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This chapter illustrates that with the film Topsy-Turvy. Mike Leigh emerged from the closet, firmly declaring his long-standing delight in the comic operas of librettist William Schwenck Gilbert and composer Arthur Sullivan. The emergence was a spectacular one given both the film's unusually lavish production values and the highly positive reaction to it. In America Topsy-Turvy was named the Year's Best Picture by both the New York Film Critics Circle and the National Society of Film Critics. It also marked a breakthrough for Leigh in that it was the first film he made that had no television money in it at all, in any shape or form. This film had been Leigh's most purely pleasurable film since Life Is Sweet, it is a scrupulous, vibrant celebration of the theatre, of theatre folk in general, and of these two men of the theatre and their associates in particular.
This chapter illustrates how Mike Leigh returned to more recognisable territory for his film, All or Nothing. The opening shot of All or Nothing almost looked like a parody of his style and mood—except that no parody could so succinctly convey the humanity and sense of mortality that pervade both, the opening, and the film as a whole. The film proved to be Leigh's most resonant assertion yet that human emotions and experiences are too intricate to be expressed through traditionally constructed dialogue and narratives; that real lives are too messy, too complicated to be squeezed into conventional dramatic parameters. This chapter also draws attention to the fact that the film made this emphatic assertion precisely by means of a meticulously constructed narrative, involving characters who so clearly reflect the tragedies and triumphs of everyday life, testified to a writer and director at something like the height of his powers.
This chapter illustrates Mike Leigh's feature film Vera Drake, which was his second cinematic venture into period drama, and was set within living memory for a substantial proportion of a 2004 audience; and dealing with a subject about which it is virtually impossible to remain neutral. The film deals with the subject of the clash between an abortionist's views and the mores of 1950s Britain. This chapter exclaims that anyone who saw the television presentation of that year's BAFTAs would remember Leigh's genuine, open-mouthed astonishment when his name was announced. It was an endearing moment, as well as a heartening one. BAFTA named Leigh as the year's best director for this film. So with great critical acclaim, good distribution and audience reaction, and awards at home and abroad, Vera Drake could fairly be described not only as a major work, dealing humanely and powerfully with a difficult and highly inflammatory issue, but also as a breakthrough with which Leigh shows every sign of entering a glorious late period of artistry and power.
This chapter summarises Mike Leigh's achievements. The success of Mike Leigh's film, Vera Drake was followed up by Leigh's triumphant return to the theatre, a medium in which he had not worked since 1993's It's a Great Big Shame! Through his unique methods, he has led his various collaborators in creating a body of work that is utterly distinctive and impressive by any standards. Leigh's many fans cherish his matchless ability to perceive life's funny side at one and at the same time its tragedies. This chapter emphasizes and treats his character as human beings, and therefore as both flawed and admirable. This chapter also draws attention to the fact that, while pursuing his own career uncompromisingly, Leigh has helped the progress of a number of others. Lastly this chapter illustrates that Mike created films that can stand comparison with some of the great cinematic works.