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When Harry Met Sally

June 18, 2016

WHMS 2The origins of the film were derived from Reiner’s return to single life after a divorce. An interview Ephron conducted with Reiner provided the basis for Harry. Sally was based on Ephron and some of her friends. Crystal came on board and made his own contributions to the screenplay, making Harry funnier. Ephron supplied the structure of the film with much of the dialogue based on the real-life friendship between Reiner and Crystal.

1977: Harry Burns (Billy Crystal) and Sally Albright (Meg Ryan) share a long car ride from the University of Chicago to their new, post-graduation lives in NYC. En route, they discuss whether a man and a woman can be friends, without sex getting in the way. Concluding that they cannot be friends, they part ways upon their arrival.

1982: Sally and Harry share a plane flight. Sally is now in a relationship with Joe (Steven Ford), while Harry is about to get married to Helen (Harley Kozak). Once again, Harry explains why men and women can’t be friends, even if they’re in relationships with other people. They part ways again once the flight is over.

1987: Sally tells her friends, Marie (Carrie Fisher) and Alice (Lisa Jane Persky), that she and Joe broke up; while Harry tells his friend Jess (Bruno Kirby) that Helen has left him. Harry and Sally meet again in a bookstore, and over dinner discuss their lives. Harry is surprised to realize he has a “woman friend”, and they go on to have late-night phone conversations (about Casablanca, for example, and whether Ingrid Bergman should have stayed with Humphry Bogart at the end of the movie), visit museums, and so on. Sally feels uncomfortable telling Harry she is dating again, but he encourages her to do so, and tells her about his dates. They discuss his relationships with women, and Sally fakes an orgasm at a diner, to prove to him that it can be done, after which another customer (director Rob Reiner’s mom, Estelle Reiner) orders “what she’s having”.

Over dinner, Harry tries to match Sally to Jesse, while Sally tries to match Harry to Marie. Marie and Jesse end up together.

Four months later, Harry and Sally are shopping for Jesse and Marie’s upcoming wedding when they bump into Harry’s ex-wife. Later, we learn that Sally is now dating Julian (Franc Luz), while Harry is dating Emily (Tracy Reiner), but when Sally learns that her ex-boyfriend, Joe, is getting married, she calls Harry in the middle of the night. He comes over to comfort her, and they end up having sex.

Not sure how to handle the situation, Harry and Sally grow apart. At Jesse and Marie’s wedding they have a fight, but later, at a New Year’s Eve party, Harry comes over and tells Sally that he loves her. They kiss and later get married.

Nowhere is there any explicit mention of anybody’s ethnicity or religion. This is in part attributable to Ephron who said: ‘Harry was originally conceived, in my mind anyway, as a Christian and Sally as a Jew’. Not that this was ever explicit. When Billy Crystal and Meg Ryan got involved, that was obviously not going to work, so everyone’s last names were changed. And Billy made the character more like himself, more like a standup comic.’ This leads me to the following questions: what is Jewish about When Harry Met Sally? And is it intended to be a ‘Jewish’ film?

To paraphrase Lenny Bruce, ‘You’re Jewish if you’re called Harry even if you’re goyish and if you’re called Sally you’re goyish even if you’re Jewish.’ Harry is an upwardly mobile professional, a political consultant, who lives in New York City. Presumably he is successful, because he lives in one of those apartments that only people in the movies can afford, but their professional lives are entirely off-screen. We see them only at those intervals when they see each other. Harry is a talker, or ‘Jew is mouth as nervous brain’, characterized by his excessive loquacity, garrulousness, and his quick-wittedness, all cinematic defining features of the Jew. His dialogue is witty and epigrammatic, and Harry’s character is smart, funny, sophisticated, intelligent and quick with many quotable lines.

The film is replete with traditional Jewish humour. On Harry and Sally’s first trip from Chicago to New York, when they are chatting in the car, his dialogue is the typical Jewish shtick, not unlike Crystal’s standup routine about his uncle, who is always such asking questions as ‘Nu, when you going to get married? Gonna make a living?’ Similarly, when Harry spits grape seeds at the windowpane and it sticks to the glass, thereby annoying Sally – a Crystal innovation – the gag has a typically visual, ‘in your face’ Jewish flavour.

