Career Girls Page #4

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


That's like your main, uh, driving...

That's right. And do you happen to

have a cardinal trait, by any chance?

Uh, well, see, Annie,

I think your cardinal...

Never mind her.

I'm talking to you, monsieur.

Hmm, uh... Hmm, uh...

Uh, honesty.

I tell it like it...

Ah, that's a porky pie, isn't it,

Mr. Ricky, Richard...

- What's your surname?

- Burton. Richard Burton. Didn't I tell you?

- No.

- Yeah, it's...

- Youre joking, ain't you?

- No, really.

I don't, uh, look like him or anything.

You can say that again.

- No, me mum used to fancy him when...

- He was lovely.

Well, let's just hope you

don't end up like him then.

So, um, what do you think

your cardinal trait is then, Annie?

Well, uh, I don't know.

I- I don't know...

See, uh, I think you

should, uh, look up more.

See, you always, like,

seem stressed and that.

Your behavior might be like a cause

of your, uh, scabby skin and that.

Excuse me! Do you think

your ample form...

has anything to do with the fact

that you stuff your face...

or is it that you're not

getting enough sex, maybe?

Or is it that you're not

getting enough sex, maybe?

I don't... I don't, uh...

It's like your dream, isn't it?

- What dream?

- Oh, she has this dream...

about this big, dark fella

in her bedroom.

- Yeah, I know.

- Dark figure.

With a stick.

We had to describe our dreams

in a seminar last term.

Oh, how very honest of you.

- No, it's interesting...

- Anyway, I don't want to talk about this.

If you want to go

and see a therapist...

Excuse me! She just said she didn't

want to talk about it, so shut up!

- You're very aggressive.

- So?

- That might come from insecurity.

- Well, we're all insecure.

- No, but, like, we're all, uh...

- What, swimming?

No, like, uh, we're all the center of our own,

like, attention.

That's better than being in a detention

center, which is where I could have ended up.

No, but, like, you know,

it's like coming forward.

- Well, it's better than being backward.

- Maybe if you'd try and listen.

I've been listening to your half-baked

psychobabble all f***ing evening!

And I resent being analyzed by two

polytechnic, second-year psychology students!

Thank you!

She's, uh, not very happy.

Uh, she's got, like,

a type "A" personality...

like she might have

a heart attack or something.

Uh, you fancy, uh...

No. No, I don't. Sorry.

All right. I think I'll, uh...

- You'll have to knock, but not too loud, okay?

- All right.

Uh, I'll have chips and curry sauce.

But could you put a lot of curry sauce,

'cause last time you didn't...

put enough on.

Sometimes I get the devil in me.

- No, you don't.

- Yes, I do.

I've never seen you like that before.

- I'm sorry.

- I was scared.

- Ricky's so tactless.

- You can say that again.

You know, it's a real private

thing to me, that dream.

I know what it means.

Do you?

I think so.

I wish I did.

I just don't like being

psychoanalyzed. That's all.

Yeah. Typical psychology students, eh?

- I quite like him, actually. He's sussed, isn't he?

- Yeah, he's all right.

- He fancies you.

- What?

- Yes, he does.

- Don't be so daft.

You talkin' to me?

Oy, fatso.

Sorry.

Good, they, as dancers.

- What about you?

- Yeah, let's see you.

- Come on. Up.

- No, I can't.

Oh, go on.

I wanna see you dancing.

No, I don't...

I'm f***ing pissed!

- That's it, yeah! He's moving now.

- Yeah.

Better watch out.

Yeah, not as good as you are.

- He's very noble. Isn't he?

- Yeah, fine.

You're doing very well, ain't you?

Whoo!

- I'm going to bed now.

- Well, already?

Yeah. Good night.

Okay.

Ms. Bront, Ms. Bront,

will I have a f*** soon?

Well, uh, uh...

Go on. Close your eyes.

Uh, uh, it says "death."

- Oh, great. Bloody great.

- That's, uh, symbolic.

It symbolizes the bloody death of my sex life.

Right, you have a go.

- Uh, Miss Bront...

- Ms. Bront. Ms. Bront.

Ms. You know, like multiple

sclerosis or something.

Uh, Ms. Bront, uh...

will I...

Will you what?

Uh...

Uh, uh, uh, get a f***?

Oh, right. Same question.

Okay.

Let's see.

Oh, Ricky, it's a blank page.

- Uh, uh, uh...

- Sorry.

Uh, there's nothing in the rules or...

Oh, f***, it obviously doesn't work

when you're pissed.

Your, um, receptor sites

must be all clogged.

Oh! Oh! Oh, Ricky,

I feel so dizzy.

I, uh...

Oh, I'm gonna have to go to bed.

Uh, I, uh, uh, like you.

Oh, well, I like you too, you know.

We're mates, you and I.

You know, aren't we?

Uh, no... Um, uh...

Uh, I fan... I fancy you.

- Uh...

- I lo... I love you.

- Uh, like, uh...

- Oh, f***, Ricky.

- Uh...

- I don't, uh...

I'm sorry. I...

I think you're lovely.

You're really smashing, but, uh...

- Uh, uh...

- Well, you see, I've got this problem.

Uh, well, it's simple, really.

It's just that, uh, uh...

- I'm in love.

- Uh...

With someone else.

Uh, I fancy some curry

and chips from downstairs.

They won't be open downstairs.

I'll, uh, uh, get you some

sweet and sour chicken balls.

But it's 25 to 7:00

on a Sunday morning.

Ricky!

Are you sure you don't fancy him?

No, I don't.

- But you like him a lot?

- Yeah. He's lovely.

Why don't you fancy him?

Well, you know,

he's a bit plump, isn't he?

- Ah, so it's the way he looks then?

- What do you think?

- I think that's a bit rich coming from you.

- What do you mean?

Well, you're always going on about how men

don't find you attractive 'cause of your...

- Well, I'm not attractive, am I?

- I think you're attractive.

- You're not a fellow.

- True.

I think I'll go back to bed.

He's gonna be tired

when he gets back, isn't he?

I hope he's all right.

Oh, yeah. Probably just jumped

off Waterloo Bridge.

- Do you mind?

- All right! Only jokin'.

I'm sure he's hunky-dory.

- Hiya.

- Hi.

- Thanks.

- Ta.

I feel so guilty.

Well, we can't hang on

to his stuff forever, can we?

Won't be the first time

it's happened to him.

- The tutors don't give a f***, you know.

- Probably gone to his nan's.

- Shall I try and get his address off the registrar at college?

- Yeah.

- Then we can write him a letter, see if he's okay.

- Good thinking, Watson.

It's elementary.

He said first left, didn't he?

- Oh, it's this one.

- Oh, yeah.

Don't forget. If he's not there,

we'll just say we're passing through.

- Oh, yeah. We don't want to frighten his nan, do we?

- That's right.

- Is it this one?

- That's, uh, number five.

Uh... Oh, no, it's this one.

There's no bell. Well, come over here.

Don't leave it all to me.

- Yes?

- Hello.

Hello. Uh, does Ricky live here?

Uh-huh. Why?

- We're friends of his.

- Yeah, we're just passing through.

- Oh.

- Is he in?

He's not in any trouble, is he?

- No!

- No, nothing like that. We're at college with him.

Oh? From London?

- Yeah.

- Yeah, yeah.

Oh. He's gone out.

- Ah.

- Do you know when he's gettin' back?

No. Not really.

- How is he?

- He's fine.

Do you know where he is at all?

He might be along the front, like.

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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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