Vera Drake Page #2

Synopsis: Vera Drake is a selfless woman who is completely devoted to, and loved by, her working class family. She spends her days doting on them and caring for her sick neighbor and elderly mother. However, she also secretly visits women and helps them induce miscarriages for unwanted pregnancies. While the practice itself was illegal in 1950s England, Vera sees herself as simply helping women in need, and always does so with a smile and kind words of encouragement. When the authorities finally find her out, Vera's world and family life rapidly unravel.
Genre: Crime, Drama
Director(s): Mike Leigh
Production: New Line Cinema
  Nominated for 3 Oscars. Another 40 wins & 40 nominations.
 
IMDB:
7.7
Metacritic:
83
Rotten Tomatoes:
92%
R
Year:
2004
125 min
$3,627,889
Website
621 Views


Saturday coming.

- Oh, doesn't give us much time, then.

- From Holyhead, I'm goin'.

Just lower your arms

for me please, sir.

- Yeah, yeah.

- Thank you.

So I'll be having

the waistcoat with it, then?

That's no problem

whatsoever, sir.

As I said, it's, uh... we charge

moving up to 13 guineas

for the three-piece.

Well I have your money

on me now, so...

Oh, lovely.

And I want the jacket just like the one

you have on there.

Well, you have chosen

the double-breasted jacket, sir...

- with the four buttons

- Yeah.

Now, the only difference

is... your lapel...

is going to fasten down

to the bottom button,

giving it a much more

streamlined effect...

Oh.

And what with the light blue bariff

here, plus the stripe

to accentuate your height,

it's bold, it's sharp,

and it's certainly going

to make an impression

when you walk

into the church, sir.

Well, that's exactly

what I want, sir.

- Just face the mirror for me.

- Yeah.

- I'll be the lord of the manor in this?

- Oh yes, sir.

- I'll be like your man, George Raft.

- You will indeed, sir.

Me daddy

won't know me, huh?

Well, if you're going

for the George Raft look, sir...

we can always supply you

with a pair of spats.

Oh, no.

No spats.

Whatever you want,

sir.

I'm just going to measure

your outside leg.

Yeah.

Come on.

Seized up?

She's there.

Is Joycie all right?

She's fine.

We ain't seen her

in ages.

She's started

talking about moving.

Moving where?

To a bigger house.

Your house is big enough,

isn't it?

Yes.

- You ain't been there a year.

- I know.

We had a bit

of company last night.

- Did you?

- You know what Vera's like.

She finds a young fellow,

lives on his own, no family,

hoicks him in with us,

gives him his tea.

She's got a heart

of gold, that woman.

- She's a diamond.

- You're a lucky man.

You're a lucky man

in all, Frank.

What she invite him

round for, anyway?

- He lives on his own.

- A lot of people live on their own.

Don't mean you've got to invite them

all round for tea though, does it?

It's just Vera's way,

ain't it?

Maybe he wants

to be on his own.

She wants to mind

her own business.

She's a little busybody,

bless her.

She's going to get herself in trouble

one of these days.

I'm glad we moved

out here, aren't you?

I seen the washing machine

I want this morning. It's 25.

Oh no, not now, Frank.

Not your accounts.

- It'll take me 10 minutes.

- I know your "10 minutes."

An hour and 10 minutes,

more like.

I thought we was going

to have another early night.

I'll finish this and we can have

an early night.

All right,

dear.

Frank?

Frank.

You're asleep!

Don't go

to sleep on me.

Frank?

Well, you come

on top of me then.

- Come on.

- Can't we leave it till tomorrow?

No, we got to do it now,

ain't we?

Afternoon, dear.

Thank you.

This way.

Right then, dear.

First thing

we've got to do...

is put

the kettle on.

Oh. Got a bowl

in here?

Now, where are...?

You got

a towel, dear?

Very good.

Where's your bed?

Through here.

Now, what I want

you to do...

take your

knickers off for me,

lie down here.

Don't you

be upset.

Because I'm here

to help you, aren't I?