Other markers characterize Harry as Jewish. He uses Yiddish words like ‘shlong’ and ‘shmuck’. He focuses on the negative: death (Harry: Do you ever think about death? Sally: Yes. Harry: Sure you do, a fleeting thought that jumps in and out of the transient of your mind. I spend hours, I spend days…) and disease (‘Suppose you lived out your whole life and nothing happens you never meet anybody you never become anything and finally you die in one of those New York deaths which nobody notices for two weeks until the smell drifts into the hallway’). He is a hypochondriac: ‘I’m definitely coming down with something. Probably a twenty four hour tumour they’re going around.’ He has no manners and is sloppy – he spits grape seeds out of the window; in fact, at the window in a noisy and noticeable fashion. He talks very quickly at the same time. He is defined by his mouth in two senses: as a smart-ass, quick talking city slicker, and by his lack of cultivation and manners. Finally, Harry is chasing the clearly non-Jewish Sally, who a blonde, blue-eyed shiksa.

Reiner observes that in the Christian tradition, relationships have obstacles. In the Jewish tradition, ot’s the neurosis of the male character.

Over the years, When Harry Met Sally… has become “the quintessential contemporary feel-good relationship movie that somehow still rings true”. Ephron still received letters from people obsessed with the film and still had “people who say to me all the time, ‘I was having a Harry-and-Sally relationship with him or her’.”

The film is ranked at number six on the American Film Institute’s list of Top Ten Romantic Comedies.

Included among the “1001 Movies You Must See Before You Die”, edited by Steven Schneider.

The concept of Sally being a picky eater was based on Nora Ephron, the scriptwriter, and so years after the movie came out, when Nora Ephron was on a plane and ordered something very precise, the stewardess looked at her and asked “Have you ever seen the movie ‘When Harry Met Sally’?”

Harry and Sally are as blind to romance as they are to the love growing between them. The same logic was used for Harry’s apartment. The windows overlook the Empire State Building. It could either the loveliest – or – loneliest, view in the world.

Harry is somewhat based on Rob Reiner. Rob was depressed, and loved being depressed, like Harry Burns in the film. Sally is somewhat based on Nora Ephron. Nora is optimistic, cheerful, loves control, and is the type of person who is “just fine” with everything, just like Sally Albright.

WHMSHarry Burns: I love that you get cold when it’s 71 degrees out. I love that it takes you an hour and a half to order a sandwich. I love that you get a little crinkle above your nose when you’re looking at me like I’m nuts. I love that after I spend the day with you, I can still smell your perfume on my clothes. And I love that you are the last person I want to talk to before I go to sleep at night. And it’s not because I’m lonely, and it’s not because it’s New Year’s Eve. I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.

[after Sally fakes orgasm in a deli] Older Woman Customer: [to waiter] I’ll have what she’s having.

Harry Burns: It is so nice when you can sit with someone and not have to talk.

Harry Burns: Would you like to have dinner?… Just friends.

Sally Albright: I thought you didn’t believe men and women could be friends.

Harry Burns: When did I say that?

Sally Albright: On the ride to New York.

Harry Burns: No, no, no, I never said that… Yes, that’s right, they can’t be friends. Unless both of them are involved with other people, then they can… This is an amendment to the earlier rule. If the two people are in relationships, the pressure of possible involvement is lifted… That doesn’t work either, because what happens then is, the person you’re involved with can’t understand why you need to be friends with the person you’re just friends with. Like it means something is missing from the relationship and why do you have to go outside to get it? And when you say “No, no, no it’s not true, nothing is missing from the relationship,” the person you’re involved with then accuses you of being secretly attracted to the person you’re just friends with, which you probably are. I mean, come on, who the hell are we kidding, let’s face it. Which brings us back to the earlier rule before the amendment, which is men and women can’t be friends.

Sally Albright: Amanda mentioned you had a dark side.

Harry Burns: That’s what drew her to me.

Sally Albright: Your dark side?

Harry Burns: Sure. Why? Don’t you have a dark side? I know, you’re probably one of those cheerful people who dot their “i’s” with little hearts.

Sally Albright: I have just as much of a dark side as the next person.

Harry Burns: Oh, really? When I buy a new book, I read the last page first. That way, in case I die before I finish, I know how it ends. That, my friend, is a dark side.

Harry Burns: I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.

Harry Burns: You realize of course that we could never be friends.

Sally Albright: Why not?

Harry Burns: What I’m saying is – and this is not a come-on in any way, shape or form – is that men and women can’t be friends because the sex part always gets in the way.

