Happy-Go-Lucky Page #5

Synopsis: Poppy Cross is happy-go-lucky. At 30, she lives in Camden: cheeky, playful, frank while funny, and talkative to strangers. She's a conscientious and exuberant primary-school teacher, flatmates with Zoe, her long-time friend; she's close to one sister, and not so close to another. In this slice of life story, we watch her take driving lessons from Scott, a dour and tightly-wound instructor, take classes in flamenco dance from a fiery Spaniard, encounter a tramp in the night, and sort out a student's aggressive behavior with a social worker's help. Along the way, we wonder if her open attitude puts her at risk of misunderstanding or worse. What is the root of happiness?
Genre: Comedy, Drama, Romance
Director(s): Mike Leigh
Production: Miramax Films
  Nominated for 1 Oscar. Another 39 wins & 59 nominations.
 
IMDB:
7.0
Metacritic:
84
Rotten Tomatoes:
92%
R
Year:
2008
118 min
$3,494,485
Website
514 Views


- So you spoke to the office?|- I spoke to your boss.

He's not my boss, I work for myself.|I'm my own man.

But it's his car... or it's your car... Someone.

And they told you the price - 22.50 an hour?

That's right. Cheap as chips, you lot.

- We may be cheap but we're better.|- Are you?

You go with the big companies,|they use inexperienced instructors.

They don't?

They've just passed their test and charge more.

Bastards.

Us experienced instructors, we go|with small companies and charge less.

- That makes a lot of sense, that does.|- Cheapness is relative.

Yeah, it is. You're right. Bang-on!

So, do you want the same time every week?

Go on, then.

- Do you or don't you? I need to know.|- Well, if you need to know.

If it's good for you, it's good for me, Scott.

OK, 12 o'clock every Saturday.

- Do you like working Saturdays?|- I only work half day, Saturday.

- Oh, that's good.|- You're my last pupil.

What do you do for the rest of the day?|Are you going out tonight?

I shall go home and read my book.

Oh, it must be a good book. What is it?

It's a book.

Yeah, well, we worked that much out.

- You see three pedals in front of you.|- Yeah, yeah.

Will you put your left foot on the left-hand pedal|and push it all the way down?

He's a bit frisky, isn't he?

OK, Pauline.|Please take your boot off the pedal.

Nobody's called me Pauline|since I was two years old. Makes me laugh.

What am I supposed to call you?

- Oh, how about Poppy?|- Poppy?

- Yeah.|- Oh, yeah.

No, whatever turns you on, Scott. I don't mind.

OK, Poppy. Your boots are inappropriate|for a driving lesson.

- What's wrong with them?|- You can't control a car in high heels.

I can do a lot in these.|You should see me in these on a dance floor.

- They may be good on a dance floor.|- Not just good on a dance floor.

They are "Oooh".

They may be good in a Cadillac on a beach

when you're pissed with your boyfriend,|but they're not suitable for driving.

You're funny.

Now, next week|I want you to bring flat-soled shoes.

- I don't look any good in them.|- It's not how you look, it's how you drive.

I'll see what I can rustle up for you, Scott.|Leave it to me.

Right, you see three mirrors -

your two side-view mirrors|and your rear-view mirror.

- They make a golden triangle.|- Is that like the pubic triangle?

It's a pyramid and at the top of it|you see the all-seeing eye - Enrahah.

Can you repeat that, please? "En-ra-hah".

- You talking about the eye of Lucifer?|- No!

Cos I don't know if I want to look in there,|thank you.

It's not Lucifer. There are|two fallen angels before Lucifer.

- There is Enrahah, Raziel and Lucifer.|- I don't have them in my phone book.

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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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