Secrets & Lies Page #7

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
3,426 Views


Has it?

Looks like a dentist's

waiting room.

[Maurice chuckles]

I'd kill for a cup o' tea.

If you're 21...

or a millionaire...

it's great.

Or you've got nine kids...

you're fine.

Brilliant. Open arms.

But for guys like you and me,

doesn't matter

how good you are -

forget it.

But it was an experience...

and now I'm back.

That's too bad.

You were full of such big plans.

[Stuart] It's a big place.

- That's true.

- Too f***in' big.

You're lookin' as gorgeous

as ever, Monica.

You thinkin' about

setting up again?

No, forget it.

Too much of a pain.

You know what

it's like, Maurice.

You sweat your balls off

for years

and try and make people happy.

And what d'you get back?

Nothing!

(Thanks.)

By the way, this is

Jane, my assistant.

I bought the business

from Mr Christian.

- Hello.

- Hello, Jane.

I hope he's treatin' you well.

He's all right.

You can work for me any time.

I'm all right

where I am, thank you.

Your wife must've been

sorry to come back.

Which wife?

Ah, that b*tch.

She never came out there

in the first place.

Oh.

- So where you living now?

- Down in Grays.

- Essex.

- Yeah.

- Me mum's place.

- Must be nice for her.

- Havin' her boy to fuss over.

- She's dead.

She died when I was in Bangkok.

Aw!

- Sorry to hear that.

- That's a shame.

Didn't see much of her anyway.

It's my dad I miss.

You win some, you lose some.

[Teeth chatter against the mug]

You must've had some

lovely weather in Australia.

Too hot.

It's too hot over there,

it's too cold over here.

[Stuart]

Hasn't changed much in here.

[Maurice] Just a lick of paint.

Still got the Bronika, then?

Yup.

I should've thought

you'd be able to afford

a Hasselblad by now, Maurice.

I can.

Oh, well off, are you?

Survivin', mate, yeah.

Yeah. You've done well

out of my business, haven't you?

[Maurice] MY business.

[Stuart] It's MY business.

No. I bought it from you.

It's MY business.

- This was an antiques shop.

- That's right.

There was nothin' here.

- I know.

- I gave you my goodwill,

I gave you my clientele,

I gave you

my f***ing reputation.

You gave me nothing, Stuart.

- Your client list was sh*t.

- It wasn't.

I followed it up.

I rang 'em, I didn't

get one bite.

If there's any success

in this shop,

- it's down to me.

- That's bollocks!

It's not bollocks,

it's the truth.

- How many weddings do you do?

- Enough.

- How many?

- About 40 a year.

- I used to do 140!

- What, personally?

No. Nobody does 'em personally.

- I do.

- Then you're a bloody fool.

Get people in.

If the work's there,

grab it while you can.

I'm not getting some tosser in.

He could f*** up my reputation.

- I'm not a tosser!

- I didn't say you were.

- I'm not a f***ing tosser.

- I didn't mean you.

- Don't call me a tosser.

- I didn't, Stuart.

[Stuart] I can still do it!

I've still got an eye.

They can't teach you that.

- I'm still a photographer!

- 'Course you are.

So if you want someone

to help you out,

no worries, mate.

I'll be all right.

Right, right.

I see what you're

saying, Stuart, yeah.

I'll bear it in mind.

You could lend me a camera?

Yeah, sure.

I had mine nicked.

Yeah, great.

Thanks.

Sure.

[Monica] I thought we were

never gonna get rid of him.

There but for the grace of God.

Tea's on the table.

Right.

Ain't you havin' none?

No.

Why not?

I'm goin' out.

Where you goin'?

[TV is on]

I'm off now then, sweetheart.

Ain't you gonna tell me where?

You never tell me

where YOU'RE goin'.

You never go nowhere.

I'm going somewhere

tonight. Tada.

- Have fun.

- Don't wait up.

She's been actin' right funny.

Where's she gone?

F*** knows.

She wouldn't tell us.

He's all right, though, Maurice.

Always got plenty of wine in.

- We'll get well pissed.

- Nice one.

I'm a bit shy of you,

to tell you the truth.

Of me? Oh, you shouldn't be.

Look at you sittin' there.

You look like a model.

Oh, do I?

I'll bet you was

a pretty little girl.

Yeah, lovely.

Don't do that!

You'll stay like it.

Stop it!

Don't spoil it.

I used to drive my mum

mad pullin' faces.

Bet she was a laugh, wasn't she?

No, not really.

Thought you said she

was a midwife.

Yeah.

I'd like to have been

one of them. I love babies.

- I'm sorry, darlin'.

- It's all right.

Cheers.

Cheers.

Is that all right for you?

Yeah, it's lovely.

Wet, ain't it?

Where's this food, then?

I'm ravishin'!

What?

I've got so many things

I wanna ask you

but I can't remember

what they are.

Nice to have someone

to talk to, innit?

Give us your hand, here.

Oh, you've got

beautiful skin.

Right, let's have

a look at you.

What, can you read palms?

I used to.

Ain't done it for years.

Nobody's interested no more.

Now, if I didn't know you,

I could see by lookin' here

what a nice girl you are.

Big heart.

You're gonna live

to a ripe old age an' all.

Let's have a look.

Couple of kids.

D'you want babies?

- I'm not sure, really.

- Oh, don't ya?

- Maybe. I dunno yet.

- Yeah, 'course you do.

Star sign?

Leo. I'm on

the cusp of Cancer.

When's your birthday?

Oh, 23rd of July.

You'd think I'd know that,

wouldn't ya?

- That was the other day.

- Yeah. Sunday.

Why didn't you say nothing

when I phoned ya?

It's no big deal.

Did you have a party?

- No.

- What d'you do, then?

Stayed in, read

me book, had a drink.

- What, on your own?

- Yeah.

Aw.

Well, happy birthday

for Sunday, sweetheart.

Thank you.

You're out now, ain't you?

Yeah. In good company.

With your mum.

You thought about havin'

driving lessons?

What for?

I could get you some

for your birthday.

Don't be stupid.

Get yourself

a little motor, eh?

Ain't you goin' out tonight?

- No.

- Why? What's happened?

- YOU goin' out?

- Yeah, later.

- Where you goin'?

- Down the pub.

I hope you're taking

care of yourself.

What?

Don't wanna get knocked up.

- Don't be so bloody cheeky.

- Not at your age.

- All right?

- Missed a bit, darlin'.

Who's this?

Oh, don't start all that again!

Come on, who is it?

- It ain't me, is it?

- No!

Well, who?

Sylvester Stallone.

I can't understand

a word he says.

You like lookin' at him, though.

No, he ain't my sort.

- What IS your type?

- What, film star?

- Yeah.

- Marlon.

I like a bloke with

a bit of meat on him.

What sort of bloke

do YOU go in for, then?

Oh.

Intelligent... sensitive...

Don't you care

what they look like?

Yeah, but they've gotta have

something going on upstairs.

You only have black

boyfriends, do you?

No.

How do YOU look

after yourself, then?

You know, if you don't

wanna have babies.

Condoms.

You just stop at that, do you?

Yeah. It's the best way.

- Can't be too careful.

- Gotta protect yourself.

It's my daughter's

birthday next week.

- How old is she?

- 21.

Nice age.

She's your sister now,

ain't she?

Yeah. Suppose she is.

Does she look like you?

Yeah, a bit.

You look more like me

than SHE does.

We're the same build.

What are her eyes like?

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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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