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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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