Happy-Go-Lucky Page #10

Synopsis: Poppy Cross is happy-go-lucky. At 30, she lives in Camden: cheeky, playful, frank while funny, and talkative to strangers. She's a conscientious and exuberant primary-school teacher, flatmates with Zoe, her long-time friend; she's close to one sister, and not so close to another. In this slice of life story, we watch her take driving lessons from Scott, a dour and tightly-wound instructor, take classes in flamenco dance from a fiery Spaniard, encounter a tramp in the night, and sort out a student's aggressive behavior with a social worker's help. Along the way, we wonder if her open attitude puts her at risk of misunderstanding or worse. What is the root of happiness?
Genre: Comedy, Drama, Romance
Director(s): Mike Leigh
Production: Miramax Films
  Nominated for 1 Oscar. Another 39 wins & 59 nominations.
 
IMDB:
7.0
Metacritic:
84
Rotten Tomatoes:
92%
R
Year:
2008
118 min
$3,494,485
Website
554 Views


- You need to calm down.|- I am calm.

- You can't drive like this.|- You can't comment on my driving!

I think I can when you're putting yourself|in danger, putting me in danger,

- and putting other people in danger.|- It's them.

That's bullshit. It's all bullshit.|That's it, I don't want it.

- You want this lesson to stop?|- Yes, I do.

I don't want you to teach me any more. I'm sorry.

OK. Fantastic. Get in the passenger seat|and I'll drive you home.

No, I don't think so. I'm driving.

- No, you're not.|- I am.

Poppy, if this isn't a lesson, you can't drive.

You're not driving anywhere.

You got two choices,|either I drive you home or you walk.

I don't mind walking, but you can't drive this car.

- You can't stop me.|- Yes, I can.

- Poppy, give me the keys.|- No.

- Give me the keys to my car.|- No, I don't think so.

I'm going to ask you one more time.|Please give me the keys to my car.

- I'm sorry, I can't.|- Give me the f***ing keys to my car,

- you f***ing b*tch!|- Get off me!

- Give me the... f***...|- Get off me. Get off me!

- Give me the f***ing...|- Get off me. You get away from me!

- Give me the f***ing keys!|- You can't touch me, Scott.

- Give me the f***ing keys!|- You can't touch me. You're out of order.

- Give me those f***ing keys!|- You're out of order.

- You're out of order.|- Give me the...

I'm calling the police.|Do you want me to call the police?

Do you?

Right. So let's just calm down, shall we?

OK, we're disturbing the peace here.

I just want to get in my car and drive away.

- That's not going to happen.|- Jesus!

You're doing it again. You never give in|for f***'s sake, you f***ing b*tch!

- You need help.|- Don't patronise me.

- I'm not patronising you.|- Yes, you are always patronising me.

This is what you always wanted,|what you set out to achieve.

This is the game you play.

You prodded me. You poked me.|You stroked me. You teased me.

You flirted with me. You sucked me in.

You wore your high-heel boots,|your short skirt, your low-cut top

and you flashed your tits, you tossed your hair.

You played with the gear stick. You lied to me!

This is all about you.|The world has to revolve around you.

I'm a driving instructor.|I just wanted to do my job.

You had no intention of learning how to drive.|You had one thing in mind.

To reel me in. And why?|Because you have to be adored.

You've got to be wanted. And you drink it in.

And you leave me with a spring in your step

and you go off and you f*** your boyfriend|and you f*** your girlfriend.

And you all drive around|in that stupid, little yellow car.

Scott...

Come on, now.

I just want to go home.

I'm sure you do.

Don't we all, eh?

Tell you what.

Why don't we have a talk about it?

We'll sit in the car.

We'll have a chat, OK?

All right?

And then I'll give you your keys.

I'm sorry if I upset you, Scott.

I wish I could make you happy.

I was happy.

OK.

And I was in Stevenage last Sunday.

- Sure.|- You can ask my mum.

So, same time next week?

I'm sorry, Scott.

There you go.

I'll just get my bag, all right?

I'm a good driving instructor.

Yeah, I know you are.

Take care, Scott.

Was that your boyfriend?

Before?

Was it?

I think I should give up smoking.

That's a good idea.

What can I give up?

You could give up being too nice.

Seriously, you can't make everyone happy.

There's no harm in trying, though, is there?|Bring a smile to the world.

- Come on, Poppy.|- I know. I know.

I still think we should call the police.

No, that's not going to help him, is it?

I don't know.

- You know what?|- What?

- We're lucky, aren't we?|- Yeah, we are.

Well... well, you make your own luck in life,|don't you?

Well, some of us do.|Some of us miss the boat completely.

It's hard work being a grown-up, isn't it?

Yeah, it is. It's a long trip.

Yeah, tell me when we get there.

Don't worry, I'll let you know.

You keep on rowing and I'll keep on smiling.

Hm. Are we there yet?

We've got a hell of a way to go.

We're getting good at this, aren't we?|Nothing to it.

Hello, you. Missing me already?

Oh...

That's nice to hear.

A nightmare. Yeah.

I'm still alive... just.

Well... it's a long story.

I'm on the lake, with Zoe.

Yeah.

The bathroom flooded, yeah.

It's all right now. We've found a boat.

You're|funny.

No.

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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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