Vera Drake Page #4

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
601 Views


is a nice hot cup of tea.

Take care, dear.

Ta ta.

- Hello, dear.

- Good morning, Mrs. Drake.

- Hello, Mommy.

- Good morning, dear.

- How was your weekend?

- Lovely, thank you.

How was Norfolk?

Oh, bearable.

Terribly sunny.

Extraordinary.

Have you got the money?

I've got the 2.00.

- 2.00?

- That's what she told me.

Well, she told you wrong.

It's two guineas.

- Oh, I'm sorry.

- Ain't no use being sorry.

Oh. You want payment

now then, do you?

Well, I don't want payment

next week, do I?

Where is your

husband, anyway?

Korea, since

you're asking.

- In the forces, is he?

- Yes.

- Two guineas.

- Thank you very much.

So it's not

his, then?

What's the matter?

Cat got your tongue?

Done this for a lot

of girls then, have you?

Mind your own

bleedin' business.

- I'm only asking.

- And I'm only telling you.

Right.

You put your address

down there.

She'll be there

at 5:
00.

Don't mention

the money.

That's between me

and you.

- Is that understood?

- Yes.

Good.

Can you do one on Friday?

- At 5:
00?

- Yes.

That's all right.

- Married lady.

- Oh, yes?

- Got herself in a bit of trouble.

- How is that, then?

Having a bit of "how's your father"

on the side.

- Oh, that's not right, is it, Lily?

- Well, I don't think so.

Still, gotta help

them out, ain't you?

How'd you get on

with that darkie?

- Oh, I did feel sorry for her.

- Long way from home?

She was very scared.

What are they doing

over here, anyways?

Trying to make a better

life for themselves, I shouldn't wonder.

- They should stay where they are.

- They're hard workers.

- You need any sugar?

- How much you charging this week, Lily?

1.80, to you.

All right, then.

- Here you are.

- Ta.

Thank you.

I'm ever so scared.

Try not to upset

yourself, dear.

S- sorry...

I've got to pull

myself together.

Oh, I've got to go

through with this.

Oh, I know I have to...

it's just that...

nobody knows...

well, my friend knows,

but she doesn't know...

I mean she doesn't know

it's today.

So if anything were to happen to me...

no one would know.

You've got to get your knickers off,

dear, and lie down.

Oh. Oh, no.

No, no, no.

No, no, no.

Oh, no. No...

I'm a terrible

person!

What's the matter?

Nothing.

Ain't you had

a nice night?

Yes.

You?

You ever thought

about moving out?

What do you mean?

What do you think

about getting married?

What, to you?

Yes.

I ain't never

thought about it.

- I've been thinking about it.

- Have you?

About three

or four weeks.

What do you reckon?

Do you wanna?

Yes.

I do.

All right, then.

Better tell

your mom.

Dad...

- Dad, wake up.

- What's the matter?

I've got to go

in the kitchen.

Woke me up...

- oh, hello, Reg.

- Hello, Stan.

Good kip?

Yes, all right.

Can I have

a word, Stan?

What's the matter?

Can I have your permission

to marry Ethel?

Have you asked her?

Yes.

What'd she say?

She said yes.

Well, of course

you can.

- You sure?

- Congratulations!

- Thanks very much.

- Vera? Ethel?

- You know what he's just asked me?

- I'm ever so pleased.

- I'm delighted!

- Me too.

- What's all this chatting about?

- These two just got engaged!

- Congratulations, mate!

- Thanks very much.

I was asleep

on that chair, there.

Sorry about

waking you up.

Oh, don't you worry

about that.

- I asked her last night.

- Oh, did you?

Well done,

the both of you.

Wow, Reg,

good going.

- Don't look so worried.

- You're sure?

Of course, I'm sure.

I've been to the doctors and I'm sure.

About time

and all.

You have to start

taking things easy.

What, you gonna

look after me?

- Yes.

- Are you?

We have to tell

Stan and Vera.

Yes, we'll tell

Stan and Vera...

but we'll tell them

together, properly.

We'll go

around there...

- next weekend.

- I'll ask him in the morning.

Can I have my washing

machine now, please?

- Morning, Frank.

- Morning, Stan.

Got some news

for you.

What?

Here you are.

Have a guess.

Good news,

or bad news?

- Bad news.

- Wrong. Try again.

All right,

good news.

Come on, then.

What is it?

Eh?

Spill the beans,

old cock!

My little Ethel?

She got engaged.

- What?

- Yesterday afternoon.

- What, to Reg?

- I couldn't believe it.

I thought they'd be

courting for years.

- Congratulations.

- Thank you, Frank.

You must be

a very proud man.

You should've seen

Vera's face.

It was a bolt

from the blue.

So, on Sunday...

you and Joycie got to

come over for your tea.

We'll get some beers in...

some sherry for the girls.

We'll toast the happy couple

and Reg can meet the family.

- On Sunday.

- About 4:
00.

- You tell Joycie?

- I'll tell her.

Can you feel that, dear?

Starting to fill up?

Yes.

- Does that feel peculiar, Pam?

- Yes, Mom.

That's how it's meant

to feel, ain't it?

- Peculiar?

- Yes.

- You've done this before, ain't you?

- Yes, dear.

- So, it's safe.

- It's safe, isn't it?

- Yes, darling.

- And when it's full,

that's when we'll stop.

I know your face

from somewhere.

- Who, me?

- Yes.

- Do you?

- I can't think where, though.

You all right?

Of course.

Sunlight laundry.

- Oh, dear.

- It's Vera, ain't it?

- That's right.

- Vera Drake.

I knew your mother

before the war.

- Did you?

- Was you doing this back then?

That feel full, dear?

Yes.

All right.

Just dry

yourself off.

Get that down you,

come on.

Cold. Cold.

Cool you down.

Cool you down.

- Cheers.

- Cheers.

Hello again, Pamela.

How are you feeling?

Poorly, hmm?

Now, I need to take

another look at your tummy.

Don't worry,

I'll be as gentle as I can.

Pamela, we just need you

to straighten your legs.

Good girl.

Right onto the bed.

I promise you,

I have very warm hands.

Bring your bottom up.

Good girl. That's it.

Now, I'm going

to press gently

And I want you to tell me

what happens when I let go.

Good girl, well done.

- We'll do an internal, Sister.

- All right, doctor.

Now then, Mrs. Barnes,

I, uh... I don't have

very good news, I'm afraid.

- Why, why, what's happening?

- I'm going to have to operate.

- Pamela is a very sick girl.

- She ain't gonna die, is she?

We sincerely hope not,

Mrs. Barnes,

But this is a grave situation,

as I'm sure you'll understand.

Now then...

when Pamela was admitted

this evening,

you stated that she was

having a miscarriage.

Yes.

But that isn't

the whole truth, is it?

Mrs. Barnes...

did you do something

to Pamela to try

- to bring about a termination?

- No, I didn't!

Well, somebody did.

You know that

and I know that.

Mrs. Barnes, I've been a doctor

for over 25 years.

Sister and I see cases like this

every weekend,

- don't we, Sister?

- Yes, we do.

All right...

someone come

to the house.

And what did

they do?

She grated pink soap

into a bowl of warm water

and she had a bottle

of stuff and she put...

- And she used a syringe.

- Yes.

And no doubt, she'll use

her syringe again.

And again and again

and again, and Sister and I

will have to deal with dozens of cases

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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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