Film clips for English study.
This is a collection of clips from my favourite films, which give a taster of these films. I have put the dialogue below each clip. I am going to keep adding more , so please check back to see if there is anything you like. If you like the clip, you can try to download or buy the film online. Most of these films are by my favourite British directors, but there are some American and other foreign examples. These clips are a good way to study some of the many British accents.
Tinker, Tailor, Soldier, Spy (1979)
BBC miniseries, starring Alec Guinness, Beryl Reid, Ian Richardson, Hywell Bennet –
based on the novel by John Le Carre.
A classic British spy thriller. Level- Advanced length : 07.26 minutes.
This is the scene where George Smiley visits Connie (Beryl Reid) at her house, to get information about the Russian spy known as Polyakov.
Connie: Flush, shut up! George Smiley! Oh, but you lovely, darling man! You haven’t come to sell me a hoover! You’re my gorgeous George! –
Connie – Oh, George. Jingle, darling, could you possibly make it tomorrow? Don’t be cross.It isn’t often my oldest, oldest lover comes to see me.Oh, George, if only I’d seen youfirst.I’ll give you a whole hour all to yourself.Honestly I will, darling.One of mycdunderheads. I will teach I don’t know why. Oh, George, of all the lovely, darling men I ever knew.He walked, Flush. Don’t you see his shoes? Oh bless you, darling. God bless.
Did he walk alone, Flush? Not accompanied, were we?
George -Quite alone, Connie.
Connie: So what does George want from Connie? The bad boy!
George: Her memory.To go over some very old ground, Connie.
Connie: Hear that, Flush? First, they chuck us out with an old bone, then they come begging to us.I was the best Head of Research the Circus ever had! Everyone knew that! And what did they say the day they gave me the chop? That personnel cow! “You’re losing your sense of proportion, Connie.”Time you got out into the real world.
” I hate the real world! I like the Circus and my lovely boys!
George: Polyakov. Aleksey Aleksandrovich Polyakov.
Connie: Cultural Attache, Soviet Embassy, London. Born March 3rd, 1922 in the Ukraine.Graduate of Leningrad State University.Height five-foot-ten. Colour of eyes, green. Colour of hair, black.Married, but unaccompanied by wife, and a six-cylinder Karla-trained hood if ever I saw one! But don’t tell Percy Alleline or Toby Esterhase. Oh, no, Aleksey Aleksandrovich was as pure as the driven snow. He was Persil white, wasn’t he, Flush? And Connie’s an old silly.If she doesn’t lay off and do as she’s told, she’ll have to pack her bags and go.
George: He’s come alive – Polyakov. Just as you predicted.
Connie: ‘Course he has! Of course he has! I knew it in my bones! The day he arrived, I thought, “Hello, I’ll have some fun with YOU.” Tough as a button! Cultural AttachÃ©? Balls! Army written all over him. But not declared, George, not a mention.
Oh, he had a lovely voice. Mellow, like yours. I used to play the tapes over and over just to bathe in it. Bottom pincher, too. I just know. Not that we ever caught him at it.
We might have if Tobe had played along and offered him a bum, but tiny Tobe wouldn’t.
Eight years. I watched Pretty Polly for eight years. Then last Remembrance Day, I got him.
There he was, that smashing November morning, at the wreath laying. We photographed his medals – two gallantry and four campaign. Oh, yes. Aleks Polyakov was a star soldier just as I’d told them, and not a word. So I said to Toby, “Listen, you two-faced ferret, “ego has got the better part of cover and that’s nothing new. “Now will you turn Pretty Polly inside out for me? “Because Connie’s little hunch has turned up trumps.
George: ” What did Toby Esterhase say?
Connie: Oh, I got the dead-fish voice.- “Tell Percy Alleline. Percy’s in charge.
George : – And then?
Connie: “Not every ex-warrior’s a Karla agent,” says Percy. I said, “Listen, Percy, Polyakov’s running an English mole.” So I get the rude letter.”Stop it or else.
