Mr. Turner Page #9

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
508 Views


100,000 pounds.

All your oils, your watercolours,

your drawings, your sketchbooks,

everything you've ever produced.

100,000 pounds.

What do you say?

Turner, I am a man of wealth,

a self-made man.

Throughout the world three quarters

of everything that is written

is written with a Gillott pen nib,

one of my nibs.

I enjoy my wealth.

Two things delight me in my life:

Fashioning a nib from steel

and making money,

and I like to spend my money

on things that give me pleasure.

And your pictures

give me much pleasure.

I want them, all of them.

Sir...

...with a modicum of regret

and somewhat of a heavy heart,

I'm sorry to say,

'tis out of the question.

- How so?

- They are bequeathed.

Bequeathed? To whom?

To the British nation, sir.

And what will the British nation

pay you?

- Nothing.

- Nothing?

Turner, I am offering you a price

you will never see again.

Indeed, sir,

by which I am much humbled.

- Then accept my offer.

- I cannot, sir.

I wish to see my work...

...displayed in one place,

all together,

viewed by the public,

gratis.

Turner, this is perverse.

- So be it.

- You cannot give your pictures away.

They are too valuable.

Don't be a fool, man. See sense.

- I wish you good day, sir.

- I wish you good day, sir.

Me damsel, be so kind

as to show the gentleman out?

Oh!

Oh, there! Oh!

Oh, there.

Oh! Oh, there.

Stay there, stay there.

- Don't move.

- I... slipped.

Oh, Lord.

- Oh, dear. All right?

- It's passing.

There, stay.

Stay there.

Oh, my dear.

- Oh, there.

- No.

It's passed.

I've got to get on.

No, no, no, no.

Sit ye down, sit ye down.

No, no. Got to get on now.

Got to get on now.

- No, you must sit down and rest now.

- The canvas.

- The canvas is damaged.

- Oh, that's all right.

Come and sit down.

Sit ye down.

- There.

- Now, bustle about.

- Bustle about.

- Oh, there! There be no helping you!

"Be still, my dear Molly

"Dear Molly, be still

"No more urge

that soft sigh to thy will

"it is anxious each wish to fulfil

"But I prithee, dear Molly, be still

"By thy lips' quivering motion I ween

"To the centre of...

where love lies between

"A passport to bliss is thy will

- "Yet I prithee, dear Molly, be still"

- "Dear Molly, be still"

"By thy eyes

when half-closed with delight

"That so languishing

turn from the light

"With my kisses

I'll hide 'em, I will

- "Yet, prithee, dear Molly, be still"

- "Yet, prithee, dear Molly, be still"

"By thy bosom

so throbbing with truth

"Its short heavings to me...

speak reproof

"By the half-blushing mark

on each hill

"Oh, my Molly, dear Molly, be still."

Oh...

Thank you.

How many do you want?

- One, please.

- One?

There you go.

There.

What ails thee?

Let me take your hat.

Here.

- My sketchbook.

- Oh.

- It's not here.

- 'Tis in your other pocket, then?

- No, it's not.

- Don't ye worry about it now.

'Twill be somewhere.

We can look for it later.

Where is the canvas?

- 'Us behind you, dear, on the chair.

- Eh'?

Oh...

- You want I should take it upstairs?

- What?

Your canvas.

No, no, no, no, no.

I'll get you a drink.

There.

Er...

So...

...where have you been today?

- Hm?

Did you go back to Hyde Park?

Oh.

How be it all progressing?

It's an engineering phenomenon.

Crystal pane upon crystal pane,

reaching up beyond the clouds.

'Twill be a marvel to behold.

Mm.

It's a glass cathedral.

It's the one...

Oh, here.

Oh, shh, shh...

Oh, there.

Oh, there.

Shh, shh, shh...

Shh, shh.

Huh!

So bad!

Look at your messings.

Naughty P*SSY-

I don't know!

Now, dear,

here be good Dr Price for ye.

He has come all the way from Margate.

- Dr Price.

- Good morning, Turner.

If there be anything

you do need, Doctor...

- Thank you, Mrs Booth.

- ...I shall be downstairs.

Now, my dear Turner,

how are you feeling?

Somewhat weakened, sir.

I'm so sorry.

We all miss you in Margate.

Oh...

Margate, yes.

Are you in pain?

Here.

- Shortness of breath?

- Yes.

Now, then...

Did you come up on the railway?

I did, and the truth is,

I can never travel by train

without recalling

your miraculous painting.

Oh.

My dear Turner, I am obliged to inform you

that your condition is grave.

Your days are numbered

and if you have affairs

to attend to in this world

you should do so now

and prepare yourself for the next.

Dr Price...

...with the utmost respect,

may I suggest you take yourself

downstairs to Mrs Booth,

avail yourself

of a large glass of sherry,

come back up here

and reassess your opinion?

No, sir, I'm afraid

I shan't be doing that.

Oh.

So I'm to become a non-entity.

I do not understand exactly

what you mean by a non-entity.

- Good day to you, Doctor.

- Good day, Mrs Booth. Thank you.

Oh, I shall send out

for the laudanum directly.

Splendid.

He couldn't be in better hands.

I do my best.

So, will you be taking the boat back

from Chelsea Pier there?

Indeed. I shall catch the midday train

from Charing Cross.

Well, I do wish'ee a safe journey,

and I thank you, Doctor.

I shall return shortly.

Eh?

Number six.

- I need a rest.

- Pardon?

I need a rest.

Can we help, my dear?

- I'm looking for an old gentleman.

- An old gentleman?

- Do you have a name?

- There's a lot of old gentlemen round here.

- He lives next door.

- Number six.

There is an old gentleman

lives next-door with his good lady wife.

They say he has the sickness.

Are you a relative?

No matter.

- Good day.

- Good day.

Good day.

Shh, shh, shh.

- Aargh!

- No, 'tis I.

'Tis I. There!

Shh, shh, 'tis I.

Poor, wretched soul.

She be drowned dead.

There.

The suffering she must have seen.

If there be a God,

he be a cruel one.

- What are you doing?

- I have to sketch her.

Get back into bed now,

Joseph Mallord William Turner!

No, no, no, no, no, no.

There be no shoes on your feet!

Poor creature.

Oh, there.

Let me take you in.

There... No!

Come in.

You can finish that later.

Me damsel...

The sun is God.

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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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