Hobson's Choice Page #8

Synopsis: 1880s Salford, England. Widowed Henry Hobson, owner/operator of Hobson's Boots, lives with his three adult daughters, Maggie, Alice and Vicky, in a flat attached to the shop. Henry is miserly, dipsomaniacal and tyrannical, not allowing his daughters to date as their sole purpose in life is in service to him and to the shop, they who receive no wages in that professional service. He changes his mind about Alice and Vicky, for who he will choose husbands, despite they, the romantic ones, already having chosen the men they would marry if given the opportunity. He will, however, not provide them with a dowry, which may prove to be a challenge in finding them who he would consider suitable husbands. Concerning Maggie, he believes she is far too useful to him as the overly efficient and organized one to let go, and too old at age thirty for any man to want her anyway. Incensed by her father's attitude about her, Maggie decides that she has to show him how wrong he is about her being an unmar
Genre: Comedy, Drama, Romance
Director(s): David Lean
Production: Criterion Collection
  Won 1 BAFTA Film Award. Another 1 win & 4 nominations.
 
IMDB:
7.7
Rotten Tomatoes:
90%
NOT RATED
Year:
1954
108 min
688 Views


Now, look here, what's passed between

you and me isn't for everybody's ears.

Go on, I'd like to hear it all.

Nasty-minded curiosity.

I don't agree with you, Mr Hobson.

You're a dunderheaded

lump of obstinacy

but I have taken a fancy to you

and I decline to let ye kill yourself.

Can I have a word with you in private,

please, Mrs Mossop?

Thank ye.

Goodbye, Mr Hobson.

Oh, and a happy new year to ye.

Well? Out with it.

It seems you're not to be trusted

on your own anymore, Father.

Alice and Vicky'll come

and look after you.

I paid 500 to get rid of them.

- What about you?

- Nay, it's out of the question.

Alice and Vicky

have got time on their hands.

Will and me

have got a business to run.

I'm off now to see Alice and Vicky.

We'll all be back here later this afternoon.

And you'd better put a collar on

in case Will comes.

Put a collar on for Will Mossop?

I think you've lost

your sense of proportion, my girl.

I'll have him treated with respect.

I'll be back at one o'clock.

And now I'm going back there

to get things tidied up.

You put your best coat on,

and your new hat,

and I shall expect you there

at one o'clock.

Yes, Maggie.

And remember, you can take a high hand

with Alice and Vicky.

- Aye.

- And with Father and all.

He's not too ill to stand it.

I'm a bit short of practice

at taking a high hand with Mr Hobson.

You can do it, love.

Aye.

I'll do you credit, lass.

Mornin', Miss Alice.

You might have waited till after dark.

Darkness won't hide

what the whole street knows already.

I told you, it's a different place

from when we used to live here.

Come in.

Morning, Alice. Morning, Vicky.

Where's Father?

- Upstairs.

- Go and bring him down, and look sharp.

I'm busier at my shop

than they are at his.

Yes, Willie.

Aye, it used to be a good business

in its day, too, did Hobson's.

What on earth do you mean?

It's a good business still.

If you'd not married into the law, Alice,

you'd realise what the value

of your father's business is today

in trading circles.

Vicky ought to know.

Her husband's in trade.

My Fred in trade?

- Well, isn't he?

- He's in the wholesale.

That's business, not trade.

And the value of Father's shop

is no concern of yours, Will Mossop.

- What are you doing?

- I'm looking over the stock.

If I'm to come into a thing,

I like to know what I'm coming into.

You are coming here

to look after Father.

Maggie can do that,

with one hand tied behind her back.

I'll look after the business.

Will Mossop!

Do you know who you're talking to?

Aye, me wife's young sisters.

- He's been drinking.

- We've got to be careful.

- Well, what d'you mean?

- Look.

Suppose Father gets worse

and they're here.

- Yes?

- Can't you see what I'm thinking?

Well, go on.

- It's so difficult to say.

- Then say it.

- He might leave them all his money.

- He's here.

Willie! Father's down.

- Hello, Father.

- Alice.

- Father, you're ill.

- Vicky, my baby.

Oh, it's nice to know

that I've daughters that care for me.

Of course we care.

Come and sit down, Father.

You're looking all right.

You've quite a colour.

Now look here, Alice, I'm very ill

and I need someone to look after me.

They know all about it, Father.

Then which one is it to be?

It can't be me,

in my circumstances.

- What circumstances?

- Um...

- What are you whispering about?

She's expecting.

Well, I don't see how that rules you out.

It could happen to any of us.

- Maggie!

- Well, what's the matter?

It does happen

to married women, and we're all married.

I say it ought to be Maggie, Father.

She's the eldest.

- And I say...

- Good morning, Father.

