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Mannen Som Ikke Kunne Le

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- Sorry. Aren't you Arve Oppsal?|- Yes.
- I thought I knew you.|- Oh, yes.
You wouldn't have a little story|or joke, Mr. Oppsal?
- Here? Now?|- Yes, I just ...
Yes ... It's about a man|who was fishing.
The warden came,|and he ran away.
The warden caught him and said:|"Haven't you got a licence?"
"Yes," said the man.|"So why are you running?"
"Aren't you allowed to run|if you've got a fishing licence?"
Oppsal? Hello!|Let's have another.
- Oh!|- A short one!
{y:i}A man who can't laugh
{y:i}he laughs all the same|{y:i}but inside himself
{y:i}just laugh|{y:i}because a laugh is a yes
{y:i}to the life that you want.
- Well, Sonell. You can't laugh?|- No.
No. No, I can't laugh.
What are the symptoms?|How does it feel?
I had my symptoms taken out|when I was 18 months old.
At the hospital.|They put a mask over my face.
I disappeared completely.
That's quite natural.|Quite natural.
I want to tell you something.|What do you feel?
- Do you want to laugh or what?|- Yes, I want to.
I want to and want to and want to,|but I can't.
How does it feel?|What happens when you don't laugh?
That's hard to explain.
- It must begin somewhere.|- Yes.
It begins in the stomach|or somewhere down there, -
- and it sort of moves this way up.|Underneath my tie.
And it reaches my Adam's head ...
- Apple. Adam's apple.|- And it's gone.
- Nothing comes out?|- No.
- You know that laughter ...|- ... prolongs life.
Yes, it does that, too.|But it begins in the stomach.
It's a cramp in the stomach.
In order to laugh you must relax.|Are you relaxing now?
- I'm relaxed now.|- Completely relaxed.
And you open all your gates ...
- Do I open all of them?|- No, just your throat.
And you just leave it like that.
Think of something funny.|Something comical. A joke.
I could think of this joke ...|No, it's too crude.
I've heard them all before.|That makes it hard to think of jokes.
Think of something funny.|A comical situation or something.
- Yes.|- And try to laugh.
I once saw a photo of|Albert Schweitzer playing the organ.
- In the jungle.|- Yes.
- That wasn't bad.|- No.
Can't you start laughing|and I'll join in?
- You want me to laugh?|- Yes, if you can. Then I'll try ...
Laughter is something like this ...
- My turn.|- Now you try to laugh.
- Aren't you going to laugh?|- No, no. Relax now.
Use your voice.
- It's not very hearty, really.|- No.
Sonell.|Let's take a journey back in time.
What was your home like|when you were a boy?
Oh! Swedes!
They're not coming here.|lndependence! Union!
Swedish .. !
All children ... Saint Olav ...|Eidsvoll!
{y:i}In a bed at the hospital
{y:i}where the white beds stand
{y:i}was a little weak-chested girl
{y:i}gentle and good with golden hair
{y:i}and she whispers to her doctor
{y:i}who stands by her bedside
{y:i}Will I come home for Easter?
{y:i}Will I come home this spring?
{y:i}There lies a small girl
{y:i}she was only eig ...
- Yes ...|- Where ..? Who?
- Who are you?|- I am doctor Karl Riefer.
Your psychiatrist.|You may stand up.
- Yes.|- Come on.
Now, if I'm with company|or in a group of people, -
- and people laugh,|I laugh, too.
I slap my thighs and say ...
- It's more contagious then.|- Yes ...
Sonell.|I have a theory about your case.
I think that in order to loosen up|this neurosis of yours, -
- you must go to the place|where the neurosis began.
Right?
So I think we'll go for a trip|on Sunday, a psycho-trip, -
- out there, when it's convenient.|To your childhood home.
- 9.30 or 1 0?|- Does that suit you?
- 9.30.|- A.m.?
- Is that settled, then?|- It's fine with me.
- Thank you for today.|- You're welcome, it was ...