Sally Albright: That’s not true. I have a number of men friends and there is no sex involved.

Harry Burns: No you don’t.

Sally Albright: Yes I do.

Harry Burns: No you don’t.

Sally Albright: Yes I do.

Harry Burns: You only think you do.

Sally Albright: You say I’m having sex with these men without my knowledge?

Harry Burns: No, what I’m saying is they all WANT to have sex with you.

Sally Albright: They do not.

Harry Burns: Do too.

Sally Albright: They do not.

Harry Burns: Do too.

Sally Albright: How do you know?

Harry Burns: Because no man can be friends with a woman that he finds attractive. He always wants to have sex with her.

Sally Albright: So, you’re saying that a man can be friends with a woman he finds unattractive?

Harry Burns: No. You pretty much want to nail ’em too.

Sally Albright: What if THEY don’t want to have sex with YOU?

Harry Burns: Doesn’t matter because the sex thing is already out there so the friendship is ultimately doomed and that is the end of the story.

Sally Albright: Well, I guess we’re not going to be friends then.

Harry Burns: I guess not.

Sally Albright: That’s too bad. You were the only person I knew in New York.

Sally Albright: Well, basically it’s the same dream I’ve been having since I was twelve.

Harry Burns: Which is?

Sally Albright: Okay, there’s this guy…

Harry Burns: What does he look like?

Sally Albright: I don’t know, he’s just sort of faceless.

Harry Burns: Faceless guy, okay.

Sally Albright: He RIPS off my clothes. [pause]

Harry Burns: And?

Sally Albright: That’s it.

Harry Burns: That’s it? Some faceless guy rips off all your clothes, and THAT’S the sex fantasy you’ve been having since you were twelve?

Sally Albright: Well sometimes I vary it a little.

Harry Burns: Which part?

Sally Albright: What I’m wearing.

Harry Burns: There are two kinds of women: high maintenance and low maintenance.

Sally Albright: Which one am I?

Harry Burns: You’re the worst kind; you’re high maintenance but you think you’re low maintenance.

Sally Albright: I don’t see that.

Harry Burns: You don’t see that? Waiter, I’ll begin with a house salad, but I don’t want the regular dressing. I’ll have the balsamic vinegar and oil, but on the side. And then the salmon with the mustard sauce, but I want the mustard sauce on the side. “On the side” is a very big thing for you.

Sally Albright: Well, I just want it the way I want it.

Harry Burns: I know; high maintenance.

Sally Albright: You see? That is just like you, Harry. You say things like that, and you make it impossible for me to hate you.

[Harry and Sally discussing orgasms] Sally Albright: Most women at one time or another have faked it.

Harry Burns: Well, they haven’t faked it with me.

Sally Albright: How do you know?

Harry Burns: Because I know.

Sally Albright: Oh. Right. Thats right. I forgot. You’re a man.

Harry Burns: What was that supposed to mean?

Sally Albright: Nothing. It’s just that all men are sure it never happened to them and all women at one time or other have done it so you do the math.

Harry Burns: The fact that you’re not answering leads me to believe you’re either (a) not at home, (b) home but don’t want to talk to me, or (c) home, desperately want to talk to me, but trapped under something heavy. If it’s either (a) or (c), please call me back.

Harry Burns: Had my dream again where I’m making love, and the Olympic judges are watching. I’d nailed the compulsories, so this is it, the finals. I got a 9.8 from the Canadians, a perfect 10 from the Americans, and my mother, disguised as an East German judge, gave me a 5.6. Must have been the dismount.

Sally Albright: Well, if you must know, it was because he was very jealous, and I had these days of the week underpants.

Harry Burns: Ehhhh. I’m sorry. I need the judges ruling on this. “Days of the weeks underpants”?

Sally Albright: Yes. They had the days of the week on them, and I thought they were sort of funny. And then one day Sheldon says to me, “You never wear Sunday.” It was all suspicious. Where was Sunday? Where had I left Sunday? And I told him, and he didn’t believe me.

Harry Burns: What?

Sally Albright: They don’t make Sunday.

Harry Burns: Why not?

Sally Albright: Because of God.

Jess: Marriages don’t break up on account of infidelity. It’s just a symptom that something else is wrong.

Harry Burns: Oh really? Well, that “symptom” is fucking my wife.

Harry Burns: I’ve been doing a lot of thinking, and the thing is, I love you.

Sally Albright: What?

Harry Burns: I love you.

