| Donald O'Connor / as Cosmo Brown in "Singin' in the Rain (1952)" | |
| 1 | Fit as a fiddle; And ready for love | スチャラカ ホイホイ 恋の予感 |
| 2 | I can jump over; The moon up above | お月様だって 飛び越える |
| 3 | Fit as a fiddle; And ready for love | スチャラカ ホイホイ 恋の予感 |
| 4 | Haven't a worry; Haven't a care | 悩みなんか ありゃしない |
| 5 | Feelin' like a feather; Floatin' on air | 羽毛のように 身は軽い |
| 6 | Fit as a fiddle; And ready for love | スチャラカ ホイホイ 恋の予感 |
| 7 | Soon the church bells will be ringin' | 教会の鐘が 鳴るころ |
| 8 | And a march with Ma and Pa | パパとママに 連れられて |
| 9 | How the church bells will be ringin' | 教会の鐘が 鳴る鳴る |
| 10 | With a hey-nonny-nonny; And a hot-cha-cha | キンコン カンコン カ カン カン |
| 11 | Hi diddle diddle; My baby's okay | スチャラカ ホイホイ いい娘だね |
| 12 | Ask me a riddle; I'm happy to say | アチャラカ ホイホイ うれしいね |
| 13 | Fit as a fiddle; And ready for love | スチャラカ ホイホイ 恋の予感 |
| 14 | That's a moot point? | だから？ |
| 15 | Yeah, Lina, you looked pretty good for a girl. | リナ イカしてたよ |
| 16 | No one's got that much money. | 危ない橋は 渡らない |
| 17 | Sure. Why don't you go out now and recite the Gettysburg Address? | リンカーンの 演説を 今やれば？ |
| 18 | Well, haven't you heard? She's irresistible. | 悩殺女優だってさ |
| 19 | She told me so herself. | 自分で そう言ってた |
| 20 | The price of fame, Don. | 有名税さ |
| 21 | Now, you've got the glory. | 栄光を手にしたから |
| 22 | You've gotta take little heartaches go with it. | 少しは 我慢しな |
| 23 | Now, look at me. | 俺はと言えば |
| 24 | I got no glory. | 栄光はない |
| 25 | I got no fame. I got no big mansions. I got no money. | 名声も 金もない |
| 26 | But I've got... | でも あるのは・・・ |
| 27 | What have I got? | 俺に 何がある？ |
| 28 | I gotta get out of here. | さぁ 行こう |
| 29 | I can't understand it. | やっぱり |
| 30 | This car hasn't given me a lick of trouble in nearly six hours. | 始終 故障する車なんだ |
| 31 | Okay, you're a cab. | おい タクシーさん！ |
| 32 | Ah, I should think so. | もちろんさ |
| 33 | Don! How did you come? By way of Australia? | どこを さ迷ってたんだ？ |
| 34 | Well, as long as I'm working for Monumental Pictures, you're the greatest of them all. | 立場上 イエスさ |
| 35 | What's the matter with you? Of course, you're good. | どうした？ いいに決まってる |
| 36 | The new Don Lockwood. | 一皮 むけたな |
| 37 | He gotta show a movie at a party. It's a Hollywood law. | ハリウッドのパーティは 上映が恒例なんだ |
| 38 | Yeah, that's what they said that about the horseless carriage. | 車が 出たときと 同じでしょう |
| 39 | Lina, you've never looked lovelier. | いいじゃないか |
| 40 | Sure, it happens to me | 俺なんか |
| 41 | five or six times a day. | しょっちゅうさ |
| 42 | Oh, hiya, Don. | やぁ |
| 43 | Hey, did you read Variety today? | もう 読んだかい？ |
| 44 | First talking picture novelty, The Jazz Singer. | 話題のトーキーの記事だ |
| 45 | All-time smash in the first week. | 出だしは 新記録だ！ |
| 46 | Yeah, what's this one about? | どんな 筋なんだ |
| 47 | Don't tell me. | 当ててやろう |
| 48 | You're a French aristocrat, and she's a simple girl of the people | お相手は 庶民の娘で |
