Career Girls Page #5

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


- Shall we go and look for him?

- Yeah.

Could you tell him that

Annie and Hannah called, please?

- Right.

- Okay. Thanks a lot then.

- Yeah, thanks.

- Bye.

Bye.

Oh, hello. Didn't recognize you with clothes on.

Excuse me!

Is that Mr. Evans?

- Eh?

- Uh, we were supposed to be here at 2:00.

- Oh, it's Claudine, isn't it?

- Claudine?

- Has Andy put you up to this?

- Who?

I've heard all about you.

Who's your lovely friend?

Oh, right. I think we're talking

at cross purposes, actually.

We were supposed to be here

at 2:
00 to view the flat, yeah?

- And Jerry Wall said he'd spoken to you.

- No, no. That's bollocks.

- Well, didn't he phone you, then?

- No, he told me tomorrow.

- Oh, great. Bloody waste of time, this.

- No, he definitely said today.

- Uh...

- Oh, look. Just forget it.

No, no. Tell you what,

darling. Come up.

All right, darling.

Where shall we come?

Eighth floor, turn right. Okay?

- What do you think?

- Well, yeah.

- Is this the way?

- No, the lift's over here.

Like a bloody hotel, isn't it?

- Come on. It's great.

- I can't!

- You won't fall out.

- It doesn't make any difference.

- Don't know what you're missing.

- I don't care.

See, the reason it slopes is so that

when the chickens lay the eggs...

the eggs can roll

down to the bottom.

- It's a giant omelet factory, isn't it?

- Oh, thank God for that.

- Are you all right?

- Now I am, yeah.

- It's this way, isn't it?

- No, I think it's to the right.

- Hello?

- Yeah.

All right. Come in, girls.

- If this is inconvenient...

- No, no. I was just brushing my teeth.

Come in. Come in.

- Go on. Straight up.

- Hello.

Hello.

- You've got an upstairs.

- Yeah, it's a split-level.

Six-hundred square feet each floor.

So this must be the original artwork

Jerry was telling me about.

- Lady Godiva.

- No, that's my ex-girlfriend.

- Well, at least you have to look up to her.

- Hang on a sec.

- Fancy a cup of tea?

- Uh, no, thanks.

We can't stay very long, actually.

- No, that's right.

- How about beer?

- No, thank you.

- Glass of wine?

- No, thanks.

- I'll open a bottle. Come on.

Uh, is that a microwave?

Microwave, oven, hob.

So you are off the breast then?

- Feel free to look around.

- Oh, my God. Look at this.

- Oh, a hammock.

- Yeah, yeah. Fancy a swing?

No. I'll be sick.

I suppose on a clear day you can

see the class struggle from here.

- Yeah, on a clear day, you can see forever, love.

- It's like a porthole.

- Yeah. It's the ship effect.

- Oh.

- Smoke?

- Oh, no, thanks.

- Sit down.

- What is through the round window?

A blinding view.

That's, uh, Tower Bridge.

Just left of the crane

is, uh, Big Ben.

And over there, the City.

- So what's your name?

- Rumpelstiltskin.

- I like your telescope.

- Oh, thank you very much.

- Good for bird-watching.

- Is it safe to go out here?

Course it is.

- You going to buy it, then?

- Oh, yeah, definitely.

- With him thrown in?

- Yeah, thrown in the Thames.

Oh, no.

- Do you want the lav, love?

- No. I'm fine.

- She's got a touch of the Hitchcocks.

- You what?

- Is that your boat?

- No.

- What are the neighbors like?

- Don't know.

- Oh, that's cozy then, isn't it?

- Come and look at this.

Canary Wharf.

It's a shame they couldn't afford

an architect, really, isn't it?

- How long have you lived here?

- Four years.

- Oh, really? And why are you gettin' out?

- Fancy doin' a bit of travelin'.

- What, with the gypsies?

- No. Get a motorbike.

Do Africa.

Balloon across the Andes, up the Amazon.

What do you do?

- What, a crane driver?

- No, futures.

- Oh.

- What you doin' later on?

Nothing that involves you.

That's for sure.

- Who's the little girl?

- That's my daughter, Tuesday.

She was born on a bloody Saturday,

but her mother's bonkers.

- She's really cute.

- I never see her. So what do you two do?

Oh, uh, I'm a pathologist,

and she's a plastic surgeon, actually.

Oh, that's handy.

Fancy a whiff of spliff?

- No, thanks.

- We don't indulge.

- So do you get a lot of dry rot up here?

- No.

- What about rising damp?

- What, a hundred feet up?

- Could be high-rising damp.

- No, it's double-glazed.

- Oh, really?

- Yeah.

- Sure?

- No.

- Positive.

- Have many people viewed it yet?

Well, Jerry's got the keys. He was supposed to

take a couple of people around last week.

So are you sticking at your asking price?

This is my point, see. I reckon that

we could have a little coup on the go.

- What do you mean?

- Well, ax the parasite.

- Who, Jerry?

- Yeah. He don't have to know about it.

I'll bring down the asking price.

Bosh. Yours. Sorted.

- Sounds brilliant.

- How much will you come down by?

- What're you in the market for?

- You've got a couple of bedrooms here, haven't you?

- Yeah.

- Where do you keep them, then?

Downstairs.

Do you want to see 'em?

- Can't wait.

- Come on down.

- Fancy a cognac?

- No, thank you.

- No, she's driving. Aren't you?

- That's right.

This is the master.

I see you've been

looking through your family album.

Mm. Yeah. Yeah.

That's my sister, that, God bless her.

En suite bathroom.

Power shower.

Lot of storage space in here, obviously.

- Yeah, okay. Thanks very much.

- Yeah.

- We've got to go now. We've got another appointment.

- Yeah, we have.

- So are you two looking for a place together, then?

- No, no.

- No, I'm the one who's buying.

- Oh, right. Thought you was geezer birds.

- Oh, you wish!

- No, we're not.

- Don't mind or anything.

- Oh, thanks very much.

You know, love the life you live

and live the life you love.

- This is my study.

- Okay, see you then. Thanks very much.

- You haven't seen the other rooms yet.

- No, it's okay.

One, two. Bath as well.

Never use 'em.

This is the second bedroom.

Yeah, all right.

Thanks a lot. Bye.

- Where are you going? We haven't started yet.

- No, it's okay.

- Hang on.

- Sorry. Bye.

Come on.

Let's get out of here.

- What a bloody nightmare.

- I wanted to use the loo as well.

What a tosser!

- That flat's gross.

- Don't be rude about my future home.

Beg your pardon.

- Fancy a glass of champagne?

- No, thanks.

F***!

Come on.

Press the button.

Listen. Why don't we go downstairs?

I'll show you around the pool.

We'll come back up, and we drink this, yeah?

- No, thank you.

- You got a problem or something?

- What the f***in' hell is the matter with you?

- Bye!

You got a problem?

You got a f***ing problem?

Slags!

I just don't believe that.

What an idiot!

He was coked out of his head,

though, wasn't he?

- Was he?

- Yeah, of course he was.

- How can you tell?

- Oh, bloody hell!

You Wakefield girls!

You're half asleep, ain't ya?

I'm so naive.

When are you moving back to London?

Oh, well, I don't know.

Oh, dear.

Now, ahem, this next flat

we're gonna look at...

we're actually meeting

the estate agent, Lance.

No, he sounds like a gentleman.

I've spoken to him on the phone.

Oh. Sir Lancelot.

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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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