This Happy Breed Page #8

Synopsis: Noel Coward's attempt to show how the ordinary people lived between the wars. Just after WWI the Gibbons family moves to a nice house in the suburbs. An ordinary sort of life is led by the family through the years with average number of triumphs and disasters until the outbreak of WWII.
Genre: Comedy, Drama
Director(s): David Lean
Production: Universal
  1 win.
 
IMDB:
7.3
Rotten Tomatoes:
100%
NOT RATED
Year:
1944
115 min
732 Views


giving me what-for, all right.

If they're like this now, what are they

gonna be like by the evening?

Hello, Queenie.

You been talking to Billy?

Yes, and a couple of weddings in one year...

is a bit too much of a good thing,

if you ask me.

Yeah. Well, here's hoping you get off soon

and make the third.

I'll never be a bridesmaid again anyhow

as long as I live.

Look at this dress! And the hat.

Well, you've done something to it,

haven't you?

You bet I have.

I wasn't going to wear it as it was.

- But you look different from all the others.

- So I should hope.

Oh, Marjorie will be upset.

She and Phyll took such a lot of trouble.

Ah, they don't know anything

about clothes, either of them.

Well, thank heavens none of the girls

at the shop can see me looking such a sight.

Eh, it seems to me they must be

a pretty fancy lot, them girls at your shop.

We're always being told what they like

and what they don't like.

All right, Dad.

There's no need for you to be sarcastic.

Don't snap at your father, Queenie.

I don't know what's come over you lately.

Nothing's come over me. I just don't like

looking common, that's all.

I shouldn't worry about that if I was you.

It can't be helped.

You don't believe in people

trying to better themselves, do you?

Just because you're content to stick

in the same place all your life...

and do your bit of gardening

on Saturday afternoon in your shirt sleeves.

Don't you dare speak to your father

like that!

Living in a suburb and doing your own

cooking and washing up...

may be good enough for you,

but it's not good enough for me.

I'm sick of this house and everybody in it.

I'm not gonna stand it much longer.

- You'll see.

- You're a wicked, ungrateful girl.

- You ought to be ashamed of yourself.

- Well, I'm not, so there!

If it wasn't for being Reg's wedding day...

I'd lock you in your room

till you've come to your senses.

Well, a few years ago

we had Reg nagging at us...

because we were living on the fat of the land

while the poor workers were starving.

Now we have Queenie turning on us

because we're not grand enough for her.

I don't know what's wrong

with our children, Ethel, my girl.

Strikes me that Vi's the only one

who's got any real sense.

Vi. Vi's different from me, can't you see?

She always has been.

She doesn't like the things I like

or want the things I want.

She's perfectly happy

in that mangy little flat of hers...

doing her own housekeeping

and making her own clothes.

She likes bossing Sam about too.

Oh, he's a changed man

since he married her.

- And a good job too.

- Mmm?

Seems to me all the spirit's gone out of him.

He's just like everybody else now.

Just respectable.

- [Frank] Well, what's the matter with that?

- Oh, nothing.

What's the good of arguing with you?

You don't understand what I'm talking about.

Don't waste your breath on us then.

We are as we are,

and that's how we're going to stay...

and if you don't like it,

well, you can lump it.

But one of these days, when you know

a bit more, you'll find out...

that there are worse things than being

just ordinary and respectable...

and living the way

you've been brought up to live.

But in the meantime -

as long as you're with us, I mean -

your mum and me

would be much obliged...

if you'd keep your tongue between

your teeth and behave yourself.

Now you'd better pop upstairs,

slap as much paint on your face as possible...

and do the girls at the shop credit.

- Go on, hop it.

- Thanks very much. I will.

There now. She'll be snapping

our heads off for the rest of the day.

We spoiled her when she was little.

We've always spoiled her.

Oh, it's not only that, Frank. She's upset

about something, sort of strung up.

She has been for a long time.

I wish I knew what it was.

[Horn Honks]

The bridegroom will be out in a minute.

It's here! It's here!

The car's here!

It looks ever so nice, all done up

with white ribbons.

Good. Let's have a look, Ethel.

Better call Reg, Edie.

Reg, the car's here!

- Come on, Reg. The car's here.

- All right, all right. I'm coming.

And about time too. Here.

We don't want the brushing bride

to get there before we do.

- Hello, Son. Are you feeling nervous?

- Yes, a bit.

- Oh, Reg.

- Oh, cheer up, Mum.

See you at the church.

- Cheerio, Dad.

- Cheerio, Son.

