Vera Drake Page #7

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


Take a seat,

please.

Excuse me.

- Excuse me.

- Sit down, sir.

Don't get up,

Mrs. Drake.

Now, Mrs. Drake...

you help women

who are in trouble.

How long have you been

doing this?

I don't know, dear.

Well...

roughly speaking.

Five, 10 years?

A long time.

Maybe, yes.

About 20 years.

No...

I don't know.

Mrs. Drake,

you're in a police station

under arrest for a serious

criminal offense,

- do you understand me?

- Yes, I'm sorry.

It's very important

that you try

to answer my questions

truthfully.

Yes.

Is my... is my

husband in yet?

Yes, Mrs. Drake.

He is.

How did you start...

helping girls

in this way?

I can't.

Don't worry, Vera.

Just answer

the inspector's question.

Mrs. Drake...

did it happen to you,

when you were a girl?

Now...

as far

as you're aware...

have any of

the other girls

you've helped over the years

become ill?

What did you say, dear?

Sorry.

Have any of them gone

to the hospital?

No.

Are you sure?

Yes.

Do you always use

the syringe?

You don't ever use

knitting needles or hooks...

- No.

- Or any other metal objects?

No, no.

I wouldn't do that.

How much do you charge,

Mrs. Drake?

What?

How much do they

pay you?

I don't take money.

I never take money.

I wouldn't...

That's not why...

You do it for nothing.

Of course I do.

They need help.

Do you know

a Mrs. Lillian Clark?

Yes.

How long have you

known her?

I think it's

when we was kids.

She puts young girls

in touch with you, doesn't she?

Sometimes.

Did she put you in touch

with Pamela Barnes.

Did you know that Lillian Clark was paid

two guineas by Pamela's mother?

No.

She never gives you

any money.

No.

- You telling me the truth?

- Yes, I am.

Can I go home

now, please?

No, Mrs. Drake.

I'm afraid not.

My children will be

worried sick.

They won't

be long now.

Well, we can't stay here all night,

can we?

It would be all right,

if you want to get off.

We don't mind.

He told us to stay,

so stay is what we'll do.

I don't like driving

in the dark.

It's already dark

anyway.

Well can we have

the wireless on, please?

So now, Mrs. Drake.

I'm going to invite you under caution

To make a statement

in your own words

which I shall write down

and then read back to you.

If you agree it to be a true statement,

you shall then sign it. Is that clear?

Yes.

So if I can begin by asking you how long

you've been helping girls out?

A long time.

Can you be specific?

Exactly how long?

Um.

You previously stated

to the inspector,

"about 20 years."

Oh, did I?

So if I put...

"I have been...

helping girls out...

for 20 years."

- For about 20 years.

- Yes, sir.

What's wrong

with climbing a wall?

Well, it depends what's

on the other side of it, sir.

You are charged

that you, Vera Rose Drake,

on the 17th day

of November, 1950,

at 37 Flixton Street,

North 1,

with the intent to procure

a miscarriage,

did unlawfully and feloniously

use an instrument

on Pamela

Mary Barnes,

contrary

to section 58

of the Offenses Against

the Person Act, 1861.

Do you wish to say

anything in answer to the charge?

You are not obliged to say anything

unless you wish to do so,

But whatever you say

will be taken down in writing

and may be given

in evidence.

No.

Thank you,

sergeant.

Very good, sir.

This way, Vera.

Mr. Drake...

What's going on?

What's all this about?

Look, I'll tell you what,

could you bear with me for a minute?

Have a seat.

Sir.

Mrs. Drake, I've just

been talking to your husband.

He doesn't know

why you're here, does he?

No.

He's going

to find out, you know?

Why don't you

tell him yourself?

I can bring

him through, now.

I think it's

for the best, don't you?

Yes, dear.

Myself and the W.P.C. Will have to be

present, do you understand?

- When you're finished.

- Sir.

That's it, Vera.

I'm sorry.

What do you got

to be sorry about?

What is it, love?

Look at the state of her,

she don't deserve this.

You're going to have

to tell him, Mrs. Drake.

- L...

- What?

Your wife

has been charged...

I'm afraid she's going

to have to spend the night

here in the police station.

We will take good

care of her, sir.

She'll be appearing before

the magistrate in the morning.

If you'd like

to come with me, sir.

Don't tell Ethel

and Sid.

Promise me.

- Where's Vera?

- Where's Mom?

Dad?

They're going to keep

her in there overnight.

What for?

Dad, what's going on?

Let your dad take

his coat off.

Let me have a word with your Uncle

Frank. It'll just be five minutes.

- Why can't you tell...

- Five minutes.

- She's in serious trouble, Frank.

- Why, what's happened?

What am I gonna do?

What is it?

- Tell me.

- I can't.

She's been helping

young girls out.

How do you

mean?

What find themselves

in the family way.

You mean...

I don't believe it.

She told me herself

in front of the cops.

She asked me

not to tell the kids.

What shall I do?

- You got to tell them the truth.

- I know.

What's gonna happen to her?

She's got to go to court

in the morning.

Copper gave me

the name of a solicitor.

- Gonna go around there first thing.

- I'll come with you.

- Yeah?

- 'Course, I will.

Thanks.

Joyce,

get your coat.

Thank God for that.

Excuse me.

I'll see you

tomorrow.

Ethel, where's my hat,

please?

It might be better

if you just get off home, Reg.

Yeah, 'course.

- Nice to meet you, Reg.

- Nice to meet you.

- Cheerio, then.

- Cheerio.

Night.

You still got your hat

and coat on, Dad.

- Pop round tomorrow.

- After work.

All right.

- Thanks for the do, Stan.

- You're welcome.

- Look after yourself, Reg.

- And you, mate.

Here.

Tea?

How 'bout

a sandwich?

- No, thank you.

- Are you sure?

Well, good night then,

Vera.

Thanks, Arthur.

I don't believe it.

How could she

do that?

She was trying

to help people out, Sid.

She wasn't, though.

Well, whatever she done, she's done

it out of the kindness of her heart.

- She's let us down...

- No.

Mrs. Drake.

- Yes?

- My name is Mr. Lewis.

I'm your solicitor.

Stanley came to me this morning

to ask me to represent you.

- Oh.

- He's waiting outside with Frank.

Is Frank here?

Yes, they're taking

care of each other.

Now, I have a number

of questions

I need to ask you,

but I would imagine

That you have a thousand and one

questions that you'd like to ask me.

So why don't you

go first. Hmm?

This is case number

five on the list, Your Worship.

Vera Rose Drake.

Good morning,

Your Worship.

It is my privilege to appear

for Mrs. Drake this morning.

It is my intention

to make an application for bail,

subject to Your Worship's

views in this matter.

I understand

from the inspector,

the police will raise no

objections to this application.

Thank you, Mr. Lewis.

Are you Vera Rose Drake?

Yes.

What is your

address?

- 82...

- Would you speak up?

Oslow Street,

North 1.

You are charged

for that you,

on the 17th day

of November, 1950

at 37 Flixton Street,

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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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