Vera Drake Page #6

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
631 Views


- Ta very much.

And if you're half as happy

with your wife

as I've been with mine,

you'll be a lucky man.

- Quite right.

- It's the truth.

Well, there's no turning

back now, Reg.

You'll be coming to us for your

Christmas dinner, won't you, Reg?

Yeah, you don't want

to miss Christmas here.

Well, Frank and Joyce,

you'll be here, won't you?

- Of course we will.

- We ain't made no plans yet.

- Wouldn't be the same without you.

- We'll be here, don't worry.

- We have a laugh, don't we?

- Yes, we do.

And you want to get your name

on the housing list, Reg.

Yes, you want to get

yourself somewhere nice.

We'll be all right

at my place.

Mind you, we was in one room after we

got married, weren't we, Dad?

We was in one room

for years, yeah.

- Yeah, had some good times in there.

- Christmases.

But one of these days

you might find that...

one room ain't enough.

I'm being a bit previous.

- He knows what I mean.

- Take no notice.

Yeah, I'll be

an uncle.

We've... we got a bit of news to tell you

ourselves, me and Joyce.

- Yes.

- Oh, yes? What is it?

I've had to keep me trap shut all week.

- Oh, dear.

- Come on, Frank. Spit it out.

- Well?

- Well, go on then.

Joyce is going

to have a baby.

Gonna have a family.

Congratulations,

Frank.

I'm really pleased for you.

Congratulations,

Uncle Frank.

- Congratulations, Auntie Joyce.

- Thank you, Sidney.

Well, blimey, this is

a double celebration, isn't it?

Here, Joyce. You'll have a little

top-off wouldn't you?

Hey, you kept that one

quiet, didn't you?

I'll go. Hey, Sid...

pour the drinks.

Here, pass 'em over.

Good afternoon, sir.

- D.I. Webster, metropolitan police.

- Oh, yes?

Does Mrs. Vera Drake

live here, sir?

Yes, she does.

Yes.

Would you be

Mr. Drake, sir?

Yes.

- Is Mrs. Drake at home now?

- Yes.

We'd like to have

a few words with her...

if we may.

Oh, well, we're having a party.

My daughter's just got engaged...

celebration.

I'm sorry about that, sir, but we do

need to talk to your wife.

- What about?

- I can't tell you that, sir.

But it is

a serious matter.

Well she's good as gold.

She's never done

- a dishonest thing in her life.

- Yes, sir.

May we come in?

Hold up, hold up.

It's the police.

Eh?

Good afternoon.

Sorry to interrupt

your celebrations,

but we need to talk

to Mrs. Vera Drake.

This is my wife.

- What's going on?

- Could you sit down please, sir?

Do as you're told, Sid.

May I speak to you

in private please, Mrs. Drake?

This way,

Mrs. Drake.

What is it, Dad?

Hold on, Sid.

I'll come with her.

If you don't mind

staying in the parlor please, sir.

- What's all this about?

- We will keep you posted.

I'm her husband,

I've got a right to know.

I appreciate

that, sir.

If you'll just do

as I've asked.

Close the door.

Thank you.

Mrs. Drake.

I'm Detective

Inspector Webster.

This is Detective

Sergeant Vickers and W.P.C. Best.

I know why

you're here.

Beg your pardon?

I know why

you're here.

Why are we here?

'Cause of what I do.

Because of what

you do.

Yes.

What is it that you do,

Mrs. Drake?

I help young

girls out.

You help young

girls out?

That's right.

How do you help

them out?

We're having

a party today.

Can I sit down,

please?

Yes, of course.

I don't want to spoil it

for my family.

Can't you come back

tomorrow?

I'm sorry, Mrs. Drake.

But we have to deal

with this matter today.

Oh, do you?

Yes.

What are they taking

so long for?

I don't know,

Sid.

Someone might've been

murdered.

- Oh, my godfathers, Sidney!

- All right, Sid.

No, in one of the houses

she cleans in.

I mean he said it was

serious, didn't he?

Someone's pinched

something, that's all.

But there were

a couple of detectives.

Plainclothes,

aren't they?

Can you answer

my question, please?

How do you help

them out?

When they can't

manage.

When they can't

manage?

That's right.

You mean,

when they're pregnant?

So, how do you help

them out?

I help them start

their bleeding again.

You help them

to get rid of the baby?

I've spoiled their day

for them now, haven't I?

You perform an abortion.

Is that right,

Mrs. Drake?

You perform abortions,

don't you?

That's not

what I do, dear.

That's what you call it,

but they need help.

Who else are they gonna turn to?

They've got no one. I help them out.

Did you help Pamela Barnes

in this way?

Pamela...

yes, I did.

- On Friday?

- That's right.

Is she all right?

She nearly died,

Mrs. Drake...

last night.

She'll live.

- Thank you.

- She's in a hospital,

but she'll live.

Mrs. Drake,

I'm arresting you

for carrying out

an illegal operation

on Pamela Mary

Barnes,

of 37 Flixton Street,

London, N1...

on the 17th

of November, 1950.

You're not obliged

to say anything,

but anything you say

may be given in evidence.

Do you understand?

I think so,

dear... yes.

I must ask you to accompany me

to the police station.

Mrs. Drake...

does anybody in that room

know why we're here?

No. No.

You won't tell them,

will you?

No.

Now, the equipment

you used

to perform these

operations...

is it here

on the premises?

Can you get it

for me, please?

- Can you manage?

- Thank you, dear.

Pop it on the bed

for me, please.

Would you mind showing me

what's inside?

Sorry, dear?

I need to see

the contents of the bag.

Take your time.

Can you open it up,

please?

Thank you.

- Go on.

- Ask him, Dad.

It's your house, Stan.

Could you stay

in the room, please?

- I want to know what this is about.

- I don't know, sir.

Mr. Drake.

Could I have a word

with you, please?

What's going on?

I'm afraid I'm going to have to take

your wife to the police station

- to help us with our inquiries.

- Well, I wanna go with her.

You're free

to do that, sir.

- You'll have to make your own way.

- Will I?

She's got to go

to the station.

- This is a mistake, ain't it?

- Yes, it is.

- How we doing?

- Ready, Sarge.

Follow

the sergeant.

You'll be

all right, Vera.

- You know where the station is, sir?

- Yes, I do.

- I'll just get my coat.

- I'll take you.

- You stay in.

- I've got the motor.

- Be better if you stayed

- Go with her, Dad.

- What are you doing?

- Having a look.

- Sid.

- Frank!

Ethel, come back inside.

You'll catch your death.

Mom!

Don't worry, love.

I'm coming with you.

Let us see, Vera,

this is just procedure.

It's nothing

to worry about.

We'll look after everything we've taken

from you here today.

Just have to put them

on for me.

Sit yourself down.

Thank you.

Now, Vera, do you have

any jewelry?

No, dear.

Your wedding ring.

I'm going to have to take

that off you, I'm afraid.

I can't.

I know this

is difficult for you.

I never took

it off.

I know.

...27 years.

We'll take extra

special care of it.

It's regulations.

Thank you, m'Iove.

I'll just hand this

over to the station sergeant.

Do you know how long

this is going to take?

I have no more

information than you, sir.

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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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