SHOW ME YOUR FACE Music by Bob Telson -- Lyrics by Lee Breuer


Tell me what to say

I’m going crazy

Tell me what to do

I need you so.

Angel of compassion

Please forgive me

Take this sinner back

Into your heart

Don’t you think that we could start all over?

With the moment I first saw your face

Oh, when we were young and easy

And love was light and breezy

With kisses sweet that even now I taste



Show me your face

I know you’re here

I can smell your perfume as it drifts through the room

Hear your voice in my ear

Your fingers touch mine

Then you vanish in space

Darling, show me your face.

Come to my arms

squeeze me to death

Won’t you kiss me and hold me and rock me and roll me

‘Til I’ve no more breath

My penny from heaven

Of infinite grace

Won’t you show me your face.


Oh, darling, desist

Don’t take this amiss

But your lovers of late would be clearly irate

If we were to kiss.

I’d melt in your arms

‘though I died in disgrace

I’d show you more than my face

Sweep me away

Right off my feet

Unlike Ginger and Fred, we’ll dance right into bed

On a movie set street

Remember the time that my heart used to race

And this was my face


Touch me again

Like you did then

When I was younger and love was a hungering

Song with no end

Your flame I’ll rekindle

Your faith I’ll restore

If you touch me once more


One last embrace

‘Though you’ve been cruel

I can’t resist any man who persists so

In playing love’s fool

Baby, now is the timewpe7c931b4.jpg

And this is the place

To fall flat on your face


From the Calamity of Imagination

By Peter Buchka

…A material tragedies are made of -- but at least a melodrama. Yet, Percy Adlon doesn’t even think about turning this story into a heavy drama. On the contrary: decisively, from the start, he unravels the burlesque comedy. His trick: The main person isn’t one of the protagonists. Instead it’s a place; to be exact, it is Jonathan’s warehouse… In YOUNGER & YOUNGER Percy Adlon has found the ideal story for his theory that inner images determine the action of a person more than his concrete perception. With joy and self-irony he demonstrates how mainly men in their shabby existence shape the world until it meets their desires… Adlon does not withhold the fact that it always needs two for this kind of self-deception to be successful. But even if he criticizes women with a wink, he never leaves a doubt that women manage life much more realistically than men … Of course, like in his earlier films, Adlon cannot refrain from counter-pointing his love to gently laugh with coarse means. His preference for flashy colors and wild camera movements has enraged quite a few (including myself). But unswervingly Adlon insists on such outward esthetics, as they in his opinion underline the Punch-and-Judy aspects of his story. After all, you cannot deny there is a moment of broad folk art in his films… Also in America he makes Bavarian movies, Adlon says… Donald Sutherland as Jonathan is a real joy. Finally, after Louis Malle’s CRACKERS, you see again in YOUNGER & YONGER what a wonderful comedian this heavy man, who often seems ponderous, can be. With Lolita Davidovich, of course, the make up dominates first when she, as the fat, down at the heels slut, has to play the neglected servant Penny throughout the first half of the film. But her too you will love, latest at the moment when she declares with a resigned sigh, it was not the plenty of work that had made her grow out of shape. Then, all of a sudden, shines on her face what Adlon aims for in all his films: the beauty of the ordinary.