The French Lieutenant's Woman Page #2

Synopsis: A film is being made of a story, set in 19th century England, about Charles, a biologist who's engaged to be married, but who falls in love with outcast Sarah, whose melancholy makes her leave him after a short, but passionate affair. Anna and Mike, who play the characters of Sarah and Charles, go, during the shooting of the film, through a relationship that runs parallel to that of their characters.
Genre: Drama, Romance
Director(s): Karel Reisz
Production: MGM Home Entertainment
  Nominated for 5 Oscars. Another 9 wins & 15 nominations.
 
IMDB:
7.0
Metacritic:
64
Rotten Tomatoes:
72%
R
Year:
1981
124 min
692 Views


- How am I to show it?

- By not exhibiting your shame!

I should like to hear you

read from the Bible.

If your expression is agreeable to me...

...you shall have the position.

- Mike?

- Yeah?

Listen to this.

"In 1857, it is estimated there were 80,000

prostitutes in the county of London."

Yeah?

"Out of every 60 houses,

one was a brothel."

Hoo, hoo, hoo!

"At a time when the male population of

London was one and a quarter million...

...the prostitutes were receiving clients

at a rate of two million per week."

- Two million?

- Yeah.

You know when I say in the graveyard

scene about going to London?

(helicopter overhead)

"If I went to London,

I know I should become...

...what some already

call me here in Lyme."

- Go on. Yeah?

- Well, that's what she's really faced with.

This man says that

hundreds of the prostitutes...

...were nice girls, like governesses,

who'd lost their jobs.

You offend your boss, you lose

your job, you're out on the streets.

That's the reality.

The male population was

one and a quarter million?

Yeah.

Well, if we take away a third

for children and old men...

...that means that, outside of marriage...

...your Victorian gentleman could

look forward to 2.4 fucks a week!

(humming)

(whistling)

(twig snaps)

I'm very sorry to disturb you.

(knocking)

All right. I'm comin'!

For the lovely young lady upstairs.

And... for the even more lovely one down.

How much do I owe you?

- A penny?

- Mm.

Thank you very much.

- Do you know that lady?

- Aye.

- Does she come this way often?

- Often enough.

But she be no lady.

She be the French lieutenant's whore.

From Mr Charles, Miss Tina,

with his compliments.

- Did he bring them himself?

- No, Miss.

- Where is Mr Charles?

- Dunno, Miss. Didn't ask him.

Ask who?

- His servin' man, Miss.

- But I heard you speak with him.

- Yes, Miss.

- What about?

Oh, it was just the time of day, Miss.

You will kindly remember

that he comes from London.

Yes, Miss.

If he makes advances,

I wish to be told at once.

Now bring me some barley water.

Madam?

Madam?

I'm very sorry to have

disturbed you just now.

I gather you've recently become...

secretary to Mrs Poulteney.

May I accompany you? Since

we walk in the same direction.

I prefer to walk alone.

- May I introduce myself?

- I know who you are.

- Ah. Then...

- Kindly allow me to go on my way alone.

And please tell no one that

you have seen me in this place.

"Miss Woodruff."

Wait a minute. I lost the place.

Page 50. I suddenly see you. You've

got your dress caught in the brambles.

I see you, then you see me. We look at

each other, and I say "Miss Woodruff."

All right.

Right. I see you.

Get your coat caught in the brambles.

Right.

Now I'm looking at you.

You see me.

- "Miss Woodruff."

- I'm looking at you.

But now you come

towards me to pass me.

It's a narrow path, and it's muddy.

- You slip in the mud...

- Ow!

...and I help you up.

- Let's just do it again, OK?

- All right.

- Let's just do it again.

All right...

I've got my dress caught in the brambles.

Suddenly you see me.

Then I see you.

"Miss Woodruff."

I dread to think what would happen...

...if you should one day

turn your ankle in a place like this.

I must go back.

Permit me to say something first.

I know I am a stranger to you, but...

(dog barking)

Down here, here in this hollow.

Come on.

Here. Here.

Heel!

It's really not necessary to hide.

No man who cares for his good name can

be seen with the scarlet woman of Lyme.

Miss Woodruff... I've heard

something of your circumstances.

It cannot be any great pleasure

being in Mrs Poulteney's employ.

Why don't you leave Lyme? I understand

you have excellent qualifications.

- I should be happy to make inquiries...

- I cannot leave this place.

But why?

You have no family ties, I believe,

that confine you to Dorset.

I have ties.

To this French gentleman?

Permit me to insist.

These things are like wounds.

If no one dares speak of them, they fester.

If he doesn't return...

...he was not worthy of you.

- If he returns...

- He will never return.

You fear he will never return?

I know he will never return.

