Topsy-Turvy Page #13

Synopsis: After their production "Princess Ida" meets with less-than-stunning reviews, the relationship between Gilbert and Sullivan is strained to breaking. Their friends and associates attempt to get the two to work together again, which opens the way to "The Mikado," one of the duo's greatest successes.
Director(s): Mike Leigh
Production: October Films
  Won 2 Oscars. Another 11 wins & 27 nominations.
 
IMDB:
7.4
Metacritic:
90
Rotten Tomatoes:
89%
R
Year:
1999
154 min
Website
1,010 Views


# On n'm-ma no maye ni

# Pira-Pira suru no wa

# Nan gia na

# Toko tonyare tonyare na?

# From every kind of man

# Obedience I expect

# I'm the Emperor of Japan

# And I'm his daughter-in-law elect

# He'll marry his son

# He's only got one

# To his daughter-in-law elect

# My morals have been declared

# Particularly correct

# But they're nothing at all

# Compared with those | of his daughter-in-law elect

# Bow!

# Bow

# To his daughter-in-law elect

# Bow! Bow!

# To his daughter-in-law elect

# In a fatherly kind of way

# I govern each tribe and sect

# All cheerfully own my sway

# Except his daughter-in-law elect

# As tough as a bone

# With a will of her own

# Is his daughter-in-law elect

# My nature is love and light

# My freedom from all defect

# Is insignificant quite

# Compared with his daughter-in-law elect

# Bow! Bow!

# To his daughter-in-law elect

# Bow! Bow!

# To his daughter-in-law elect

# A more humane Mikado never

# Did in Japan exist

- Get off! | - Be good, be good.

- What are you do...? | - I'm good, I'm good.

- Get your hands off me! | - Oh, don't rub your smell off on me!

You stinking b*tch! | Just let me go, you cow!

- Oh, you're a lovely big boy! | - Don't touch me!

Who made the world, arsehole?!

# The criminal cried | as he dropped him down

# In a state of wild alarm

# With a frightful frantic fearful frown

# I bared my big right arm

# I seized him by his little pigtail

# And on his knees

# Fell he

# As he squirmed and struggled | and gurgled and guggled

# I drew my snickersnee

# My snickersnee

# Never shall I forget the cry

# Or the shriek that shriek-ed he

# As I gnashed my teeth | when from its sheath

# I drew my snickersnee

# We know him well

# He cannot tell

# Untrue or groundless tales

# He always tries to utter lies

# And every time he fails

# He shivered and shook | as he gave the sign

# For the stroke he didn't deserve

# When all of a sudden

# His eye met mine

# And it seemed to brace his nerve

# For he nodded his head

# And kissed his hand

# And he whistled an air, did he

# As the sabre true

# Cut cleanly through

# His cervical vertebrae

# His vertebrae

# When a man's afraid

# A beautiful maid

# Is a cheering sight to see

# And it's oh, I'm glad

# That moment sad

# Was soothed by sight of me

# Her terrible tale

# You can't assail

# With truth it quite agrees

# Her taste exact

# For faultless fact

# Amounts to a disease

# Now though you'd have said

# That head was dead

# For its owner dead was he

# It stood on its neck

# With a smile well-bred

# And bowed three times to me!

# It was none of | your impudent offhand nods

# But as humble as could be

# For it clearly knew

# The deference due

# To a man of pedigree

# Of pedigree

# And it's oh, I vow

# This deathly bow

# Was a touching sight to see

# Though trunkless yet

# It couldn't forget

# The deference due to me

# This haughty youth

# He speaks the truth

# Whenever he finds it pays

# And in this case

# It all took place

# Exactly as he says

# Exactly, exactly, exactly

# Exactly as he says

- # For he's gone and married Yum-Yum | - # Yum-Yum

# Your anger pray bury | for all will be merry

- # I think you had better succumb | - # Cumb-cumb

# And join our expressions of glee

- # On this subject I pray you be dumb | - # Dumb-dumb

# Your notions, though many | are not worth a penny

- # The word for your guidance is mum | - # Mum-mum

# You've a very good bargain in me

# On this subject we pray | you be dumb, dumb-dumb

# We think you had better | succumb, cumb-cumb

# You'll find there are many

# Who'll wed for a penny, | who'll wed for a penny

# There are lots of good fish in the sea

# There are lots of good fish in the sea

# There's lots of good fish, | good fish in the sea

# There's lots of good fish, | good fish in the sea

# In the sea, in the sea, in the sea

# The threatened cloud has passed away

# And fairly shines the dawning day

# What though the night | may come too soon

# We've years and years of afternoon

# Then let the throng our joy advance

# With laughing song and merry dance

# Then let the throng our joy advance

# With laughing song and merry dance

# With laughing song and merry dance

# With laughing song

# With joyous shout

# With joyous shout and ringing cheer

# Inaugurate, inaugurate their new career

# With joyous shout and ringing cheer

# Inaugurate their new career

# With joyous shout and ringing cheer

# Inaugurate their new career

# With laughing song and merry dance

# With laughing song and merry dance

# With song

# And dance

Pish, Peep!