Sally Albright: How do you expect me to respond to this?

Harry Burns: How about, you love me too.

Sally Albright: How about, I’m leaving.

Harry Burns: You take someone to the airport, its clearly the beginning of the relationship. That’s why I have never taken anyone to the airport at the beginning of a relationship.

Sally Albright: Why?

Harry Burns: Because eventually things move on and you don’t take someone to the airport and I never wanted anyone to say to me, How come you never take me to the airport anymore?

Sally Albright: Its amazing. You look like a normal person but actually you are the angel of death.

Harry Burns: With whom did you have this great sex?

Sally Albright: I’m not going to tell you that.

Harry Burns: Fine, don’t tell me.

Sally Albright: Shel Gordon.

Harry Burns: Shel? Sheldon? No, no, you did not have great sex with Sheldon.

Sally Albright: I did too.

Harry Burns: No you didn’t. A Sheldon can do your income taxes, if you need a root canal, Sheldon’s your man… but humpin’ and pumpin’ is not Sheldon’s strong suit. It’s the name. ‘Do it to me Sheldon, you’re an animal Sheldon, ride me big Shel-don.’ Doesn’t work.

Marie: Everybody thinks they have good taste and a sense of humor but they couldn’t possibly all have good taste.

[last lines] [voiceover as last documentary couple] Harry Burns: The first time we met, we hated each other.

Sally Albright: No, you didn’t hate me, I hated you. The second time we met, you didn’t even remember me.

Harry Burns: I did too, I remembered you. The third time we met, we became friends.

Sally Albright: We were friends for a long time.

Harry Burns: And then we weren’t.

Sally Albright: And then we fell in love. [on sofa as last documentary couple] Three months later we got married.

Harry Burns: Yeah, it only took three months.

Sally Albright: Twelve years and three months.

Harry Burns: We had this – we had a really wonderful wedding.

Sally Albright: It was – it really was a [laugh] beautiful wedding.

Harry Burns: [overlapping] It was great. We had this enormous coconut cake.

Sally Albright: Huge coconut cake with a – with a – tiers and there was this very rich chocolate sauce on the side.

Harry Burns: Right, cause not everybody likes it on the cake, cause it makes it very soggy.

Sally Albright: Particularly the coconut soaks up a lot of excess and you really – it’s important to keep it on the side.

Harry Burns: Right.

Marie: Tell me I’ll never have to be out there again.

Jess: You will never have to be out there again.

Sally: He just met her… She’s supposed to be his transitional person, she’s not supposed to be the ONE. All this time I thought he didn’t want to get married. But, the truth is, he didn’t want to marry me. He didn’t love me.

Harry: If you could take him back now, would you?

Sally: No. But why didn’t he want to marry me? What’s the matter with me?

Harry: Nothing.

Sally: I’m difficult.

Harry: You’re challenging.

Sally: I’m too structured, I’m completely closed off.

Harry: But in a good way.

Sally: No, no, no, I drove him away. AND, I’m gonna be forty.

Harry: When?

Sally: Someday.

Harry: In eight years.

Sally: But it’s there. It’s just sitting there, like some big dead end. And it’s not the same for men. Charlie Chaplin had kids when he was 73.

Harry: Yeah, but he was too old to pick them up.

Sally: When Joe and I started seeing each other, we wanted exactly the same thing. We wanted to live together, but we didn’t want to get married because every time anyone we knew got married, it ruined their relationship. They practically never had sex again. It’s true, it’s one of the secrets that no one ever tells you. I would sit around with my girlfriends who have kids – and, actually, my one girlfriend who has kids, Alice – and she would complain about how she and Gary never did it anymore. She didn’t even complain about it, now that I think about it. She just said it matter-of-factly. She said they were up all night, they were both exhausted all the time, the kids just took every sexual impulse they had out of them. And Joe and I used to talk about it, and we’d say we were so lucky we have this wonderful relationship, we can have sex on the kitchen floor and not worry about the kids walking in. We can fly off to Rome on a moment’s notice. And then one day I was taking Alice’s little girl for the afternoon because I’d promised to take her to the circus, and we were in the cab playing “I Spy” – I spy a mailbox, I spy a lamp-post – and she looked out the window and she saw this man and this woman with these two little kids. And the man had one of the little kids on his shoulders, and she said, “I spy a family.” And I started to cry. You know, I just started crying. And I went home, and I said, “The thing is, Joe, we never do fly off to Rome on a moment’s notice.”