- I'm sorry to hear you're not so well.

- I'm a changed man, Will.

There used to be room

for improvement.

- What?

- Sit down, Father.

Aye, well, don't let's be too long

about this.

My time's valuable.

I'm busy at me shop.

Is your shop

more important than my life?

I'm worrited about your life

because it worrits Maggie.

But I'll not see my business suffer

for the sake of you.

This is not what I've a right

to expect from you, Will.

You've no right to expect I care

whether you sink or swim!

- Oh!

- Will!

And we're to stay here

and watch Maggie and Will

abusing Father when he's ill?

- No need for you to stay.

- That's a true word, Will Mossop.

But, Father, dear Father!

- Are you willing to come?

- No.

- You, Vicky?

- It... it's me child, Father.

Never mind what it is!

- Are you coming or not?

- No, I'm not.

Very well.

Those that aren't willing

can leave me to talk with them that are.

Show them the door, Will.

Vicky.

Well, I don't know.

We'll be pleased to see you

tea-time any Sunday afternoon

if you'll condescend to come.

Huh! Beggars on horseback.

Now, my lad,

I'll tell you what I'll do.

Sit you down.

Aye, we can come to grips better

now there are no fine ladies about.

They've got stiff necks with pride,

and the difference between you and them's

the thing that I ought to mark

and I'm going to mark.

There's times for holding back and there's

times for letting loose and being generous.

Now, you're coming here to this house,

both of you.

You'll have the back bedroom

for your own

and the use of this room split along

with me - Maggie, you'll keep house.

If she's time

she can lend a hand in t'shop.

I'm finding Will a job.

You can have your old bench back

in t'cellar, and I'll pay you the old wage.

Eighteen shillings a week,

and you and me'll go equal whacks

in the cost of the housekeeping

and if that isn't handsome,

I don't know what is.

- Come on, Maggie.

- Aye, I think I'll have to.

Whatever's the hurry for?

It may be news to you,

but I've a business round in Oldfield Road

and I'm neglecting it

by wasting me time here.

Wasting time?

Maggie, what's the matter with Will?

I've made him a proposal.

He has a shop of his own

to see to, Father.

A man who's offered a job

at Hobson's

doesn't have to worry

about a shop of his own

in a wretched cellar in Oldfield Road.

Shall I tell him, Maggie,

or shall we go?

Go! I don't want to keep a man who...

If Willie goes, Father, I go with him.

I think you'd better speak out, Will.

All right, I will.

We've been a year

in yon wretched cellar.

D'you know what we've done?

We've paid back Mrs Hepworth

what she lent us for our start.

- Mrs Hepworth?

- Aye.

And we made a bit of brass

on top of that.

We've got your high-class trade

away from you.

Our shop's a cellar, but they come to us

and they don't come to you.

Your trade's gone down

till all you sell is clogs.

You've got no trade.

Me and Maggie's got it all.

And all you think you can offer me

is me old job at 18 shillings a week.

Me, the owner of a business

that's starving yours to death?

But you are Will Mossop,

you're me old boot hand!

Aye, I were,

but I've moved on a bit since then.

Your daughter married me

and set about me education.

And, er...

and now I'll tell you what I'll do.

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David Lean

Sir David Lean, CBE (25 March 1908 – 16 April 1991) was an English film director, producer, screenwriter and editor, responsible for large-scale epics such as The Bridge on the River Kwai (1957), Lawrence of Arabia (1962), Doctor Zhivago (1965) and A Passage to India (1984). He also directed adaptations of Charles Dickens novels Great Expectations (1946) and Oliver Twist (1948), as well as the romantic drama Brief Encounter (1945). Originally starting out as a film editor in the early 1930s, Lean made his directorial debut with 1942's In Which We Serve, which was the first of four collaborations with Noël Coward. Beginning with Summertime in 1955, Lean began to make internationally co-produced films financed by the big Hollywood studios; in 1970, however, the critical failure of his film Ryan's Daughter led him to take a fourteen-year break from filmmaking, during which he planned a number of film projects which never came to fruition. In 1984 he had a career revival with A Passage to India, adapted from E. M. Forster's novel; it was an instant hit with critics but proved to be the last film Lean would direct. Lean's affinity for striking visuals and inventive editing techniques has led him to be lauded by directors such as Steven Spielberg, Stanley Kubrick, Martin Scorsese, and Ridley Scott. Lean was voted 9th greatest film director of all time in the British Film Institute Sight & Sound "Directors' Top Directors" poll in 2002. Nominated seven times for the Academy Award for Best Director, which he won twice for The Bridge on the River Kwai and Lawrence of Arabia, he has seven films in the British Film Institute's Top 100 British Films (with three of them being in the top five) and was awarded the AFI Life Achievement Award in 1990. more…

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