{y:i}The man who couldn't laugh
{y:i}the man who couldn't laugh
{y:i}the man who couldn't laugh
{y:i}the man who couldn't laugh
{y:i}crying is so easy|{y:i}howling and snivelling
{y:i}the man who couldn't laugh
{y:i}the man who couldn't laugh ...
Hey, there!
{y:i}Safe, good places of work|{y:i}are assets for the nation.
{y:i}Sonell works in a young, dynamic,|{y:i}expansive environment.
{y:i}He translates comic books.
Yes!
You're late again.|I don't like it.
Sonell. Sit down. We've come|together to discuss this.
I'm not happy with this caption.|Since this is your area, Sonell, -
- maybe you'll explain|what happened.
When I started ... I know it's|vital to have a good caption there.
It's not quite clear whether|there's one punch or more.
But it's obviously a hard punch.
So first I put "ongsch",|and then "omph".
But if he doesn't hit, -
- the sound is more like "shoh".
Or possibly "foh". Or maybe more ...|Air-like. "Zomf".
I have an idea.|Couldn't we analyse it -
- and find out what happens|when somebody punches you here?
Let's get under the table, -
- and somebody can hit it,|and we'll hear how it sounds.
Let's all stand up.
Now let's bend down and hear|what it sounds like underneath.
I think it sounded like ... "crash!"
- Yes, it did sound like "crash!"|- Definitely!
We'll use that. The meeting is over.
- Thanks a lot, that was great.|- Crash!
- Thanks a lot.|- Thank you for your help, everybody.
Well, I don't think it sounded|like "crash!". Bye, Dad.
- Goodbye, son.|- Tomorrow I'll bring Wolf.
- Thank you.|- Don't mention it.
I'll have to call in sick.|Yes ... Hello?
Sick ...
Snap.
{y:i}Hello, there! Slow down, Sonell.
{y:i}Don't be so self-centered. Take a|{y:i}look around. Drink in the place, -
{y:i}- the Norwegians and Norway,|{y:i}the way only tourists do normally.
{y:i}When was the last time|{y:i}you visited a museum?
{y:i}When did you last see|{y:i}our national treasures?
Way up there is the dome.
These are Norman arches.
Look at the way these|huge arches are repeated -
- in the ever smaller, let's call|them pillar passages, at the side.
Huge arches|that become smaller and smaller.
And if you look|at the small side chapels, -
- that's where you'll find answers|to "Where do we come from?".
"Where are we going to?"
So this was the arrivals hall|at the Eastern Railway Station.
{y:i}Seat reservations|{y:i}for the fast trains to Moss, -
{y:i}- Fredrikstad, Sarpsborg and Halden|{y:i}are bought at the ticket office.
Hello? Stina! Hey! Hello!
Finally ... It was ...
{y:i}This is London.|{y:i}We have some special messages.
{y:i}Those who still haven't ...
"Relax 67".
The exhibition "Relax|And Get Well 67" is opening soon.
We are talking to the head|of the exhibition committee.
- What is the idea behind this?|- Will this take long?
We've got an exhibition to open,|you know ...
The idea is that modern man|hasn't learnt to relax.
He hurries too much and|it affects his well-being at work.
Can we make this fast?|We've got this exhibition ...
The point is ...|Stress is a problem.
- Who are you?|- TV.
- Let's get going.|- I wanted to ask you ...
- What does stress imply?|- You have a lot to do.
You can't concentrate|on your work -
- and you don't trust others|to do it. Don't ... Come on!
Yes. I'm sure|you're busy these days ...
Yes, enormously.|We're working 24 hours a day.
- Have you seen the exhibition?|- I haven't had time.
- But it's opening tomorrow?|- Opening tomorrow?
Let's not forget to look|at the details of the roofs.
At the left you can see the pantry.
I'll show you|what it's used for now.
{y:i}This ends the national broadcast.
{y:i}Now Bjarte Mjåheim and|{y:i}Sigvart Spottland will sing -
{y:i}- "Goodnight, my friends" by Agate|{y:i}Bruteig and Snorre Sturlason.
{y:i}Thank you for today. Goodnight.
Maybe his alarm clock broke.|These things happen.
- It has happened.|- That's possible.
