The Seventh Veil Page #2

Synopsis: One dark summer night, Francesca Cunningham, a once world famed pianist, escapes from her hospital room and tries to commit suicide by jumping off a local bridge. She is rescued and taken back to the hospital and undergoes psychological treatment by Dr. Larsen. Larsen, desperately wants to know the events and persons who drove her to this state and help her. He makes Francesca talk about her past - a past with a controlling guardian, Nicholas, no friends, kept apart from the man she loved and forced to practice the piano 5-6 hours a day.
Genre: Drama, Music
Director(s): Compton Bennett
  Won 1 Oscar. Another 1 nomination.
 
IMDB:
7.0
APPROVED
Year:
1945
94 min
141 Views


All of the servants were men.

They were very polite.

But I was felt they resent my being there.

Nicholas made me feel like that too, but he had a different way of showing it.

He would leap about the house,

leaning on his cane and look right through me as though I wasn't there.

On the rare occasions he did send for me. I was so nervous I could hardly speak.

- Mr Nicholas has been asking for you, miss.

- Where is he?

In the drawing room, miss.

You wanted me, Nicholas?

Do you recognize this?

Did you know this address is for me?

Yes.

- Then why didn't you give it to me?

- I... forgot.

- Did you really forget?

- No.

I see. Did you know what's in it?

- It was a letter from Miss Dunken.

- What about?

- About me.

- Did you know what she says?

- No.

Let me tell you.

She says:
you're intelligence, rather above

the average, do you agree?

I don't know.

- She also says you can sew. Is that correct?

- I suppose so.

Francesca is extremely well-behaved,

she has a charming friendly disposition..

when she can overcome the initial shyness

, which sometime prevent her making friends easily. Are you shy?

- Of me?

- A little.

It no need to be, I won't need you.

- I know, but... I..

- But what?

Nothing.

What else is in this encyclopedia...

She studied things:French, german

, elemantary mathmatics.. etc...

Francesca has an extraordinary talent

for music.

She plays the piano extremely well.

And has an appreciation of music advance others for years.

- Play something for me.

- I can't.

- Why not?

- You don't ask me. I can't.

Come here.

- Sit down, play something.

- I can't! I won't!

After that Nicholas made me practice for 5 hours a day.

He was always besides me now,

listenning everything I did.

It was terribly hard work.

But Nicholas thought that he wouldn't shrink every minute of it.

He was a slave driver.

He was a wonderful teacher too.

He knew instinctively how to get best of me.

He knew more about the spirit of music himself.

than than any man I ever met. He didn't play very well

He used to say rather bitterly.

Those you can do, those you can't teach.

Alright.

I've tought you all I know. It's time to have you some proper train.

I've arranged you to start the college tommorrow. You'll find the details

Report to the secretary 10 o'clock.

- Oh, Nicholas!Thank you.

- Don't do that!

Don't do that ever again.

Next morning when I got up, Nicholas has gone away.

He didn't come back for nearly 3 monthes.

Meanwhile I started the college.

I was far too busy finding how little I knew to worry about Nicholas.

Those first month in college is the happiest in my life.

Though I don't suppose I spoke too sole all

time.

Except to say good morning

or ask a teacher a question.

I don't care weather I have new friend

or not, I don't care.

- I didn't care.

- You didn't care because you are happy.

No.

He took away my heavens.

- Who did?

- Nicholas. He hated me to be happy.

- Anyone else?No friends?

- Only Peter.

Peter?Tell me about Peter.

Where did you meet him?

At the little cafee where most of students

go for lunch.

It's kept by an old Italian who's played #.

I remmembered the date.

June 14th.

The dress I was wearing in my old #

I just finished eating.

I thought someone was staring at me.

I looked up... that was Peter.

- You know you're working too hard?

- I like work.

- I like # only but I don't need it all the time.

- I don't work all the time.

I bet you don't stop when even you

are asleep. You looked so serious.

And do you ever smile?

When there is something to smile at.

Come on, put that code away now.

I'll show you some.

Thank you, I...

Peter was like that.

I've seen him before in the college.

But I never spoke to him.

And I didn't think that he even noticed me.

He was an American walking his way

through college.

Play in the dance band at night and study

during the day.

You now it's actually nothing wrong with you

- Thank you.

You'd better pray but it's the way

you've been brought up.

And you're extremly rude.

I supposed that's the way you're brought up.

I was random.

I must go.

Why you always run away when

you're having fun!

I don't. I have more important thing to do!

That's the trouble with you!

How often you take the evening and go to

the movies?

- Never!

- Here you are!

I don't like films.

But you should!

- Why?

- Because it take off yourself out of the real lives of #.

Oh, that's a good thing.

Of course it is, now you look.

Suppose this is a film...

Poor, struggling musician, that's me,

meets a good looking rich girl like you

- You know what happened?