” I wrote at the bottom – “Yes, repeat no!” So here we are Flush and me.Please kiss me, George. Hey-ho. Halcyon days. Did I start the landslide, George? –
George: You were always dead right, Connie.
Connie: Is George now picking up the pieces? – Something of the sort. Poor loves.
Trained to Empire, trained to rule the waves. Englishmen could be proud then.
They could, George. All gone. Taken away. Bye-bye, world. If it’s bad, George don’t come back. Promise? I want to remember you just as you were. My lovely, lovely boys.
Life Is Sweet (1990)
Directed by Mike Leigh. Starring Jim Broadbent, David Thewliss, Alison Steadman, Jane Horrocks, Claire Skinner.
Nicola– Come on, lets go up
Nicola -I know you want it
Lover-How do you know?
Nicola – Syncronicity
Lover– Shut up. I don’t want it
Nicola– What do you mean?
Lover– I want you
Lover-Nah nah nah .I come in, we go straight upstairs, we do it.. Bingo! you’re a pain in the arse. I don’t want that, I want to see you nice
Nicola– Well what’s nice? it’s only a boring cliche
Lover– No nice, nice show me a bit of civility a bit of respect
Nicola– You don’t show me no respect
Lover– I’m trying to respect you now, trying to treat you like a real person Instead of some fucking shag bag. Come on ..talk to me
Nicola- What about?
Lover-Anything. Anything you think..anything you know..What do you care about?
Lover– You got all these fucking books upstairs..Women who love men too much, men who hate women, women who love and women in love, womens ruin , female eunuch
Have you read any of that crap?
Nicola– What’s it to you?
Lover– So what have you learnt from it?
Nicola– That I’m a feminist
Lover– What’s a feminist?
Nicola- Oh come on
Lover– No no no, what does it mean?
Nicola– Stop being antagonistic
Lover-I’m not being antagonistic I’m trying to have an intelligent conversation with you
Are you capable of that? Eh? I don’t think you are are you? Really ..Bit vacant aint you
Bit of an air-head ..Nothing going on..Bit dumb..Bit dizzy..Dimbo bimbo..dumb blondster ain’t you? Eh hello anyone at home? hello hello? You’re a fake
Nicola– I am intelligent. Are you coming upstairs?
Nicola-Well piss off then
Directed by Ken Loach. Starring: David Bradley, Brian Glover, Freddie Fletcher.
Storyline: Bullied at school and ignored and abused at home by his indifferent mother and older brother, Billy Casper (David Bradley), a 15-year-old working-class Yorkshire boy, tames and trains his pet kestrel falcon whom he names Kes. Helped and encouraged by his English teacher Mr. Farthing (Colin Welland) and his fellow students, Billy finally finds a positive purpose to his unhappy existence, until tragedy strikes.
– Got owt, Casper?
Tha never has. Tha just cadges. Casper
the Cadger, they ought to call thee.
– I wouldn’t give thee owt if I had.
– I’ll give thee summat.
What tha goin’ for?
Don’t tha like company?
They say thi mother does. Tha’s
got more uncles than any other kid.
– Shut thi mouth!
– Make me.
– Tha wouldn’t say that to our Jud.
– Your Jud’s nowt.
What? He’s cock of t’estate.
– I know somebody who could do him.
– Who? Thi father?
– He in’t even thi brother.
– What is he? Me sister?
They don’t even call him Casper.
Course he’s me brother!
We live int’ same house, don’t we?
Get him! Get him!
Right, you lot!
Ten seconds, out of my sight!
One! Two! Three!
Right, come here, you two. Come on.
– What’s goin’ on?
– lt was him, sir. He started it.
– He’s been chuckin’ coal.
– Ah, shut up. Shut up!
It’s always the same tale; somebody
else’s fault, nobody’s to blame.
Look at the mess you’re in!
Look at the state you’ve made!
