| Well, Mr. Bergman, have you made your decision? |
| But before you answer, perhaps you are hungry. Let’s go into the |
| commissary. |
| Ah, Ingmar Bergman, look around, and hear the happy happy sound |
| Directors of all size and shapes are eating steak and |
| munching cake |
| Directors of a foreign stripe who’ve done quite well, |
| see if they gripe |
| Their vision made it here unscathed, none felt a whore, |
| none felt he caved |
| Ha ha ha ha ha ha |
| Ah, Billy Wilder, sure you say, he had to come, no other way |
| But Sunset Boulevard and such, I’d say we let him keep his touch |
| And there, Fritz Lang, an émigré, who managed to do films his way |
| Perhaps less stylized, so true, but then Fritz Lang, he isn’t you |
| Ha ha ha ha ha ha |
| And Alfred Hitchcock, bless his soul, there chomping on a |
| dinner roll |
| The Man Who Knew Too Much done twice, in Hollywood, |
| done twice as nice |
| And Jacques Tourneur, Cat People, great, Simone Simon, |
| right here, so great |
| And Murnau, genius just like you, made Sunrise, top ten in my view |
| Of all the films made anywhere and yet he made it here not there |
| And Elgar Ulmer made Detour, a classic if you love film noir |
| Von Sternberg’s eating all alone, let’s say hello, hey, Josef, phone! |
| The point I guess is all had fears, the fears you have, these |
| noble peers |
| And one could quibble which was best their Old World work or |
| work out west |
| The differences are subtle, though, the language, sure, |
| but still you know |
| That English is the common tongue of cinema, when said |
| or sung |
| Ha ha ha ha ha |
| Ha ha ha ha ha |
| So please, dear Ingmar, think tonight, be sure the choice you |
| make is right |
| But there’s a table, have a seat, and here’s a menu, bon appétit |