| 49 | and she won't even give you a tumble. | なかなか 落ちない |
| 50 | Wah! | 当たった！ |
| 51 | Why don't you release the old one under a new title. | 題名だけ変えて 出せばいいのに |
| 52 | If you've seen one, you've seen them all. | どれも 同じじゃないか |
| 53 | What's the matter? | どうかしたのか？ |
| 54 | That's three weeks ago. Are you still thinking about that? | もう ３週間 経つのに まだ・・・？ |
| 55 | How could you? | 当然さ |
| 56 | She's the first dame who hasn't fallen for your line since you were four. | その年で 初めて 恋に落ちたってわけだ |
| 57 | Well, it's not your fault she lost her job at the Grove. | 首は お前のせいじゃないさ |
| 58 | Well, you've been trying to, haven't you? Short of sending out bloodhounds and a posse. | もう十分だろ 捜索願を出すか？ |
| 59 | Come on, now. Snap out of it. | 元気 出せよ |
| 60 | You can't let a little thing like this get you down. | そんなことで 落ち込むなよ |
| 61 | Why, you're Donald Lockwood, aren't you? | ドン・ロックウッドだろ |
| 62 | And Donald Lockwood's an actor, isn't he? | 俳優だろ |
| 63 | Well, what's the first thing an actor learns? | 俳優に 大切なことは何だ？ |
| 64 | The show must go on. | 舞台に 出続けることだ |
| 65 | Come rain, come shine, come snow, come sleet! | 嵐だろうと 何だろうと！ |
| 66 | The show must go on. | 舞台を 続けるんだ |
| 67 | So, Ridi, | 笑え |
| 68 | Pagliacci, | ピエロ |
| 69 | ridi. | 笑え |
| 70 | Yeah. | あぁ |
| 71 | Don, the world's so full of a number of things. | いろんなことがある |
| 72 | I'm sure we should all be as happy as... | 幸せに ならなくちゃな |
| 73 | But are we? | 俺らは？ |
| 74 | No. | 違う |
| 75 | Definitely, no. | もちろん 違う |
| 76 | Positively, no. | きっぱり 違う |
| 77 | Decidedly, no. | 文句なしに 違う |
| 78 | Uh-uh. | |
| 79 | Short people | チビで |
| 80 | have long faces | 面長 |
| 81 | And long people | のっぽで |
| 82 | have short faces | 小顔 |
| 83 | Big people have little humor | でかくて ブス |
| 84 | And little people have no humor at all | 痩せで クズ |
| 85 | And in the words of that immortal bard, | 不朽の 大詩人 |
| 86 | Samuel J. Snodgrass | サミュエルが |
| 87 | As he was about to be led | 連行される先は |
| 88 | To the guillotine | 断頭台 |
| 89 | Make'em laugh; Make'em laugh | 笑いを取れ |
| 90 | Don't you know everyone wants to laugh | 皆 笑いたがってる |
| 91 | Laugh,laugh! | 笑え！ |
| 92 | My dad said; Be an actor, my son | パパ曰く 役者になれ |
| 93 | But be a comical one; They'll be standin' in lines | それも 喜劇役者になれ |
| 94 | For those old honky-tonk monkeyshines | ドタバタ 喜劇だ |
| 95 | Now you could study Shakespeare; And be quite elite | シェイクスピアじゃ お高くとまる |
| 96 | And you could charm the critics; And have nothing to eat | 批評家に受けても 食べていけない |
| 97 | Just slip on a banana peel; The world's at your feet | バナナの皮で 転べば お前のもの |
| 98 | Make'em laugh; Make'em laugh; Make'em laugh | 笑いを取れ |
| 99 | Make...? | |
| 100 | Make'em laugh | 笑いを取れ |
| 101 | Don't you know everyone wants to laugh? | 皆 笑いたがってる |
| 102 | My Grandpa said; Go out and tell'em a joke | 爺さんが言った 面白くしろ |
| 103 | But give it plenty of hoke | うそでいいから |
| 104 | Make'em roar; Make'em scream | 喝さいを 浴びろ |
