Career Girls Page #2

Synopsis: Career girls opens with a train journey towards London's Kings Cross where Annie, one of the major characters is about to meet her old university friend Hannah. She recalls moving into a grotty student flat with Hannah in the mid-eighties. In those days Annie was self conscious and jumpy. The pair have not seen one another since graduation. They both now have moderately successful careers and are, at least on the surface, self assured in their new lives. However, they are still carrying a lot of emotional baggage from their university days. During the course of a weekend they rediscover their close friendship and encounter many faces from the past.
Genre: Drama
Director(s): Mike Leigh
Production: Twentieth Century Fox Home Entertainment
  3 wins & 5 nominations.
 
IMDB:
7.2
Metacritic:
76
Rotten Tomatoes:
88%
R
Year:
1997
83 min
260 Views


My mum would probably smash it

in a drunken stupor, wouldn't she?

Oh, this is great, Hannah.

You're so lucky.

- I'm thinking of moving, actually.

- But why? It's perfect.

- I want to buy somewhere.

- Really?

- Yeah.

- Why?

I just think it's a waste

of money forkin' out for rent...

when it's cheaper

paying off a mortgage.

- But it's such a big jump.

- Well, it's not very secure being a tenant though, is it?

Oh, you're so brave.

I couldn't buy on me own.

- I couldn't buy with anyone else.

- I want to get somewhere with somebody.

- Really? Who?

- No, no. I mean... Well, you know, my luck might change.

I might meet somebody.

I've got some money saved up.

I should spend it if I was you.

I'm not very good at saving.

- Oh, you still use them.

- What?

- The cups.

- Oh, yeah. I've had these for years.

Oh, I don't. I've got cacti in mine,

in my bedroom.

- Do you remember when we bought them?

- No.

You know, at the market.

You had cystitis.

Oh, that's right!

You ended up with two, and I've got two.

No, you've got two,

and I've got three.

Well, that's not very fair, is it?

Still ventilating?

Yeah.

You drinking milk these days or...

Uh, no, thanks.

Okay. Help yourself to sugar.

Oh, thanks.

Oh, go on then.

I'm on my holidays. Might as well.

Live dangerously.

Skin's looking good anyway.

Oh, yeah, it's cleared up. Finally.

I'm afraid I still smoke.

Do you mind?

Oh, uh, haven't got an ashtray.

- Oh, it doesn't matter.

- Wait a minute. Let's think.

Oh, I know.

Could use this.

There you go.

Same old contradiction.

- How's work?

- Oh, it's been a nightmare today.

- Oh?

- Yeah, well, basically...

I've inherited this problem

from my predecessor.

He was my ex-boss.

I warned him before he left.

Of course he wasn't having any of it.

So he's gone on to greener pastures,

and I've been left holding the baby.

What's the problem then?

Well, see, he ordered

this whole spring range from a firm...

and they didn't deliver

by the deadline.

So I threatened not to pay them, and now

they're giving me all this hassle and sh*t.

- Is it envelopes?

- Oh, no. It's a whole range of stationery.

Problems, eh? I've got them, too,

'cause I want to change me job.

- Do you?

- Yeah, well, you see, I went into personnel management...

'cause it's all about dealing with people...

but I've ended up with this job, like...

I spend 90% of my time

shifting paper around a desk.

Yeah. Yeah.

- Anyway, it's not the same since Patsy left.

- Who's that?

Oh, she was one

of the senior secretaries.

She was a real laugh.

She retired last year.

Would you excuse me

a moment? Sorry.

I just remembered something.

Oh, look at you in your specs.

Yeah, I only use them

for reading and writing.

- You look so mature.

- Well, not too mature, I hope.

- I haven't opened your present, have I?

- No.

Nice paper.

Oh!

That's useful, actually.

It's great.

Thanks a lot.

- It goes with the room.

- It's really lovely, actually.

- I must buy you some flowers for it.

