Career Girls Page #3

Synopsis: Career girls opens with a train journey towards London's Kings Cross where Annie, one of the major characters is about to meet her old university friend Hannah. She recalls moving into a grotty student flat with Hannah in the mid-eighties. In those days Annie was self conscious and jumpy. The pair have not seen one another since graduation. They both now have moderately successful careers and are, at least on the surface, self assured in their new lives. However, they are still carrying a lot of emotional baggage from their university days. During the course of a weekend they rediscover their close friendship and encounter many faces from the past.
Genre: Drama
Director(s): Mike Leigh
Production: Twentieth Century Fox Home Entertainment
  3 wins & 5 nominations.
 
IMDB:
7.2
Metacritic:
76
Rotten Tomatoes:
88%
R
Year:
1997
83 min
248 Views


Well, that's not very fair, is it?

Still ventilating?

Yeah.

You drinking milk these days or...

Uh, no, thanks.

Okay. Help yourself to sugar.

Oh, thanks.

Oh, go on then.

I'm on my holidays. Might as well.

Live dangerously.

Skin's looking good anyway.

Oh, yeah, it's cleared up. Finally.

I'm afraid I still smoke.

Do you mind?

Oh, uh, haven't got an ashtray.

- Oh, it doesn't matter.

- Wait a minute. Let's think.

Oh, I know.

Could use this.

There you go.

Same old contradiction.

- How's work?

- Oh, it's been a nightmare today.

- Oh?

- Yeah, well, basically...

I've inherited this problem

from my predecessor.

He was my ex-boss.

I warned him before he left.

Of course he wasn't having any of it.

So he's gone on to greener pastures,

and I've been left holding the baby.

What's the problem then?

Well, see, he ordered

this whole spring range from a firm...

and they didn't deliver

by the deadline.

So I threatened not to pay them, and now

they're giving me all this hassle and sh*t.

- Is it envelopes?

- Oh, no. It's a whole range of stationery.

Problems, eh? I've got them, too,

'cause I want to change me job.

- Do you?

- Yeah, well, you see, I went into personnel management...

'cause it's all about dealing with people...

but I've ended up with this job, like...

I spend 90% of my time

shifting paper around a desk.

Yeah. Yeah.

- Anyway, it's not the same since Patsy left.

- Who's that?

Oh, she was one

of the senior secretaries.

She was a real laugh.

She retired last year.

Would you excuse me

a moment? Sorry.

I just remembered something.

Oh, look at you in your specs.

Yeah, I only use them

for reading and writing.

- You look so mature.

- Well, not too mature, I hope.

- I haven't opened your present, have I?

- No.

Nice paper.

Oh!

That's useful, actually.

It's great.

Thanks a lot.

- It goes with the room.

- It's really lovely, actually.

- I must buy you some flowers for it.

- Thanks.

Well, we don't have to tell her, do we?

No. No. Mum's the word.

Only upset her anyway.

Yeah. Right. Deal, yeah.

- To be honest, I've had enough of her.

- Know what you mean, yeah.

If we start looking for a flat now, we should

be able to get hold of one of the third years.

- What you reckon?

- Well, I'm not quite sure what I'm doing next year.

- What do you mean?

- I might want to be alone.

You want to live on your own?

Well, change is as good as a rest...

and other duck-billed platitudes.

Well, that's great for me.

Well, I'm sorry if my life

isn't very convenient for you.

- What's Annie doing next year?

- I don't know.

'Cause if we start looking now, we should be

able to find a place for the two of us, yeah?

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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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