Topsy-Turvy Page #14

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


...and there, on the sands...

...are hundreds of nannies | all pushing empty perambulators about!

And every time she tries to be born...

...he strangles her with her umbilical cord.

I shouldn't imagine | Sullivan'd much care for "that".

I'm proud of myself...

...triumphant, exhilarated, | exhausted, revived...

...and fed up to the back teeth | with these wretched kidneys.

Poor old thing.

Arthur, an old demon has come back | to haunt us at a most unwelcome time.

What on earth do you mean?

Oh.

I didn't want to tell you.

- Are you sure? | - Yes.

How long have you known?

Ten days.

Oh, Fanny.

I shall make the arrangements.

That won't be necessary.

I couldn't go through that again.

I'm sorry that you have to.

I've made my own arrangements.

Have you?

Someone has been recommended to me.

After all...

...it is 1885, Arthur.

I love "The Mikado".

You've put everything you are into it.

You light up the world.

You can't help it.

I must fly.

Yes, I am indeed beautiful.

Sometimes I sit and wonder...

...in my artless Japanese way...

...why it is that I am | so much more attractive...

...than anybody else in the whole world.

Can this be vanity?

No.

Nature is lovely...

...and rejoices in her loveliness.

I am a child of nature...

...and take after my mother.

# The sun whose rays are all ablaze

# With ever-living glory

# Does not deny his majesty

# He scorns to tell a story

# He don't exclaim, "I blush for shame

# So kindly be indulgent"

# But fierce and bold in fiery gold

# He glories all effulgent

# I mean to rule the earth

# As he the sky

# We really know our worth

# The sun and I

# I mean to rule the earth as he the sky

# We really know our worth

# The sun and I

# Observe his flame, that placid dame

# The moon's Celestial Highness

# There's not a trace upon her face

# Of diffidence or shyness

# She borrows light that through the night

# Mankind may all acclaim her

# And truth to tell

# She lights up well

# So I for one don't blame her

# Ah, pray make no mistake

# We are not shy

# We're very wide awake

# The moon and I

# Ah, pray make no mistake | We are not shy

# We're very wide awake

# The moon and I

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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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