This has never happened ...|What did we agree on?
Doctor. Don't get angry.|I said 9.30, and you heard it!
"What suits you," I said,|"9.30, 10 or 10.10?"
- He said yes!|- No, he said ... He said yes?
- Yes, he did.|- But he's late!
- That's not my fault!|- What kind of a nurse are you?
You call ...
I'm a woman who does her job,|writing and writing!
Right. You're a woman.|And I'm a man!
I touched you by accident, Miss ...|Thank you, Miss Fonn.
Doctor! Look who's coming!
- Welcome!|- I'm late because of a mess.
- Mice?|- No, a mess, at my place.
My national costume hanged itself.
Let's go in.|Patients first.
We're on our way.
Please sit down, and here you are.
The nurse has worked hard.|Good job, good job.
Let's see, Sonell. We'll start|with the salmon, I think.
And we'll continue|with chicken, ham, cold cuts ...
- May I begin?|- Please do!
Thanks. Smoked salmon is good.
- It's expensive, a meal like this.|- It's not cheap.
I'll put it on your bill.|The Health Service will support you.
- They'll give you salmon support.|- Fine.
In my line of work there's something|called the Düsseldorff School.
They place great importance|on external behaviour patterns.
One's external behaviour|reflects inner problems.
That's why I'd like to see|the way you eat.
I'm not very hungry now.|I ate before I left.
Let's take a break, then.|We'll drink. Sonell!
Sonell.
I'll tell you something.|You have problems. With women.
Women are like vintage wines,|you know.
You ... can talk to your old|strychiatric about these things.
Strycheriatric. I'm like a mother|when it comes to these things.
You know what? There's|something else. Stein René Flanell.
It's ... I'm not doing very ...
I'm not doing so well in that|department either. Women.
Could you stop the car for a moment?|I have to get out.
Just a small errand.|I have to ...
Nurse! Stop the car.|Sonell has to pee.
- Stop the car!|- Don't say that!
I have to get out.|And don't look!
Don't look. Take the glass|and I'll pull down the blind.
- Don't look.|- No, no, no.
Sonell.
I just have to post a letter.|A small letter. Airmail.
Nurse, could you come here?
Come over here, please.
I'll tell you something, Nurse|Rosebud, sitting there so nicely.
What I said back in town about|having trouble with women ...
- I was joking.|- I thought so.
I made a note of it.|Do you want me to erase it?
Yes, erase, erase.
I just said it because it's pure|strychiratry. Just strycherichiatry.
That fellow out there, Doctor ...|Stro ... Sonell. He's very inhibited.
In fact, I'd like to marry you.
{y:i}Brureferd, fiords and mountains|{y:i}the day is breaking through
{y:i}the mountain mist makes way|{y:i}for a glorious morning song
{y:i}Saint John!
NORWEGIAN|COMMENTARY FILM SHOW:
THREE DAYS TO GO
EVERYDAY AND HOLlDAY|IN FLERPSNES
{y:i}The bridal journey|{y:i}across the fiord -
{y:i}- is a classic Norwegian motif.|{y:i}Old traditions live on.
{y:i}The atmosphere is the same, but|{y:i}today modern techniques are used -
{y:i}- to sail across the fiord. Let's|{y:i}begin our Norwegian adventure.
{y:i}This is Flerpsnes, a village|{y:i}at the bottom of the Flerpsfiord, -
{y:i}- a dynamic village with modern|{y:i}ways and traditions, too.
{y:i}Let's follow the preparations|{y:i}of the bride and groom.
{y:i}They're having a Norwegian|{y:i}rural wedding.
{y:i}So they must not see each other|{y:i}before the wedding day.
{y:i}The groom has gone|{y:i}to his childhood home.
{y:i}Happy memories are evoked|{y:i}at the deserted farmhouse -
{y:i}- laid to waste by|{y:i}structural rationalisation.
{y:i}But hey, what's this?|{y:i}Hello, and nice to see you again.
{y:i}There is a trollish atmosphere|{y:i}at Djupjordsvatn.
{y:i}It means luck if the groom doesn't|{y:i}see his reflection in the water.