– Casper, you’re not dead yet.
– He will be when I’ve had him.
Oh, yes! You’re a big lad, aren’t yer? He’s
just about your size, Casper, isn’t he? Eh?
Pick on somebody your own size.
What if I rubbed your nose in the coke?
You’d say I was a bully, wouldn’t yer?
And you’d be right. Cos I’m bigger
and stronger than you, aren’t I? Eh?
– I’ll fetch me dad.
– Oh, yes. And I’ll fetch mine.
My dad’s heavyweight
champion of the world,
so what will your dad do then, eh?
That’s what it’s like to be bullied.
You don’t like it, do yer?
You’ll like it a bit less if I ever catch
you at it again. Do you understand it?
Get it shovelled up. Come here a minute.
Have you been smoking?
– No, sir.
– You have! I can smell it on your breath.
– No, sir.
– See me afterwards. Get it done. Go on.
What’s it all about?
He keeps callin’ me names, and sayin’
things about me dad and me mam and…
All right, all right, all right. Calm down.
They all seem to pick on you. Why is it?
– Don’t know.
– ls it because you’re a bad ‘un?
Maybe I am sometimes,
but I’m not that bad, sir.
I know stacks of other kids that’s worse
than me, but they seem to get away wi’ it.
Why else do you think, eh?
There must be some reason.
Well, take this mornin’, sir.
I came in and just dozed off.
I weren’t doin’ nowt wrong.
l’d been up since six. I had to do t’papers,
then I had to rush home to look at t’bird,
and then run to school.
You’d be tired, wouldn’t yer, sir?
l’d be exhausted.
You shouldn’t be caned for that, sir.
And you can’t tell Mr Gryce that.
And this little lad, sir. He’d only brought
a letter from a teacher, and he got t’cane.
It’s nowt to laugh at, sir.
Afterwards, he was sick as a dog.
And teachers, sir.
They’re not bothered about us, sir.
lf we’re 4C, they think
we’re numbskulls, owt like that, sir.
They’re always lookin’ at their watches,
to see how long there’s left of t’lesson.
They’re not bothered about us,
and we’re not bothered about them.
How are things at home these days?
All right, sir. Usual, I suppose.
– Been in trouble with the police recently?
– No, sir.
Not since I’ve been
without MacDowall’s gang.
You know, they used to go into t’city
and go into t’coffee bars and t’cinema,
but since I’ve been without them
I’ve been all right.
– It’s all right now, innit?
– But when there’s trouble on estate,
all the police come to our house.
Well, I shouldn’t worry.
ln a couple of weeks you’ll be starting
your new job, gettin’ new friends.
Lookin’ forward to that, are yer?
Eh? Have you got a job?
No, sir. I’ve got to see
– What sort of job do you want?
– Anything’ll do me.
But you want something that
you’re interested in, don’t you?
– I’ll take what I’ve got.
– I thought you wanted to leave school.
– Not bothered.
– Thought you didn’t like school.
I don’t, but it dun’t mean to say I’ll like
work. Still, I’ll get paid for not likin’ it.
– That’s one thing.
– I suppose it is.
I might be able to save up and buy
a goshawk. I’ve been readin’ about ’em.
Have yer? When do you fly
this hawk o’ yours?
– Dinner times.
– Just outside our house, sir.
– Wood Lane?
– Yeah, it is, sir.
– I’ll come round, then. lf it’s OK.
Go on, then. Get yourself cleaned up.
Abigail’s Party (1977)
BBC ‘Play for Today’- Directed by Mike Leigh. Starring Alison Steadman, Tim Stern, Janine Duvitski.
Storyline: Beverly has invited her new neighbours, Angela and Tony, over for drinks. She has also asked her divorced neighbour, Sue, because Sue’s fifteen year-old daughter, Abigail, was holding a party in their house. Beverly’s husband, Lawrence comes home late from work, just before the guests arrive. The gathering starts off in a stiff insensitive British middle class way with people who do not know each other, until Beverly and Lawrence start sniping at each other.
