Secrets & Lies Page #4

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
3,564 Views


Yeah, of course.

- Do you want a cup of tea?

- Yes, please.

- You all right then?

- Smashing.

Have you been working

down this way?

Yeah.

On the back of Tower Bridge.

If I'd known you was coming,

I'd have warmed up the seat.

It's warm enough

I should think.

Does Monica know

you've come round here?

No. I didn't know

I was coming meself.

- She's okay then?

- Yeah, she's fine.

She's busy

with the house.

What doing? I thought it was supposed

to be a new house, you said.

- Stenciling.

- What, drawing?

No.

Stencils on the wall.

Decorating. You must've

seen it in magazines.

It's very effective.

Roxanne not in then?

She's got some bloke in tow.

- Has she?

- Shifty-looking bleeder.

- Walks like a crab.

- Hmm.

- Your tea's there.

- Ta.

- Do you want a sandwich?

- No, thanks.

- So she's all right?

- I only see her first thing in the morning.

She comes in, grunts,

then buggers off to work.

- You should be glad she's got a fella.

- I am glad, Maurice.

I want her to be happy.

But I'd like her to bring him 'round,

see who she's knocking about with.

- Just give her a bit of time.

- You used to bring your girlfriends home...

Front of the telly,

laugh, drink.

You didn't mind

me sittin' there, did you?

What's her name?

Never stopped talking.

- Tina.

- Tina.

And the other one,

wouldn't open her mouth.

- Maxine.

- That's it.

Dad liked her, didn't he?

Nice thighs.

So how's work then?

Still at the same place?

Yeah.

I gotta get her something for

her birthday. It's her 21st, Maurice.

- August the 7th.

- I don't know what she wants...

apart from me under a bus.

- That's silly talk.

- Me head in the oven.

- When you gonna come and see us then?

- Eh?

You know,

a bit of a get-together.

Come on Roxanne's birthday.

We'll have some champagne.

What about Monica?

- She'll be there.

- No. Won't she mind?

No. It was her idea actually.

Oh.

- How do you fancy a barbecue?

- If you like.

Anyway, it's about time

you saw the house.

- Thought you was never gonna ask.

- I'm asking you now.

- Ya been there nearly a 12-month.

- Tell Roxanne.

She might not wanna come.

She'll say no

just to spite me.

Yeah. Well,

I demand her presence.

- Tell her.

- What if she wants to bring him?

- Has he gotta job, this bloke?

- Scaffolding, she says.

Ahhh.

It's very well-paid.

- Is it?

- Yep.

Twenty-one.

I can't believe it, Maurice.

I was carryin' her

when I was 21, wasn't I?

You was good with nappies.

Those safety pins though.

Never stabbed her though,

did you, darlin'?

- Stabbed meself a couple of times.

- Seventeen, weren't you?

I was.

Place is still standin',

isn't it?

Not for much longer.

You should see Dad's room.

- What's up with it?

- It's like the Niagara Falls up there.

- What, it's got a leak?

- Yeah.

Only when it's rainin'.

I'll have a look.

Nice to have a man

about the place.

Wish I'd known

you was comin'.

It's dry at the moment.

The whole lot's

gonna come down.

Does look a bit dodgy,

I'll have to admit.

- You up-to-date on the rent?

- Course I am.

Give him a ring. Get him to do something

about it. It's his responsibility.

Don't be daft, Maurice.

He don't give a toss, does he?

I'll get someone to look at it.

I'll pay.

Look at all this junk.

What you gonna do with it?

Give us a cuddle, Maurice.

Please, sweetheart!

Why have you left it

so bloody long?

Well, you know,

it-it's work and all that.

There's nothing the matter

with your dialing finger.

- You can ring me.

- You're always too busy, ain't ya?

Look, um... See here.

Sit yourself down.

You're the only one

I've got, Maurice.

You love me, don't ya?

Hold me tight,

Maurice, please.

Sweetheart!

My little brother.

Look at you.

It's a good life for ya.

When are you

gonna shave, eh?

Slap your arse.

Why don't you

chuck it all out, eh?

I mean, look at it.

Some of it hasn't been touched

since Mum died.

Can you use anything, Maurice,

in your new house?

Fill a space?

No, thanks.

Thought I might

move in here.

Front view.

See the world go by.

Remember this?

Yeah.

Now it's no use

to you, is it?

I don't think so.

You ain't gonna make me

an auntie now, are ya?

Sweetheart?

Listen, Cynth...

I... b-bet...

better be going.

You'll let me know about the barbecue

then, will you, sweetheart?

Yeah, of course I will. Tell her if she

can't make it, I'll give her a clump.

- Not before I do.

- Hang on.

- Shall I say hello to Monica for you?

- If you like, sweetheart.

- There you go.

- Thanks, darlin'.

- See ya.

- Ta-ta.

What was your mum like

when your dad died?

- What do you mean?

- How did she cope?

I don't know.

Too young to remember.

She just got on with it, I suppose,

like everybody else.

Did you have to

look after Craig?

What, you mean like your big sister

looked after you?

No, I did not.

My dad never said a word

about my mum after she died.

- That's men for you.

- I hated him for it.

He must have been

in real pain.

Maybe just couldn't share it.

I didn't know what I felt.

I still don't.

Cynthia's antics

couldn't have helped him much.

- Do you miss Craig?

- Why would I miss Craig?

- He's your brother.

- He's in Saudi Arabia, isn't he?

Yeah.

Well, I don't

exactly miss him.

Why?

Do you miss Cynthia?

Do you think Roxanne's serious

about this scaffolder bloke?

Well, she's only known him

for five minutes.

Mind you, I was married

at her age, wasn't I?

- Yeah.

- I wonder if she knows.

What, about us?

- What's there to know about us?

- You know what I mean.

How would she know about that...

unless you've told her.

- I haven't told her.

- I hope Cynthia doesn't know either.

She doesn't.

That's all right then.

No, I meant if she knows about Cynthia...

You know, before she was born.

I don't know.

I don't know.

I mean, she's got a half-brother

or a half-sister, knockin' about somewhere.

- She's got a right to know.

- That's up to Cynthia.

You'd never say anything,

would you?

- Of course not.

- Good.

Anyway, she must have

told her.

She never told her

who her father was.

None of us knew

who he was.

I wonder

if she ever misses him.

- Who?

- Roxanne.

- You can't miss what you've never had.

- Can't you?

I was gonna kill him.

- Poor Cynthia.

- Saint Cynthia.

- She tried her best.

- Did she?

Yeah.

Yeah, she did.

She gave me a lot of love.

- What shall I tell him if he phones then?

- Who?

- Maurice.

- I don't know. Tell him what you want.

- Are you gonna bring your bloke or not?

- No, I ain't.

- Have you asked him?

- No!

Hello?

- That will be him now.

- Hello?

- Let me talk to him.

- Shut it!

Well, there ain't

no one there.

- One of them perverts.

- Sweetheart?

Oh, will you stop going on

about this f***ing barbecue?

You're going to see him now,

ain't you? You can ask him.

I don't even know

if I want him to go...

and it ain't

for ages anyway.

See you later.

- "I, Zoe,

- "I, Zoe...

- "take you, Darren,

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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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