- Thanks.

Well, we don't have to tell her, do we?

No. No. Mum's the word.

Only upset her anyway.

Yeah. Right. Deal, yeah.

- To be honest, I've had enough of her.

- Know what you mean, yeah.

If we start looking for a flat now, we should

be able to get hold of one of the third years.

- What you reckon?

- Well, I'm not quite sure what I'm doing next year.

- What do you mean?

- I might want to be alone.

You want to live on your own?

Well, change is as good as a rest...

and other duck-billed platitudes.

Well, that's great for me.

Well, I'm sorry if my life

isn't very convenient for you.

- What's Annie doing next year?

- I don't know.

'Cause if we start looking now, we should be

able to find a place for the two of us, yeah?

- I don't know if I can afford it.

- Smaller than this.

No, but I want to go

home for the summer.

- Anyway, I don't want to think about it.

- Hannah's not interested.

- She wants to live by herself.

- Really?

Yeah.

Oh. I see.

I can't believe it.

260,000.

Do people actually pay that sort of money

for a two-bedroom flat?

- Apparently so.

- It's a joke.

Well, I certainly couldn't afford it.

And even if I could, I wouldn't want it.

I'm just being nosy, really.

Seeing how the other half lives.

I thought it might be fun for you as well.

Better than traipsing around

Buckingham Palace or the Tower of London.

You can always go

to the pictures, can't you?

Oh, yeah.

It will be a giggle.

We'll have to look as though

we can spend that sort of money.

Oh, no, I couldn't.

I'll look like the poor relation.

Oh, you'll be all right.

You could be my financial adviser.

But what if I say the wrong thing?

I'll end up having to buy it.

Let's face it.

I hope you like this restaurant

I've booked for tomorrow night.

It's a bit unusual.

You do still eat Chinese, don't you?

Oh, I'll eat anything, me.

Except mushrooms and peanuts.

Oh, that's a shame.

I just made mushroom and peanut pie. Joke.

Still read a lot?

Uh, yeah, quite a lot.

Especially when I'm traveling.

I don't.

Not half as much as I used to.

Oh, where'd you get this from?

- It's so dinky.

- You can have that if you like.

- Oh, no. I couldn't.

- Oh, go on.

It's only a free sample.

I get lots of them.

This is a good one.

Looks like paper...

feels like leather,

and it's made of plastic.

Put all your secrets in there.

Have the bigger version as well.

- Oh, no. This is too much.

- Don't be silly. What about a folder?

There you go.

Thank you.

We're in Yates' Wine Lodge

in Wakefield...

and he was already

half-pissed, you see...

'cause he had actually been in there,

you know, since work with his friends.

Anyway, I stupidly chose this moment to tell

him I didn't want to go out with him anymore.

- Do you know what he said?

- No.

He said that I've got

the hump with him, right?

Because once he had actually said to me

that he didn't ever want to get married.

- Does that make sense to you?

- No.

Here I am trying to end it with this guy...

and he's telling me

that I want to marry him.

And I really didn't.

I didn't.

He sounds like a d*ckhead to me.

- Well, he is a d*ckhead.

- How long were you with him?

- A year and a half.

- Oh, I don't know how you put up with it.

Well, I didn't,

'cause I left him, didn't I?

Well, he wouldn't have lasted a weekend

with me. That's my problem.

None of 'em do.

I just can't hack it.

Serves me right for getting

involved with a bloody drunk.

Yeah, I know what you mean.

I've just been involved with one of them.

Oh? Oh, I don't know.

Where are you supposed to

meet a man, you know, at 30?

Did you leave your Zimmer frame

on the train?

Thank you very much. It was lovely.

- Do you want some more?

- Oh, no, no. I couldn't.

So how is Thelma these days?

- Oh, she's still the model of maternity, my mother.

- Oh?

Swigging two bottles of gin a day

and puking up my Sunday lunches.

- Oh, dear.

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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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