Happy-Go-Lucky Page #6

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


- I can't do these.|- Yes, you can. You carry on with that.

- Miss, I've got a tiger fish.|- OK, Chelsea.

What's happening here, eh?

You can talk to me, you know?

Anything you want to say.

I'm here to help you.

Because I'm your mate, aren't I?

- Yes.|- Yeah, that's right.

That's what mates do...

...isn't it?

- Yes.|- Yeah.

What's making you so angry?

I want to help sort this out.

Come on, chop chop.

- Hi, Jenny.|- Hi, Poppy.

- Poppy.|- Have you got a minute?

- What's up?|- I think I might have a problem.

- Come in. Sit yourself down.|- Cheers.

It's Nick, really...

You know what I mean, you know?

You know?

- You know?|- I know.

It's, it's, it's, it's, it's, it's...

Isn't it just?

You know? You know, it's...

You know, they, they, they, they, they...

Do they?

They're not, they're not, they're not, they're not!

They're not, you know?

Oh.

Are you warm enough?

# I know, I said that I was leaving

- That's nice.|- He's, he's, he's...

- Is he?|- You know, he's...

Ah, now, and he's, he's... Oh, he's...

Oh, no.

He's, he's, he's...

- What is he?|- He's a prick.

Oh! I know a few.

There you go.

That's it. Yeah.

- You know what I mean, you know?|- Yeah, yeah.

She's, she's, she's...

She's, she's, she's, you know. She's, she's...

You know. She's, she's, she's,|she was, she was...

She was, she was, she was, she was...

- She was so...|- Was she?

She wouldn't, you know.|She wouldn't. She wouldn't, you know.

She wouldn't, and I'm, I'm... I'm not, you know.

I'm not, you know. I'm, I'm...|She's... you know. She's...

She's, you know. She's...

You know, they're, they're, they're, they're...

You know what I mean?

Yeah.

I do.

What's your name?

Hey?

- Come on.|- Where are you going?

- Taxi!|- That'll be for me.

Come on, 'sake.

Keep your hair on.

I've only just met you. Mum warned me|about going with strangers.

- Where are you going?|- Longest way out, shortest way home.

Oh, sod's law.

- Is he gone?|- All right. What?

- Is he gone?|- Ease up.

- What?|- Is he gone?

You what?

- Is he gone?|- Is who gone?

- The rubber knocker man.|- You what?

- The rubber knocker man.|- Oh! The rubber knocker man.

- Sssh.|- Why didn't you say?

- Is he gone?|- Yeah, yeah. No, he's gone, he's gone.

- 'Sake.|- I see him. He's a-running.

He's a-rubbing his knockers. He's gone.

Oh, he's gone. Hang about.

Oh, there you go.

Found the en suite, then.

Shake it all about.

What am I doing?

Oh, all done, then?

All right?

Have you had your dinner?

No.

- Here you are, take that.|- No.

- Something to eat.|- No, thank you.

- Where are you going to sleep tonight?|- In a bed.

Of course you are. Silly me.

What?

You know?

Yeah.

Next, please.

- Are you asleep?|- Yeah.

So what you been up to?

- This and that.|- Ducking and a-diving.

Wheeling and a-dealing.

- So where you been?|- Tooing and a-froing.

- Seriously.|- Seriously.

I went for a walk.

Thought we were going out for a drink.

Oh, yeah. Sorry.

- Left you a message.|- My battery died on me.

- So how was your day?|- How was your day?

Fantastic, the earth moved.

- I've got a violent pupil in my flock.|- What's he doing?

- Being violent.|- What, is he hitting you?

- He's been hitting the other kids.|- What are you doing about it?

I spoke to Heather.

Poor little bugger.

You've got to love them, haven't you?

Yeah, otherwise you'd kill them.

So where did you go tonight?

The eternal question. Where have we been?|Where are we going?

What's the meaning of life?

I went to the moon and then back again.

- Wow, you walk quickly.|- I've got good legs.

Yeah, you've got great legs.|Not that you're my type.

- These are great legs.|- Ah, get off. Read your palm.

Oh, I see a very strong line.

It's your bullshit line,|and I see a tall, dark, handsome... turd.

- Next to it is a bloke.|- A bloke?

- Yeah.|- Let's see.

Oh, yeah, there he is. Isn't he gorgeous?

- Not my type.|- No.

Where have all the good men gone, eh?

Well, they're not hiding in here, are they?

Come out, come out, wherever you are.|We're ready and waiting.

They haven't got the balls.

- All right, Nick?|- Yeah.

- How you doing there?|- I'm reading.

- What you reading?|- "Yuck!"

- "Yuck!" That's nice, isn't it?|- Oh, it's a classic, that.

- Nick, this is Tim.|- Hi, Nick.

Hello.

Now, Nick, when I asked you the other day,

did you know what a social worker was,

can you remember what you said?

A social worker helps you on... hard things.

A social worker helps you with hard things, yes.

- That's true.|- Yeah, very good.

That's right. And I was thinking,

how could I help Tim|to get to know you a bit better?

I was thinking, because you've done|some very good learning this year...

Oh, I'd say so, yes.|- He has, hasn't he?

And I was thinking, would you mind|showing Tim some of your work?

- No.|- That's a good idea.

I'd love to see it.

Is that, "No, you don't want to"|or "No, you don't mind"?

- No, I don't mind.|- I didn't think you would.

Well, that's good, isn't it? What's it going to be?

- You come and sit here. Have a look.|- Oh, thanks.

- We should show off your maths.|- Are you good at maths, Nick?

- Are you all right, sweet? A bit tired?|- Let's have a look at this. Here.

- What's this, then?|- Look.

- This is last term.|- Tick, tick, tick, tick, tick.

Oh, he's good at his numbers.|- Very good.

- Yeah, smiley faces.|- I'm going to see you later, OK?

- See you.|- Thanks, Mrs Stockman. See you soon.

- Smiley face, big smiley face there.|- Smiley face, ticks everywhere.

- Very good.|- All last term this was.

Isn't it? Not bad.

Is it good this term as well?

Er... yes, it's a bit on and off. Isn't it?

- Oh, yeah.|- Not so good.

- We'll get around that, though.|- Of course.

You know you're not in trouble, don't you, Nick?

- Yeah.|- Yeah.

No-one could be angry with you. Not for long.

You've been a bit angry, though, haven't you?

Yeah.

- What's made you angry?|- I don't know.

You don't know?

What's it like at home?

Fine.

- Yeah, with you and your mum?|- Yeah.

Yeah.

- You get on with your mum, don't you?|- Yeah.

- Does anybody else come to the house?|- No.

No? What about any of Mummy's friends?

Has she got a boyfriend?

Yeah, she does.

She does? What's his name?

Jason.

Jason.

Is Jason nice?

No.

Has he been making you angry, Nick?

Yeah.

That's no good, is it?

Have you got a piece of paper, Miss Cross?

Yeah, sure we could rustle one up.

- You good at drawing, Nick?|- Yeah.

OK.

- Here we go.|- Let's get you a pencil.

There you go.

Take that, Nick, and what I'd like you to do,|is draw me a house.

Do you think you can do that?

- Yeah.|- Yeah.

Thought so.

That's your mum, in her bedroom.

- And who else is there?|- Jason.

Jason's there. Where's he?

- He's in the living room.|- In the living room.

- You're all in different rooms, aren't you?|- Mm-hm.

Why are you in a different room to Jason?

- Because he's not nice to me.|- He's not nice. What does he do to you?

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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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