Beverly – Would anybody mind if I turn this next track up? It’s my favourite. It’s “Forever and Ever”. I’d like us all to hear it. Anybody mind?
(ALL EXCEPT LAURENCE) No.
#… Forever and ever you’ll be the one
# That shines on me like the morning… #
Beverly– Isn’t he great?
Angela- Yes. I know this one.
# Forever and ever you’ll be my spring
# My rainbow’s end and the song… #
Beverly-– D’you think he’s sexy, Ange?
Angela– Yes. It’s a pity he’s so fat.
Beverly– Yeah, but he doesn’t sound it, though,when you hear him. It’s funny. He’s still fantastic, though, isn’t he?
#… come true, my consolation… #
Beverly– Do you like him, Tone?
#… and ever… #
beverly-Knockout, isn’t he?
# My symphony
# My own lovers’ theme
# Ever and ever, forever and ever
# My destiny
# Will follow you eternally #
Beverly-Ange…Imagine making love to this! You all right, Laurence?
– (LAURENCE STOPS MUSIC)
Laurence– Ready, Tony?
Beverly– Thank you, Laurence!
Laurence– Don’t mention it! Ready?
Bleak Moments (1971)
Directed by Mike Leigh.
Starring Anne Raitt, Sarah Stephenson, Eric Allan .
Storyline: Moments from the uncompromisingly bleak existence of a secretary, her intellectually disabled sister, aloof and uneasy teacher boyfriend, bizarre neighbor and irritating workmate.
Peter- Not much fun in the restaurant, was it?
Sylvia- I’m sorry
Peter- It’s alright, it’s alright..it’s just that I get very angry with waiters who …don’t do their job.
Shall we sit down?
Peter- Mmmm…good coffee..oh…Hilda..Hilda Hilda Hilda Hilda…
Sylvia- Would you like some sherry?
Peter– No, I’m fine with coffee thank you.
Sylvia- I’m going to have some, so you’ll have to join me. Here we are. Enjoy yourself. Cheers.
Peter- oh, Cheers. Do you listen to the radio much?
Sylvia– I do. Quite a lot.
Peter- Which do you find easier? Watching television, or…radio?
Sylvia– I find it easier watching the radio.
Peter- Words, words, words. Let me re-phrase my question. Which activity do you find more satisfying? Watching the television, which involves audio and visual signals? Or, listening to the radio, which is mainly audial signals? The latter one perhaps involves a little more activity and consequently is a more satisfying form of communication. You’ve read McCluhan?
Sylvia- Yes, actually, I’ve..I never actually got to the end of it though.
Peter– Yes, they’re difficult concepts, drawing a distinction between the content of a communication and the particular medium employed..and..understanding the relationship between them and how they interract to produce the end product meaning….how…very frequently…a medium..is the more important in the transference of information. For example, this evening I..said to Hilda how we…we..how we…erm…reach…well, she didn’t understand..and…well…one has to learn..a language..for communication..it’s like learning any foreign language..
Peter- Do you speak any languages..?
Sylvia– I speak a little French. You’re not drinking your sherry.
Peter– No, just …coffee. I didn’t know quite what to say to her.
Sylvia– Say whatever you want to say
Peter – Yes, but it’s not just a question of what to say..but..in what terms to couch it…in the..well, the usual conversational gambits don’t seem to be any use’’
Sylvia – I don’t think conversational gambits are ever much use. They seem to me, to be an evasion of what’s going on.
Peter– Well, it depends how you define ‘conversational gambit’. It’s just a technical tool..
Sylvia (pours drinks) – Do you want some more?
Peter- No, no I’m fine, thank you.
Sylvia– Too late.. What are you going to do?
Peter- Hold it, very steadily..The design on the couch is very unusual. Design’s a kind of language.