Mikado!

Ah!

- How bad was it? | - Utterly dreadful. A joke! I jest!

- And Grossmith? | - A lamentable spectacle.

- Are you ready, Gilbert? | - Ready for what?

The gibbet?

And... full company!

Ladies and gentlemen, bow!

Thank you very much.

There's something inherently | disappointing about success.

Climax and anticlimax, Willie.

I don't quite know how to take praise.

It makes my eyes red.

It must be rather pleasant | to receive it, nonetheless.

I suppose so... | if one feels one deserves it.

I don't think anyone would deny | that you deserve it, Willie.

I know my limitations.

I should rather like to be an actor, | upon the stage.

- An actor? | - Yes.

Wouldn't it be wondrous | if perfectly commonplace people...

...gave each other a round of applause | at the end of the day?

Well done, Kitty! Well done!

Well done, Kitty! Bravo! Encore!

Thank you, Willie.

- Well, you must be tired. | - Must I?

I shall leave you to your beauty sleep.

No, don't go.

Any thoughts racing round | in that old brain of yours?

Thoughts of what nature?

Concerning your next piece.

Ah! That monster.

No, not as yet.

Perhaps you should do something | completely different and unusual.

- Such as what? | - Oh, well, I don't know!

Come along, suggest something!

Oh...

Well, you should have | a young and beautiful heroine...

...who grows old and plain.

As she gradually becomes | older and older...

...the ladies' chorus | becomes younger and younger.

Ah. Topsy-Turvy.

Yes.

How would it commence, | this comic opera of yours?

With the gentlemen's chorus, of course.

A chorus of fat leeches.

- Leeches? | - Yes!

No, they'd be gentlemen.

They'd be in their carriages | and they'd be rushing across the stage.

The horses would be | galloping across the stage...

...with the ladies chasing after them | to talk to them...

...but they wouldn't be listening, | they'd be far too busy.

Hmm.

Expensive to stage.

And there'd be dozens of doors...

...and ticking clocks on the stage.

He's made a vow to give her the key...

...but he never does.

Who might "he" be?

Well, he's her husband, I suppose.

The hero.

No, not the hero.

Anyway.

One day...

No.

Late one night...

...she suddenly decides to try the door...

...and it opens!

Ah. So it wasn't locked after all.

And she climbs up the stairs...

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Mike Leigh

Mike Leigh (born 20 February 1943) is an English writer and director of film and theatre. He studied at the Royal Academy of Dramatic Art (RADA) before honing his directing skills at East 15 Acting School and further at the Camberwell School of Art and the Central School of Art and Design. He began as a theatre director and playwright in the mid-1960s. In the 1970s and 1980s his career moved between theatre work and making films for BBC Television, many of which were characterised by a gritty "kitchen sink realism" style. His well-known films include the comedy-dramas Life is Sweet (1990) and Career Girls (1997), the Gilbert and Sullivan biographical film Topsy-Turvy (1999), and the bleak working-class drama All or Nothing (2002). His most notable works are the black comedy-drama Naked (1993), for which he won the Best Director Award at Cannes, the Oscar-nominated, BAFTA and Palme d'Or-winning drama Secrets & Lies (1996), the Golden Lion winning working-class drama Vera Drake (2004), and the Palme d'Or nominated biopic Mr. Turner (2014). Some of his notable stage plays include Smelling A Rat, It's A Great Big Shame, Greek Tragedy, Goose-Pimples, Ecstasy, and Abigail's Party.Leigh is known for his lengthy rehearsal and improvisation techniques with actors to build characters and narrative for his films. His purpose is to capture reality and present "emotional, subjective, intuitive, instinctive, vulnerable films." His aesthetic has been compared to the sensibility of the Japanese director Yasujirō Ozu. His films and stage plays, according to critic Michael Coveney, "comprise a distinctive, homogenous body of work which stands comparison with anyone's in the British theatre and cinema over the same period." Coveney further noted Leigh's role in helping to create stars – Liz Smith in Hard Labour, Alison Steadman in Abigail's Party, Brenda Blethyn in Grown-Ups, Antony Sher in Goose-Pimples, Gary Oldman and Tim Roth in Meantime, Jane Horrocks in Life is Sweet, David Thewlis in Naked—and remarked that the list of actors who have worked with him over the years—including Paul Jesson, Phil Daniels, Lindsay Duncan, Lesley Sharp, Kathy Burke, Stephen Rea, Julie Walters – "comprises an impressive, almost representative, nucleus of outstanding British acting talent." Ian Buruma, writing in The New York Review of Books in January 1994, noted: "It is hard to get on a London bus or listen to the people at the next table in a cafeteria without thinking of Mike Leigh. Like other wholly original artists, he has staked out his own territory. Leigh's London is as distinctive as Fellini's Rome or Ozu's Tokyo." more…

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Submitted on August 05, 2018

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