| 105 | Take a fall, butt a wall; Split a seam | 滑って 転んで 大爆笑 |
| 106 | You start off by pretending; You're a dancer with grace | 出だしは 上品に |
| 107 | You wiggle till they're giggling; All over the place | それから 身もだえして 笑わせる |
| 108 | And then you get; A great big custard pie in the face | 仕舞いに 顔面パイを喰らって |
| 109 | Make'em laugh; Make'em laugh; Make'em laugh | 笑いを取れ |
| 110 | Make'em laugh | 笑いを取れ |
| 111 | Don't you... | 笑い・・・ |
| 112 | All the... | 皆・・・ |
| 113 | What...? | 何・・・ |
| 114 | My Dad... | パパが・・・ |
| 115 | They'll be standin' in lines | 行列のできる |
| 116 | For those old honky-tonk monkeyshines | ドタバタ喜劇だ |
| 117 | Make'em laugh; Make'em laugh | 笑いを取れ |
| 118 | Don't you know everyone... | 皆・・・ |
| 119 | Make'em laugh; Ha, ha | 笑いを取れ |
| 120 | Make'em laugh; Ha, ha | 笑いを取れ |
| 121 | Make'em laugh; Ha, ha, ha,,, | 笑いを取れ |
| 122 | Don't laugh; Make'em laugh; Make'em laugh | 自分で笑うな 笑いを取れ |
| 123 | Oh, my darling little mammy | いとしの 母さん |
| 124 | Down in Alabamy | アラバマにいる |
| 125 | My little baby... | いとしい 彼女・・・ |
| 126 | Talking picture. Well, that means I'm out of a job. | 俺らは クビですか |
| 127 | At last, I can start suffering and write that symphony. | 逆境にめげず 交響曲を仕上げるさ |
| 128 | Oh, thanks, R.F.! | ありがとう |
| 129 | At last, I can stop suffering and write that symphony. | 逆境の交響曲は やめだ |
| 130 | Excuse me. | 失敬 |
| 131 | Sure. He's been looking for her for weeks! | ずっと 探してたんですよ |
| 132 | Gee, I'm glad you turned up. We've been looking inside every cake in town. | よかった ケーキ屋を 探し回ってたんだぜ |
| 133 | Oh, hi, Don. | やぁ |
| 134 | Don't mind me. | 気にしないで |
| 135 | Sipped his snifter. | 酒を すすって |
| 136 | Wonderful. | すばらしい |
| 137 | Wonderful! Do another one. | お上手 次 行こう |
| 138 | But Moses he knowses; His toeses aren't roses | つま先と バラの違いは わかってた |
| 139 | As Moses supposes his toeses to be | モーゼは つま先を 取り違える |
| 140 | Moses supposes his toeses are roses | モーゼは つま先と バラを 取り違える |
| 141 | But Moses supposes erroneously | モーゼは まったくの 勘違い |
| 142 | A mose is a mose. | モーゼは モーゼ |
| 143 | A toes is a toes. | つま先は つま先 |
| 144 | Hoopdedoollydoodle; Moses supposes his toeses are roses | ホップ ディルディル モーゼは つま先と バラを 取り違える |
| 145 | But Moses supposes erroneously | モーゼは まったくの 勘違い |
| 146 | For Moses, he knowses; His toeses aren't roses | つま先と バラの違いは わかってた |
| 147 | As Moses supposes his toeses to be | モーゼは つま先を 取り違える |
| 148 | As Moses supposes his toeses to be | モーゼは つま先を 取り違える |
| 149 | A rose is a rose is a rose is a roses | バラは バラで バラの バラ |
| 150 | A rose is what Moses supposes his toes is | バラは モーゼが 取り違えた 自分の つま先 |
| 151 | Couldn't be a lily; Or a taffy daffy dilly | リリーと タフィと ダフィと ディリ |
| 152 | It's gotta be a rose; 'Cause it rhymes with mose | ローズと モーゼは 韻が同じ |
| 153 | Moses | モーゼ |
| 154 | Moses | モーゼ |
| 155 | Moses | モーゼ |
| 156 | 'A' | エイ |
| 157 | You two had better not go into the theater together. | 一緒じゃ まずいだろ |
| 158 | Oh, you're out of your mind. | 何 バカ言ってる |