Harry: And the kitchen floor?

Sally: [sadly] Not once. It’s this very cold, hard Mexican ceramic tile.

Sally Albright: I don’t have to take this crap from you.

Harry Burns: If you’re so over Joe, why aren’t you seeing anyone?

Sally Albright: I see people.

Harry Burns: See people? Have you slept with one person since you broke up with Joe?

Sally Albright: What the hell does that have to do with anything? That will prove I’m over Joe? Because I fuck somebody? Harry, you’re gonna have to move back to New Jersey because you’ve slept with everybody in New York and I don’t see that turning Helen into a faint memory for you. Besides, I will make love to somebody when it is making love. Not the way you do it like you’re out for revenge or something.

Harry Burns: …Are you finished now?

Sally Albright: …Yes.

Harry Burns: Can I say something?

Sally Albright: Yes.

Harry Burns: …I’m sorry. I’m sorry.

Harry Burns: Right now everything is great, everyone is happy, everyone is in love and that is wonderful. But you gotta know that sooner or later you’re gonna be screaming at each other about who’s gonna get this dish. This eight dollar dish will cost you a thousand dollars in phone calls to the legal firm of That’s Mine, This Is Yours.

Sally: Harry.

Harry Burns: Please, Jess, Marie. Do me a favor, for your own good, put your name in your books right now before they get mixed up and you won’t know whose is whose. ‘Cause someday, believe it or not, you’ll go 15 rounds over who’s gonna get this coffee table. This stupid wagon wheel ROY ROGERS GARAGE SALE COFFEE TABLE!

Jess: I thought you liked it!

Harry Burns: I WAS BEING NICE! [he leaves]

Sally: He just bumped into Helen.

Marie: I don’t think he’s ever going to leave her.

Sally: Nobody thinks he’s never going to leave her.

Marie: You’re right, you’re right. I know you’re right.

Sally Albright: At least I got the apartment.

Harry Burns: That’s what everyone says. But, really, what’s so hard about finding an apartment? What you do is look in the obituary section. You see who died, find out where they lived, and tip the doorman. What they could do to make it easier is combine the two. You know, Mr. Kline died yesterday, leaving behind a wife, two children, and a spacious three bedroom apartment with a wood burning fireplace.

Harry Burns: I miss her.

Sally Albright: I don’t miss him. I really don’t.

Harry Burns: Not even a little?

Sally Albright: You know what I miss? I miss the *idea* of him.

Harry Burns: Maybe I only miss the *idea* of Helen… No, I miss the whole Helen.

Harry Burns: [about Sally] I can say anything to her.

Jess: Are you saying you can say things to her you can’t say to me?

Harry Burns: No, it’s just different. It’s a whole different perspective. I get the woman’s point of view on things. She tells me about the men she desires and I can talk to her about the women that I see.

Jess: You tell her about other women?

Harry Burns: Yeah, like the other night, I made love to this woman. It was so incredible, I took her to a place that wasn’t human. She actually meowed.

Jess: [surprised] You made a woman meow?

Harry Burns: Yeah, that’s the point. I can say these things to her. And the great thing is, I don’t have to lie, because I am not always thinking about how to get her into bed. I can just be myself.

Jess: You made a woman meow?

Sally Albright: Is Harry bringing anybody to the wedding?

Marie: I don’t think so.

Sally Albright: Is he seeing anybody?

Marie: He was seeing this anthropologist, but…

Sally Albright: What’s she look like?

Marie: Thin. Pretty. Big tits. Your basic nightmare.

Harry Burns: And was it worth it? The sacrifice for a friend you don’t even keep in touch with?

Sally Albright: Harry, you might not believe this, but I never considered not sleeping with you a sacrifice.

Harry Burns: You know how a year to a person is like seven years to a dog?

Sally Albright: Is one of us supposed to be a DOG in this scenario?

Harry Burns: Yes.

Sally Albright: Who is the dog?

Harry Burns: You are.

Sally Albright: I am? I am the dog? I am the dog?

Harry Burns: You know, you may be the first attractive woman I’ve not wanted to sleep with in my entire life.

Sally Albright: That’s wonderful, Harry.

Marie: All I’m saying is that somewhere out there is the man you are supposed to marry. And if you don’t get him first, somebody else will, and you’ll have to spend the rest of your life knowing that somebody else is married to your husband

[Playing “Pictionary.”] Jess: “Baby talk”? That’s not a saying.