The way that..in the sense that somebody…makes it in a certain way..alampshade..or…tables…
furniture..houses..cars, ships, airplanes..cutlery..plates and cutlery..jewellery..clothes, shoes, carpets..vases, bulldozers.
Sylvia– You’re not to have any more.
Peter– No, I’m fine with that, thank you.
Sylvia– Are you sure?
Peter- Oh, yes, really..thank you, yes that was fine.
Sylvia– I’m having some more..Would you like some nuts?
Peter– No…no, thank you
Sylvia- I haven’t got any nuts, anyway.
In the Heat of the Night (1967)
Director, Norman Jewison.
Starring Sydney Poitier, Rod Steiger, Warren Oates.
Storyline: An African American police detective is asked to investigate a murder in a racially hostile southern town.
Tibbs-I was visiting my mother. I came in on the 12.35 from Brownsville. I was waiting to go out on the 04.05 Gillespie-Mm-hm. Yeah? And meanwhile, you killed yourself a white man, just about the most important white man we got around here and picked yourself up a couple of hundred dollars! Tibbs- I earned that money,ten hours a day,seven days a week. Gillespie-A coloured can't earn that. It’s more than I make in a month! Where did you earn it?! Tibbs-Philadelphia. Gillespie-Mississippi? Tibbs-Pennsylvania. Gillespie-Just how do you earn that kinda money? Tibbs-I'm a police officer. (throws badge on desk) Gillespie-Oh, yeah!Wood! Wood-Yes, sir! Gillespie-Did you question this man? Wood-No, sir. Gillespie-Would you mind taking a look at that? Yeah! Oh, yeah!
Secrets and Lies (1996)
Directed by Mike Leigh. Starring Brenda Blethyn, Phyllis Logan and Timothy Spall. A successful black woman discovers that her birth mother is an underprivileged white woman, but the woman denies it. As emotions run high, everyone’s secrets are exposed. Nominated for 5 Oscars including Best Picture. Brenda Blethyn received a Best Actress nomination and Marianne Jean-Baptiste received a Best Supporting Actress nomination. Written by Jeremy Perkins This is the scene where Hortense calls Cynthia (her real mother) to arrange to meet her. https://www.youtube.com/watch?v=6pbJKxjk3BQ
Cynthia- Hello? Hortense– I’m sorry to trouble you…but I’m trying to locate…a Cynthia Purley. Cynthia– Yes? Hortense – Is that Cynthia Purley? Cynthia – Yes. Hortense– Cynthia Rose Purley? Cynthia- Yes. Hortense– Of 76 Quilter Street? Cynthia-Yes. What is it you want, darlin’?Hello?Did you want Roxanne?She’s gone out. Hortense– No. Cynthia– She ain’t in any trouble, is she? Hortense– No, it’s about Elizabeth. Cynthia- Elizabeth? Elizabeth who? Hortense – Elizabeth Purley. Cynthia – Oh, oh, she’s dead. Hortense– No, she isn’t. Cynthia– She is, darlin’. I should know. Hortense– I should know. Cynthia– Look, sweetheart, she’s me mother. She went in 1961. Hortense -No, I meanbaby Elizabeth Purley. Cynthia -Baby Eliz…Who is this? Hortense -She was bornon the 23rd of July, 1968.At… Sorry about this.At… Yeah. At the Haven…Wells Grange Avenue, Sutton, Surrey. Look, I’m sorry. I know this must be a shock to you. Cynthia -L-Listen, darling, what is it you want? Hortense– I’m really sorry. Cynthia- You mustn’t come ’round here, sweetheart. Hortense– I didn’t want to upset you. Cynthia- You mustn’t do that. And you mustn’t phone neither. Hortense-I just needed to know. Cynthia – Yes, but you can’t come ’round here. No one knows about you, see? Hortense– Right. Cynthia– Promise me you won’t come ’round. Promise me. Hortense– Look, I’ve got your address. If I wantedto come ’round, I’d have done it already. Cynthia – I’m sorry, sweetheart.I ‘m a little bit upset .Promise me you won’t come ’round. Hortense– All right, I promise. Cynthia-Thank you. Thank you. Hortense – Um…Can I meet you somewhere? Cynthia- No, I shouldn’t think so, darlin’. Hortense– See, I’ve got lots of, um. .. I’ve gotlots of questions I want to ask you. Cynthia -Yeah, well, I gotta go now. Hortense -Please. Cynthia – What’s your name anyway, eh? Hortense– Hortense. Cynthia– Hortense? Hortense-Yeah. Cynthia– Hortense what? Hortense– Cumberbatch. Cynthia -“Clumberbunch”? That’s a funny name, isn’t it? Hortense – Yeah, I suppose it is. Cynthia-You on the phone? Hortense- Yeah. Uh, do you want to take my number down? Cynthia – Oh, I don’t think I’ve got a pencil. Hortense -I’ll wait.