{y:i}Well-known mountain tops mirror|{y:i}their ancient profiles-
{y:i}- and in the impassable terrain|{y:i}freedom reigns.
{y:i}The high mountains. A paradise|{y:i}for tourists seeking relaxation.
{y:i}Oh my, he's fast.|{y:i}But who is this?
{y:i}It's the skiing vicar.|{y:i}Has he got a word for us?
I was coming down the mountain|to the sports chapel, -
- when something nice happened|which I'll tell you about -
- just today. It was ...
{y:i}The bride's got her hands full,|{y:i}too. A lot is needed in a new home.
{y:i}The range is huge in Flerpsnes.|{y:i}You may need a rose-painted bowl.
{y:i}For peanuts.|{y:i}The bowl is made in Flerpsnes.
{y:i}Here, craft traditions go hand|{y:i}in hand with modern methods.
{y:i}But the decoration is made|{y:i}the way it has been for ages.
{y:i}The groom must wear national|{y:i}costume on the mountain walk.
{y:i}We're moving upwards,|{y:i}past the famous Flerps Falls.
{y:i}1 billion cubic metres of water|{y:i}pass daily in the tourist season.
{y:i}But where does|{y:i}all that water come from?
{y:i}The whole village helps making|{y:i}this a tourist attraction.
{y:i}The people of Flerpsnes lift|{y:i}together the way they always have.
{y:i}And when an old man gives up,|{y:i}new hands are ready.
{y:i}Finally, we're there.|{y:i}Even the mountains shout hurrah!
Hurrah! Hurrah!
{y:i}He spends his last night as|{y:i}a bachelor in the "bachelor hut".
{y:i}How long before civilization|{y:i}reaches this place, too?
{y:i}Development can't be stopped.
{y:i}Not only gnomes build in the|{y:i}mountain. The road eats its way in.
{y:i}It's no easy task. Resourcefulness|{y:i}and planning are called for.
{y:i}The people here are particularly|{y:i}known for their endurance.
{y:i}Yes, things are progressing.
{y:i}At last the day full of joy and|{y:i}festivity has come to Flerpsnes.
{y:i}Most joyful of all is the bride|{y:i}who sees the groom again.
{y:i}The band plays the bridal march|{y:i}and the followers soon join in.
{y:i}All inhabitants of Flerpsnes|{y:i}are dressed in traditional costume.
{y:i}The ptarmigan, Flerpsnes'|{y:i}lucky bird, sends good wishes.
{y:i}All the summer flowers nod|{y:i}in agreement.
{y:i}Buttercups, clover|{y:i}and dandelion.
{y:i}The bridal journey|{y:i}in clear sunshine can begin.
{y:i}Have a nice journey!
{y:i}ln the church across the fiord|{y:i}the vicar waits patiently.
Hello! The bride and groom|and the best man, rise!
Not you with the gun!|Sit down!
I ask you, Karl Leonard ...
I lost my slip of paper, so I can't|remember the other names. Riefer!
Will you take ...|What's your name again?
Frøydis Fatle, Gretle,|until death do you part?
I can't hear if|you're answering yes or what?
- Yes.|- What a night.
Shall we start straight away,|Sonell? Tell me ...
Can you tell me something more|concrete when we're here?
A lot of things come up.
- Like the house where Stina lived.|- Yes, I remember once ...
Here comes the carriage|drawn by two horses.
One, two, three|you're out!
Isn't it good getting things|out in the open?
Nice to walk here on old spots.|Doesn't it make you happy?
Now you can forget|all those nasty episodes.
Time has ravaged here.
It's not time that has ravaged.
Here comes the carriage|drawn by two horses.
One, two, three|he's out!
The Swedes are coming!
Oh, the Swedes!
- Yes ... Here we are at the barn.|- A lot happened in the barn.
I spent a lot of time|with Stina there.
- Any memories from here?|- Once we put on a revue.
It was a|smile-and-be-happy-revue ...
