Secrets & Lies Page #10

Synopsis: Cynthia lives in London with her sullen street-sweeper daughter. Her brother has been successful with his photographer's business and now lives nearby in a more upmarket house. But Cynthia hasn't even been invited round there after a year. So, all round, she feels rather lonely and isolated. Meanwhile, in another part of town, Hortense, adopted at birth but now grown up, starts to try and trace her mother.
Genre: Drama
Director(s): Mike Leigh
Production: Twentieth Century Fox Home Entertainment
  Nominated for 5 Oscars. Another 33 wins & 41 nominations.
 
IMDB:
8.0
Metacritic:
91
Rotten Tomatoes:
95%
R
Year:
1996
136 min
3,719 Views


[Cynthia sobs]

[Cynthia] Tell 'em

who you are, sweetheart.

It wasn't supposed

to happen like this.

Well, it has.

So you tell 'em, go on.

Is it true?

Yes, it is.

[Maurice]

You never told her, then?

I'm sorry, darlin'.

Will someone tell me

what the f***'s goin' on?

She's your sister!

Maurice?

Monica?

I always said

she had a right to know.

No, Roxanne.

Sweetheart, darlin'!

- Darlin', please!

- I'll smack you, you slag!

Ain't enough

you had one bastard,

- you had to have two!

- Stop it!

[Maurice] Roxanne? Roxy?

Sit down, darlin'.

Sit down, Paul.

Cynthia, I think I should go.

I don't want you to go.

You sit down.

Eat your cake, Jane.

You don't half choose

your moments, Cynthia.

When's the RIGH moment, Maurice?

You tell me that.

Paul, get my coat. We're goin'.

- Don't go.

- Why didn't you tell me?

- I thought you knew.

- You used to tell me everythin'!

- I'm sorry.

- You've f***in' let me down!

As for you,

you've ruined my party

and I hope you're happy!

Roxy... Roxanne!

She don't mean it, darlin'.

She's just a little bit upset.

- Where you goin'?

- I don't know.

It's all been a bit

of a shock, innit?

Did you know about her?

I always thought

she'd had a boy.

- She's a slag.

- No, she's not.

- She f***in' is!

- She loves you. We all love you.

You comin' back?

- No. Why should I?

- You got to.

- You gotta face up to it.

- Face up to what?

[Monica] She's left her card.

Oh, well. I'll post it

on to her.

[Cynthia] I'll take it.

You'll be lucky if you

ever see her again.

You'd like that, wouldn't you?

Would I?

You've been workin' at it

for 18 years, ain't ya?

You turned my father against me,

you turned my Maurice against me

and you turned me daughter

against me.

You'll be havin' a go

at HER next.

Sorry about this, Hortense.

Finished, Jane?

Why don't you sit down?

- You got a short memory.

- What is it now?

You'd have none of this

if I hadn't given Maurice

the money to start with.

That was your father's

insurance money.

- It was for me and Roxanne.

- And Maurice.

He didn't want none

till he talked to you.

He was entitled to it!

I went out cleanin',

took her to school,

- then did a full day's work.

- Didn't we know it!

You've done nothing but spend

his money since you met him.

What else do you do with money?

At least we made

something of ourselves.

Haven't you just. You wanna try

bringin' up a kid on your own!

She can't help it.

She's never had enough love.

And you've never got on.

- That ain't my fault.

- I know.

But she needs you.

- Come on.

- I don't want to.

What do YOU think, Paul?

I think he's right, darlin'.

- Do ya?

- Yeah.

Well, I ain't sayin' nothin'.

You won't have to.

You just have to listen.

Come on.

[Cynthia] I'm sorry, Roxanne.

It just came out, darlin'.

I didn't mean to

spoil your party.

- Tell her, Maurice.

- Leave her, Cynth.

[Maurice] Just tell her

the truth.

Darlin'...

I got pregnant when I was 15...

and your grandad sent me

away to this place.

Didn't he, Maurice?

I didn't know she was

gonna come lookin' for me.

But I gotta tell you

the truth, darlin',

I'm glad she did.

