The Seventh Veil Page #6

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
146 Views


- Yes, but it's for her body not for her mind.

- Her mind will restore itself if left alone.

- No, her mind needs treatment.

Your treatment is likely to injure

her mind forever.

Are you aware of your responsibility

if you prevent me from finishing my treatment.

It's Miss Cunningham who will pay for it was

more suffering. One day you'll have to come back to me.

Only it might be too late.

I'm sure I can give result if we carry on right away.

I'm sorry, doctor.

Very well.

- How is she today?

- Fine, thank you.

I see.

Mr Leyden this is all wrong.

This is all wrong.

I do not want to fail

with this particular case.

Would you mind if I went to Miss Cunningham's

guardian.

- And ask his permission to treat her?

- Not at all.

- Only he won't be her gardian much longer.

- No?Why is that?

We are to be married next week.

Oh, I see.

Excuse me, but have you get her consent?

- I propose to ask her.

- Mr Leyden that poor girl has no condition to make up her mind

at anything at the moment, I warn you.

What you are doing is very dangerous.

I'm preparing to take the risk, doctor.

Very well.

- Good day!

- Good day.

- Doctor Larsen?

- It's good of you to see me.

Take a seat.

Thank you.

- Your business?

- I've come to ask your assistants in a case which I'm working.

What is the case?

The name of my patient is Miss Cunningham,

Franchesca Cunningham.

- Well?- Miss Cunningham is your niece.

- She is my second cousin.

I see. But she has lived with you in

in this house. I take you often heared her playing the piano, practising and so on...

What's all this leading up to?

I have a record here.

It's assumed which has some importance in the case.

I wonder if I could play to you.

If you would be good enough to tell me whether you know

you know anything about it.

or some sentimental associations

or it's connected with everyone she knew.

- Go ahead!- Thank you!

Don't expect me know anything about her

private affairs. -It's all possible.

Get out!

You dropped you cane, Mr Cunningham.

Allow me to thank you

You have helped me out through.

I always knew of you about the power over Miss Cunningham.

But now I know why.

I know what she means to you.

Alright.

- I wish to see Mr Leyden.

- Mr Leyden is out of home, sir.

I'll wait.

It's quite safe.

I shan't steal the pictures.

Franchesca!

So you're still angry with me.

I'm not to be forgiven ah?

It is no consequence.

I'm not stupid enough to expect forgiveness

from anyone except myself.

And I'll never forgive myself if I allow

you to go on like this.

You know there is nothing

matter with you, don't you?

You know you can be cured quite easily

and play again if you want to.

No, I don't know. I don't think so.

Lawson can cure you if you give him

the chance.

I can understand Leyden don't want you to

get to better.

It means he loose you and of course

the last thing he want.

But you, can't understand you.

Don't you want to be the real Franchesca

Cunningham?

I shall never play again, never.

- If you don't, it's your own fault.

- My fault?

It's no use bruting of the past.

It's your future you should be thinking

about.

I have no future.

- Larsen can give it back to you.

- They couldn't ask him.

I see. Larson failed to work miracles

so he is not allowed to another chance, is that it?

- Won't you let him try again?

- No.

Not for me?

No.

You're the most absurd woman I've

ever known.

You remmembered the first time I asked

you to play for me?

You're stubborn as same as you.

- I was frightened.

- Frightened?Am I such a frightening person?

- Yes.

- You're not frightened now, you're smiling.

- It's funny.

- What's funny?

It's so different when you're kind.

When you like this, I'll do anything for you.

Then you'll play again, won't you?

All you got to do is to make up

your mind.

- Larson will do the rest.

- I can't, Nicholas, I've tried.

Look at me!Look at me!

I tell you there's nothing to be

frightened of ever again.

Nothing... to be frightened of... ever again.

- You really want to play, don't you?

- Yes, I do, Nicholas!

- And you'll see larson.

- Yes, I'll see larson!

The clinic?

May I speak to doctor Larson please?

- You want me?

- Are you Mr gay?

- That's right.

- My name is Larson.

- How do you do?

- I'm a doctor. -I don't need a doctor, I'm pretty fit as I am.

Very good to hear that. But I

come here because I belive you know a patient of mine.

Miss Cunningham, Franchesca Cunningham

Sure, I do, but why?

Is she in any trouble?

In very great trouble, Mr gay.

I belive you can help me to put it right.

You knew Mr Cunningham very well

at one time, did you not?

Yeah, I did, but...

Then she went away to the continent.

When she come back, first thing she did

was coming to see you, here.

Yeah.

Mr gay, I want you to tell me what happened

that night.

- Nothing, nothing at all.

- Something must have happened.

Oh, I told her I was married.

That is what you mean?

How did she take it?

She just walked out of me.

She is like that you know.

Miss Cunningham have ever met your wife?

Not as I know.

We've divorced 2 years ago.

- I'm sorry.

- That's alright.

There is one more thing.

I was curious you used to dance to.

- Waltz?

- Yes.

They haven't got a gramma phone record

by any chance.

Oh, I'm afraid I haven't.

Could you get one?

Yeah, I'm sure I could.

It's all of course pretty corny but it still sweet if you like my way.

Yes, Mr Gay, I want you to get that

record for me, or rather for Miss Cunningham.

- I'll bring it to this address, do you mind?

- Not at all. -Tomorrow, tomorrow at 7.- OK.

- Thank you, Mr gay. -Goodbye, doctor.

- Anything I can do, bring my boys along her.

Your boys?

No, that won't be necessary.

Cause not your boys she was in love with.

This way, sir.

Who is that?

His name is Peter Gay.

He is the poster of new religion called swing.

What has he got to do with Miss Cunningham?

He is the man she wanted to marry.

I shouldn't do that. It won't help.

What's that music?

Called # if you like.

It's a tune used to dance to.

Why should it be played now?

- Won't you at the last experiment he made?

- Yes.

Then you ought to be able to imagine

what's going on?Whisky?

- Yes, please.

- Parka?Whisky for Mr Leyten.

- Well?

- Well what?

- Did anything happen?

- I shan't figure out myself

Is she alright?What did Larson say?

I guess I have to do something,

but it's a way ahead me.

What's good to turn the clock back anyway?

Never did anyone any good.

I wouldn't be too sure of that.

Have a drink.

Thanks.

Hadn't she played beautifully?

- Is she playing?

- Yes, that's my Franchesca.

Can I go up now?

It would be pity to interrupt her.

Doesn't she want me with her?

- Perhaps.

- What do you mean "perhaps"?

Forgive me, gentalmen. I'm afraid that

I should explain to you at once. But the music has put it out my mind.

Yes, I think I can promise you a complete

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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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