GALLA REVUE|AT THE BARN
{y:i}If you are sad and blue|{y:i}if you've got problems too
{y:i}then smile your tears away
{y:i}those old words come to mind
{y:i}anger never did any good
{y:i}so smile and be happy|{y:i}have a good laugh every day
{y:i}smile and be happy|{y:i}sing and you're welcome here
{y:i}the gentleman on the floor|{y:i}so charming and strong
{y:i}looking at the dancing girls|{y:i}smiling all night long.
Yes. That was the opening song.|Good jokes are part of a revue.
I'm going to tell a few jokes.
The first one:
Teacher: Was it you or was it|you two who fought? Answer me!
Boy: It was the two of us.
Teacher:|Are you answering back, too?
In a railway compartment:
Father: Yes, son.|We're in Moss soon.
Boy: Yes, Dad.|It smells strange here.
Father: It's because|they make paper at Moss.
Boy:|It must be toilet paper, then.
Get it? Toilet paper. Moss.
Come in!|Hello, hello and merry Christmas!
I want food, wife.|Can't you see I'm worn out -
- after a long day at the office?
We have no food,|only a small crust.
What? Isn't this our son?
No, it's not my son.|Get out!
You can't do this to a small child.
The night is cold.|The stars are glimmering.
It's all because of drink.
Don't be sad. Hey, there.|Don't be sad.
Do you want a little crust?|Isn't it funny?
Hey ... Look.
5, 10, 15, 20.
We can go far away!
We can go to China! What ..?
GIVE JÄMTLAND|BACK TO NORWAY
Ready! Fire!
{y:i}Love is a quiet thing.
{y:i}It's communicated|{y:i}via looks and touches.
{y:i}Or it's communicated|{y:i}via loudspeakers.
{y:i}Seat reservations|{y:i}for the fast train to Moss , -{y:i}- Fredrikstad, Sarpsborg|{y:i}and Halden at 14.02 -
{y:i}- are bought at the ticket office.
{y:i}A man who can't laugh
{y:i}he laughs all the same|{y:i}but inside himself
{y:i}just laugh|{y:i}because a laugh is a yes
{y:i}to the life that you want
{y:i}a clown|{y:i}he cannot laugh
{y:i}he makes others laugh|{y:i}but not himself
{y:i}a clown|{y:i}is pretty sad in fact
{y:i}a kind of semi-optimist|{y:i}who no longer laughs
{y:i}but most people can do it|{y:i}try and you'll see
{y:i}just laugh|{y:i}just laugh.
Yes, come this way, please.
Yes, my dear friend.|As guest number 1 00.000 -
- you have won a prize.
You'll be stationmaster for one day!
This whistle is quite special.|Blow it, and girls will come!
{y:i}Excuse me,|{y:i}when's the next train to Drammen?
{y:i}a quarter past ten|{y:i}so be ready then
{y:i}take the train into town|{y:i}go to Tordenskjold's Place
{y:i}buy yourself a ticket|{y:i}and find a seat
{y:i}sit there and take a look|{y:i}at the view or read a book.
When's the next train to Drammen?
- Quarter past ten.|- I'll get ready then.
{y:i}Take the train into town|{y:i}go to Tordenskjold's Place
{y:i}buy yourself a ticket|{y:i}and find a seat ..
{y:i}Travellers from Coach Trips Ltd -
{y:i}- can get their lunch coupons|{y:i}at wicket number 3.
{y:i}A blue-chequered bag|{y:i}has been found in the restaurant.
{y:i}It can be picked up|{y:i}at the lost and found.
The train arriving at track 4|is ready to depart.
- One, two, three, four. Oh!|- Look.
Five, six, seven, eight. Oh, oh!|Excuse me.
The train to Trondhjem at track 3 is|ready to go. Please close the doors.
Did the stationmaster want anything|in particular?
I just wanted to say hello.|It's been a long time.
- You look good.|- Thanks.
Can't we cut out the titles|like "stationmaster"?
- I'm a man made of flesh and blood.|- Of course the stationmaster is.
Most stationmasters are,|I suppose.
Perhaps I'll just write down|an announcement.
Maybe you can read it.
- Bend over, please.|- Write a bit higher up, please.
