Mr. Turner Page #4

Synopsis: Mr. Turner explores the last quarter century of the great if eccentric British painter J.M.W. Turner (1775-1851). Profoundly affected by the death of his father, loved by a housekeeper he takes for granted and occasionally exploits sexually, he forms a close relationship with a seaside landlady with whom he eventually lives incognito in Chelsea, where he dies. Throughout this, he travels, paints, stays with the country aristocracy, visits brothels, is a popular if anarchic member of the Royal Academy of Arts, has himself strapped to the mast of a ship so that he can paint a snowstorm, and is both celebrated and reviled by the public and by royalty.
Director(s): Mike Leigh
Production: Sony Pictures Classics
  Nominated for 4 Oscars. Another 19 wins & 62 nominations.
 
IMDB:
6.8
Metacritic:
94
Rotten Tomatoes:
97%
R
Year:
2014
150 min
Website
516 Views


- Ah!

Gentlemen, might I request

that you close the shutters, please?

- Daddy.

- Ah!

Tell us when to cease,

Mrs Somerville.

We need to create an aperture...

...to strengthen the colours.

- There.

- Daddy!

- Aha!

- Let us put the paper in place.

- Daddy, some tacks for Mrs Somerville.

- No, no tacks, Mr Turner.

The metal could contaminate the experiment.

A wee nub of wax.

Paper.

And what is the purpose

of the small piece of paper?

I shall cover the bottom half of the needle

so that it is not exposed.

Ah.

And what is it you are about now,

Mrs Somerville?

You'll have to wait and see, won't you?

Daddy, I wager that is the first time

you've witnessed a hammer

being produced from a lady's reticule.

For certain 'tis!

You have the arm of a blacksmith,

Mrs Somerville.

There, now.

That has thrown

all those wee particles into chaos.

Particles into chaos.

What is the element contained

within the violet light

such as magnetises the material?

That is what, as yet, Mr Turner,

I do not know.

- Ah, the majesty of mystery.

- Indeed.

Now, let us allow nature

to take its course.

Although we will have to adjust the

position of the easel from time to time.

Indeed, as mighty Apollo moves

across his heavenly tract.

Yes!

- Three steps down, Mrs Somerville.

- Take care.

Oh, my goodness me!

Oh, Mr Turner, I am quite overwhelmed.

Do as you wish, view as you wish.

Oh, my!

These are breathtaking, are they not?

My dear late father

would have much appreciated them.

- A naval man, I believe.

- Indeed, he was a vice admiral.

- We have the Battle of Trafalgar over here.

- Was he there, your father?

- Er, no, he was at Camperdown.

- Ah.

- Lord Nelson's flagship, the Victory.

- Indeed.

- It's a sketch for the painting.

- Oh?

- Commissioned by the King.

- Is that so?

Two years in the making.

- He didn't like it.

- Did he not?

- No.

- Too good for him.

Two years!

It takes me only half an hour

to paint a picture.

So you are an artist, Mrs Somerville?

Oh, I don't think we can quite use that

term in the presence of Mr Turner.

Nevertheless, Daddy,

Mrs Somerville is a fine watercolourist.

Oh, you flatter me.

Oh, what an epic storm scene!

Rock crushing a house in Switzerland.

Calais sands,

women digging for bait.

I don't care for that much.

Oh.

Oh, my! What have we here?

Oh, it's Hannibal crossing the Alps.

Do you see the elephant?

- An elephant?

- He's in there somewhere.

- Are you teasing me, Mr Turner?

- By no means, madam.

Can you find him?

Well, no, I cannot.

There he is.

- Oh! Ha, ha!

- Daddy's little jest.

Oh, it is a terrifying scene!

The elements

dwarfing the elephants.

Hubris.

There.

Shall I make it do a wee dance?

So, the end of the needle

that was exposed to the violet light

has produced a magnetic north pole.

- Like a compass?

- Exactly so.

Whereas, Mr Turner,

had I done the same experiment

using the red end of the spectrum,

this needle would not have been magnetised.

