Career Girls Page #7

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


- I'm being the right angle in a triangle.

- Are you all right?

- Yeah, I'm fine. Have a nice time.

Are you sure you don't want me

to come with you?

No, it's all right.

It's cool.

Hannah, I wanted strawberryade!

You're lucky she

got you anything at all.

So...

Why did you split up

with your ex-girlfriend then?

'Cause she wanted to

whisk me up the aisle.

- Really?

- Yeah.

Got sick of her crying all the time.

Was it 'cause of her

or 'cause you don't like commitment?

It's a load of bollocks,

all that sh*t.

- What?

- Commitment.

Vagina... nice place.

Wouldn't wanna live there.

So how long have you

been an estate agent?

Oh, five, six years.

I see you've got a wedding ring.

- Yeah, I'm married.

- How nice.

- How long?

- Second anniversary coming up.

- Got any kiddies?

- I certainly have.

- How many, 2.2?

- Just the one, as of yet.

- Laura Jane.

- Oh, yes.

She's as ugly as you, isn't she?

Yeah, it's her birthday tomorrow.

I gotta pick up the cake.

- How old is she?

- One. Little jelly tot.

She'll be playing for England

by the time I finish with her.

Oh, I forgot.

You like football.

- It's a lot of crap, really, isn't it?

- Not my cup of tea neither.

- You know what to do with this.

- Keep it for your collection.

- No, thank you.

- Nice to see you again then.

Yeah. Bye!

You all right?

Fine, yeah.

That time in the bedsit was the worst

for me... just after you came down to stay.

- I was right on the edge.

- Yeah.

I actually said to myself, "You've either

got to change or you're gonna go under."

If I hadn't got that job in the hardware shop,

I'd be in a loony bin by now.

- No, you wouldn't.

- Yes, I would.

He just let me be myself.

It's funny, but all these memories

keep flooding back.

See, I hate looking back.

Yeah, but don't forget,

I don't remember my childhood, you know...

and that's why remembering

is so important to me.

Mm. Who wants a crap memory though?

You haven't really changed.

- Do you want some more rice?

- No, thanks.

- I've always envied you, you know.

- Aw, don't be so daft.

- I have!

- Why?

I don't know.

I admire your innocence.

What do you mean?

You're a very sort of trusting person.

I trust people too easily.

That's why I get walked over.

See, I envy your ability to

stand on your own two feet.

Yeah, but that's just

self-protection, isn't it?

- And the way you deal with men.

- That's all I ever do is deal with them.

I mean, at least you're able

to fall in love with them...

even though you are

a walking open wound.

I'm just not strong enough

to be as vulnerable as you.

But I see that vulnerability as a weakness.

You're the strong one.

Well, see, if we could be a combination,

we'd be the perfect woman, wouldn't we?

Unfortunately, we can't.

I can't use these chopsticks.

- You've changed more than you think, you know.

- Oh, yeah? In what way?

Well, you've stopped bumping into things.

And you can look me in the eye, can't you?

- Yeah, yeah. Do you know who always used to say that to me?

- What?

- You know, about looking down all the time.

- Who?

Ricky. Do you remember him?

Now there's someone I have thought about,

as opposed to Adrian.

Ricky was sussed.

Oh, yeah. Very bright, yeah.

- Wonder what happened to him.

- I really don't know.

Maybe he's a rock star.

- Yeah, or a company manager.

- He might be as thin as a beanpole.

I don't think so... the amount of curry

and chips he used to eat.

- Mm. Fat chance, eh?

- Thin chance.

No, I haven't thought

about Adrian at all.

I don't really want to talk about it,

'cause I'm trying to get over today.

Fair enough.

It's ridiculous, but...

I haven't stopped thinking about him

for the last 10 years.

I was really quite hurt

by all that, you know?

I knew it. Deep down inside I knew that.

But why didn't you ever tell me?

Well, because I wasn't in love with him

and I knew you were...

so, you know...

- He was a sh*t.

- Oh, yeah. He was a sh*t.

But when you're in love with a bastard,

you just can't help yourself.

You see, psychologically,

I look up to my father.

You know, I see him as strong,

in spite of everything he's done.

But he doesn't respect women,

and he's never given me the love that I deserve.

And that's why I have this need,

you know, to crave his respect...

and seek his approval.

That's obviously why I choose the men I do.

I don't respect my father at all.

He's weak.

Look what he's done to Thelma.

I don't ever wanna

end up like her, not ever.

And when I look at men,

all I see is dangerous weakness.

I don't want it to be that way.

I just can't help it.

Makes me feel lonely.

- Uh, Hannah.

- What?

Would you like this

for when you find a flat?

No, but you can

stick this up your ass, if you like.

It's hard to believe.

Four years.

- You're crying.

- Oh, God. Am I?

- Here's to us.

- The "Brunty" sisters.

- Oh, yeah. We always get the brunt of everything.

- The brunt of everything.

Mm! I found a photograph of you

and I outside the Bronts' house in Haworth.

- Did you?

- Yeah, I forgot to bring it I wanted to give it to you.

- Oh, that's a shame. I'd have really liked that.

- I know. But I'll send you it.

- Thanks. I loved that trip.

- Yeah. It was good, yeah.

- It was quite a revelation, actually.

- How?

Well, just seeing the way

you were with your family.

You know, everyone being nice

to one another. I wasn't used to it.

I remember you kept

going off on your own.

Yeah. Well, I was overwhelmed, really.

Does your mom

still favoritize Francesca?

Oh, nothing's changed.

Everything Francesca does is brilliant;

everything I do is crap.

It's just not fair, is it?

First it was the mellifluous cello,

and now it's happy families.

- And yet you have always been the one to look after her.

- Oh, I know.

- You're the only person who's ever really appreciated me.

- Am I?

Yeah.

You know, I've never told you this, but...

do you remember all those times I was

meant to come to London and never did?

- Yeah?

- I didn't 'cause I was scared.

- What were you scared of?

- I was scared if I set foot in London, I'd never leave.

And I didn't want to throw me

plans out the window, you see?

Sounds like you should move on,

though, anyway.

Oh, yeah.

I'm ready to now. Yeah.

Be good if you came back

to London, wouldn't it?

Ah, well, who knows.

Mm.

- Yeah, it is. Yeah.

- Oh, look. There's Tottenham Court Road.

Hey, look who this is!

I don't believe it.

- Is that Claire?

- It is, yeah!

- But she's got no makeup on.

- I know.

What a bloody coincidence.

- What's going on, eh?

- I know. It's incredible, isn't it?

The chance of that happening

is one in a million.

You know, seeing two people

like that in the same weekend.

Did you notice where

we were standing as well?

- No.

- We were at a crossroads, weren't we?

Oh, yeah.

Where the two paths meet.

- That's right.

- Oh. Very symbolic.

Must be something in the air.

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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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