All or Nothing Page #5

Synopsis: Penny's love for her partner, taxi-driver Phil, has run dry. He is a gentle, philosophical guy, and she works on the checkout at a supermarket. Their daughter Rachel cleans in a home for elderly people, and their son Rory is unemployed and aggressive. The joy has gone out of Phil's and Penny's life, but when an unexpected tragedy occurs, they are brought together to rediscover their love. All or Nothing is set on a London working-class housing estate over a long weekend, and also tells the stories of a range of Phil and Penny's neighbors, some of whom become involved in the family's lives, and all of whom experience an emotional journey.
Genre: Drama
Director(s): Mike Leigh
Production: MGM Distribution Company
  3 wins & 13 nominations.
 
IMDB:
7.6
Metacritic:
72
Rotten Tomatoes:
82%
R
Year:
2002
128 min
Website
416 Views


No, it's my day off.|Doing me ironing. Hi.

I do not like this tunnel.

Why you are not tell me,|'We must make the tunnel?

'Do you wish another route?'|You say nothing.

Are you claustrophobic?

You must say it|to the passenger.

'Excusez-moi, madame,|we must make the tunnel.

'It is OK?' C'est pas|compliqu comme meme.

We're stuck on it now,|I'm afraid.

Evidemment. Stuck on it.

I walked through here|when I was a boy once...

south to north.

Me and my best mate.

My face turned completely black.

But he was already black.

How do you get on|with the what's-it...

the Channel Tunnel?

I do not want to talk|about the Channel Tunnel...

or any tunnel.

Anyway, with the train|it is completement different.

You see nothing.

This conversation|is very boring for me.

Fair enough.

You are married?

Yeah.

With children?

Yeah, I got two.|A girl and a boy.

Oh, mais c'est formidable.

All right?

Fat boy!

You want your ball?|- Just give it...

F***ing give it back!|- Here you are.

Go on, Gareth, spank him.

Let's have him.|You want it, do you?

F***!

Get your ball back, mate.|- F*** off!

Here you are.|- Come on, fat boy!

Go on, fat boy.|Get your ball back, mate.

See you, Deb.|- See you later, Maureen.

Rory!

Oh, sweetheart.

Do you want to cry?

What's the matter with him?

Rory?|- It's my chest.

You got pains in your chest?

Get an ambulance, Carol.|- What?

Go and phone for an ambulance!

I think he's having|a heart attack.

A heart attack? Is he?|- Yes! Carol, go on!

Do you want to lay down?

Where are you going?

You'll be all right.

Oh, f***. Hurry up!

And phone Penny!|- What?

Safeways!

Yeah.

She works in|an old people's home.

I'm proud of her.

You are a very lucky man then.

We're all gonna die one day.

Sans doute.

Was it a bargain?

Of course.|It is for my client in New York.

And your son?|He work with you in the taxi?

Nah, he don't do nothin'.|- Comment cela?

Beg your pardon?|- How he don't do nothing?

He does a lot of nothing.

Mind you, if eating|was an Olympic event...

he'd be|the world champion by now.

It is a joke.|It is very funny.

He is fat like you?

Yeah. He's a big boy, yeah.

Mum.

What's the matter? What?

Gotta phone ambulance.

What's happened?

Mum!|- Heart attack.

Who's had a heart attack?

F***!

Get out of the f***ing way!

Come on!

Ambulance. F***'s sake.

Alors, I am there|in the brasserie.

I am very happy.|I am dressed very nice.

I am thinking it is good.

I will make the twenty-five,|the birthday with my son.

It will be good. We will make|the good relationship.

I am ashamed. Half past nine|he arrive with two girls...

with red plastic dresses|like this.

He say, 'Maman,|I have already eat.

'We go now to the casino?'|I say, ''No, Nicolas, no.

'Ca suffit. C'est finit.'

Shame.

We are nearly there.|- About five minutes.

What did your husband say?|- My husband?

He don't say nothing.|He is in Algeria.

We are divorced.

Is he still breathing?

Yes!

Get out of the f***ing way!

Yeah, he's breathing.

I dunno. lf he's breathing,|he's got a pulse, ain't he?

I ain't with him.|I'm up here. He's down there.

You are caring for your wife?

Pardon?

Do you love your wife?

Yeah.

Oh, yeah.

It's funny, isn't it?

What's-her-name, love.

It's like a dripping tap.

Bucket's either half full...

or it's half empty.

If you're not together,|you're alone.

You're born alone...

and you die alone.

Nothing you can do about it.

You are right.|It is f***ing lonely.

Mum!

Should have phoned Penny.|- What?

Safeway.|- For f***'s sake, Mum!

You're a waste of space!|You're disgusting!

I'll get the number.

All right?|- Oui, oui.

Be careful.|- Yeah, I got it.

What is your name?

Phil.

Phil?|- Yeah.

I am Ccile. Bon.

Penny.

Hi, Penny.

Mind out of the way!

Come on, Phil.

Come on.

Nearly there now, mate.

OK, Rory.|You're in good hands now.

Gladiator Cars. Dinah speaking.|How can I help?

Hello, it's Penny.

Phil's Penny.|Do you know where he is?

No.|- Who is it?

Penny, Phil's wife.|- Give me the phone.

Hi, Penny. It's Neville.|What's up?

I can't get a hold of Phil.

I know. He's gone off the air|and switched off his phone.

I don't know what|he's playin' at.

Can you send us a taxi|up at Safeways?

I gotta get to hospital.|My son's been taken in.

Not a problem.

