Topsy-Turvy Page #7

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


- Really? When was that? | - In '82, I think.

And who perpetrated the outrage, pray?

- Oh, merely the, er... English militia. | - Extraordinary.

Buon appetito.

Shall we indulge in another dozen?

- I rather think we ought, don't you? | - I think we might.

- Would you care for a second fish, Lely? | - No.

Or a veritable shoal, perhaps?

I've had an ample sufficiency, | thank you, my wee man.

I have an appointment | with Carte this afternoon.

- At what hour? | - Five o'clock.

Curious. | I shall be with him at half past four.

That's funny. I don't have | a meeting with him at four o'clock.

And it is my firm intention | to prise open his purse.

It will take a far stronger man | than you, Mr Barrington...

...to fulfil that Herculean labour.

What's "your" mission, Captain Grossmith?

Oh, there are certain little matters.

I should like to offer you | an increase in salary.

- Oh? Indeed? | - Indeed.

- That's most benevolent of you. | - It's no less than you deserve.

Thank you. | And by how much, might one enquire?

By 7 1/2 per cent.

Mm.

7 1/2.

Now, that would work out at, er...

- 30 per week. | - 30! Mm.

I see. Well, 30 per week | wasn't quite the sum I had in mind...

...as I wended my weary way here.

Indeed?

That would be three productions | with a negligible increase.

I don't consider an increase | of two pounds per week...

...over 12 months negligible, George.

One might have thought | the name of George Grossmith...

...my not inconsiderable contribution...

...would have been | more favourably recognised.

You do receive considerably more | than anyone else.

- Do I? | - Mm.

We should be terribly sorry to lose you.

Gilbert has written you | a particularly fine part in the new piece.

Precisely! As one would expect.

However, I should judge an increase | of a paltry two pound per week...

...to be wholly unacceptable.

Not to mention mildly insulting, | if one may say so.

And what figure had you in mind, | Mr Grossmith?

Er...

Forgive me, I seem to have | lost my train of thought.

Are you unwell, George?

I fear I may have come over a bit queer.

- Most embarrassing. | - You must take a little brandy.

A little water clears us of this deed.

I blame Grossmith for this.

- Only Grossmith? | - Thank you, Helen.

Confounded glutton.

- Are you feeling better? | - I do beg your pardon.

- This is awfully embarrassing. | - Not at all, Rutty.

Now why don't we return | to the subject of your salary?

Oh, yes.

Well, I must declare that I'm rather | at a loss for words, D'Oyly.

- Excuse me.

Oh, I do beg your pardon.

This is a bally nightmare, damn it!

I shall be in my dressing room!

The more I see of men, | the more I admire dogs.

I'm soon to have a meeting...

...concerning the cast for the next opera. | - Yes, indeed.

I've heard a little rumour | that I might be playing the part...

...of a 14-year-old schoolgirl. | - Somebody's been telling tales.

They have indeed, Mr Carte!

Mr Gilbert will be very angry.

With reference to your engagement | for the opera...

...I have a great concern | about your little weakness.

I'm a little shocked, Mr Carte.

I really do believe that my behaviour | this last year has been exemplary.

I'm pleased to say | your tendency has improved...

...but I am concerned about the future.

Yes. | You're perhaps suggesting, Mr Carte...

...that I shan't be performing | in the next production.

Yes, I'm afraid I am.

But the outcome of that, Leonora, | is in your own hands.

Sometimes, Mr Carte, | I can be a very silly young woman.

You have an extraordinary talent.

It saddens me beyond measure | to see someone throw it away.

I assure you, Mr Carte, | that I shall be in tiptop form.

I'm very pleased to hear that.

Much relieved.

Do we have an understanding?

Yes, we do, Mr Carte.

Good.

# Charlie, Charlie

# War would not follow thee

# King of the Highland hearts

# Bonnie Prince Charlie

- Chop chop, Butt! How long do we have?

- Eight minutes, Mr Temple. | - Oh, jolly good.

- Shocking news from Khartoum. | - Indeed.

tout de suite.

Absolutely.

Mrs Temple hit the nail on the head, | as per usual.

Oh? What did she say?

"The nation loses a hero, | but the family loses a loved one."

- Ooh, how apt. | - Perspicacious woman is Mrs Temple.

Hat!

Consider this, my dear Butt.

Is it not the inevitable fate | of the professional soldier...

...that he may perish in battle? | - Indeed, sir.

But Dickie, have you heard | the "real" news of the day?

Yes, the Fenian bomb. Oh, dreadful.

No, Grossmith and Barrington.

- What? | - They're off tonight.

- Both of them? | - Yes.

- Why? | - Oysters.

- We shared luncheon. | - Did you swallow?

- No. I had sole. | - Off the bone?

- Yes. It was rather succulent. | - Wise man. Oysters can kill.

Unquestionably!

My aunt choked on a scallop | at Herne Bay.

- Really? | - Tragic.

Yes, they were away to see Carte.

- Oh, really? | - Mm.

- Will you be lobbying? | - No, I'll wait for my summons.

Quite right, dear boy.

One should not be rewarded | on one's ability...

...to ingratiate oneself | with the management.

Particularly when | the management have difficulty...

...locating the whereabouts | of the arse and the elbow!

Serves them both right.

Enter!

Five minutes, please, Mr Temple, Mr Lely.

- Merci, Crevette!

One, two, three, four.

# And so, although I'm ready to go

- Dolce!

- # Did I neglect to thus effect... | - Expansive!

- # So I object | - Good!

- # And so, although | - Rutty, temper your volume, please.

- # And greatly pine to brightly shine | - And now!

# With grief condign I must decline

# And go and show both friend and foe

# How much you dare, I'm quite aware

# It's your affair yet I declare

# I'd take your share but I don't

Bovill, that's very good, but...

...I've gone to great pain | to provide you with triplets.

- Triplets, Sir Arthur, yes. | - On his salary!

- Rutty, please. | - Apology.

Consequently, | if you would be so kind as to trip.

- Of course, Sir Arthur. | - One, two, three, four!

# And go and show both friend and foe

# How much you dare, I'm quite aware

# It's your affair yet I declare

# I'd take your share | but I don't much care

- Very much better. | - Thank you, Sir Arthur.

- The new man's doing awfully well. | - Quite splendid.

Breathe, Bovill, breathe!

- It's "piano", Barrington, "piano". | - I'll do my best.

- As many P's as you can muster, Rutland. | - Without landing us in the soup!

One, two, three, four!

# And go and show both friend and foe

# How much you dare, I'm quite aware

# It's your affair yet I declare

# I'd take your share but I don't

And going on!

- # I must decline | - # So I object

- # I must decline | - # So I object

- # I'd take your share | - # So I object

- # I'd take your share | - # So I object

# To sit in solemn silence in a...

Gentlemen. "Un poco pi viva", hm?

Now, before the double-bar line, | it's one, two, three, four.

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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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