Of Mice and Men

Synopsis: Two traveling companions, George and Lennie, wander the country during the Depression, dreaming of a better life for themselves. Then, just as heaven is within their grasp, it is inevitably yanked away. The film follows Steinbeck's novel closely, exploring questions of strength, weakness, usefulness, reality and utopia, bringing Steinbeck's California vividly to life.
Genre: Drama
Director(s): Gary Sinise
Production: Metro-Goldwyn-Mayer Pictures
  1 nomination.
Rotten Tomatoes:
115 min

Come on!

Come on. Keep moving.

Come on.

Keep looking.

Stay down.

Attaboy. Attaboy, sniff it out.

Pick it up, boy. Pick it up.

Come on. Come on.


Get down.

Hurry up.

Get up there.

- George?

- What d'you want?

Where are we going?

To get away from here.

I'm all wet.

Come on, let's take off your coat.

Come on.

Come on.

Just lay down and get some rest.


Go to sleep, Lennie.

I'm sleeping, George.

- George, where are we going?

- We're going to a ranch to work.

Come on. You get off here.

George, wake up.

You're in Soledad.

We're going to the Tyler ranch.

You gotta get off here.

The ranch is down the road.

- How far?

- Just down the road a stretch.

- Where the hell is it?

- George?

- Yeah?

- Where are we going?

Jesus Christ, you're a crazy bastard.

I forgot, George.

I tried not to, then I forgot.

I spend all my time telling you things,

then you forget 'em.

I remember about the rabbits.

The hell with them rabbits.

That's all you can remember.

OK, listen. This time don't forget.

We went into Murray and Ready's.

- They give us work cards and bus tickets.

- George, I remember that now.

But George, I ain't got mine.

I must've lost it.

I got both of 'em. You think I'd let you

carry your own work card?

I thought I had it in my own pocket.

What did you take out of that pocket?

There's nothing in the pocket, George.

I know it ain't. You got it in your hand.

Now, what you got in your hand?

George, that's just my mouse.

But I didn't kill it, George.

Honest, I found it dead.

Oh, jeez.

- Give it here.

- George, leave me have it.

Give it here. What do you want

with a dead mouse anyway?

I was just petting it with the fingers

while we was walking along.

Yeah, well, you ain't petting no mice

when you walk with me.

You gonna give me that mouse,

or am I gonna have to sock you?

Come on.

Blubbering like a baby, a big guy like you!

Lennie, I ain't taking it

away for meanness.

That mouse ain't fresh, Lennie.

Get another mouse that's fresh,

I'll let you keep him.

I don't know where

there is no other mouse.

The lady used to give me some,

but that lady ain't here no more.


Don't you even remember

who that lady was?

That's your Aunt Clara.

She stopped giving 'em to you.

You was always killing 'em

by petting 'em too hard.

I'll tell you what I'll do.

First chance I get, I'll get you a puppy.

Huh? That'd be better than mice.

You could pet 'em harder.




Hey! Hey!

Son of a b*tch!

What did you say, George?

I said "son of a b*tch".

The bus driver lied to us. Just too

damn lazy to stop at the ranch gate.

- Son of a b*tch!

- Son of a b*tch!

Jesus Christ, George, I said it too.

- Yeah, I heard you.

- George, we wasn't supposed to say that.

Yeah, why not?

Aunt Clara don't like it.

Yeah, well, she's dead.


Don't drink so much.


That's good, George. You have a drink.

You have a good, big drink.

It's nice here.

I think we'll just spend the night

and go to the ranch tomorrow.

Ain't we gonna get no supper?

Yeah, sure we are.

I got three cans of beans in my bindle.

I like beans with ketchup.

I like beans with ketchup.

We ain't got any.

Go on. Go get some wood

so we can build a fire.

- We got enough beans here for four men.

- I like 'em with ketchup.

We ain't got any.


Whatever we ain't got,

that's what you want.



- What d'you want?

- George, I was only fooling.

I don't... I don't want no ketchup.

If it was here, you could have some.

George, I wouldn't eat no ketchup.

I'd leave it all for you

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Horton Foote

Albert Horton Foote Jr. (March 14, 1916 – March 4, 2009) was an American playwright and screenwriter, perhaps best known for his screenplays for the 1962 film To Kill a Mockingbird and the 1983 film Tender Mercies, and his notable live television dramas during the Golden Age of Television. He received the Pulitzer Prize for Drama in 1995 for his play The Young Man From Atlanta and two Academy Awards, one for an original screenplay, Tender Mercies, and one for adapted screenplay, To Kill a Mockingbird. In 1995, Foote was the inaugural recipient of the Austin Film Festival's Distinguished Screenwriter Award. In describing his three-play work, The Orphans' Home Cycle, the drama critic for the Wall Street Journal said this: "Foote, who died last March, left behind a masterpiece, one that will rank high among the signal achievements of American theater in the 20th century." In 2000, he was awarded the National Medal of Arts. more…

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Submitted on August 05, 2018

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