Yeah, straightaway...

and I'm waiting outside|the front entrance.

You just wait there.|I'll get someone out to you.

Yeah. Ta.

She's at Safeways.|Put a call out.

Can anyone go to Safeways?

ls there anyone free|for Safeways?

Two-seven.

Can you pick up Penny,|PhiI's wife?

I can do that.|- She's got to go to hospital.

She all right?|- No, it's her son.

Something wrong with the son.

On my way.

Can I go home?

Yeah, but I'm docking|your wages.

I'm telling Mummy.

Hello, Ron.

Hi, Penny.|- Sorry.

Sorry. I nearly|got in the back there.

Don't know what I'm doing.|I can't think straight.

Rory, we're gonna sit you up.

After three.|One, two, three, up.

Let's have a deep breath,|please, Rory.

Good, and another one.

Excellent.|- Lie back.

Wicked. And another.

Magic, and one more.

Sweet as a nut.|Normal breathing now.

So you're not quite|sure if you're a smoker?

It's all right.|I won't tell your mum.

What did you have for breakfast|this morning, Rory?

Fried egg sandwich.

Fried egg sandwich.|Very tasty.

You can have a heart attack|without knowing about it.

Can you?|- You just don't feel well.

Christ, there are|some arseholes on the road.

F***!

D*ckhead!|You f***ing d*ckhead!

I didn't see you, mate.

What the f*** were you doing?

Oh, for f***'s sake.

I didn't see you|coming round the van.

You didn't f***ing look, did ya?

You all right, Rory?

Want another drink?|- Yeah.

Not too quick.

Rory!

Rory!

What's happened to you, Rory?

What's this? Look at him.

He's got tubes|coming out of him all over.

What are you doing here, Maureen?

I come with him|in the ambulance.

Oh, did you?

What happened, Rory?

I couldn't breathe.

He had pains in the chest.

Oh, don't worry.

I'll look after you.

This is my little baby boy.

Where's Dad?

Yeah, he'll be here in a bit.

She was pissed as a fart.

Good job Samantha was in.|- Yeah.

Thanks anyway, Maureen.|- That's all right.

I'm starving.

I was just gonna make meself|a bit of cheese on toast.

Are you hungry?

No.

When's your Phil and Rachel|coming up?

Rachel ain't at home.

She's probably gone up the market.

I'll give her another ring|in a minute.

My Donna ain't in, either.

I can't get hold of Phil.

Why? Where is he?

Don't know.

Mum?

Rach. I'm just trying|to get hold of your dad.

I don't know|what's happened to him.

D'you get the bus all right?|- Yeah.

He's in here.

Sorry. After you. There you go.

It's his sister.

Hi.

Rory...

RacheI's come to see you.

Rory's mum?|- Yeah.

Hi, I'm Simon Griffiths.|I'm the doctor.

I examined Rory before tea.|And I bet you're Rory's sister.

Yeah.

Hi. Hello, Rory.

So, why don't we have|a sit down...

and we can have|a bit of a chat, OK?

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Mike Leigh

Mike Leigh (born 20 February 1943) is an English writer and director of film and theatre. He studied at the Royal Academy of Dramatic Art (RADA) before honing his directing skills at East 15 Acting School and further at the Camberwell School of Art and the Central School of Art and Design. He began as a theatre director and playwright in the mid-1960s. In the 1970s and 1980s his career moved between theatre work and making films for BBC Television, many of which were characterised by a gritty "kitchen sink realism" style. His well-known films include the comedy-dramas Life is Sweet (1990) and Career Girls (1997), the Gilbert and Sullivan biographical film Topsy-Turvy (1999), and the bleak working-class drama All or Nothing (2002). His most notable works are the black comedy-drama Naked (1993), for which he won the Best Director Award at Cannes, the Oscar-nominated, BAFTA and Palme d'Or-winning drama Secrets & Lies (1996), the Golden Lion winning working-class drama Vera Drake (2004), and the Palme d'Or nominated biopic Mr. Turner (2014). Some of his notable stage plays include Smelling A Rat, It's A Great Big Shame, Greek Tragedy, Goose-Pimples, Ecstasy, and Abigail's Party.Leigh is known for his lengthy rehearsal and improvisation techniques with actors to build characters and narrative for his films. His purpose is to capture reality and present "emotional, subjective, intuitive, instinctive, vulnerable films." His aesthetic has been compared to the sensibility of the Japanese director Yasujirō Ozu. His films and stage plays, according to critic Michael Coveney, "comprise a distinctive, homogenous body of work which stands comparison with anyone's in the British theatre and cinema over the same period." Coveney further noted Leigh's role in helping to create stars – Liz Smith in Hard Labour, Alison Steadman in Abigail's Party, Brenda Blethyn in Grown-Ups, Antony Sher in Goose-Pimples, Gary Oldman and Tim Roth in Meantime, Jane Horrocks in Life is Sweet, David Thewlis in Naked—and remarked that the list of actors who have worked with him over the years—including Paul Jesson, Phil Daniels, Lindsay Duncan, Lesley Sharp, Kathy Burke, Stephen Rea, Julie Walters – "comprises an impressive, almost representative, nucleus of outstanding British acting talent." Ian Buruma, writing in The New York Review of Books in January 1994, noted: "It is hard to get on a London bus or listen to the people at the next table in a cafeteria without thinking of Mike Leigh. Like other wholly original artists, he has staked out his own territory. Leigh's London is as distinctive as Fellini's Rome or Ozu's Tokyo." more…

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