- What?

She is cold.

and stuck up and rather #.

- But underneath she is falling love with

Mr poor, you see?- No.

That's because you don't go to the films!

- You know what happened next?

- No.

He just leans forward and kisses her.

- You know what she does?

- No.

She pushes him away and walks out of

the place.

leaving him standing there looking

like a dummy!

But it's only in films.

In real life, it's quite different.

Yes, quite different.

In real life, I just lean forward and kiss

you like this.

Do you know what you do?

Yes.

You know this happens in films too.

Will you please go away?

After this naughty rich girl walks out of

tbe poor, struggling musician

you know, when he kisses her,

They are both awfully unhappy.

And after a day or two, they both take to

a haunting spot for they first met.

Why?

Because We both are getting pretty hungry I guess.

- Mary, took me two # awalys.

- I don't want to eat. I have my lunch.

Don't worry, you don't get any.

They are both for me.

I want you to realize I've been so miserable

I haven't eaten for a week!

Good evening!

Good evening, Nicholas.

I didn't know you are back.

Yes, I'm back.

You're looking rather pale..

Have you been working too hard?

- No, I don't think so.

- You're not ill?- No, I'm quiet well, thank you.

- Aren't you going to play for me?

- Yes, of course.

Are you mad?

But you asked me to play.

I ask you to play!

If you can't think anything better to play, on chromatic scale or 5 fingers exercise.

But spare me some suburban shop girl trash!

- Peter?

- en?

Did you know why I didn't come up yesterday?

Uncle Nicholas.

No. I went to the pictures.

You dare?

- who with?

- only myself.

It is a interesting film that...

It's about a girl who

knew a boy loved her.

but haven't the courage to ask her to marry

him.

so... she thought about it..

and decided if he didn't ask her

she have to ask him..

- so... are you listening?

- yeah, huh..

Well, this girl, in the film, I mean..

She decided that she have to ask him herself

- Did she?

- No.

At last minute, her courage failed.

Peter?

- En?

- Do you remmember saying film is a little reverse of real life?

They are.

I mean my courage hasn't fail me.

Peter, I want you to marry me.

That night as I sat up and waited for

Nicholas to come home,

I thought it's nothing to be frightened of.

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Muriel Box

Muriel Box (22 September 1905 – 18 May 1991) was an English screenwriter and director.She was born Violette Muriel Baker in Tolworth, Surrey, England in 1905. When her attempts at acting and dancing proved to be unsuccessful, she accepted work as a continuity girl for British International Pictures. In 1935, she met and married journalist Sydney Box, with whom she collaborated on nearly forty plays with mainly female roles for amateur theatre groups. Their production company, Verity Films, first released short wartime propaganda films, including The English Inn (1941), her first directing effort, after which it branched into fiction. The couple achieved their greatest joint success with The Seventh Veil (1945) for which they gained the Academy Award for Best Writing, Original Screenplay in the following year.After the war, the Rank Organisation hired her husband to head Gainsborough Pictures, where she was in charge of the scenario department, writing scripts for a number of light comedies, including two for child star Petula Clark, Easy Money and Here Come the Huggetts (both 1948). She occasionally assisted as a dialogue director, or re-shot scenes during post-production. Her extensive work on The Lost People (1949) gained her a credit as co-director, her first for a full-length feature.In 1951, her husband created London Independent Producers, allowing Box more opportunities to direct. Many of her early films were adaptations of plays, and as such felt stage-bound. They were noteworthy more for their strong performances than they were for a distinctive directorial style. She favoured scripts with topical and frequently controversial themes, including Irish politics, teenage sex, abortion, illegitimacy, and syphilis, and several of her films were banned by local authorities.She pursued her favourite subject – the female experience – in a number of films, including Street Corner (1953) about women police officers, Somerset Maugham's The Beachcomber (1954), with Donald Sinden and Glynis Johns as a resourceful missionary, again working with Donald Sinden on Eyewitness (1956) and a series of comedies about the battle of the sexes, including The Passionate Stranger (1957), The Truth About Women (1958) and her final film, Rattle of a Simple Man (1964).Box often experienced prejudice in a male-dominated industry, especially hurtful when perpetrated by another woman. Star Jean Simmons had her replaced on So Long at the Fair (1950), and Kay Kendall unsuccessfully attempted to do the same with Simon and Laura (1955). Many producers questioned her competence to direct large-scale feature films, and while the press was quick to note her position as one of very few women directors in the British film industry, their tone tended to be condescending rather than filled with praise.She left film-making to write novels and created a successful publishing house, Femina, which proved to be a rewarding outlet for her feminism. She divorced Sydney Box in 1969. The following year, she married Gerald Gardiner, who had been Lord Chancellor. She died in Hendon, London in 1991. more…

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