Topsy-Turvy Page #8

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
863 Views


And afterwards, one, two, three, four.

- Clear? | - Very quiet.

From here, please. One, two, three, four.

# Care, I don't much care, | I don't much care

# To sit in solemn silence | in a dull, dark dock

# In a pestilential prison | with a lifelong lock

# Awaiting the sensation | of a short, sharp shock

# From a cheap and chippy chopper | on a big, black block

# To sit in solemn silence | in a dull, dark dock

# In a pestilential prison | with a lifelong lock

# Awaiting the sensation | of a short, sharp shock

# From a cheap and chippy chopper | on a big, black block

# A dull, dark dock

# A lifelong lock

# A short, sharp shock

# A big, black block

# To sit in solemn silence | in a pestilential prison

# And awaiting the sensation | from a cheap and chippy chopper

# On a big

# Black

# Block

- Bravo! | - Splendid!

Louis! "Wir brauchen etwas Kaffee!"

Your coffee is ready, Sir Arthur.

- My word! | - First rate.

- Rutty, do go through. | - Thanks, old chap.

Do one's hands remain within, | Madame Leon?

Oh, no, my dear. No, no, no. Look! Here!

- Comme a. | - Oh, I see!

Voil!

Are you still troubled by | your understandings, Miss Bond?

- I'm in much pain this afternoon. | - I'm so sorry to hear it.

Ah, trs jolie, trs jolie. Superbe!

Such exquisite embroidery.

What are you wearing | underneath your gown?

Only my frillies.

Alas, no corsets, I'm afraid to say.

Shall we be revealing a little, | Madame Leon?

- I certainly hope not, Miss Braham. | - Oh, what a pity.

Do take care, Miss Morton!

Makes one rather drowsy.

- It does look comfortable, Sibyl. | - Indeed it is.

La kimono! Doucement, doucement! | Gently, gently.

Ooh, the silk is sublime, Madame Leon.

Indeed. | From Mr Liberty's store, don't you know?

Bona fide Japanese, | and just a "soupon" from gay Paris.

- Oui.

Is one to be prevented | from wearing one's corset?

None of the ladies shall be | wearing corsets during the performance.

- That's simply preposterous. | - Our aim is to emulate Japanese ladies.

And they are as thin as threadpaper!

As a Roman column | is opposed to a Grecian urn.

Quite so.

I fear for my reputation, don't you know?

I am following Mr Gilbert's instructions.

Mr Gilbert desires | the Japanese appearance.

That which Mr Gilbert desires, | Mr Gilbert must have. "Fait accompli!"

One can hardly cut a dash | in this... dressing gown!

Do stop fussing, Jessie, please!

- It's delightful, Madame Leon! | - Thank you.

- It's shapeless. | - Yes, Miss Bond, it is shapeless.

Japanese ladies are most shapeless...

...but there is no need | for "you" to be shapeless.

I have devised a solution - | if I may crave your indulgence.

Miss Morton... Miss Grey, | would you kindly raise your arms?

Merci, merci! | Now, the bow goes at the back.

The sash at the front, lined with calico.

Now... "tournez. Tournez, s'il vous plat."

Now, this may be laced | as tightly as you require.

Tournez... gauche, gauche.

Oui.

So you see, in effect, it is a corset!

- Where's the whalebone? | - There are no bones, Miss Bond.

Well, Madame Leon, I do fear | that if there are no bones...

...then it is plainly not a corset.

No, Miss Bond, it is not a corset, | but it may serve for a corset.

It may give you the shape you desire.

Tighter, please, Miss Morton, tighter!

I cannot appear on stage without a corset.

It certainly feels like a corset, Jessie.

You do resemble a birthday gift. | I could eat you.

Do forgive me, Miss Bond. One is | working to the best of one's abilities.

I fear sometimes it is not appreciated.

- That is the "hori". Am I correct, Wilhelm? | - Quite so, Mr Gilbert.

As opposed to the "zori", | which is the stocking, is it not?

- The stockings are the "tarbi", sir. | - Ah! "Tarbi".

- The sandals are the "zori". | - Exactly, sir.

I'm beginning to get it, Grossmith.

- Mr Gilbert. | - Lely?

Is this to be the length of my gown | for Nanki-Poo?

- I believe so. Wilhelm? | - Indeed it is.

Yes.

Do you not consider it to be perhaps... | too short?

Too short for what?

For propriety. | Might it not be rather unseemly?

- I'm sorry, unseemly to whom? | - To the audience of the Savoy Theatre.

Hmm. I shouldn't have thought so.

In any case, I shall be the judge.

Rest assured, Mr Lely, my designs | are properly researched and authentic.

No offence to you, Mr Wilhelm, | but your properly authentic costume...

...seems to have left me | in the buff somewhat!

- Quite. | - No more in the buff...

...than Japanese peasants | have been for the last 800 years.

May I draw your attention to the fact that | I am not, actually, a Japanese peasant.

No. You're a Scotch actor, who is | taking the part of a Japanese prince...

...who is posing as an itinerant minstrel.

Lely, I would be only too happy | for the tailor here...

...to chop off some of my surplus | and stitch it to your kilt.

Thank you, Grossmith. | I'm sure we shall reap the benefits...

...of your remonstrations in time.

Yes, GG. Do you not agree with me | that this garment is rather vulgar?

I do, as it happens.

Mr Grossmith...

...kindly oblige me by removing your hat.

Why, sir? Are you ready for me?

Would that I were, sir!

I'll thank you not to refer | to my designs as vulgar, Mr Lely.

Mr Wilhelm, to my eyes, your designs | are not only vulgar but obscene!

- How dare you, sir? | - Strong words, Lely. What do you mean?

Mr Gilbert, I'm a respectably married man | and I love my wife dearly.

One of the few pleasures | she has enjoyed...

...since the untimely demise | of my beloved mother-in-law...

...has been to watch me | perform upon the stage.

But I am not prepared to allow her to | suffer the embarrassment of seeing me...

...flaunted before the public like a... | half-dressed performing dog!

You have my sympathies, Lely.

But, unfortunately, | your avocation as an actor...

...compels you on occasion to endure | the most ignominious indignities...

...as Grossmith will doubtless testify.

- Without question, sir. | - Mr Lely, let me be clear.

I will not alter | one stitch of your costume...

...to protect the sensibilities of your wife...

...your children or any other member | of your unfortunate family.

Mr Wilhelm, I would strongly advise | you not to speak of my family...

...in such a despicable manner!

Sir.

Will you remove your corset?

I beg your pardon?!

Kindly remove your corset, Mr Lely.

It'll spoil the hang of the cloth.

Mr Gilbert.

I never perform without my corset.

- What, never? | - I'm afraid not, sir.

Why not?

One cannot produce | the required vocal vigour...

...without the necessary | diaphragmatical support...

...that the corset affords.

Come, come, Lely. | This is not grand opera in Milan.

It is merely low burlesque in a small | theatre on the banks of the Thames.

You have a fine, strong voice...

...which is more than adequate | for our purposes, corset or no corset.

Kindly remove it this instant.

You may retire behind the screen, | if you wish.

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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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