Holiday Camp Page #9

Synopsis: Mr. and Mrs. Average British Family...if the average British family consists of a husband, wife, widowed daughter and an adventurous son...go to a holiday camp, and encounter many people who are there for various and sundry reasons; a young, unmarried couple who are about to become parents sans wedlock; a sadist eluding Scorland Yard and looking for more sadist activities; a husband-seeking spinster; two would-be gamblers looking just to make expenses; and a middle-aged matron on her first holiday after years of taking care of her invalid mother.
 
IMDB:
6.7
PASSED
Year:
1947
97 min
58 Views


Stick or twist. That's it.

Well, l won't twist you blokes,

you can be sure of that.

Well, that's the fella, my lad.

- Hello, Mum.

- Hello, dear.

- Want anything?

- No, thanks, Mum, l...

l just came to see how you were getting on, like.

Oh, not so bad.

l'm a bit tired tonight.

There's... There's nothing l could be

doing for you, is there, Mum?

Harry, are you feeling all right?

Yes, l'm all right.

Bar being fed up to the back teeth.

l'm sorry, dear.

l still can't lend you the money.

Maybe l can bring Dad round.

Don't talk to me about Dad.

lf you ask me,

he's nothing but a whited hypocrite.

Harry, what a thing to say about your dad!

This is serious, Mum, straight it is.

lf you'd seen what l'd seen,

you'd know what l mean.

Out with it, then, for goodness' sake.

No, l'd er...better not say anything.

lt'll only make mischief.

Harry, l'm your mother and you must

tell me everything. What is it?

lt's Dad. He's gambling.

No!

Fact. He's playing pontoon in the chalet

with them two chaps and the blonde.

- You're off your head.

- l tell you, l saw it with my own eyes.

After the way he let off at me, too.

Pot calling the kettle black, l'd say.

Can't believe it of Joe, l simply can't.

My word, l hope they put him through it.

l bet they will, too.

Oh, dear. First you and now Joe.

What am l going to do?

Never mind, Mum. You've still got me.

l'll look after you. Honest l will.

l'll pay 20s.

- That's me. That's better than two, innit?

- You should have shown those up.

lf he's going to start this sort of caper,

l'll go straight to my sister Daisy.

- Honest l will.

- Why should you get out?

He's the one to go. And l'll tell him so.

Stick.

Beginner's luck, that's what it is.

l haven't had a pack of cards in my hand

for months. Make your stakes.

- lt's a change to see them losing.

- Shut up, you.

- Don't you shout at me.

- Shut up or you'll feel my hand on your face.

(Tuts) No need to quarrel, children.

What are you boys doing?

- l'll stick.

- Buy one.

Cost you half a crown.

Come on.

- Stick.

- Got something good, eh?

Well, now, what have l got? Ooh, 1 3.

Well, l'm blessed. l take everything again.

- You're not finished, are you?

- Yes, l have. Haven't you got enough?

l'm not tired.

l'm finished too. You cleaned me out.

Well, well, well, and l thought

l was settled for the evening.

- Wouldn't like to throw your watch in, Steve?

- No, l wouldn't.

Even if you are broke,

you won't need your bus fare home.

Shut up, you!

All right, that settles it. l'm going.

You coming, Joe?

Yeah, might as well

if the lads don't want to play any more.

- Take me with you.

- All right. As far as the swimming pool.

- And then?

- lf you're not out of my sight in ten seconds,

l'll throw you in.

(Whistles)

Hello, Mother. Not gone to bed yet?

l wonder you dare speak to me, Joe Huggett.

- What's up?

- You ought to know what's up.

- l wouldn't have believed it of you.

- Believed what?

Don't you play the innocent with me.

l can see through you.

- So can l.

- l'll see through you if you don't say what's up.

Don't you start shouting at me, Joe Huggett.