Directed by Mike Leigh. Starring David Thewliss, Lesley Sharp, Katrin Cartlidge. Storyline: Parallel tales of two sexually obsessed men, one hurting and annoying women physically and mentally, one wandering around the city talking to strangers and experiencing dimensions of life. https://www.youtube.com/watch?v=5YcsoQ4JgBQ
Louise - All right? Enjoying yourself, are you? Johnny- I'm having a great time, actually. Louise - Bloody hell. Johnny-Ah, friendly. Louise - What are you doing here? You look like shit. Johnny- Just trying to blend in with the surroundings. * Halitosis, halitosis, halitosis * Louise- I can't believe you're here. Johnny- I'm not here. I tell you what. It's a crackin' place you got, love. Louise- Good. I'm glad you like it. Johnny- No, I was being sarcastic. Louise- Why didn't you tell me you were coming? I would have met you off the train. Johnny- I didn't come on the fucking train. Louise- Off the bus then. Johnny- I didn't come on the bus either. Louise- So how did you get here then? Johnny- Well, basically, there was this little dot,right, and the dot went bang... and the bang expanded...energy formed into matter..Matter cooled, matter lived, the amoeba to fish, the fish to fowl...the fowl to froggy, the froggy to mammal, the mammal to monkey, the monkey to man. Amo, amas, amat. Quid pro quo. Memento mori. Ad infinitum. Sprinkle on a little bit of grated cheese and leave under the grill till doomsday. Louise - I see you haven't changed. Sophie- He's a fuckin' genius, this geezer. Louise- I take it you met my wicky-wacky friend Sophie. Johnny -Oh, no. Actually, we haven't been formally introduced. Have we, love? Sophie- No. Johnny - No, we've been sat here in embarrassing silence all afternoon. Louise- So, how are you? Johnny- Peachy creamy. Louise- Are you really? I'm very pleased. Johnny -So, how's, um...Work? Louise- It's all right. Johnny- "It's all right." Louise- It's all right. Johnny- Is it everything you hoped it would be? Louise- Yeah. Johnny- What did you hope it would be? I'm so... I'm sorry. Did you get that? It's everything she hoped it would be, but she doesn't fucking know what she hoped it would be.Oh, and by the way, thank you for this. I mean, are you taking a piss or what? "So, Johnny, my address is"...I'm touched. Louise-Why have you come? Johnny-Oh, can you tell from there? Louise- Do you want a cup of tea? Johnny- I'd love a cup of tea! You're fucking generous, you Cockneys, aren't ya? Louise-Sophie? Sophie- Oh, yeah. Ta. Johnny-How's your mum? Louise-Fine. How's yours? Still pulling pints? Johnny-She's dead. She's still a good fuck though.I mean,the rates are a bit extortionate...but I do get a discount what with being the son and everything. Sophie- Apparently, you shouldn't stick anything up your cunt that you can't put in your mouth. Johnny-Give us that mug. Sophie-Can I try your coat on, Johnny? Johnny- Yeah. Louise- So what you been up to? Have you seen anybody? Johnny-Have you seen anybody? Have you spoken to anybody from Manchester? Louise- Yeah, I phoned June a couple of times. Johnny-And was June interested in what you had to say? Fuckin' hell. I've seen more life in an open grave.Come on! Louise-What? Johnny-What! You don't seem very pleased to see me. Louise-I am pleased to see ya! Johnny-You too good for us? Now you've got yourself a posh job in the big "shitty." Me and her are on the fucking dole. Louise-Right. Johnny-You're a career girl. You happy with that? Louise-Yeah. Johnny-Are you sure? Louise-Yeah. Johnny-I'm delighted! Sophie-Do you want some of this, Johnny? Johnny-Fuckin' hell, love. What are you trying to do to me? Louise-Right. Well, I'm going up to my room. Do you want to see it, Johnny? Johnny-Is it worth the bother? Is there anything worth seeing? Louise-Why don't you come and find out? It's not very far.