I have, from time to time, attempted it

with the green and the blue,

and it has succeeded on occasion

but not consistently.

Colour is contradictory.

Well, is it, Mr Turner?

Colour is absolute.

Sublime but contradictory yet harmonious.

You are a man of great vision, Mr Turner.

The universe is chaotic

and you make us see it.

In natural philosophy

nothing can ever be proved,

only disproved.

The purity of your prism,

the contamination of my palette.

Natural light, blackness.

White is the power of good,

black is the devil.

Hm.

Transparent bodies depend so much

upon what is opposed to them,

having no colour,

that they take every one offered.

Um...

Water often possesses colour

but colour is not imparted

to its reflections...

...or refractions

like a coloured glass

when everything seen

is vitiated by that colour.

Even the purest mirror

gives a tone to the sky

and as the colour is increased,

it destroys

all the colour of nature by its...

...by its own dullness,

while water often seems

to challenge the sky for...

...brightness and...

...and when possessing colour, um...

...its reflections of objects

appear more possible.

In short, their effects

are like their qualities.

One repels the immediate ray.

The other absorbs it.

The one transparent

while the mirror...

...is opa... is opaque.

How can they appear the same?

Daddy, cease your labour.

Go and sit in your chair.

I can't leave this.

It'll keep for the half-hour.

Go and peruse your newspaper.

Do not stoop.

Go and rest your bones.

- What's occurring?

- He's struggling.

Are you rattling?

Come on, bring it up.

- Shh-sh-sh.

- No, indeed not, sir.

I shall. I shall tell her.

I will tell her.

I ought to have told her afore.

- Years ago.

- Who do you speak of, Daddy?

More they took her away.

Eastertide, the good Lord took her from us.

We did not do right by her, poor woman.

She was a lunatic.

We didn't have no choice, Daddy.

She made our life a living hell.

She was your mother.

Curse her!

Show her due respect, boy.

The b*tch!

My little ma.

Daddy.

- Good afternoon, sir.

- Good day to you, madam.

- It's been a long while, ain't it?

- Mm-hm, yeah.

- May I offer you a refreshment?

- No, thank you kindly.

- Champagne?

- No, no.

No mind, sir,

I regret all my lovely girls are occupied

but we do have young Eliza here

who I do not believe

you've had the pleasure of previous.

She has a pleasing countenance,

when she smiles.

- Good day, sir.

- Good day to you, miss.

Show the gentleman

to your chamber, dear.

It's this way, sir.

Very fine.

I do extras.

No, no, no, no, no.

Remove the bodice.

Expose your breasts.

No, no... no.

Lay upon the bed.

Part your legs.

Crook your knee.

Right arm as thus.

Hand upon the head.

No... as in despair.

Yes.

Eliza... or Liza?

Eliza.

Or Liza.

- Your age?

- Twenty-two, sir.

Twenty-two?

Would you like

something to drink, sir?

No... thank you, miss.

Now...

expose your breasts.

- Good day, sir.

- Madam.

- You be seeking lodgings?

- Indeed.

Oh... I do know'ee.

Er, Mr Duckworth.

- Mallard.

- Oh, Mr Mallard. Of course!

Well, you be lucky.

The room is free.

- Splendid.

- Well, do come in.

There. Oh, it be most pleasant

to see you again.

Oh, Mr Mallard.

Everything satisfactory in your chamber?

Most agreeable.

Good. Well, you sit there

and make yourself comfy.

I expect you'll be tired

after your journey.

Now, I have not poured your tea

for it is fresh in the pot.

No matter.

Suits me, brewed and stewed.

Oh!

Now, that I do remember, Mr Mallard.

And will you take a biscuit?

No, thank you, madam.

I purchased a potato on the boat.

I should think that were all

you could manage on the steamer.

It was somewhat turbulent.

I shall leave you

to take your refreshment.

Madam, may I apprehend you

with my condolences?

Oh...

I do thank you, sir.

My sympathies, commiserations,

for the loss of your dear departed man.

Well, he were a dear man.

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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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