Secrets & Lies Page #6

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


I didn't know, sweetheart.

Honest, I didn't know.

- What didn't you know?

- I didn't know you was black.

See, I...

I thought they got

the dates all wrong.

All this time, I thought you was

born six... six weeks premature...

but you weren't.

You wasn't.

Who was he?

You don't want

to know that, darlin'.

I do.

Listen, I want to be

honest with you...

but I can't tell you that,

sweetheart.

I'm sorry.

I'm sorry.

Look at ya.

I expect that I'm a bit

of a disappointment to you, ain't I?

No.

- You don't have to say that, darlin'.

- I know.

You've been better off without me.

I'll tell you that much.

I done you a good turn.

Your tea's getting cold.

What's your mum like then?

Does she mind you

looking for me?

- My mum died recently.

- Oh, I'm sorry.

What about your dad?

He's dead and all.

Are you married?

No, no, um,

I ain't, uh...

I ain't married, sweetheart.

- Are you?

- No.

I'll bet you got

a boyfriend though, ain't ya?

- No, not at the moment.

- A nice-looking girl like you.

Have you got a boyfriend?

I give 'em all

a wide berth.

They got me into enough

trouble in the past, ain't they?

You got a job, have you?

Yeah.

That's good.

What doin'?

- I'm an optometrist.

- Eh?

I test eyes. Optician?

Are you?

Well...

There's a turn up.

- What do YOU do?

- I work in a factory.

D'you like it?

It pays the rent.

How about your daughter?

She works for the council.

Have you got any sisters?

No. Two brothers.

Oh, are they, um...

adopted?

No.

What do THEY do?

One's a computer salesman

and the other one's

got his own garage.

I bet your mum was

proud of you, wasn't she?

Yeah, she was.

Yeah, 'course she was.

I'D have been proud.

Why didn't you wanna see me?

Well, 'cause nobody

knows about you, sweetheart.

I don't wanna upset

my daughter, do I?

I mean when I was born.

Well, I couldn't.

I was too upset, see.

They wanted me to look at you.

They wanted me to hold you

but I couldn't. I just couldn't!

I didn't know if I was

comin' or goin'.

I was only a little

girl meself, 16.

I didn't have no choice.

If I had've seen you,

I would've wanted to keep you.

You do believe me,

don't you, sweetheart?

I don't blame you, darlin'.

You only just found out?

No.

I've known since I was seven.

Your mum and dad told you,

did they?

Yeah, they did.

They sound like nice people.

Yeah.

My mum told me on the plane

on our way back from Barbados.

Little girl.

Was you upset?

I just looked out at the clouds.

Haven't you ever

thought about me?

Yeah, 'COURSE I have!

But it ain't no good pinin'

over what you ain't got, is it?

But didn't you think

I'd look for you?

No, I... I didn't, as it happens.

Wish you hadn't bothered

now, don't you?

No.

I'm glad.

I don't want to disrupt

your family or anything.

I just had to see you.

I had to know who you were.

Listen...

I wanna wish you

all the best, sweetheart,

whatever you do.

And I'll be thinkin' of you.

Bit quiet, ain't ya?

What's up?

You goin' out?

Yeah, in a bit.

You feelin' all right?

There's nothing

the matter with ME.

Nothing at all.

- D'you find anything today?

- Frozen chicken.

- What, in the road?

- No, in a bin.

It was still cold.

Some dirty magazines.

D'you bring 'em home?

No!

Still, I suppose

there are worse jobs.

Gotta laugh, ain't you,

sweetheart?

Else you'd cry.

[Phone rings]

Hello.

Is that Hortense?

'Speaking.'

It's Cynthia.

Hello.

'I didn't think you'd be in.'

I am.

Well, I just, um...

wanted to ring up and say...

how nice it was to meet you

yesterday. That's all.

Thank you.

Been thinkin' about you

all day.

I've been thinking about YOU.

Yeah, well, um...

I just wanted to say that.

Thank you.

Dunno what to say now.

Daft, ain't it?

Got home all right, did you?

Yeah. Thank you.

What have you been doin' today?

Oh, just out the back,

sunnin' meself.

'What YOU been doin'? '

Just chillin' out, really.

'Yeah, hot, ain't it? '

Yeah.

Well, that's all I wanted

to say, sweetheart.

Tada, then.

I'd really like

to see you again.

- Would you?

- Yeah.

That'd be nice.

D'you like Italian food?

Yeah, eat anything, me.

Chinese, kebabs, the lot!

'What? '

Nothing.

It's great.

[Maurice] And...

OK, other side, please.

And...

Bring your face

this way, please.

Can you shut the door, please?

Yeah, sure.

Sorry.

So who did your

original photographs?

My dad, actually,

but my solicitor said

they weren't good enough.

D'you have a

police photographer?

No.

I'm gonna come in a bit closer.

Hope you don't get

claustrophobia.

No, I don't, actually.

That's good.

OK. I'm just gonna move your...

Thank you.

Sorry.

That's great.

And...

Lovely.

A little bit closer.

Now... I know

this isn't very nice.

But it's gotta be done,

hasn't it?

I want 'em to look

as bad as possible.

Of course.

I lost my job.

I was GOOD at my job.

What did you do?

I'm a beauty consultant.

OK. If you just

bring your chin up.

Lovely. And...

So what actually

happened to you?

My seatbelt was broken.

I went through the windscreen.

It wasn't my car. I wasn't

driving. It wasn't my fault.

- Yeah, you said.

- It wasn't!

You OK?

Mm.

Did the driver

sustain any injuries?

No, unfortunately.

He's not in your good books.

I ain't seen him since.

I don't wanna see him.

Life isn't fair, is it?

Someone always draws

the short straw.

OK, that's very good.

Yeah.

One more.

- Here's your receipt.

- Thank you.

Ring us in the morning.

We'll see what we can do.

- Fine.

- Bye, then.

Mind how you go!

Oh, Maurice, that's terrible.

- How'd she do that, then?

- Car crash.

- Aw, she's so lovely.

- Not any more, she isn't.

[Jane] It's tragic.

[Maurice] She's getting

earhole from that dosser.

He's been lookin' at me.

Gives me the creeps.

I don't believe it.

[Jane] How much money

d'you think she'll get?

- What?

- Insurance.

Oh, if she's lucky

- 15, 20 grand.

I dunno what I'd do

if it happened to me.

Think I'd kill meself.

- Hello.

- Hiya.

Didn't expect to see YOU.

Oh, I'm terribly sorry.

Hello, Monica.

Hi, Jane.

Just been for a facial.

I'm dying for a cup of tea.

- Look over there.

- What?

- That bloke.

- What bloke?

See who it is?

- What, by the lamppost?

- Yeah.

It's Stuart Christian,

isn't it?

No!

It IS.

- But he's in Sydney.

- Is he?

He's comin' over.

[Maurice]

Doesn't look well, does he?

It's that man.

- It's OK. We know him.

- Do ya?

- What's he want?

- God knows.

- It's over to you, buster.

- Thanks very much(!).

[Door opens]

[Maurice] Hello, Stuart.

[Stuart] Maurice.

Long time, no see.

Yeah.

How's things?

Fine, thanks. Fine.

Good.

You're lookin' well.

You're still 'ere then.

Yup.

Good.

I thought we'd lost you

to Australia.

Well...

How's the wife and kids?

Maureen.

Monica. Haven't got any kids.

- No?

- She's great, thanks.

Good on you, mate.

- You still in the game?

- Look at all this!

What are you doin'?

It's lost its style, Maurice.

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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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