Happy-Go-Lucky Page #3

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
558 Views


- That makes a lot of sense, that does.|- Cheapness is relative.

Yeah, it is. You're right. Bang-on!

So, do you want the same time every week?

Go on, then.

- Do you or don't you? I need to know.|- Well, if you need to know.

If it's good for you, it's good for me, Scott.

OK, 12 o'clock every Saturday.

- Do you like working Saturdays?|- I only work half day, Saturday.

- Oh, that's good.|- You're my last pupil.

What do you do for the rest of the day?|Are you going out tonight?

I shall go home and read my book.

Oh, it must be a good book. What is it?

It's a book.

Yeah, well, we worked that much out.

- You see three pedals in front of you.|- Yeah, yeah.

Will you put your left foot on the left-hand pedal|and push it all the way down?

He's a bit frisky, isn't he?

OK, Pauline.|Please take your boot off the pedal.

Nobody's called me Pauline|since I was two years old. Makes me laugh.

What am I supposed to call you?

- Oh, how about Poppy?|- Poppy?

- Yeah.|- Oh, yeah.

No, whatever turns you on, Scott. I don't mind.

OK, Poppy. Your boots are inappropriate|for a driving lesson.

- What's wrong with them?|- You can't control a car in high heels.

I can do a lot in these.|You should see me in these on a dance floor.

- They may be good on a dance floor.|- Not just good on a dance floor.

They are "Oooh".

They may be good in a Cadillac on a beach

when you're pissed with your boyfriend,|but they're not suitable for driving.

You're funny.

Now, next week|I want you to bring flat-soled shoes.

- I don't look any good in them.|- It's not how you look, it's how you drive.

I'll see what I can rustle up for you, Scott.|Leave it to me.

Right, you see three mirrors -

your two side-view mirrors|and your rear-view mirror.

- They make a golden triangle.|- Is that like the pubic triangle?

It's a pyramid and at the top of it|you see the all-seeing eye - Enrahah.

Can you repeat that, please? "En-ra-hah".

- You talking about the eye of Lucifer?|- No!

Cos I don't know if I want to look in there,|thank you.

It's not Lucifer. There are|two fallen angels before Lucifer.

- There is Enrahah, Raziel and Lucifer.|- I don't have them in my phone book.

- Bear with me.|- Where is he?

- Bear with me.|- I can't see him.

- It's a teaching tool.|- Is it?

Let me explain something to you about teaching.

The teacher's job is to bring out good habits|in the pupil and to get rid of bad habits.

He does that through|frequent repetitive thinking.

And he does that by creating clear|and distinct images

that are easy for the pupil to retain.

- Oh, does he, now?|- Yes.

Don't worry, it's burnt in there.

You remember. You will remember|Enrahah till the day you die

and I will have done my job.

Why don't you have something nice up there|like a giant strawberry?

Believe you me, it works.

- OK, stop!|- What am I doing now?

Please take your hand off the gear.|Off the gear stick!

- All right.|- Foot off the pedal.

- I'm not touching anything.|- Let me explain to you something.

This car is my livelihood.|This car is how I earn my living.

- I don't know how you earn your living.|- Yeah.

But if I walked into your pub|or your discotheque or your club

and I walked up to the DJ|and I scratched all his records,

or I smashed all the glasses,

and I said, "I'm sorry, I didn't know|what I was doing," that wouldn't be acceptable.

There is only one problem with that.

I don't own a bar or a disco.|I'm just a primary school teacher.

- Are you?|- Afraid so, kiddo.

Are you a Satanist, Scott?

- No, in fact I'm exactly the opposite.|- Are you the Pope, then?

- That's the same thing.|- Is it? Does he know that?

Right, you have three pedals, A, B, C.|Accelerator, brake and clutch.

# Talking about...|Lovely.

- Good.|- Yeah.

What's he like?

- You'd love him.|- Would I?

He made me laugh. He was funny.

What? Like funny "Ha ha" or funny peculiar?

- Bit of both, actually.|- So, what happened, then?

- He shouted at me.|- What? He gave you a telling off?

He's a little bit uptight. Just a little bit.

- Bet you wound him up.|- Might set you up with him.

- Is he fit?|- Yeah.

No, he's not fit at all. Just your type.

What do I get out of it?|- You get a shag whenever you want.

When was the last time that happened?

Who's fault's that, eh?|Where are you going? Suzy!

- You all right?|- All right?

- What's going on?|- Come on.

- You shouting at my little sister?|- No.

- Doesn't look like it, does it?|- Poppy!

- Where are you going?|- F*** off!

Not coming with us, apparently. Adios.

Suze!

Ooh.

- Morning, Poppy.|- All right?

- What's the matter?|- Buggered my back, haven't I?

- Looks like it.|- Trampolining.

- Trampolining? Really?|- Yeah, I go every week.

- What? After school?|- I love it.

Great.

You've got to keep the muscles a-pumping.

- Cos I've just started flamenco.|- You haven't?

- It's fantastic.|- I've always wanted to do it. Bit of that.

- Careful.|- I'm all right.

- Come along, if you want.|- When is it?

Every Tuesday, 6:30.

- Well, see how you feel.|- All right.

- Morning, Leanne.|- Morning.

Stink of urine round here.

- I can't smell anything.|- Have you peed your pants?

Yeah, sorry.

- You're a naughty girl.|- Tell me about it.

Ow!

- You all right?|- Yeah.

Come on, we're nearly there.

- Have you lost your sense of smell?|- Yeah, smoking dulls your senses.

- And your brain. Here we go.|- Go on, then.

Done that.

- All done?|- Yeah, thanks.

OK.

Take care.

- OK, who have we got next?|- Poppy Cross.

Thanks.

Poppy? No, I'm Zoe. Nice to meet you.

No, I'm Poppy, sorry about her.|Don't know who she is.

- My name's Ezra.|- Hello, Ezra.

- You want to just follow me upstairs?|- Yeah.

- You're big, aren't you?|- Good luck!

- Just take your time.|- What are you going to do to me?

Ooh!

Makes me laugh.

OK, I'm just going to feel the muscles|in your back.

- Right.|- And you let me know where the pain is.

I'll send you a text.

Strong fingers.

That tickles.

- Oooh! Bang on the money.|- OK.

- Ow...|- And this side?

Yeah.

OK. Do you want to reach down to your side|as if you're picking something up?

Picking chickens.

No, sorry. I can't do that. Ow! Oooh.

Is it your back?

Sorry?

Cos it can affect everything, can't it?

Like your mood and everything.

- Nice action.|- Lie on your back for me, please.

Must get one of these. Come in very handy.

Oooh! Ow.

OK, I'm just going to ask you to roll|yourself onto your side, facing me.

You don't ask for much do you, eh?

I'm going to feel the muscles in your spine again.

Ooh.

Oh!

# What-d'you-ma-call-it,|ding dang dilly dilly da da, hoo-hoo!

OK.

All right, lie back.

There we go.

There's a joint in your spine that's jammed up.

Oh, no.

- Would you like me to release it?|- Is it serious?

- It's not too bad.|- What you going to do? Will it hurt?

It may for a few days.

- Go on, then. Go for your life.|- Are you sure?

If you're quick.

OK. I'm going to roll you over and you'll|feel a short sharp click in your back.

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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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