Another Year Page #4

Synopsis: A married couple who have managed to remain blissfully happy into their autumn years, are surrounded over the course of the four seasons of one average year by friends, colleagues, and family who all seem to suffer some degree of unhappiness.
Genre: Comedy, Drama
Director(s): Mike Leigh
Production: Sony Classics
  Nominated for 1 Oscar. Another 22 wins & 53 nominations.
 
IMDB:
7.3
Metacritic:
80
Rotten Tomatoes:
92%
PG-13
Year:
2010
129 min
$3,200,000
Website
565 Views


MAN:

It's only me!

- Bugger off!

- Hello, Tom, mate.

Hiya, Gerri, love.

- Hi, Ken, how are you?

- I'm all right.

- Oh, crushed ribs.

- Sorry.

- Give us your bag.

- I'm bursting for a pee.

I'll just run upstairs. Is that all right?

I'll put it on your bed.

You're in Joe's room.

- Ooh, that's better. I needed that.

- I'll take your coat.

Thanks, mate.

- Ooh, Gerri.

- Careful, Ken.

- Would you like a beer?

- Oh, I'd love one, ta.

Hup! Ha, ha, ha!

(chuckles)

- Maniacs.

- Oh...

Mm.

Mm.

- It's great this.

- Thank you.

Mm!

Better?

I haven't eaten since breakfast.

- Haven't you?

- No.

It's great to see you both. Cheers.

Cheers.

Cheers.

(laughter)

- Mm.

GERRI:
So how's your flat, Ken?

Oh, same old, same old.

You employed a cleaner yet?

If I got a cleaner in, she'd turn round,

walk straight out again.

It might give her a purpose in life.

- Bit of a mess, but it suits me.

GERRI:
Yeah.

Five minutes walk to work.

I usually get the bus, but if I'm late,

I have to leg it, if I miss the bus.

I stop at the caff to pick up breakfast.

I have a croissant

if they haven't got any iced buns.

Cup of tea.

I have to smuggle it in.

Just because of that Steve.

He's a right fascist.

TOM:
That's your boss, isn't it?

- Yeah, my boss.

My supervisor.

- Is he still there?

KEN:
Oh, yeah.

He's only been with us three...

no, two years.

35, looks 12, treats me like a child.

Bloody graduate.

- You're a graduate.

- We're all graduates, aren't we?

- Oh, yeah, so we are!

GERRI:
You forgot.

Would you like some salad, Ken?

- No, no. I'm all right, ta.

GERRI:
Sure?

I mean, you spend nearly 40 years trying to get

people out of the dole queue and into jobs.

What thanks do you get? I'm sick of it!

At your age, you can walk away, can't you?

Hm. I don't know.

You've got a good retirement package.

Index linked pension.

- I could have gone two years ago.

- Why didn't you?

- It's not that easy, is it?

- Isn't it?

What would you do with your time

if you retired, Ken?

Pub.

Eat, drink, be merry.

I don't know.

How's Joe?

- He's fine. You'll see him on Sunday.

TOM:
He's well.

Oh, great. Has he got a girlfriend?

GERRI:
No, I don't think so.

TOM:
Not that we know of.

Who else is coming to the barbeque?

Jack and Janey.

Tanya, GP from work.

- Mary.

- Oh, Mary.

Is she?

Then, of course, there's yourself, sir.

The guest of honour.

Hooray!

I don't know about that.

TOM:

What else you been up to?

Oh, nothing much.

Mm! Oh, no, hey.

Guess where I went the other week.

- Where?

- Hull versus Derby.

- Ho, ho, ho! Who'd you cheer for?

- Derby, of course.

I had to keep quiet,

I got stuck with the home mob.

- Was there owt worth cheering?

- No, it were crap.

I don't think my brother

ever missed one home game.

No. Me and my dad used to stand

with him on the terraces.

You used to leave Carl at your mum's

on a Saturday afternoon. Remember?

Oh, yeah.

You could hear the roar of the crowd

from the front room.

Of course you could.

It was three streets away.

Our house used to shake.

TOM:

Ours did. They all did.

