Life Is Sweet Page #8

Synopsis: Just north of London live Wendy, Andy, and their twenty-something twins, Natalie and Nicola. Wendy clerks in a shop, leads aerobics at a primary school, jokes like a vaudevillian, agrees to waitress at a friend's new restaurant and dotes on Andy, a cook who forever puts off home remodeling projects, and with a drunken friend, buys a broken down lunch wagon. Natalie, with short neat hair and a snappy, droll manner, is a plumber; she has a holiday planned in America, but little else. Last is Nicola, odd man out: a snarl, big glasses, cigarette, mussed hair, jittery fingers, bulimic, jobless, and unhappy. How they interact and play out family conflict and love is the film's subject.
Genre: Comedy, Drama
Director(s): Mike Leigh
Production: Republic Pictures Home Video
  8 wins & 3 nominations.
 
IMDB:
7.5
Metacritic:
88
Rotten Tomatoes:
100%
R
Year:
1990
103 min
1,036 Views


this is the seat

I don't want me carpet

all soaking wet

and close the door

you've got two daughters

What's a matter

with you?

That's what's a matter with me

I've got two daughters

Oh shut up -

What did I tell you

So come on then, what

happened at the restaurant?

How many tips did

you score?

Nothing happened at the restaurant

right? and keep it out

I've had enough for one night

I'm up to here with the lot of you

No he could be dead this morning

y'know Andy I'm not kidding

All that broken glass

he might of severed an artery

Should of called the

police shouldn't I?

I feel like

Princess Margaret

I could of killed

you last night

I'll drop in on him on my way back

from work, tell him he was out of order

Will you?

Yeah

Suppose I've lost me

hundred quid now haven't I?

I'll get it off him, he's not

going to get away with that

Outrageous

behaviour

I got to

go Wend

See you

tonight

I'll be late

Where're you

going?

I'm meeting Patsy

for a drink

You're not?

Got you!

Get out

Come on

lets go up

No

What?

Not yet

I know you

want it

Do I?

Yeah

How do

you know?

Syncronicity

Shut up

I don't

want it

What do

you mean?

I want

you

Sentimentalist

Nah nah nah

I come in we go straight

upstairs, we do it

Bingo you're a pain in the arse

I don't want that, I want to see you nice

Well what's nice? it's

only a boring cliche

No nice, nice show me a bit

of civility a bit of respect

You don't show

me no respect

I'm trying to respect you now, trying

to treat you like a real person

Instead of some

f***ing shag bag

Come on

talk to me

What about?

Anything

Anything you think

anything you know

What do you

care about?

Eh?

You got all these

f***ing books upstairs

Women who love men too much

men who hate women, women who love

and women in love, womens ruin

female eunuch

Have you read

any of that crap?

What's it to you?

Have you?

Course

So what have you

learnt from it?

That I'm a

feminist

What's a

feminist?

Oh come on

No no no what

does it mean?

Stop being

antagonistic

I'm not being antagonistic I'm trying

to have an intelligent conversation with you

Are you capable

of that?

Eh?

I don't think you are

are you?

Really

Bit vacant

aint you

Bit of an

air-head

Nothing

going on

Bit dumb

Bit dizzy

Dimbo bimbo

dumb blondster ain't you?

Eh hello anyone at

home hello hello

You're a

fake

I am intelligent

Are you coming

upstairs?

No

Well piss

off then

Alright

Blimey days Nicola

look at the state of you

You're sitting there like there's a grey cloud

over you it's like the sun's gone in

You've got no energy 'cause

you don't eat your dinners

and you've got

no joy in your soul

How do

you know?

I know because you've given up

'cause your not happy, that's how I know

I am

happy

You've lost

all your friends

I don't see them knocking

on the door anymore

I don't want friends

they dissapoint you

I mean you say you

want to change the world

You're supposed to be political but

I don't see you doing anything about it

I am political

and shut

the door

How are

you political?

I read the paper

I watch the news

I'm more political

than you

Oh blimey Nicola

We can all watch the telly

You should be out there helping the old aged

pensioners or going on marches or whatever

Marches are a waste

of time it's boring

If you put your money where your mouth

is you should be joining one of these socialist

what's it groups

Or the nuclear disarmament

whatever but you don't

All you do is sit here in this room staring

at the walls and tweeking and twitching

and you're

so perfect?

No

I'm not perfect but

I haven't given up

I'm still out

there fighting

and I tell you

what Nicola

Every time I look out that window and I

see that rusty old caravan sitting there

Do you know what

it says to me?

It says to me there's a man

who hasn't given up either

Who's still out there fighting

looking for his dream

Well it says to me there's

a man who's getting greedy

Greedy?

You're Dad?

He's the most unselfish

man I've ever met

Do you know he's up at

six o'clock every morning

Slogging his guts out

in a job he hates

Which is more

than you do

and he still comes home at the

end of the week with sod all

I'm not prepared

to be exploited

Exploited?

You're not prepared

to work full stop

You've accepted Nat as a plumber

and you didn't like that at first

No I didn't

I didn't like it

But I can see now I was

wrong because she's happy

I don't know what

I want to do yet

Oh don't

you?

Well you had

your chance Nicola

When you were seventeen when you were

at the college doing your three A levels

You were going great and

then suddenly you stopped

You stopped eating, you stopped everything

you ended up eight weeks in the hospital

Well you put me there

I didn't want to go

Oh for Gods sake Nicola

you were at deaths door

You were trying to

control my life

You were dieing -

No I wasn't

Yes you were

I'd know if

I was dieing

Doctor Harris told us

you had two weeks to live

You didn't know

that did you?

Three of us coming home every

night crying our eyes out

You were lucky

Life's not

easy Nicola

I could of

given up right?

Sixteen I was

doing me A levels

What A levels?

English and business studies

if you must know

Then I got pregnant

with twins

Well why didn't you

have an abortion?

Because I didn't

want one

Because I had two little lives

growing inside me

I don't beleive in it

that's the easy way out

You're Dad was only seventeen

he was at catering college

and he was working in hotels at night

trying to get a bit extra

We got a little flat together

begged and borrowed a couple of cots

and when the two of you were

born we were thrilled to bits

Because we had two

lovely little babies

We came through

laughing

Well don't blame me

I didn't ask to be born

I'm not blaming

you Nicola

I just want you to be happy

that's all, and you're not

I wouldn't care what

blooming job you did

I wouldn't care how scruffy you

looked as long as you were happy

But you're not

something inside you has died

You've given up

and if one day I could just

walk throught that door

and you could look at me

and you could say look Mum

Help me please I don't know what

I'm doing I don't know where I'm going

Then I'd say great because now

we can be honest with each another

Now we can

start talking

But I'm not

in a mess

Aren't you?

You're giving me a problem

when I haven't got one

Why Nicola

If you hate

me so much

Why don't you

throw me out?

We don't

hate you

We love

you, right?

You stupid girl

What've you done you silly sod?

I think I've broke me ankle

Jesus -

Don't touch it lay flat

Breathe

breathe

I am breathing for Christs sake -

Lay flat, relax

Got to help you

I'll be back

Nel, where're you

going? Nel Nel

A spoon!

A f***ing spoon

for Christs sake

Who dropped

this spoon?

Who dropped

this spoon?

Hello

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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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