Career Girls Page #3

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


- She's a right old strop at the moment, actually.

Why is that then?

Stupidly, I told her that you were

coming down for the weekend.

She's been insisting

that I bring you around.

Well, let's go around.

I'd be quite happy to.

No, thank you. I wouldn't wish her on

my worst enemy, let alone my oldest friend.

Wouldn't mind a weekend off, anyway.

She sends her love.

Oh, that's nice.

Will you send her mine?

Mm.

So how's Kathy these days?

She still making her own bread?

- Oh, yeah, yeah. She's great, yeah.

- Fantastic, that bread.

- She fancies somebody at work.

- Does she?

A newcomer. But he doesn't

work in the Housing Department.

- Mm.

- It's really funny seeing her dress up to go in every day.

But, you know, I really wish

that she'd meet somebody...

'cause she's been on her own

for such a long time.

Last time my mother had a lover,

I had to call the police.

- Did you?

- Derek. Tried to break in at 3:00 in the morning.

Didn't last very long.

No, it's strange. 'Cause if she does start

going out with this fellow...

I'm worried, uh,

I'll be really jealous, you know?

Do you mean jealous of the bloke or jealous

of your mother because she's got a boyfriend?

Oh, no, no, neither. No, it's...

Well, it's hard to explain.

It's, um...

Well, I'm scared I might lose a part of her.

Oh, I know it sounds silly, but...

You're more like sisters,

you two, aren't you?

I suppose so. That's the main reason

why I've got to leave home again...

because I just depend

too much on me mum.

My mum depends too much on me.

I need me independence. 'Cause I've never

really had it. Not like you, you know.

You've got your independence with all this,

and I really admire that.

I never had a choice. I've had independence

rammed down my throat since I can remember.

I wouldn't exactly call having to look after

your alcoholic mother independent.

Know what I mean?

Come on. Let's get pissed.

Why not?

- All right?

- Yeah, great, yeah. It's real comfy bed, this.

- I know.

- Are you all right on the sofa?

Yeah. I always sleep in there if I'm ill.

Watch the telly.

- Oh, do you?

- Yeah.

- Thanks for the dinner tonight.

- That's all right. Not much of a chef, as you know.

Just a shame there isn't time

for me to cook you a meal.

Well, maybe next time. Whatever.

I used to like your cooking, actually.

Oh. Do you a pasta for old times' sake.

Living in the "pasta."

- Bonsoir. Sweet dreams.

- Good night.

Just give us a shout

if you want anything.

Mm-hmm.

Hannah Mills performs

open-can surgery on a tin of tomatoes.

What?

- What are you wearing?

- What does it look like?

You look like Snoopy

dressed as the Red Baron.

Well, I can't help it if they make me cry.

- Here. Do you want a snorkel?

- Don't!

Oh, I'm joking, all right?

- I'll do it.

- No, it's all right.

No, I'll chop the onion,

and you open the tin.

- Right?

- All right.

Don't make me cry. Look.

It's all right for you.

You don't suffer from allergies like I do.

I can't cry. I haven't cried since

I was nine years old, actually.

- Is that true?

- Yeah.

Oh, well, I've been crying

ever since I can remember.

Well, since I were eight.

I don't remember anything before that.

- Really? Why is that?

- I don't know. It's just like one big blank.

- My mum and dad split up when I was eight.

- Really?

- Yeah.

- So did mine.

- What, when you were eight?

- Yeah, my dad walked out on us when I were eight years old.

My dad ran off with another woman.

- So did mine. Coincidence, eh?

Yeah, but what is synchronicity, and what's,

you know, like, coincidence?

Jung says that synchronicity is when two

different things happen at the same time.

One's being a normal state, and the other is

a psychic one. Do you know what I mean, like?

- Kitchen synchronicity.

- All right.

- Hello.

- Good evening.

- What's for tea?

- Spaghetti with tuna.

- I hate tuna!

- Well, you don't have to eat it, do ya?

- I told you I don't like the smell of fish!

- Sorry.

Don't have a go at her.

She can cook what she likes.

It's all right for her.

Her room isn't next to the kitchen, is it?

- Do you want to fight?

- Oh, don't be childish.

- Kojak!

- Shut up!

Swivel!

Bloody cheek.

I feel really bad now.

Well, don't.

We like tuna. Right?

Freud enlarged his first

theory of dreams...

to cover the recurrent nightmares of

shell-shocked soldiers in the First World War.

What we would refer to today

as post-traumatic stress disorder.

Here the dreams show

the compulsion to repeat...

and, by doing so,

to try to master actively...

what was done to the person

as a passive agent of trauma.

I didn't get any video of this.

If I give you a fiver, will you

give her and me one pound?

Is this it?

No, it's all right.

Careful with them.

They're-They're deleted. Uh, my finger.

Ricky, it's everything, right?

Come on.

Watch me records, won't ya?

Ricky, the bathroom

is there on the left.

Narrow, these stairs, aren't they?

- We seem to manage.

- For you, you mean?

- Right. Tea.

- Uh, do you know, um...

So, what do you think then?

Cozy, isn't it?

- Uh, don't, uh... don't like the brown.

- What brown?

Uh, the walls are brown.

The wallpaper, uh...

Not brown. It's maroon.

We're marooned.

No, it's, uh, brown.

The carpet's brown and the lino.

Maybe if you painted

it all, uh, white...

it might help raise your spirits.

- Think so, Ricky?

- Think you'll be all right sleeping on that thing?

Uh, might be a bit small, but...

- It's all relative, isn't it?

- You can put the cushions on the floor and sleep here.

- Yeah.

- Uh, like wooden, uh, ribs sticking.

There's one sticking right up us now.

- Well, don't brag about it!

We all want to sit there.

Oh, uh, me bum wouldn't

be here when I was sleepin'.

Instead of a bum, which is what I am.

Well, it'll have to do

until you find somewhere else.

- Yeah.

- Uh, uh...

What, a bastard, eh...

your landlord?

Oh, yeah. I was gonna

smack him one, but, uh...

No, see, everybody's got,

like, different traits.

- That's right, yeah.

- You've got your cardinal traits.

- Central and secondary.

- I'm having one explanation. I don't need two.

- I'm not stupid. Thank you very much.

- No, there's, like, three...

- different groups of...

- Traits.

- Yeah.

- Yeah.

Uh, what do you think your, uh, card...

My cardinal trait is, what do you think

about Margaret Thatcher?

Do you think she will be assassinated?

Or do you think she will carry on

ad nauseam into the next century?

- How do you both feel about that?

- I don't know.

That's right. You don't know,

and you don't care!

Let's face it.

See, uh, Abraham Lincoln's

cardinal trait was, uh, honesty.

Yeah. Look what happened to him.

Why don't you, uh, want

to talk about your cardinal...

"My Cardinal Trait" by Hannah Mills.

My cardinal trait is... generosity.

- Oh?

- That's true, Hannah. She's a very kind person.

Oh, my friend concurs,

which is very big of her, I must say.

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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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