And don't forget

to send it straight back.

[Whimpers]

Now come off it, Ethel.

There's nothing to cry about.

- I can't help it.

- Well, you'll make your nose red.

I don't mind if I do. He's our only son, isn't he?

He's going away from us, isn't he?

It's enough to make any woman cry.

Well, they'll be back from the honeymoon

in two weeks and living just round the corner.

It's all very fine for you. You didn't bring him

into the world and hold him at your breast.

I should have looked the proper fool

if I had.

You don't know anything about it.

You haven't got any feelings.

Now come on, now.

Stop crying and put your hat straight.

If I could lay my hands on that cat,

I'd kill it.

Half an hour it took to pick the hairs off.

And the front of the skirt all creased too.

Well, it doesn't show.

Is that the hat we've heard

such a lot about?

Yes, it is.

Oh.

Why? Is there anything the matter with it?

I think it's very nice, don't you, Frank?

Yes, it-it looks fine from here.

There's something a bit funny

about the crown, isn't there?

I don't know what you mean.

Well, of course.

If you're satisfied.

Oh, do be quiet, Mother.

Don't take any notice of her, Sylvia.

- That'll be no change.

- Here's Vi and Sam.

Nobody ever does take any notice of me.

- Sure you're feeling all right, dear?

- I'm fine.

It's only just first thing in the morning,

you know? I do hope I look all right.

Stop fussing, dear.

You look nicer than anyone there.

- [Chattering]

- Oh, Vi, how pretty you look, dear.

I only finished it at 11:00 last night.

The whole flat's been covered

in paper patterns and bits of stuff...

and pins for the past 10 days.

- We're all in the parlor. Go on in.

- Hello, Uncle Bob.

- Good morning. And I want everybody.

- Good morning.

- Hello, Bob. Hello, Sam.

- Go on in.

- Oh, in?

- Hello. [Laughs]

Edie?

Yes, Mrs. Gibbons?

- Watch out for the car.

- Yes, Mrs. Gibbons.

Don't hang out of the window though.

It looks silly.

As if I would.

On my wedding day

there was a thunderstorm...

and a man got struck by lightning

just opposite the church.

Well, that must have cheered things up.

One side of his face was all twisted.

That car ought to be back by now.

I suppose Billy remembered

to tell the driver, all right.

Now don't fuss, Ethel.

Well, better sit down, hadn't we, all of us?

There's no sense in standing about.

[Coughs]

Oh, Mrs. Baker and Miss Whitney

have just come out of number 12.

Got up to kill, they are.

Mrs. Whitney, stuck-up thing.

It seems only yesterday.

What does, Mother?

The day you and Frank was married.

I can see your poor Aunt Connie now,

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David Lean

Sir David Lean, CBE (25 March 1908 – 16 April 1991) was an English film director, producer, screenwriter and editor, responsible for large-scale epics such as The Bridge on the River Kwai (1957), Lawrence of Arabia (1962), Doctor Zhivago (1965) and A Passage to India (1984). He also directed adaptations of Charles Dickens novels Great Expectations (1946) and Oliver Twist (1948), as well as the romantic drama Brief Encounter (1945). Originally starting out as a film editor in the early 1930s, Lean made his directorial debut with 1942's In Which We Serve, which was the first of four collaborations with Noël Coward. Beginning with Summertime in 1955, Lean began to make internationally co-produced films financed by the big Hollywood studios; in 1970, however, the critical failure of his film Ryan's Daughter led him to take a fourteen-year break from filmmaking, during which he planned a number of film projects which never came to fruition. In 1984 he had a career revival with A Passage to India, adapted from E. M. Forster's novel; it was an instant hit with critics but proved to be the last film Lean would direct. Lean's affinity for striking visuals and inventive editing techniques has led him to be lauded by directors such as Steven Spielberg, Stanley Kubrick, Martin Scorsese, and Ridley Scott. Lean was voted 9th greatest film director of all time in the British Film Institute Sight & Sound "Directors' Top Directors" poll in 2002. Nominated seven times for the Academy Award for Best Director, which he won twice for The Bridge on the River Kwai and Lawrence of Arabia, he has seven films in the British Film Institute's Top 100 British Films (with three of them being in the top five) and was awarded the AFI Life Achievement Award in 1990. more…

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Submitted on August 05, 2018

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    "This Happy Breed" Scripts.com. STANDS4 LLC, 2024. Web. 6 Oct. 2024. <https://www.scripts.com/script/this_happy_breed_21790>.

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