6.3/10
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12 user 1 critic

Miss Monday (1998)

A writer suffering a block decides to watch a young woman as a role model for his novel, but finds more than he bargained for.

Director:

Benson Lee
Reviews
2 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
James Hicks ... Roman
Andrea Hart Andrea Hart ... Gloria
Alex Giannini Alex Giannini ... Steven
Nick Moran ... Jeremy
John Woolvett John Woolvett ... Mr. Plummer
Julie Alannagh-Brighten ... Marianne from Nightmare / Young Corporate Woman (as Julie-Alanah Brighten)
Louise Barrett Louise Barrett ... Debbie
Sebastian Thompson Sebastian Thompson ... Gloria's Boyfriend / Richard / City Man #2 (as Sebastian Thomson)
Pamela Hall Pamela Hall ... Gloria's Mother
Dixie George Dixie George ... Gloria as a child (as Dixie Crouch)
Josie Crouch Josie Crouch ... Gloria as a child
Eric Edwards ... Taxi Driver #1
Alan Goldsmith Alan Goldsmith ... Taxi Driver #2
Benson Lee ... Mr. Sukiyaki
Loma Ann Bonner Loma Ann Bonner ... City Woman #1
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Storyline

Trapped, frustrated and isolated, for one disturbing, slow night these two main characters find that they have more in common than they think. Forced to rummage for research in London's City district for his new screenplay, here, we find human anguish mixed with quiet disbelief. This, a sobering experience of a subject with mixed emotions of her childhood past and future prospects spilling over the precipice of sanity. Haunted by her own personal bogeyman and hidden demons, as the screenwriter is forced to hide in the bedroom cupboard and slowly watch the unraveling of a woman lost, tormented and pained. Written by Cinema_Fan

Plot Summary | Add Synopsis

Taglines:

a screenwriter is watching his main character come to life.

Genres:

Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for language and an intense depiction of emotional disorder | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA | UK

Language:

English

Release Date:

13 August 1999 (Italy) See more »

Also Known As:

Gynaika me ta ola tis See more »

Filming Locations:

London, England, UK

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Box Office

Cumulative Worldwide Gross:

$5,504
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Stereo | Dolby Digital
See full technical specs »
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Did You Know?

Quotes

Roman: [Said after bumping into each other on street corner] Excuse me.
Gloria: Can you watch where you're going?
Roman: Can I watch where I'm going? Oh yeah, that is just so typical of your type.
Gloria: My type? Some fucking gentleman you are.
Roman: Well maybe if you behaved like a lady, you'd get treated like one.
Gloria: [shouts] What! Who the fuck do you think you're talking to? Who the fuck do you think you are? Why don't you just piss off you tosser.
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Connections

References Midnight Cowboy (1969) See more »

Soundtracks

Winter
Composed by Antonio Vivaldi
Performed by Helen Heran Kim
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User Reviews

 
Writers block that leads to blocked writer: Scary stuff indeed.
10 May 2007 | by Cinema_FanSee all my reviews

Up and coming writer Roman (James Hicks) is struggling to come up with the goods for his serious social drama based upon the high flying independent career woman. In London's Financial District, known as The City, he can find his answers, in search for his real life Marianne for his screenplay "Miss Monday", he goes undercover, and with borrowed suit and briefcase, he takes on the role of a City employee, scouting, listening and investigating for that all-important breakthrough.

What he finds is something more incomprehensible, more bizarre and intriguing. While gaining access to Miss Mondays, aka Gloria, home, researching then takes on a completely new perspective, caught in the middle of his meddling for background information, unexpectedly, she returns home early, Roman is trapped. He hides. He observes. He learns.

This is where Miss Mondays second act starts to take a different role from lighthearted humour to dark sided concern, a woman with potential, with ambition and vision. That is what we are led to believe from this busy modern independent woman, from the external persona she gives us. There is more afoot here than Roman could have possibly imagined, a woman, a frustrated woman, a martyred woman, a cheated woman and an overlooked woman in both her career and life, this is the real world that Roman's Miss Monday exists, an unhappy woman.

Haunted by her own personal Bogeyman, and hidden demons, Gloria and her private and personal secrets, unbeknown to her, are slowly unravelled before our eyes. Her angst and desperation of coming to terms with her childhood, her career, her age and her life is beautifully dealt with, with great pains, this woman is more than a little perplexed and lost, like the ghosts of her past, they have come back to haunt her.

Done with tenderness and soft pummelling that gives us a view of human torment and how when one stumbles across it can inevitably change our outlook on how we should see others and not judge them so quickly. Roman has learnt this valuable lesson well, too well. Can he ever look anyone in the eye again and say he knows them proper? Has this shocking experience opened his eyes and given him vision that goes beyond ignorance and prejudice?

The style of movie making here, as with writing and production, is done Toronto born Benson Lee no harm whatsoever, winner of the Special Jury Prize of the 1998 Sundance Film Festival for the acting abilities for Andrea Hart and nominated by the Grand Jury Prize for Benson Lee too. St. Louis International Film Festival during 1998 gave this imaginative director the Emerging Filmmaker Award and too nominated by the Independent Spirit Awards for Andrea Hart's Best Debut Performance. With interesting editing by Tula Goenka, Emily Gumpel and Robert Tate and with the use of its music, both classical and original, Miss Monday is as highly independent in its concept as it is in its delivery of this personal and tragic saga.

Poor Roman may have writers block but Miss Monday is a highly imaginative and entertaining made movie, it really is a shame that it has not, as it should rightfully be, more appreciated to a wider audience, both for its originality and for its understanding of the complex and fragile human psyche.


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