Topsy-Turvy Page #3

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
942 Views


- Hello? | - Good morning, Barker.

This is Barker speaking!

- Good morning, Mr Gilbert.

How are we today, Barker?

Are we popular, or are we mad?

Er... We are popular!

Very good. Carry on.

Here is your message for today!

U, U, plus ten shillings and sixpence!

- Can you repeat that, please?! | - Yes.

U... U!

So that's U for udder...

...U for udder, | plus ten shillings and sixpence.

So you have two udders, Barker!

- Er... yes. | - I always suspected as much!

- Thank you. | - Thank you!

- Goodbye! | - Goodbye, Mr Gilbert!

I'm going to hang up the telephone now!

In... Indeed you are, sir.

Well, I'm, er... going out to seek | a little Italian hokey-pokey...

...and I care not who knows it. | - Thank you, Barker.

I shall not return with any for you, sir, | because it would melt.

Au revoir.

I owe you an apology, Kitty. | I fear you weren't exaggerating after all.

Apology accepted. Thank you, Willie.

Schwenck speaks to the Savoy | every morning in code, Father-in-law...

...just in case the telephone operator | should be eavesdropping.

One might as well open the window | and shout down the street.

- That will be more comfortable for you. | - Sheer waste of time.

It will only result in the further erosion | of the written word.

Would you care to sit down now?

Er... er... thank you.

- Ah, there you are, Pidgeon. | - Ma'am.

I do apologise, sir, | that neither I nor Schwenck was here...

...to welcome you | on your arrival last night.

I do not appreciate being left | upon the doorstep like a hawker.

If you'll only press the electric bell, | Father, you'll be admitted at once.

- Is that not so, Pidgeon? | - Indeed it is, sir.

I have no intention | of placing my life in danger, sir!

How many doorstep deaths | have we had thus far, Pidgeon?

Er, none to my certain knowledge, sir.

There you are, Father. | The odds appear to be in your favour.

- Anything else, sir? | - No, thank you.

Would you tell Mrs Judd | Dr Gilbert will join us for lunch?

Certainly, ma'am.

You know, Father-in-law, | that you are most welcome in our home...

...at any time.

But, please, do try to inform us | of your intention to visit.

A father should not have | to seek permission...

...to visit his own son!

The son shouldn't be expected | to be clairvoyant!

Who does he think I am? Harlequin?

Would you excuse me?

I take it that you will be joining | us for lunch, Father-in-law?

I-I have no idea where | I shall be taking luncheon...

...thank you.

Well, perhaps Schwenck | can persuade you.

Take lunch with us, Father.

We shall enjoy your company.

Am I to understand, sir...

...that you have been | in communication with your mother?

No, Father, not for some | considerable time, I'm glad to say.

You are a liar, sir.

No, sir!

I can assure you, Papa, | that the last person...

...with whom I wish | to have any communication...

...is your estranged wife!

The vicious woman who bore me | into this ridiculous world!

How dare you, sir! Have you no respect?

Don't misunderstand me, Father.

Nobody respects her more than I do, | and I can't stand her.

She is a veritable gorgon!

She is indeed! | And she has chosen her own path.

And in so doing, she has turned | her back on yourself and myself.

And for that small mercy, | we should both of us be eternally grateful.

Those terrors...

...that visit me in the night.

They can never be vanquished.

Ah! Insomnia. I suffer from it myself.

But it is she who sends them.

I know it is she!

I know not what heathen oracle | she consults...

...what filthy familiar she employs.

I know that... they will come.

Wh... Wh... What are these walls?

5,000?

The last ten shares. Worth every penny.

Trust me, Arthur.

I do, D'Oyly.

- What's this? | - Pull it.

It's a reservoir pen. It contains its own ink.

Good gracious me! | Whatever will they think of next?

Try it.

Now, how long is all this going to take?

Two years.

I shall begin the foundations next month.

Thank you.

To the Savoy Hotel.

The Savoy Hotel.

With its 70 bathrooms.

The builder was much bemused.

"What's the point of 'aving a bathroom | to every bedroom?"

"Who's gonna be staying there? | Amphibians?"

D'Oyly, I can't tell you how delightful | it is to see you here in Paris.

- You're looking much better. | - A new man!

Monte Carlo was most profitable.

Florence was hideously hot. | I sampled the chartreuse at Certosa.

The monks were uncommonly charming.

The train journey through | the St Gotthard Pass is spectacular.

You must go. And Lucerne...

Tranquillity itself.

I walked until I dropped.

Did you receive my letter?

Yes, I did.

Good.

And?

It came to Brussels.

I "sent" it to Brussels, Arthur.

Yes, of course.

Nous sommes prts.

Vouz avez tu ce pigeon vous-mme?

Je laisse au bourreau le soin de le faire.

C'est mieux comme a.

So, what is your position?

Much the same, I'm afraid.

I fully realise, D'Oyly, | that you have me under contract.

But I cannot write | any more operas for the Savoy.

At least, not of that particular character.

I think you should tell Gilbert.

I shall. The moment I return.

Messieurs...

... je vous souhaite bon apptit.

- Merci.

# The reason is not far to find

# When we are near

# For though they say that love is blind

# Ah, never fear

# Ah, ah, ah

# We see our destinies entwined

# In noonday clear

# And love is over all

# When shadows fall

# And thou art

# Here

- Il est bien, Clothilde. | - "Oui, madame." You are a tonic for him.

"Merci." Cherish him.

Of course, "madame".

Oh! Mrs Ronalds. | What an unexpected pleasure.

- Mr Gilbert, how are you? | - How are you?

- Quite well. | - I'm so pleased.

- He's in excellent spirits. | - I look forward to his tales.

- Good day. | - Good day to you.

- Madame.

- a va, monsieur?

- It is hot, no? | - Yes.

- He awaits. | - Thank you.

How was your crossing, Sullivan?

Mercifully smooth, thank you.

As smooth as D'Oyly Carte?

No, not quite, Gilbert!

- Lump sugar? | - Thank you, no.

Oh, please do. I found it in Lucerne. | It's delicious.

If you insist.

- Mmm! Very good. | - Good.

- Is Lucy well? | - Oh, she's in fine fettle.

She sends you her love | and trusts you are in good health.

Thank you. Please reciprocate.

Oh, of course.

Now, what's this Carte's been telling me?

Oh, dear.

- You can't be serious. | - I'm afraid I am.

So you've torn up our contract into tiny | pieces and cast it to the four winds?

- Don't be absurd! | - That would be the implication.

I hardly think so.

What else is one to deduce?

Oh, Gilbert.

There's so much that I have | yet to do for music...

...for my queen, for my country.

Even if God were to grant me two days | for every one I have left on this earth...

...I still should not be able | to achieve everything.

Come, come, Sullivan, you're a genius.

I merely bask in your reflected glory.

Oh, Gilbert, please.

But I'm somewhat at a loss. What is | the precise nature of your dilemma?

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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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