Green Card Page #5

Synopsis: George Faure is a Frenchman who has been offered a job in the U.S. But in order to get the job he must obtain a work permit - green card, and the easiest way is to marry an American. Bronte Parrish is a New Yorker who is a keen horticulturist and just found the perfect flat with its own greenhouse. Unfortunately the flat is for married couples only. A marriage of convenience seems the ideal solution to both problems. To convince the immigration officers they are married for love, they must move in with each other. As the mismatched couple attempt to cope with life together, they start to fall in love.
Genre: Comedy, Drama, Romance
Director(s): Peter Weir
Production: Touchstone Pictures
  Nominated for 1 Oscar. Another 3 wins & 3 nominations.
 
IMDB:
6.2
Metacritic:
58
Rotten Tomatoes:
56%
PG-13
Year:
1990
103 min
569 Views


It's okay. It's okay.

Simon and Grace are about to celebrate

their 40th wedding anniversary.

- Aw!

- Congratulations!

Congratulations!

- How long have you been married?

- I've been married 35 years. Sure.

Are you married, Georges?

Me? Well, uh...

not usually.

Whatever do you mean?

Well, uh, not normally.

- You're getting divorced?

- Yes, definitely.

- Oh.

B, you'll never get married.

- What makes you say that?

- Oh, you've turned down enough offers.

You're gonna wind up

some kind of grand old Kate Hepburn,

surrounded by lots of beautiful plants.

Most men I know

are too boring or too vulgar

to spend the rest of your life with.

- You should change your brand of men.

- Oh, really?

Really, B. You're nice. You look for

the same thing in the man...

and you wind up with two nices.

Nice. What an awful word.

- Well, Phil's nice, isn't he?

- Phil's different. He's a gardener.

Are you any relation?

Relation?

- Any relation to the Faur?

- Who's that?

The Faur. Gabriel.

I love his chamber music

and his compositions for the harp.

They're so sensual.

- We depend on donations, and...

- Yeah.

We just don't have any plants.

If you could see how these gardens

change these children's lives...

- They just don't have...

- I hear what you're saying, and I do

hope you'll understand, Bront, but...

to break up that garden

would be a crime.

See, I just can't do it, dear.

The pleasure it's given me

that it'll give to...

well, to whoever buys the place.

You do understand?

- Thank you.

- And now, Georges Faur.

- Oh, yeah, Georges.

- No. No, no, no, I don't play well.

- Please!

- You know, I'm not writing.

- Oh, yes.

- Please, Georges.

- Well, uh, one of

your earlier pieces, perhaps?

- We should be going. Uh...

Yes, we really must go.

Georges has jet lag.

Oh, why not, Georges?

Just one piece.

Oh, do you mind? It isn't often

we have a Faur in the house.

- Yes, that's true.

- Please!

- Come on, Georges.

Yes.

Ah.

It's not Mozart.

I know.

- Would you translate for me, madame?

- Would I...

"Once I heard the sound

of the wind in the trees."

I think that's it.

"Once I heard the sound

of the laughter of children."

"And I wept warm, salty tears

for the lost trees."

"Let the little children

come unto the trees...

and I will give them hope," he said.

"But there are no trees

for the poor, lost, poor children."

"Decay is their toy."

"Despair is their game."

"They have only chaos to climb."

- Bravo!

- Bravo!

- Beautiful!

Bravo!

Bravo!

I think you just got your trees.

No, no, no, no.

No. I've got it.

Excuse me.

Ah. Lauren.

Monticello face cream.

"Monticello."

Cream face. Okay.

Face cream. Okay.

- I hope it's okay.

- What?

- The sofa.

Oh, sure. Sure.

- Thank you.

- What for?

- For tonight. The song, the poem.

Oh, that. No, I didn't do it for you.

I just did it for me.

- Oh.

- You were mad when I came with Lauren.

- Yes, I was.

- And if you're mad, uh,

we don't study, huh?

And if we don't study,

I don't get a green card.

- Are you composing something now?

- Composing?

Well, you're always

humming that little tune.

- Me, hum? I don't hum.

- Yes, you do. All the time.

If it bothers you, I-I-I'll stop.

- No, I like it.

- Oh, funny. It's the first thing

you like about me.

I don't dislike you, Georges.

I have no opinion of you.

I just want it over and my life

to continue as it was before.

And I am waiting

for my life to begin.

Okay. Let's get to work.

And this, uh,

was at my grandmother's house.

- She had these beautiful,

beautiful rose gardens.

- Roses.

Actually,

it was my-my grandfather...

who started the rose garden

behind her house.