- Here?|- Yes.
Read this, please.
Here comes the carriage ...
... drawn by ...
... two horses.|One, two, three ...
You are ... the stationmaster!
I was promoted in a locker.|The railway nightclub, you know.
You're crazy!|Take it off.
You can't dress up like that!
You can't dress up like that!|You'll get arrested.
Someone's coming!|You have to hide.
Here. Hide here.
Can't you do something?|Do something!
I'm so happy to see you.|But this is dangerous.
Listen ... This is dangerous!|Wait.
Don't. It's dangerous to dress up|like a stationmaster.
No, it isn't!|Look at this uniform.
They gave it to me.
{y:i}At the night club|{y:i}in the railway lockers.
What are you talking about?|What if someone saw you?
No, no. You're on the wrong track,|can't you see it?
That's the man.
- I'm the stationmaster here!|- No!
Let me tell you one thing.|The constitution says ...
... you can dress any way you want.|This is a misunderstanding!
This ... Hello! This is a|misunderstanding. You'll be sorry!
I'm a psychiatrist, he's my patient.|That's him there.
Yes ... I had a bit of a night.|They put me in the detention.
A sort of high-class detention.|With entertainment and things.
I discovered a nightclub|underneath the railway lockers.
- That could happen to anyone.|- And they made me stationmaster.
- It was a prize.|- Let's forget it.
- We could go there sometime.|- Sure. Listen ...
This problem of yours, not being|able to laugh, interests me a lot.
You see ...|You are Norwegian, right?
You are Norwegian,|born and raised in Norway.
- I've been to Denmark and Sweden.|- It's a Norwegian, national thing.
I'm sure. There's something there.|I have to find out one thing:
Why don't Norwegians laugh?
- Why don't we laugh here in Norway?|- Nature is harsher here.
I guess it's because of the war.|We haven't put it behind us yet.
When people fall into|the harbour with their clothes on.
- That's funny?|- No, that's not funny.
- But underwear?|- Being pulled up and down.
And also, perhaps only|in the metaphorical sense -
- cream pies in peoples' faces.
A completely new stage|for your sake only.
The artists will sing and dance|for you.
Everyone will laugh, you will laugh.|The artists will make us laugh.
They'll come here.|This is show business!
I loathe people without a sense of|humour. Who don't get a snappy gag.
There are a lot of dry, dull people.|There's something wrong with them.
They don't know a joke|when they see one.
I've seen adults get angry when a|chair is pulled away under them.
That's just funny.
My son has no sense of humour.
My jokes just make him cry.
He's not a very good swimmer.|We went to the pool.
I thought, "now or never" and took|him onto the 30-foot diving board.
I said I'd throw him in.|I was just joking.
I thought he'd get a fright and|start swimming. But he just cried.
There's no hope for him.
I have a joke I use|for testing people.
If they don't get it,|there's no hope.
A man was taken to court|for beating his wife.
The wife told the court about it.|He'd come home drunk -
- and beat her and the kids|black and blue.
The judge asked her:|"Why didn't you protest?"
"I tried to, but then he started|beating me up with a bottle."
"Don't listen to her,|she's punch drunk."
If people don't get that one,|there's no hope.
I'll begin ...
I'm going to ...|I'll have none of that.
So he realised he'd been looking|at the wrong timetable.
I live here. On the third floor.
Second window from the right.
Well ... Here we are.
Listen ...
I'm so thirsty.|Is there a hot dog stand nearby?
- That has ...|- Yes, but it's closed now.
It closes at 23.04.|It's too late.
- Are you thirsty?|- Yes, I'm very thirsty.
Have you got some water?|A glass of water?
Yes, but ...
She's watching us.
- Just a small glass of water.|- Yes, but ...
- Can't I come up with you?|- No, that's no good.
- Why not?|- It's one of those places.
I'm not allowed to ...
- So I can't come in?|- Only Mother and Auntie are allowed.
That's not bad.|What a nice flat.
- Is that yours, too?|- I've got two rooms and a kitchen.
- I'll get you a glass of water.|- No, don't do that. Not now.