It ain't her fault,

sweetheart.

She didn't wanna hurt you,

no more than I did.

You tell her, sweetheart.

It's true. She didn't

wanna upset you.

I'm sorry.

All right?

She said you weren't

never gonna come back.

[Maurice] Who did?

I never said any such thing.

She's twisted

everything as usual.

[Cynthia] Yes, you did.

Well, you was wrong,

'cause she has come back,

ain't you, sweetheart?

I always thought

you should've known.

[Maurice] You should've

told her.

[Cynthia] 'Course I should've.

But I didn't think

there'd be no need.

You seem to have told

all and sundry.

Meaning me, I suppose.

I am his wife, after all.

[Cynthia]

Then behave like his wife.

- Why ain't you give him no kids?

- Quiet, Cynthia.

That's between Maurice and me.

You might not have

wanted 'em but HE did.

- Shut up!

- You know nothing.

- Don't I?

- There are things...

- Maurice.

- Like what?

Tell her.

Tell me what?

Why can't you tell her?

She can't have kids.

Simple as that.

She's physically incapable...

of havin' children.

[Maurice] We've had every test

known to medical science.

She's been prodded,

poked, had operations.

We've had 15 years of it

and she can't have a baby.

I love you to bits...

but it's almost destroyed

our relationship.

You know it has.

There.

I've said it.

So where's the bolt

of lightnin'?

Secrets and lies!

We're ALL in pain.

Why can't we SHARE our pain?

I've spent my entire life

tryin' to make people happy!

And the three people

I love the most in the world

hate each other's guts!

I'm in the middle -

I CAN'T TAKE IT ANY MORE!

I'm sorry, Hortense.

But you are a very brave person.

- A very stupid person.

- No, you're not.

You wanted to find the truth

and you were prepared

to suffer the consequences.

And I admire you for that.

I mean it.

You're so lucky, Cynthia.

Have you really been

working in the factory?

No.

What d'you do, then?

I'm an optometrist.

Welcome to the family.

[Jane sobs]

Maurice...

I wish I'd had a dad like you.

You're lovely!

His name's... Bingham.

Your father.

[Cynthia] He's from America.

I met him on holiday.

Benidorm.

He's a medical student.

One morning, I come down

and he weren't there no more.

But he was a nice man.

He was.

Was MY father a "nice man"?

Oh, don't break

my heart, darlin'!

I'm all right.

[Cynthia sobs loudly]

Oh, PLEASE, Roxanne, sweetheart!

PLEASE!

I'm frightened.

Why?

You don't love me

any more.

Not like you used to.

Maurice!

You don't know

how MUCH I love you.

Do you?

We've got each other,

haven't we?

Bet you've never seen

so much sh*t, have you?

You wanna see my mum's house!

D'you miss her?

Yeah.

- Did you get on with her?

- She used to drive me mad!

That's what they're

there for, ain't it?

Yeah.

That's me old chair, there.

Aw.

I always wanted

a little sister.

It's just my brothers

were much older than me

so I ended up

playing on my own.

Oh, I know what you mean.

[Hortense giggles]

What you laughin' at?

Do you feel like we're sisters?

I dunno.

Do you?

- It's a bit weird.

- Yeah.

I don't mind it, though.

No. Nor do I.

Don't even know you yet, do I?

D'you wanna go out one night?

Yeah.

Yeah.

You can take me

to one of your pubs.

Yeah, all right.

How would you introduce me?

As your half-sister?

Yeah.

No, man. Too much

explaining to do.

- It's what I'd say, though.

- Would ya?

Yeah.

Yeah. Best to tell

the truth, innit?

Yeah, it is.

That way, nobody gets hurt.

Here you are, sweetheart.

Tea's up!

Go on, darlin'.

- Want a biscuit?

- No, I'm all right.

Sit yourself down.

- You all right with that?

- Yeah.

That's it.

Who'd have thought it, eh?

Look at you two sittin' there -

like a couple of garden gnomes!

[Cynthia chuckles]

Oh, this is the life, eh?

[Roxanne and Hortense] Yeah.

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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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