Vera Drake Page #9

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
622 Views


I'll have one of these.

Frank?

No.

Ethel?

No, you're

all right, mate.

This is the best Christmas

I've had in a long time.

Thank you

very much, Vera.

Smashing.

Is your name,

Vera Rose Drake?

Yes.

Prisoner at the bar,

you are charged with

using an instrument

with intent to procure

miscarriage,

contrary

to section 58

of the Offenses Against

the Person Act, 1861.

The particulars

of the offense,

are that on the 17th day

of November, 1950,

in the county

of London,

you did unlawfully use

an instrument

with intent to procure

the miscarriage of a woman

named Pamela Mary Barnes.

How say you?

Are you guilty,

or not guilty?

I'm guilty.

Could you please

speak up, Mrs. Drake,

that the court

might hear you?

- I'm guilty.

- Thank you.

Please be seated.

...and cautioned her.

On being asked

to surrender

the equipment used

for the abortion,

the defendant produced

nine objects

from the top of a cupboard

in the bedroom.

My Lord, they were:

A Higginson's syringe...

that is exhibit

EW-1.

A cheese grater...

exhibit EW-2.

A nail brush...

exhibit EW-3.

A bottle

of disinfectant...

exhibit EW-4,

wrapped in a towel...

exhibit EW-5.

A piece

of carbolic soap

wrapped in

a dishcloth...

they are exhibits

EW-6 and EW-7.

Those last two objects

were both enclosed

in a tin.

Which is exhibit

EW-8.

All the aforementioned items

were kept in a cloth bag,

which as Your Lordship

can see

is exhibit EW-9.

Vera Drake is not

concerned with riches.

She simply

helps people

as and when she's asked.

She's always helped people.

Her solicitude

for others

has led her

to commit

one of the most

serious offenses

in the calendar,

but her intention...

was to help

the young girl

and not

to harm her.

I may assure

Your Lordship

That Vera Drake is more

relieved than anyone

about the recovery

of Pamela Barnes.

I submit that Your Lordship

would have little doubt

that this...

unfortunate woman is now

ever likely

to reoffend...

and that is the case

for the defense, my Lord.

Thank you,

Mr. Hampton Ward.

Prisoner at the bar,

please rise.

Prisoner at the bar,

you stand convicted of felony.

Have you anything

to say

why the court should not give you

judgment according to law?

No.

Please remain

standing.

Vera Rose Drake,

you have committed

a crime, the gravity of which

cannot be

overestimated.

The law is very clear

and you have willfully

broken that law.

And furthermore,

in so doing,

you have put at risk

the life of a vulnerable

young woman.

And but for the timely

intervention

of the medical

profession...

you might have been before me

on an even more serious charge

than the one that has brought

you here today.

Now...

I have heard

your plea of guilty,

and I have taken

that into account...

and I have listened

very carefully

to the submissions

of your council.

But nothing has been

advanced me today

on your behalf

which would persuade me

to take any course

other than to impose

a custodial sentence.

Indeed...

the extreme

seriousness of your crime

is bound

to be reflected

in the sentence

that I am about to pass.

And that must serve

as a deterrent to others.

I therefore

sentence you

to a term

of imprisonment,

which will be two years

and six months.

Take her down.

All rise.

She won't be able

to come round and see you.

Not for awhile.

Why not?

Ethel will come over.

- She ain't dead, is she?

- No.

No, she ain't dead.

How long did you say

you got?

Two years

and six months.

First offense?

Oh, yes.

- Did she die?

- No, dear.

I don't know what I'd have done

if she had.

My girl died.

- Did she?

- So did mine.

Oh, dear.

What'd you use?

- A syringe.

- There you are.

Hundreds of times...

safe as houses.

Yes, I don't know

what happened.

We just do

our best, love.

- How long you in here for then?

- Three years.

- Four.

- Second time for us.

Oh.

Cheer up.

You'll only do half.

You'll be out

before you know it.

Yes.

See you later, then.

Mind where you're

going, Drake.

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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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