That's at the beach.

We always

bought these little hats.

- And this is kindergarten.

- Mm.

- Oh, and, uh,

these are my brothers and sisters.

- Oh.

My dad's a writer.

They live in Connecticut.

He named us all

after famous writers.

- Kind of puts a curse

on your whole life.

- Mm.

I think he wanted me

to be something artistic.

It was okay when I was a dancer, but

he doesn't really care for gardening.

- Hmm.

- That's Colette...

- Colette. Mm-hmm.

- Austen, Lawrence and Elliot.

- Colette, Austen, Lawrence, Elliot.

- This is my dad, but, uh,

there's a better picture.

- A strong face.

- A strong man.

Very strong opinions.

In fact, you and my father...

You couldn't

get two people more different.

- Yeah, you'd hate each other.

- Why?

Well, you're so right-wing

about everything.

I'm not wing. You are

the one with the wing.

- All your ideas are

from the same place.

- That's not true.

Huh?

These are from college,

different demonstrations.

- What for?

- Oh, everything.

- Everything?

- This is Lauren.

- Lauren, yeah?

Yes.

- And Phil?

- Yes, that's Phil.

- Mm-hmm?

- Mm-hmm.

You are in love with him? Hmm?

Yes. Yes, I am.

He's kind and sensitive.

Vegetarian?

Yes, he cares about

what he puts in his body.

Not like me, huh? Big pig.

Oh. I was 12 years old

when I made that.

- Didn't the kids at school tease you?

- School? No.

I left school at 10 years.

This is the same as my father's, see.

He was a mechanic,

but he always dreamed of the gypsies.

He would like to be

a gypsy, travelling.

This one given to me by the putain.

You know "putain'"? Prostitute?

Two girls in our town.

Liane and Michelle.

Michelle had lovely red hair,

long red hair.

And this is how the heart is.

Love and hate.

If some people say they love

everything, it's not true, you know?

This is how the heart is.

This is my honesty.

And this one when I was a bad boy

living in the street.

This is a knife, for revenge.

When someone

meant something bad to you, you...

you make this tattoo

until you find him and kill him.

Then you... you make another one here

with the knife put away.

- But you don't have that one.

- I don't find him yet.

- Were you ever in jail?

- Yeah.

- What for?

- Just kid stuff.

Stealing cars. N-Nothing serious.

Oh.

And, uh,

when is your menstruation?

- My...

- Menstruation.

Beginning of the month

or the end of the month? When?

- Oh.

- Huh?

It's at the...

It's the beginning of the month.

Beginning. Okay.

I didn't really believe

that you were a composer.

I mean, we told so many lies,

it's hard to know what the truth is.

You just have to

trust your instinct.

Yeah.

- This was my, uh,

first boyfriend from college.

- Hmm.

He was a musician too.

He played, uh...

the slide trombone.

And it was he who

first kissed those lips?

I don't think

they're gonna ask you that.

Good night.

Hmm.

- Bront?

- Yes?

What side of the bed

do you sleep on?

The right side.

Okay. I'll take the left side.

Okay.

Huh.

Bront, come on.

We have, uh, work to do.

Work.

"Africa, Sunday.

"Chrie...

"it is hot here in Africa...

"and very green.

"The elephants

have been restless again.

"I think it must be the drums.

"It makes them crazy.

"I miss you every day...

"and I ask the same question:

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Peter Weir

Peter Lindsay Weir, AM ( WEER; born 21 August 1944) is an Australian film director. He was a leading figure in the Australian New Wave cinema movement (1970–1990), with films such as the mystery drama Picnic at Hanging Rock (1975), the supernatural thriller The Last Wave (1977) and the historical drama Gallipoli (1981). The climax of Weir's early career was the $6 million multi-national production The Year of Living Dangerously (1983). After the success of The Year of Living Dangerously, Weir directed a diverse group of American and international films covering most genres—many of them major box office hits—including Academy Award-nominated films such as the thriller Witness (1985), the drama Dead Poets Society (1989), the romantic comedy Green Card (1990), the social science fiction comedy-drama The Truman Show (1998) and the epic historical drama Master and Commander: The Far Side of the World (2003). For his work on these five films, Weir personally accrued six Academy Award nominations as either a director, writer or producer. Since 2003, Weir's productivity has sharply declined, having directed only one subsequent feature, the critically successful but financial flop The Way Back (2010). more…

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    "Green Card" Scripts.com. STANDS4 LLC, 2024. Web. 19 Nov. 2024. <https://www.scripts.com/script/green_card_9316>.

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