| 159 | Besides, it's Saturday. | 今日は 土曜 |
| 160 | No bank's gonna foreclose until Monday. | 月曜までは 流れないさ |
| 161 | Well, that's what I've been trying to tell him. | そうさ そう言いたかった |
| 162 | Well, | じゃぁ |
| 163 | at least you're taking it lying down. | よく わかってるじゃないか |
| 164 | Yeah. How about Lina? | じゃぁ リナは？ |
| 165 | Why, of course not. | その通り |
| 166 | Why, with your looks and your figure, | イケメンだから |
| 167 | you could drive an ice wagon | アイスクリーム売りとか |
| 168 | or shine shoes. | 靴磨きが できる |
| 169 | Sell pencils. | 文具屋 |
| 170 | Or worse still, go back into vaudeville. | 最悪でも ドサ回りに 戻ろう |
| 171 | Lattati, tun tun tum; | |
| 172 | Fit as a fiddle and ready for love | ぴちぴち 年頃 |
| 173 | I could jump over the moon up above | 月だって 飛び越えるぜ |
| 174 | Fit as a fiddle and ready for love | ぴちぴち 年頃 |
| 175 | Sure. Make a musical. | ミュージカルだ |
| 176 | The new Don Lockwood. He yodels, he jumps about to music. | ドンの新天地 歌って 踊る |
| 177 | Well, why don't you turn The Duelling Cavalier into a musical? | ミュージカルに 変えちゃえばいいさ |
| 178 | Sure. | そうさ |
| 179 | They got six weeks before it's released. | 配給まで６週ある |
| 180 | And you got it. | できるさ |
| 181 | It's a cinch. | 間違いない |
| 182 | It's a cinch. | 楽勝さ |
| 183 | Hot dog! | やった！ |
| 184 | Oh no, your lucky day is the 24th. | もう ２４日さ |
| 185 | It's 1:30 already. It's morning! | 午前１時半 明け方だ |
| 186 | Good mornin' | おはよう |
| 187 | Good mornin' to you | おはようさん |
| 188 | Good mornin' | おはよう |
| 189 | Good mornin' | おはよう |
| 190 | It's great to stay up late; Good mornin' | 夜更かし 最高 |
| 191 | Good mornin' to you | おはようさん |
| 192 | When the band began to play; The stars were shining bright | 演奏開始は 満天の星 |
| 193 | So good mornin'; Good mornin' | だから おはよう |
| 194 | Sunbeams will soon smile through; Good mornin' | 陽光が 微笑む |
| 195 | Good mornin' to you; And you and you and you | おはようさん みなさん |
| 196 | Nothing could be grander; Than to be in Louisiana | ここは 最高 |
| 197 | Might be just as zippy; If we was in Mississippi | 絶好調 |
| 198 | So say good mornin' | 声を出して おはよう |
| 199 | Rainbows are shinin' through; Good mornin' | 虹が 出た |
| 200 | Good mornin' | おはよう |
| 201 | Monsieur! | ムシュー |
| 202 | Muchas frias! | ムチャス フリアス |
| 203 | E ritorno! | アリトルノ |
| 204 | Blakich morgen! | おはよう |
| 205 | Good mornin' to you | おはようさん |
| 206 | Ole! | オレー |
| 207 | Toro! Aha! | トレー アッハー |
| 208 | What do you mean? | どういうこと？ |
| 209 | Lina. | リナだ |
| 210 | She can't act, she can't sing and she can't dance. | 演技も 歌も ダンスも ダメ |
| 211 | A triple threat. | 三重苦 |
| 212 | What's so funny? | 何が おかしい？ |
| 213 | No, no, no. | いや いや いや |
| 214 | No, no... | いや いや いや |
| 215 | Wait a minute. | 待てよ |
| 216 | Wait a minute. I am just about to be brilliant. | ひらめいた |
| 217 | Come here, Kathy. | 来て |
| 218 | Come here. | こっち |
| 219 | Now, sing. | 歌って |
| 220 | I said sing. | 歌うんだよ |
| 221 | Good mornin'; Good mornin' | おはよう |
