Ilonka Tolnay: Do you own this place?
Headwaiter: No, I don’t.
Ilonka Tolnay: Well, when I buy, I like to buy from the owner, not the help.
Headwaiter: But, please, the owner here does not take orders at the table.
Ilonka Tolnay: Probably because he’s ashamed of his prices.
Corporal Harry Marten: Please, this is Vienna. Everything’s a little higher.
Ilonka Tolnay: Asparagus is asparagus, even in Vienna.
Edward Rochester: Sometimes I have a queer feeling in regards to you Jane. Especially when you are near, as now. It’s as if I had a string somewhere under my left rib, tightly and inextricably knotted to a similar string situated in a corresponding corner of your little frame. And if we should have to be parted, that cord of communion would be snapped and I have a nervous notion that I should take to bleeding inwardly.
A lot of quality classic films that revolve around Christmas unfairly get overlooked as simply a seasonal film, worth pulling out in December only. This is something I hate to see, because a lot of these classic films are such wonderful, timeless films that deserve much more attention than they often receive. Case in point: The Bishop’s Wife. At the time of its release it was nominated for multiple Oscars and widely revered, now it’s mostly only talked about at Christmastime. I suppose by writing about it in December, I’m doing exactly the same thing. Oh well. I love this film. For the longest time it was my favorite Cary Grant film (it’s still in my Top 5) and is endlessly watchable. Like I said earlier, it was nominated for five Academy Awards, winning one: Best Sound (won), Best Score, Best Film Editing and Best Picture. It was up against Crossfire, Great Expectations, Miracle on 34th Street (another Christmas-themed film) and winner Gentleman’s Agreement.