Don't you want to get undressed?
Take your clothes off.
Otherwise|it's a bit difficult for me.
lt'd make it easier if ...
- What?|- Yes ... I'll do that.
- This ...|- Sure.
You can do it in here.|It's both for ladies and gents.
Funny.
I'll get your water.
Now I know English,|so I've started with Spanish.
- "A short introduction to Spanish".|- A phrase book.
It's really good.|You can learn a lot from it.
"Travelling".|"At the post office".
I know a few words in Spanish.|I can say, "l love you".
- In Spanish?|- Yes. It's "cuanto cuesta".
- No.|- No, it isn't.
- It's ...|- It's ...
- Maybe it says in the book?|- Perhaps it does.
Let's see.|"I love you" is probably in there.
- What did you say?|- "I love you."
- Maybe it's under "at the hotel".|- No.
It won't be under|"at the post office".
"Useful phrases."|It doesn't have things like that.
Here's something|about pronunciation.
For example J|"sounds like a light hawking".
Sorry.
Here's an example.|"Jicara". That's a coffee cup.
Jicara.
How's your ..?|Is it any better?
- My ..?|- You know.
Coffee cup? No, it's the same.
I don't think they know ...|Riefer keeps bringing in artists.
It's snappy and it's fine, but ...
It's like ...|I've got it all the way up here.
Have you tried everything?
- Isn't there another way?|- Yes.
This is fun. Tickle-tickle.
- Tickle ...|- What are you doing?
This is fun, you see.|Tickle-tickle.
How about this?
Ha ... I'm ticklish.
Oh, yes ...
- What do you find funny?|- Things I've experienced.
Humorous experiences|that come to mind.
They can make you smile|even though you're alone.
- Sonell.|- Ljung, comedian.
Lie down. I'm going|to tell you a story about ...
They might be episodes|you wouldn't want to put into print.
Things you only want to talk about|in male company.
He stood on the bucket and held out|his arms. She walked towards him ...
And, splash!|She kicked over the bucket.
Have you got the same problem?
I want to tell you a story about ...
- Are you fed up with anything?|- No, nothing.
- Nothing? It's just dull here.|- Yes.
- Do you want to leave?|- No.
- Was it sad?|- No, I think it was good.
We'd like some hot dogs.|Feel like a hot dog?
- I don't want any.|- Just one?
I don't feel like it|after watching that kind of thing.
- It was too awful.|- Just have one, then.
I'm really hungry,|but I won't eat when it's like that.
It was just a film.
- I'll have two.|- Me, too.
- Do you want mustard?|- Yes, and ketchup if you've got it.
- No food ...|- Who?
- No food, nothing.|- Who?
-" Who?"|- Oh, him. It was just a film.
- Why did we have to see it?|- We'll talk about it later.
- We were going to have a nice time!|- We'll talk about it later.
They were hungry.|Not even the dog ...
With mustard, please.
- Aren't you lonely here?|- No, there are people all night.
On Christmas Eve, then?|You sit here all alone.
They're all alone on Christmas Eve.|No food ... These are yummy.
Do you cook them yourself?|He cooks them himself.
Christmas Eve he cooks wieners,|and we just eat. And eat. Oof!
- It's cold.|- It's not too bad.
- What are you thinking about?|- The film and things.
- Is that all you think about?|- Yes. Look.
He's lonely.|Can't you go over and talk to him?
- I can't approach a stranger.|- Just wish him good evening.
- I'm sure that would be fine.|- You don't just do that.
We don't know that he's lonely.|Maybe he's got 14 children.
We don't know. Maybe he's out|walking because his house is full.
I think he's homeless.
Maybe he just wanders around|at night, all alone.
Look at those two.
Look. Why can't they just ..?|They're alone, both of them.
They could just ...|They could wear a badge.
"Hi," they could say,|when they passed each other.
"Hi there". Like that.
No, it's just too sad.|Look at him.
Look at him walking along.|He's so lonely.
Can't you see how lonely he is?|Just walking and walking.
- What do you see in me, then?|- In you?
- What do you mean?|- You just look at others.
Stina?