| 222 | Don, keep your eyes riveted on my face. | 俺の顔を よく 見てろ |
| 223 | Watch my mouth. | 口元を 見て |
| 224 | Well, convincing? | 納得しただろ？ |
| 225 | Don't you get it? | わからなかった？ |
| 226 | Use Kathy's voice. | キャシーの声で やるのさ |
| 227 | Lina just moves her mouth and Kathy's voice comes over singing and talking for her. | リナは 口パクで リナの声を 流すんだ |
| 228 | Yeah. | そうさ |
| 229 | Sure and it's simple to work the numbers. Why, why all you gotta do is dance around Lina and | 簡単さ リナと踊っていればいいだけさ |
| 230 | teach her how to take a bow. | 拍手への 会釈を 教えて やりな |
| 231 | I'm glad you thought of it. | そうかい そうかい |
| 232 | Hey! The Duelling Mammy. | 闘う母ちゃん |
| 233 | No. | ダメ |
| 234 | I've got it. | これだ |
| 235 | No. | いや |
| 236 | The Dancing Cavalier! | 踊る騎士 |
| 237 | Oh, thanks, R.F. . Have a cigar. | 感謝します どうぞ |
| 238 | How, this? | こんなのは？ |
| 239 | We throw a modern section into the picture. | モダンな 場面を入れるんだ |
| 240 | The hero's a young hoofer on a Broadway show, right? | 主人公は タップダンサー |
| 241 | Now, he sings and dances. Right? | 歌って 踊る |
| 242 | Oh, one night backstage, he's reading; A Tale of Two Cities in between numbers, see? | 楽屋で 二都物語の 台本を読んでた |
| 243 | And a sandbag falls and hits him on the head. | そこへ 砂袋が落下して 直撃 |
| 244 | And, he dreams he's back during the French Revolution. Right? | 夢で フランス革命当時に 戻ってしまう |
| 245 | Well, this way, we get in the modern dancing numbers. | 今風の ダンスを 入れる |
| 246 | Charleston, Charleston. | チャールストン |
| 247 | But in the dream part, | 夢の中では |
| 248 | we can still use the costumes stuff. | 当時の 衣装にする |
| 249 | Oh, R.F.. | あのう・・・ |
| 250 | Give me a raise. | 昇給 よろしく |
| 251 | Swell! | やった！ |
| 252 | On film, it'll be better yet. | 出来上がれば もっといいですよ |
| 253 | It's all set up. | 準備 できてます |
| 254 | All set in there? | 始めるぞ |
| 255 | All right, Kathy. Go ahead. | キャシー 始めて |
| 256 | That's great! Perfect. Cut. | 最高だ！ 止めて |
| 257 | But you're a little late, Lina. The picture's already finished. | 手遅れだ 映画は 完成した |
| 258 | And if this girl weren't in the picture, you would be finished too. | それに 彼女抜きじゃ 君も お払い箱さ |
| 259 | Sure, she's only doing you a favor, helping you in The Dancing Cavalier. | 彼女は 君を 助けてるんだぜ |
| 260 | Of course. What do you think? | 当然なことさ |
| 261 | It's already done. | 決まったことだ |
| 262 | Yeah. | あぁ |
| 263 | R.F., it's a real smash. | めちゃ 受けたね |
| 264 | It's great, Don. Just great. | 最高だった |
| 265 | Oh, Lina. You were fabulous. You sang as well as Kathy Selden. | リナ キャシーのように 歌ってたね |
| 266 | Lina's getting a little carried away, isn't she, boss? | リナは 天狗になってる |
| 267 | Simpson, I once gave you a cigar. Can I have it back? | この前の 葉巻 返してもらおう |
| 268 | That's right. | そうだ |
| 269 | Now, come on, Lina. | さぁ リナも |
| 270 | And singin'; Just singin' in the rain | 雨に 唄えば |
| 271 | The sun's in my heart; And I'm ready for love | 心は 太陽 恋の気分 |
| 272 | Let the stormy clouds chase | 嵐よ 吹き荒れて |