And that's what

I'm going to do. So...

hop your bottom on the bed

and I'll be back in a jiffy.

Here we are, then.

Hop on the bed

for me.

How long is it

going to take?

Not long, dear.

Open your legs.

You on your own?

Only for a bit.

Now, what I'm going to do

is have a little feel,

Make sure everything's

as it should be

and then we'll get

the soapy water inside,

- so you go all floppy for me.

- What do you mean?

Just lie down, dear.

Wet my hand a bit...

and feel.

You're all right.

All right...

Push this

little tube in.

All right.

Here comes

the water.

When you feel full,

we'll stop.

Was you at work,

today?

I went in

this morning.

- Weather's turned.

- Yes.

Now...

- that feel full?

- Yes.

You dry yourself off.

Hold that towel there

for a minute

and I'll clean out

the bowl.

Now, what's going

to happen

is tomorrow

or the day after

you'll get a bit

of a pain down below.

Take yourself to the toilet,

you'll start bleeding

- then it'll all come away.

- What do you mean, "it will come away"?

It'll all be over, dear.

You'll be right as rain.

I won't die,

will I?

No, dear.

Right. I'll be

on my way.

- I'll see meself out.

- It's all right.

- Look after yourself, dear.

- Right.

I've got 200

crate a day,

and he's giving me eight

pairs of nylons.

I'll have some nylons.

I'll take three pairs of nylons

off you, Sid.

- What you offering?

- Five packets of Players.

What, for three

pairs of nylons?

- That's right.

- No, no...

These are the Italian nylons.

They ain't the Czech ones.

- Yeah, they're nice, Al.

- I don't care.

I'm offering five packets

of Players

for three pairs of nylons,

take it or leave it.

To hold it up,

Ron, eh?

I mean either I'm talking

in another language,

- or he's a bit Mutt and Jeff.

- I heard you.

Look. Make it 10 packets.

- I'll give you six... seven.

- Eight.

Look, take 'em out

with you Saturday...

"How you doing, darling? Fancy a turn?"

Slip her a pair... happy days!

- All right, eight.

- Done. Good boy.

I'll give you two packets

of tea for a pair.

What are you two,

a double act?

- Hello, Lily.

- Your bleedin' stairs.

- They'll be the death of me.

- You've must've heard the kettle boil.

No.

Just made

a fresh pot.

How'd that go

the other week?

Same as usual.

- Nervous little thing, wasn't she?

- I know.

I put her right.

Set her mind at rest.

- You always do, don't you?

- Don't you want a biscuit, Lily?

Won't say no.

Thank you.

- I've got another one for you.

- Oh, yes?

- Friday, is it?

- Is Friday all right?

- Mm.

- I told her 5:
00.

- That's all right, yes.

- Want some tea?

- Sardines?

- I'm all right this week, Lily.

- Oh, now what sweets you got?

- Boiled sweets.

Here you are.

Don't you want some for your Ethel?

How much

are them, then?

Tuppence a bag.

A penny eighty to you.

Righty-oh.

- Kelp Street.

- Oh, I know.

Nora. She's got

seven kids already.

Oh, can't she manage?

- No, could you?

- I've only got a thruppenny bit.

I've got change.

Ain't the husband

around?

I expect so.

Can't control himself,

if you ask me.

Terrible.

Poor woman.

Serves her right.

Don't you want no

sardines for your mother?

No, she can't eat them no more, Lily.

Gives her heartburn.

How's she keeping

anyway, your mom?

Oh, you know.

Getting older.

Ain't we all?

That's Ethel.

- That you, Ethel?

- Hello, Mom.

- Lily's here.

- Oh.

Hello, Ethel.

Hello.

- You want a cuppa?

- Yes please, Mom.

- Ain't she got a boyfriend yet?

- No.

I ain't surprised.

That was a lovely spread, Vera.

Thank you very much.

- You're welcome, Reg, you know that.

- Doing a bit of mending?

Yes. You got anything

that needs doing?

You've got a bit of leg poking

through your trousers.

- Yes, he has.

- I done that at work.

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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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