The Seventh Veil Page #4

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
137 Views


Enable you concentrate on your music.

Let me finish.

I've devoted years

to converting a very ordinary little girl

in pig-tail into a first class artist.

I've given up everything to be with you.

to help your career.

And yet I have no demands on you at all.

No demands of any sort.

Do you understand?

Yes, Nicholas.

You're completely free to do as you please.

to come and go you chose.

Yes, Nicholas.

Good, then I understood.

Now I improvise the #

princess to dine

They're waiting for us in the wiking.

Tomorrow, after lunch we'll go a little

reception on the burgermasters.

I'll tell them you ought to be tired.

We'll play once, no encores.

Well, on Thursday, we'll...

Are you ready?

Just a minute.

On Thuresday I've arranged you

to play for the patient in the national hospital.

Ready?

- Yes, Nicholas.

- Now, smile

A hundred people are # you.

No autograph #

you might take this from the car.

Where's that smile?

- Nervous?

- No.

- I'll be alright!

- Of course you'll be alright.

For suprise,

they have not got anything like you for 20 years.

- Ready?Miss Cunningham?

- Thank you.

Good luck, my dear.

I'll stay back here and wait for you.

I've made up my mind that

when the show is over, I would go and look for Peter.

I supposed I mustn't have realized

that he probably wouldn't be in that club anymore.

But what I haven't bargained for

was the name of the club should have changed.

All I can find out was that Peter

had a vow with the management and gone to Golden Please.

At the Golden Flease someone remmembered

that they've seen them in the Monte Carlo.

At the Monte Carlo, nobody knew where he was.

Except those receptionists thought he'd gone

to some halls in a big stage band.

And then when I gave up all hope finding him

My taxi suddenly stopped and there

looking staight at me, was

Peter's face.

Well, what happened then.

I'd rather not talk about it.

You can tell me.

- I don't want to talk about it.

- Alright.

Tell me about Max.

Max?

Yes, you remmember Max?

Maxwell Leyden.

- Yes.

- Tell me about him.

I was outside the door, listening.

You didn't know that I listen to the keyhole

, did you?

that was Nicholas did for me.

The door was half open anyway.

I can hear anything they were saying inside.

- Excellence cigar!

- King #.

I keep them for my closest friends.

and those for them I have favor to ask.

And I'm coming to the second catagory.

Yes.

I hope my power could grand it.

Let's come straight to the point.

For sevaral years I've given

great mind on your work, expecially your portraits

I don't forget that lovely thing you did

for American ambassador's wife.

- Thank you.

- Now I'd like you to paint my ward.

Will you do it?

I'm afraid that would be impossible.

May I ask why?

I don't paint people anymore.

Besides I never met your ward.

That can be remedied.

She is not unattractive.

Of course she is lovely.

But it doesn't interest me.

Maybe I met too many beautiful woman.

- I've set my heart on it.

- I just don't paint portait anymore..

It interferes with my serious work.

Very well.

It's the end of that.

Good evening!

Franchesca, this is Maxwell Leyden.

My ward, miss Cunningham.

How do you do.

How do you do.

I've often heard you play.

Oh?where?

In my studio.

- I've bought your records.

- That's very kind of you.

And you're doing a portrait

that anyone exciting at the moment?

No.. no.

- Nothing exciting at the moment.

- I was just suggesting Mr Leyden should paint your portait.

Oh. I don't care to have my portait painted.

I beg your pardon?

May I ask why?

Certainly it interferes with my serious

work. Goodnight, Mr Leyden.

Goodnight, Nicholas.

I hope my being here doesn't

interfere with your playing.

Not at all. When I'm working

I lost all my contect with the outside world.

I sometimes go on long

pass meal time.

- Do you?

- En.

If you do that, dear, just sleep away.

You don't mind?

No.

I merely concentrated to my stomach.

Can you really work as well when I

am playing?

- No!

- You terribly...

- Because I've bargained I'm

not interfere with your work. -Even if my playing interferes with your work?

That's what you agreed on.

You like me stood for you properly

upon a daze, wouldn't you?

Naturally.

with my hands, arms and head

all arranged in a striking pose.

Yeah.

I was strict to instructions not to move untill you say so.

Yes.

Would you still like me to do that it

for you?

I would love you to do that.

- In spite of our bargain?

- In spite of our bargain.

I'm not going to.

- Can I move?

- In just one second.

My neck's getting stiff.

I'm getting crap in a

most peculiar place.

Alright.

Move.

- May I look?

- Not yet. You're going dressed.

- I think you are most secretive.

- And you'll be most curious.

Oh, thank you.

- Would you like some tea?

- No, thank you. I'm sure you would like to get back to the piano.

No, I doubt but I

shall ever able to play again.

- No?

- My neck is stiff. I shall not able to see the keyboards.

I'm sorry, but I think I can cure

that, turn around.

Is that it?

Better?

Lovely.

Everything about you is lovely.

Why, but I was the ugly duck in your

gallery of beauties.

- No, you're not, you are...

- What?

- That's you really know?

- En.

You're the most beautifully woman I've

ever painted.

Not because you're beautiful,

but because I'm in love with you.

hopelessly in love with you.

Good night.

Leyden, I would like to have a word

with you before you go.

Do you mind if I ask you a question?

Of course not, as long as you don't move.

Last time you were here, you said

something to worry me very much.

- Did I?

- But you must know what you did.

Oh, you mean I told you I was

in love with you.

But why should that worry you so much.

Surely the most natural thing in the world.

Not for me.

I hate love. I hate being in love.

I never wanted love happened to me again.

If you deny yourself of love,

Your might would be dead.

I'd rather be dead than go through

what I've been through all over again..

I was happy in the life

built up for myself.

I put fairly high wall of

musical around me and nothing can touch me, I'm safe and secure.

Then you had to come along and lock it

all down. I hate you for that.

On the country, you love me.

Maybe I do.

Franchesca!

Well, would you like to look at it?

It's very.. very good.

I hate to think of Nicholas

having it.

Why?

Cause he look right through me

I hate to think Nicholas being able to do that.

You're frightened of him, aren't you?

- Yes.

- Why?

He has some extraordinary

power over me.

You'll think it's absurd but he

knows what I'm thinking and what I'm going to do.

almost frighten myself.

He's quite determined that I shall not

do anything that interferes with his plans.

- Then why do you stay with him?

- I don't know.

I don't think I can help myself.

- Let's don't talk about it.

- Alright.

- I'll get you a drink.

- Yes, please.

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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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Submitted on August 05, 2018

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