: "Fairy tales are full of vague dread, a catastrophe that seems to befall only little girls... There are frightening male figures abroad in the woods--we call them wolves, among other names--and females are helpless before them."

According to Orenstein, "Modern fiction writers also frequently incorporate themes of sexual assault in their retellings of 'Little Red Riding Hood'." Through these explorations of the tale, women would "reclaim" the tale. The story lasts because it has evolved through time and cultures. Orenstein says: "The truth is that the real world, as in the fairy tale, we are a bit of everything: a spectrum of possibilities, interwoven and interrelated.

" As she explains, "Over the years, by intention or by intuition, the tale of 'Little Red Riding Hood' has explored the shifting fault lines of morality, sexuality, and gender."

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