All or Nothing Page #7

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
405 Views


Me dad's oldest brother.|What's his name?

In Australia...yeah.

There you are, then.

It's all on your side, innit?|Ain't none on mine.

Are you going to work|in the morning, Rach?

Don't have to.|You can phone in.

Dunno.

I ain't going.

If you do...when you're done...|give us a bell on the mobile.

Run you up to the hospital,|see your brother, yeah?

You'll have it switched on?|Not like today.

Your son's in the hospital|having a heart attack...

and we can't get hold of you.

They know where I am in an emergency|but we can't get hold of his dad nowhere.

Where was you? What have you|been doing all day?

I switched it off.

I know you switched it off.|Why'd you switch it off?

I'd had enough.

You'd had enough?|Had enough of what?

Working for five minutes,|so you switched it off?

What can I switch off|when I've had enough?

Had enough of getting up|every morning, going to work...

doing the shopping,|coming home, cooking the tea...

cleaning the house,|doing the ironing...

making sure everyone's got|clean clothes on their back.

What can I switch off|when I've had enough?

Had enough of what, anyway?

Everything.

What everything?

For God's sake, Phil.

You don't love me|no more, do you?

What?

You don't love me.

Phil, what are you talking about?

What's that got to do with anything?

It's got to do with everything.

Rory has had a heart attack!

You ain't loved me for years.

You don't like me,|you don't respect me...

you talk to me|like I'm a piece of sh*t.

I don't!

You do.|- I don't, Phil.

I don't talk to you|like you're a piece of sh*t.

You do, Pen.

You don't know you're doin' it,|but you do.

That's stupid! That ain't fair!

Why are you saying|all this to me?

It's wossername...

unbearable.

What's unbearable?

You don't love me no more,|do you?

Do you love me?|I've got to know.

Well...

If you don't love me no more,|I might as well go.

Where you gonna go?

I don't know.

If I'm making you unhappy...

you know what I mean?

I ain't...

I ain't got no skills.

I don't earn enough money.

I know I'm a disappointment|to you.

I know I get on your nerves.

It's like something's died.

I feel like an old tree|that ain't got no water.

When we first met...

I couldn't believe it.

A pretty girl like you going|with a fat bloke like me.

People were lookin' at us...

I felt like the bees knees.

We ain't got much...

but we got each other...

and that's enough.

But if you don't want me,|we ain't got nothing.

We ain't a family.

That's it.

Sorry.

I know it ain't very helpful...

what with Rory and that.

I couldn't hold it in.

I don't talk to you|like that, Phil.

That's what it feels like.

Do you want a tissue?|I've got some.

Yeah.

Shirt's all wet.

Rachel?

What are you doing there?

Rach?

You do talk to him like that.

Do I?

Sometimes.

Is she all right?

Yeah.

What did she say?

She's just a bit upset,|that's all.

Yeah.

Do you want one of these?

No, I'm all right, thanks.

What?

Strange, isn't it?

What?

Don't know.

I feel cut off all the time.

Sort of...

lonely.

Yeah.

Me and all.

Do you?

I love you.

You used to make me laugh.

Yeah.

Do you want to go to bed?

Yeah.

Busy day tomorrow.

He must be up here.

That's it.|- Oh, yeah.

Yeah, there he is.|- There he is.

That's nice.|By the window.

You all right?

There's no chairs.

There's a couple over there.

Oh, yeah.

You all right there, Rach?

Yeah, thanks.

He looks better, don't he?

Got a bit of color|in his cheeks.

Yeah.

How did they get you up here?

I come up in a wheelchair.

Did you?|- Yeah.

Got you some bananas, mate.

Cheers.

Here, I got you|something and all.

What is it?|- Open it.

What is it, a towel?

No, it's a dressing-gown.

What do I need|a dressing-gown for?

For when you go toilet and that.

All right, stick it in there.

What's this, slippers?

Yeah.|- Cheers.

They're moccasins, ain't they?|- Yeah, nice one.

They'll sort you out.

You had something to eat?

Yeah, I had fish.

Did you?|- No. In batter?

No, with sauce on the top.|Like cheese.

Cor blimey!

Did you eat it?|- Yeah.

They tie you down, did they?

No, it was nice.|I had that, and mash...

and, like,|green cauliflower stuff.

Oh, yeah, broccoli.

I don't know, but I ate it all.

That's good.|- Blimey.

You all right?|- Yeah.

She ain't been back to work yet.

I'm gonna go back tomorrow.

Why ain't you been in?|- I ain't been sleeping.

Why not?

She's been worried.

What about?

About you. We all have.

Shut up. I'm all right.

You are now.

You've got|a bit of fluff on you.

Did an airport this morning.

Yeah, 5:
00!

Bloody hell.

Yeah. Took this family|to Gatwick.

They was going to...|what's the name? Cyprus.

This bloke, two little boys,|and an old woman.

We was going along,|and the kids started giggling...

and the littlest one says,|'Here, Dad, she's farted.'

Here, don't make him laugh.

Are you hurting?

He's all right.

Anyway, so he turns around,|he starts clumping him.

'Don't be rude about your grandma.'

He was swearing in Greek and that.

I had to open a window.|It was... no, it was...

Had all sorts in that car.

That's right, yeah.

You all right, Rach?

Yeah.

You want to be careful, you.

Got talking to anyone in here?

No, I ain't.

Only just got up here, ain't you?

I ain't spoken to no one.

Did you get your card|from your nan?

Yeah, it's that one there.

She was gonna send|one of her cakes up.

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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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Submitted on August 05, 2018

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