And don't look at me like that, either.

lf you think l'm slaving my fingers to the bone

while you chuck your money away

like the man who broke the bank at

Monte Cristo, you can think again.

l'm going to Daisy's, and you can get one of

your ladyfriends to clean and cook for you,

cos l've had enough of it.

Blimey, what's all this in aid of?

Harry saw everything.

Hm. Found out, am l?

There you are, Mum. See?

He admits it.

- Nothing more l can say, then, is there?

- Nothing.

Before l go, maybe you'll take these

as a farewell gift, like.

My lOUs!

- Where'd you get 'em?

- l won them.

- But, Dad!

- And a bit more.

There's your nine quid, Harry.

Mother, here's four quid for you.

Buy yourself a new hat or something.

Joe!

- How did you do it, Dad?

- Those two lads are just beginners, son.

They like to play with five aces.

- Five aces?

- Mm.

l went one better.

l played with six.

Oooh!

Ooh, Joe, you are a one.

? The Teddy Bears' Picnic

- Michael?

- Yes?

Come here.

Yes, darling?

l've thought of a way

we can be together for always.

How?

We shouldn't have to worry about your mother,

my aunt, or money or anything.

That sounds too good to be true.

Michael, look.

- Val, you're crazy.

- No, l'm not, l'm saner than l've ever been.

l see it all quite clearly.

No, Val. No!

You're afraid.

No, l'm not.

You don't love me any more.

Oh, yes l do.

lf you really love me, you won't let me suffer.

Valerie! Michael!

Hello, you two. What a climb, isn't it?

l'm quite out of breath.

l saw you as l came up the path and l thought

we might walk back to the camp together.

lt'll be company for me, if you don't mind.

My goodness! Look at the time.

We'll have to hurry

if we're going to be back for lunch.

You were terribly near the edge just now,

weren't you?

lt's never wise, l think.

That's the way accidents happen.

l'm desperate about all this.

l just don't know what to do for the best.

How old are you, Michael?

- 20.

- You're still only a boy, aren't you?

But you've got to make a man's decision.

The whole of Valerie's life

may depend on how you treat her now.

What do you mean?

How much does your music mean to you?

Well, it used to mean everything...

..until l met Valerie.

And now?

l still think l might be pretty good.

Mm.

lf you were the only one to be considered,

l'd say take your chance.

But you aren't.

There's Valerie and the child.

Just tell me what you want me to do.

- You may have to give up music and take a job.

- Of course l would, like a shot.

But l still can't see the way out.

l think l can.

When my mother died she left me a big house.

Much too big for a lonely old woman like me.

You and Valerie

had better come and live in part of it.

Oh, no. We couldn't do that.

Why not?

That's very kind of you, but that's no reason

why we should sponge on you.

Oh, you'll have to do something in exchange.

- What?

- Two things.

First, l want you to see that Valerie never has

an unhappy moment because of you.

l'll do my best.

The other's more difficult.

l want you to go away on your own

for an hour or two

and make up your mind about yourself.

Maybe you could be a great pianist.

Maybe you're only a second-rater.

Somewhere, deep down inside yourself,

you'll know which it is.

Only, remember, there are very few geniuses,

and a great many fairly clever young men.

And an awful lot of the clever young men

are playing trios in tea shops or holiday camps.

You go and think about it.

lf you're sure it's got to be music,

we'll find a way.

lf you're not, we'll have to find you a job.

But in either case, Valerie comes first.

Agreed?

Agreed.

? Lively jazz

What about you and me shaking a leg, Mother?

- Not tonight, Joe.

- Come on. lt's our last chance.

- What's eating you?

- Old age and arthritis.

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Sydney Box

Sydney Box (29 April 1907 – 25 May 1983) was a British film producer and screenwriter, and brother of British film producer Betty Box. In 1940, he founded the documentary film company Verity Films with Jay Lewis.He produced and co-wrote the screenplay, with his then wife Muriel Box, for The Seventh Veil (1945), which received the 1946 Oscar for best original screenplay. more…

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Submitted on August 05, 2018

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