At the hot dog stand you asked me -
- why we didn't see a funny film.
I didn't want to tell you because|the hot dog man was listening.
- He was lonely.|- No, he said he wasn't.
- You made that up.|- He just said that to be cool.
Never mind.
The psychiatrist Karl Riefer is|a specialist in laughter inhibition.
You found out that most Norwegians|don't laugh. What can we do about it?
We are organising a week of laughter.|A "Just Laugh" week.
Have you seen this badge?
{y:i}The "Just Laugh" week began|{y:i}at the university today.
{y:i}Visitors from home and abroad|{y:i}filled the main hall.
{y:i}The poet Stein Mehren opened|{y:i}with a prologue.
{y:i}Haha, hoho, hihi, hehe|{y:i}now you can laugh
{y:i}at others all the others can laugh
the others can do that
all the others laugh at the others|everybody can do that
yes, go on laughing|at others who laugh at others
who laugh at others that laugh|the way everybody can laugh
so much lies hidden there|so many lie there and that is much
lying with many is very much that|a smile is hidden in the coldest show
almost everybody and hardly anyone|can laugh.
{y:i}Afterwards, the chairman of the|{y:i}European Society of Laughter, -
{y:i}- the clown Helmut Zacharias|{y:i}Kellerman, played an overture.
Ladies and gentlemen.
"The Smiling Saxophone" -
- by Überhaussen.
One, two, three!
{y:i}Then the chairman of the|{y:i}Laughter Week, Karl Riefel, spoke.
Hello ... Welcome here,|I hope you'll stay.
No one here will be|sad and grey.
I want to wish those of you|who've come here welcome.
Ladies and those who ... others.
I'm so happy. Let it all hang out.|Lighten up. Smile .. !
And you will walk the|plateau of the laughter tops!
Oho! Just so.
Yes! Gentlemen!
I spit out my water in this|merry moment. Coo-coo!
Big and wet. And I must ...
I for one know that ...|And you know it, too.
The thing about ... Yes.|At this point I must ...
... everyone, lend me your ears|this is not the time for tears.
{y:i}Finally, the chairman and initiator|{y:i}of the laughter society -
{y:i}- spoke about the role|{y:i}of laughter and he said:
You see ...|It doesn't matter how you laugh.
The main thing is that you laugh|with your heart.
It has ended, you know.
The film has ended. It's just ...
It's true. It has ended.|Just go to the exit.
Just go to the aisles|and then ...
Just leave. It's really annoying|for those who need ...
... to get people to leave.|That you're staying.
Don't stop. Just go on out.
It's over.
It's over! It's over,|it's over, it's over.
Excuse my saying so,|but some people really know -
- how to draw things out.|It's been very ...
Some have left, and it'd be very|nice if you followed their example.
Nothing happens. I promise you.|There's nothing to watch.
There's just nothing.
Please leave now.
We can still part as friends.
But if this goes on,|I'll start raising my voice.
There are limits to|what one can put up with.
When people just won't leave ...|Just go, and give us some peace!
This is enough. There are people|here who want a cup of coffee!
Leave now,|or we'll turn off the light!
Who turned off the light?|I said we'd ...
Who did it?|The technician?
Can we see the instructions...?
{y:i}Just laugh|{y:i}most people know how
{y:i}to cry and to laugh|{y:i}try and you'll see
{y:i}you can do it too|{y:i}if you give it a try
{y:i}two minutes a day|{y:i}come on, the first one is long:
{y:i}and then a short one:
{y:i}A man who can't laugh|{y:i}he laughs all the same
{y:i}but inside himself
{y:i}just laugh|{y:i}because a laugh is a yes
{y:i}to the life that you want
{y:i}a clown|{y:i}he cannot laugh
{y:i}he makes others laugh|{y:i}but not himself
{y:i}a clown|{y:i}is pretty sad in fact
{y:i}a sort of semi-optimist|{y:i}who no longer laughs
{y:i}but most people can do it|{y:i}try and you'll see
{y:i}just laugh|{y:i}just laugh.
- I've had it!|- I give up.
I wet my pants!
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