I do not take your meaning.

He is married.

I should have listened to

the dictates of my own common sense!

- You are a cunning, wicked creature!

- May I know of what I am accused?

You have been seen

walking on the Undercliff!

Not twice, but thrice!

But... what, pray, is the sin in that?

The sin? You, a young woman

alone, in such a place?

- It is nothing but a large wood.

- I know very well what it is.

And what goes on,

the sort of person who frequents it.

No one frequents it. I go there to be alone.

Do you contradict me, Miss?

You will confine your walks

to where it is seemly.

Do I make myself clear?!

Good afternoon,

Mrs Poulteney, Miss Woodruff.

Good afternoon.

- It's that Mrs Poulteney.

- Who's that?

The one who kicked me out in the street.

Is it? Poison her tea.

Ah, now, Miss Woodruff.

It is a pleasure to meet you.

- Are you liking Lyme?

- Erm...

Thank you, ma'am. Yes.

- Were you born far from Lyme?

- In Dorchester, ma'am.

- (knocking)

- It is not very far.

Ah, tea. Thank you, Mary.

Good... Just there.

How long will you remain in Lyme,

Miss, er... Freeman?

Oh, for the summer.

I must say, Mrs Poulteney,

you look exceedingly well.

At my age, Miss Freeman,

spiritual health is all that counts.

Then I have no fears for you.

With gross disorders on the streets...

...it becomes ever more necessary to

protect the sacredness of one's beliefs.

- Gross disorders on the streets?

- Certainly, Mr Smithson.

Even a disciple of Darwin,

such as I understand you to be...

...could not fail to notice

the rise of the animal about us.

It no doubt pleases you...

...since it would accord with

your view that we're all monkeys!

I must look more closely into it...

...the next time I find myself on a street.

Please allow me to help you, Mrs Tranter.

Your maid, for example, Mrs Tranter.

I have been informed by my housekeeper

that she saw her, only this morning...

...talking with a person, a young person.

My housekeeper did not know him.

Oh, then it was no doubt

Sam, my servant.

- Very likely.

- Yes, I must say, Charles...

...your servant spends an inordinate

amount of his time talking to Mary.

And what is the harm in that?

There is a world of a difference between

what is accepted in London and here.

But I do not understand what crime Mary

and Sam, by talking, appear to commit.

Your future wife is a better judge than

you are of these things, Mr Smithson.

I know the girl in question.

I had to dismiss her.

If you were older, you would know that

one cannot be too strict in such matters.

I bow to your

far greater experience, madam.

(Miss Woodruff whispers) I'm here!

(organ plays)

Thank you for coming. Thank you.

How did you dare to behave in so

impertinent and presumptuous a manner?

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Harold Pinter

Harold Pinter (; 10 October 1930 – 24 December 2008) was a Nobel Prize-winning British playwright, screenwriter, director and actor. One of the most influential modern British dramatists, his writing career spanned more than 50 years. His best-known plays include The Birthday Party (1957), The Homecoming (1964), and Betrayal (1978), each of which he adapted for the screen. His screenplay adaptations of others' works include The Servant (1963), The Go-Between (1971), The French Lieutenant's Woman (1981), The Trial (1993), and Sleuth (2007). He also directed or acted in radio, stage, television, and film productions of his own and others' works. Pinter was born and raised in Hackney, east London, and educated at Hackney Downs School. He was a sprinter and a keen cricket player, acting in school plays and writing poetry. He attended the Royal Academy of Dramatic Art but did not complete the course. He was fined for refusing National service as a conscientious objector. Subsequently, he continued training at the Central School of Speech and Drama and worked in repertory theatre in Ireland and England. In 1956 he married actress Vivien Merchant and had a son, Daniel, born in 1958. He left Merchant in 1975 and married author Lady Antonia Fraser in 1980. Pinter's career as a playwright began with a production of The Room in 1957. His second play, The Birthday Party, closed after eight performances, but was enthusiastically reviewed by critic Harold Hobson. His early works were described by critics as "comedy of menace". Later plays such as No Man's Land (1975) and Betrayal (1978) became known as "memory plays". He appeared as an actor in productions of his own work on radio and film. He also undertook a number of roles in works by other writers. He directed nearly 50 productions for stage, theatre and screen. Pinter received over 50 awards, prizes, and other honours, including the Nobel Prize in Literature in 2005 and the French Légion d'honneur in 2007. Despite frail health after being diagnosed with oesophageal cancer in December 2001, Pinter continued to act on stage and screen, last performing the title role of Samuel Beckett's one-act monologue Krapp's Last Tape, for the 50th anniversary season of the Royal Court Theatre, in October 2006. He died from liver cancer on 24 December 2008. more…

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