Topsy-Turvy Page #9

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


Very well, sir.

But, may I just say...

...that in five years | of loyal service to this company...

...I have never, until now, | lodged a complaint.

Your noble restraint | has been much appreciated.

Thank you, sir.

# A wandering minstrel I

# A thing of shreds and patches

# Of ballads, songs and snatches

# And dreamy lullaby

# My catalogue is long

# Though every passion ranging

# And to your humours changing

# I tune my supple song

# I tune my supple song

# Are you in sentimental mood?

# I'll sigh with you

# Oh

# Sorrow

# On maiden's coldness do you brood?

# I'll do so, too

# Oh, sorrow

# Sorrow

# I'll charm your willing ears

# With songs of lovers' fears

# While sympathetic tears

# My cheeks bedew

# Oh, sorrow

# Sorrow

Thank you, Seymour!

Miss Sixpence Please, | would you kindly come along with me?

Make haste, make haste!

- Johnny. | - Thank you very much.

Ladies and gentlemen, may I introduce | you all to Miss Sixpence Please?

You may have heard me speak of her | with reverence and respect. Thank you.

Very good. | Make yourselves comfortable.

Please be seated. Thank you.

Ah! Sir! My apologies. | I've been neglecting you.

Would you like to come this way?

No, it's all right, Seymour. | He can use your chair.

Here you are, sir. Be seated here.

Very good indeed. Pride of place, sir! | Make yourself comfortable.

Cellier!

Yes. Now.

D'Auban! Will you kindly withdraw | to the side of the stage immediately?

- Johnny! | - Thank you, "Monsieur" D'Auban!

Ladies, will you take up | your fans, please?

What I'd like you to do, sir, | is to observe the proceedings.

Would you give all your attention | to the performance? Thank you.

Barker, what are you doing? Joining in?

My dancing days are long over, | Mr Gilbert.

Over, Barker, but not forgotten.

Ladies, opening attitudes, "s'il vous plat".

From the beginning, | counting two bars, Mrs Russell.

- Thank you. | - One, two. Two, two.

# Three little maids from school are we

# Pert as a schoolgirl well can be

# Filled to the brim with girlish glee

- # Three little maids from school | - Fans!

# Everything is a source of fun

# Nobody's safe, for we care for none

# Life is a joke that's just begun

# Three little maids from school

All fans rising slowly...

- And! | - # Three little maids who all unwary

Stop! Thank you very much! | Now, Miss Sixpence...

Carte! I beg your pardon.

Let me introduce our Japanese guests.

Ladies. Mr D'Oyly Carte. Our proprietor.

- Please continue. | - Thank you very much.

Now. Miss Sixpence Please.

That performance | that you have witnessed...

...was not even remotely Japanese. | Am I right?

Japanese.

- Sir. Japanese? | - Japanese.

- No. | - No.

- Thank you very much. | - Excuse me, Mr Gilbert, sir.

- Japanese. | - Japanese.

- Yes. | - Yes.

- He hasn't got any idea what you mean. | - That's blatantly obvious, D'Auban!

- Parlate italiano? | - If he doesn't speak English...

...he's hardly likely to speak Italian!

I beg your pardon, Mr Gilbert.

Non posso lavorare cos!

It's a waste of time!

If you three ladies come with me, | please.

Please go to the back of the stage. | Thank you.

Yes, yes. Come upstage. | As quickly as you can. Come along.

Thank you.

- Thank you. | - Thank you very much indeed.

One, two, three.

Very good. Thank you.

Now, what I would like you to do | when the music commences...

...I would like you to advance downstage.

Thank you very much.

- Cellier. | - One, two. Two, two.

- Off you go. Come along.

Stop, stop!

Will this take long? | I'm to arrange a mazurka at four o'clock.

I have not made myself clear.

When Mrs Russell commences playing | the pianoforte, diddle-dum, diddle-dee...

...what I would like you to do | is to advance downstage.

"Comme a", diddle-dum, diddle-dee.

Do you understand? | I think you do. Let's try once more.

Cellier!

- One, two. Two, two.

Come along. That's it. Very good!

Excellent! That is exactly it! | Thank you very much indeed!

Excellent! First rate.

Thank you very much indeed.

D'Auban, that is exactly what I want.

I do beg your pardon, | but I appear to have missed the point.

- That is the very effect I need. | - And what effect exactly is that?

- What did they do? | - They walked downstage.

They appeared to me to be | ambling along the Strand.

They walked downstage | in the Japanese manner!

They walked in the Japanese manner | because they are Japanese.

Exactly! And that is precisely | why they are here.

Our maids are not Japanese. | However, they are very funny.

No funnier, however, than they would be | if they all sat down on pork pies.

- Young fella-me-lad, Mr Gilbert, sir.

I've arranged | Terpsichore, Chinese, Japanese...

...for pantomime, burlesque | and the ballet...

...for many a season, | always to great acclaim.

D'Auban... this is not low burlesque.

This is an entirely original | Japanese opera.

Miss Bond, Miss Braham and Miss Grey, | kindly resume your opening positions!

Please be seated once more. | Please be seated. Thank you.

Thank you!

Come along! | Come along, tortoise! Quickly, quickly!

What I would like you to do now | is to perform it...

...just as you have seen our guests | perform it. Thank you very much.

- Mr Gilbert! | - Yes, Jessie.

- Is that "exactly" as we have just seen? | - Exactly!

Without using "Monsieur" D'Auban's steps, | Mr Gilbert?

I want you to perform it | precisely as you have seen...

...our Japanese friends perform it. | Thank you very much!

- Exactement. C'est pas difficile. | - Very slowly and very boringly.

One, two. Two, two.

Very good!

First rate.

That is exactly right. | Thank you very much indeed!

That's as funny as when me tights caught | fire in Harlequin Meets ltchity-Switch.

Decorum in rehearsal, D'Auban.

That's the way, yes!

Very good indeed.

Try them together, try them together.

Three of them, do it all together. | The same noise.

One, two, three!

Ah! Excellent!

# Three little maids from school are we

# Pert as a schoolgirl well can be

# Filled to the brim with girlish glee

# Three little maids from school

# Everything is a source of fun

# Nobody's safe for we care for none

# Life is a joke that's just begun

# Three little maids from school

# Three little maids who all unwary

# Come from a ladies' seminary

# Freed from its genius tutelary

# Three little maids from school

# Three little maids from school

# One little maid is a bride, Yum-Yum

# Two little maids in attendance come

# Three little maids is the total sum

# Three little maids from school

# From three little maids take one away

# Two little maids remain and they

# Won't have to wait very long, they say

# Three little maids from school

# Three little maids from school

# Three little maids who all unwary

# Come from a ladies' seminary

# Freed from its genius tutelary

# Three little maids from school

# Three little maids from school

Laughing, ha ha, chaffing, ha ha

Nectar quaffing, ha ha ha haa,

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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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