The Remains of the Day (1993)
Director, James Ivory
Writers: Kazuo Ishiguro (novel), Ruth Prawer Jhabvala.
Starring: Anthony Hopkins, Emma Thompson.
Storyline: A butler who sacrificed body and soul to service in the years leading up to World War II realizes too late how misguided his loyalty was to his lordly employer.
Miss Kenton- Are you reading a racy book? Stevens- Do you think racy books are to be found in His Lordship's shelves? Miss Kenton- How would I know? What is it? Let me see it. Let me see your book. Stevens-Please leave me alone. Kenton- Why won't you show me your book? Stevens- This is my private time. You're invading it. Kenton-Is that so? I'm invading your private time,am I? What's in that book?Come on, let me see.Or are you protecting me?Is that what you're doing? Would I be shocked? Would it ruin my character?Let me see it.Oh, dear.It's not scandalous at all. It's just a sentimental old love story. Stevens- I read these books......any books......to develop my command and knowledge of the English language. I read to further my education, Miss Kenton. I really must ask you, please......not to disturb the few moments I have to myself.
The Browning Version(1951)
based on the play by Terence Rattigan.
Directed by Anthony Asquith, 1951. The role of Andrew Crocker-Harris played by Michael Redgrave.
On finding out that he is known as ‘the Himmler of the lower 5th’ , Crocker Harris (Sir Michael Redgrave) is shattered, but very little comes through his iron control. A beautiful piece of Controlled acting.
Clip length: 4:58.
Phrases and time-points in the clip.
0:38 – “The truth is, I suddenly got the most awful case of jitters this afternoon” – To be very nervous about something; a meeting, a big occasion, making a speech, going on stage. A case of bad nerves.
1:26 – ” I shudder to think” – I dread to think. I can’t imagine.
1:40 – “Dear me” – Oh dear….( said with regret…’ Dear me, I didn’t know things were so bad…’
1:54 – “I did not possess the knack of making myself liked, but..” – I did not have the skill…
2:28 – ” A single success can atone, and more than atone, for all the failures in the world..” One success can make up, or compensate, for all the failures…
3:22 – ” You can teach more things by laughter than by earnestness” – You can teach more by laughter than by being sincere.
The Browning Version, written by Terence Rattigan.
Directed by Anthony Asquith, 1951. The role of Andrew Crocker-Harris played by Michael Redgrave.
Scene – ‘The Gift’ – Duration – 5:38
From the 1951 version of The Browning Version. Sir Michael Redgrave as the outwardly austere and forbidding classics teacher, having endured a series of hurts and humiliations, receives a totally unexpected and heart-touching gift. In my opinion, one of the most moving scenes from any film.
Phrases and time-points in the clip
0:30 – ” I rather dashed out, this morning, I’m afraid” – I’m sorry, I left the house in a hurry this morning.
3.18 – ” I have been going through rather a strain lately” – I have been having a stressful time recently.