Harry Burns: Oh, but “baby fish mouth” is sweeping the nation? I hear them talking.

Sally Albright: But I’d like the pie heated and I don’t want the ice cream on top, I want it on the side, and I’d like strawberry instead of vanilla if you have it, if not then no ice cream just whipped cream but only if it’s real; if it’s out of the can then nothing.

Waitress: Not even the pie?

Sally Albright: No, I want the pie, but then not heated.

Sally Albright: I am not your consolation prize, Harry.

Harry Burns: How long do you like to be held after sex? All night, right? See, that’s your problem. Somewhere between 30 seconds and all night is your problem.

Sally Albright: I don’t have a problem.

Harry Burns: Yes, you do.

Harry Burns: We’re talking dream date compared to my horror. It started out fine, she’s a very nice person, and we’re sitting and we’re talking at this Ethiopian restaurant that she wanted to go to. And I was making jokes, you know like, “Hey I didn’t know that they had food in Ethiopia? This will be a quick meal. I’ll order two empty plates and we can leave.” Yeah, nothing from her not even a smile.

[first lines] Documentary Couple: I was sitting with my friend Arthur Kornblum, in a restaurant, it was a Horn and Hardart cafeteria. And this beautiful girl walked in and I turned to Arthur and I said Arthur, you see that girl? I’m going to marry her. And two weeks later we were married. And it’s over fifty years later and we are still married.

Jess: No one has ever quoted me back to me before.

Sally Albright: Harry, you’re going to have to try and find a way of not expressing every feeling that you have, every moment that you have them.

Harry Burns: Repeat after me. Pepper.

Sally Albright: Pepper.

Harry Burns: Pepper.

Sally Albright: Pepper.

Harry Burns: Waiter, there is too much pepper on my paprikash.

Sally Albright: Waiter, there is too much pepper on my paprikash.

Harry Burns: But I would be proud to partake of your pecan pie.

Harry Burns: You were going to be a gymnast.

Sally Albright: A journalist.

Harry Burns: Right, that’s what I said.

Sally Albright: The first date back is always the toughest, Harry.

Harry Burns: You only had one date. How do you know it’s not going to get worse?

Sally Albright: How much worse can it get than finishing dinner, having him reach over, pull a hair out of my head and start flossing with it at the table?

Harry Burns: We’re talking dream date compared to my horror.

Harry Burns: You know, I have a theory that hieroglyphics are just an ancient comic strip about a character named Sphinxy.

Sally Albright: You know, I’m so glad I never got involved with you. I just would have ended up being some woman you had to get up out of bed and leave at 3:00 in the morning and go clean your andirons, and you don’t even have a fireplace, not that I would know this.

Sally Albright: Yes it is. You are a human affront to all women and I am a woman.

Marie: Restaurants are to people in the 80’s what theatres were to people in the 60’s. I read that in a magazine.

Jess: I wrote that.

Marie: Get out of here.

Jess: I did, I wrote that.

Marie: Where did I read that?

Jess: New York magazine

Harry: Sally writes for New York magazine

Marie: Someone is staring at you in “personal growth”.

Sally Albright: [sobbing] All this time I’ve been saying that he didn’t want to get married. But the truth is he didn’t want to marry me. He didn’t love me.

[Unable to guess what Sally is trying to draw during a round of Pictionary] Jess: Draw SOMETHING resembling ANYTHING.

Jess: Emily is terrific.

Harry Burns: Yeah. But of course when I asked where she was when Kennedy was shot she said, “Ted Kennedy was shot?”

Jess: No.

Harry: [after he has run into his ex-wife] She looked weird didn’t she? She looked really weird.

Sally: I don’t know, I’ve never seen her before.

Harry: Trust me, she looked weird. Her legs looked heavy. Really, she must retaining water.

Sally: Harry.

Harry: Believe me, the woman saved everything.

Harry Burns: Why are you getting so upset? This is not about you.

Marie: The point is, he just spent $120 on a new nightgown for his wife. I don’t think he’s ever gonna leave her.

Sally Albright: No one thinks he’s ever gonna leave her.

Marie: You’re right, you’re right, I know you’re right.

Jess: So what is she?

Harry Burns: Attractive.

Jess: But not BEAUTIFUL, right?

There is a sermon which is partly about this film here

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From → Film, Sexuality

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