During the Clough glory years, we were

at the centre of the footballing universe.

- You never went.

- I did occasionally.

I wasn't manic, like him.

I don't think Ronnie can afford to go now,

the price of season tickets.

How is Ronnie?

I haven't seen him for years.

- He's 70 now, you know.

KEN:
Is he?

- Carl's 41.

KEN:
Bloody hell.

- Linda's still working.

GERRI:
She's kept him all his life.

- She's worn out, poor woman.

KEN:
Is Carl the same?

As far as we know.

Very sad.

Linda's heartbroken.

TOM:
So's Ronnie.

- He's cut himself off.

I used to have a drink with Ronnie.

When my dad was in the home, I'd

go to Derby, he was always in the pub.

Yep, that's one of the advantages

of being free from the tyranny

of regular employment.

- He never bought a round.

- Are you accusing my brother

- of being a mean bastard?

- Yeah, I am.

- You're right, he is.

- I know.

Mm.

I mean, I...

You get to a certain age...

I can't go to the places I used to.

They don't like old fogies.

- You don't have to go.

KEN:
They're my pubs.

Not any more, they're not.

Except they're not like pubs now,

they're all poncy bars.

TOM:

Exactly, things change.

When I started at work,

we'd all socialise together.

On a Friday night, everybody would go

to the pub for a drink, go for a curry.

But now...

It's hard, isn't it?

I mean, who would I go on holiday with?

There's nobody, let's face it.

The only time I went on holiday

was with Pam.

Spain. Nightmare.

Didn't you go away with Andrea?

No, she went off with her sister.

You remember?

Oh, yeah.

Stood me up, the b*tch.

TOM:

It leaves a nasty taste, doesn't it?

Girls in bikinis covered with suntan oil.

Boys flexing their muscles on the beach.

No, it's not for me.

Oh, I don't know.

Sounds nice.

- (laughs)

- You could try a cultural holiday.

No, I'm not one for culture.

Pub culture.

Young people, young people.

Everything's for young people.

These bars, you know, they're full of

young people shouting about nothing.

I seem to remember you got banned

from a number of pubs in Hull

for shouting about nothing,

when you were a young person.

Right.

(laughs)

"Ken, we like you.

You're a good bloke,

you're good on the darts,

but if you talk about politics again,

you're barred."

No, but these kids,

they're just bloody noisy.

Isle of Wight Festival, 1968.

We were noisy, weren't we?

- We weren't, he was.

- You were noisy.

- You were noisy.

- I know I was noisy.

Remember Plastic Penny?

Plastic Penny.

- Where are they now?

- You fancied Plastic Penny.

It's the young person's prerogative to be noisy.

Yeah, I know, I know.

It's all my own fault.

I'm not meeting the right people.

I'm stuck in a rut.

It's not your fault, Ken.

You are stuck in a rut.

That's why you can't face retirement.

KEN:

Yeah, I know.

I'm dreading getting on that train

Sunday night. I always do.

- Why?

- I know what I'll be thinking.

There's nothing for me in Hull any more.

Except my job.

Most of my friends have gone.

Hit you hard when Gordon died, didn't it?

And his wife.

Is she gone?

Yes.

KEN:

Oh, yeah, they're both gone now.

Funnily enough, I was thinking about him

on the way down.

I looked out the windows

when we were in Lincolnshire,

I saw this f***ing tree.

It rem...

It reminded me of his funeral.

(sobs)

Oh, Ken.

Ken.

Ken.

Come on.

(sobs) Gerri, I'm sorry.

It's all right.

I'm sorry, Tom.

How you doing?

- I feel like sh*t.

- You look like sh*t.

I know.

- Apart from that, how are you doing?

- I still feel like sh*t.

(laughs)

I'll race you to the top.

- What?

- Snake Pass, I'll race you.

Oh, yeah.

When was the last time you sat on a bike?

1896, penny-farthing.

(laughs)

I tell you what.

You and me, we'll walk from Edale

to Matlock Bath.

Take as long as it takes.

Stay in nice pubs along the way.

What do you reckon?

Rate this script:3.0 / 1 vote

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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