The Long Good Friday (1980)
Director: Jonathan Mackenzie
Starring: Bob Hoskins, Helen Mirren, Paul Freeman, Derek Thomson
Primary genre: Gangster
Jonathan Mackenzie’s “The Long Good Friday” is considered an ode to glorious British gangster flicks that are more gritty and character driven than their across-the-pond American counterparts which bear a more enthusiastic sense for violent panache. Taking its title literally and following a novelistic format, the plot unfolds during Good Friday in London although no one could tell due to the constant grieving skies. Hoskins’ Harold Shand wants to go straight way before Michael Corleone desired to dip his toes in clean money pits. With his ultimate deal approaching, all chaos ensues when someone declares war on his “corporation” baffling him and the viewers.
“No one’s heard nothing? That just ain’t natural. It’s like one of them silent, deadly farts. No clue, and then pow, you go cross-eyed.”
This magnificent piece of British cinema holds up remarkably well after all these years primarily to its arresting plot. We know Harold is capable of violence but his newly founded appreciation for life is quite infectious; whether he tries to wow his new Mafia partners or be a supportive partner and a good boss, there is enough evidence for us to experience an unseen side of an anti-hero leaning away from misogynistic and sadistic gangster tropes. He commands respect because his mind, manners and ideals have earned it and a solid dose of fear of course it works in his favor too. Feeling responsible for everyone under his temper and financial empire, Harold never forgets his own sense of humor, generating instantly memorable quotes in the blink of an eye despite circumstances not calling for them.
Hoskins portrays him charismatically enough to masquerade all his suppressive ugliness that was necessary to conquer London and make him a terrifying beast. His cunning yet humane attitude does not betray his or our intelligence, however, having him walking through a labyrinth of potential betrayals, corrupted cops and politicians, enemy gangs and backstabbing plots. The rest of the cast is superb - look out for a super young Pierce Brosnan! - with the class that only Helen Mirren can bring to dignified roles. While Hollywood was embracing the helpless stereotypes of trophy wives and hysterical females at the sight of violence, Mirren is a presence herself in this incoming carnage, an equal to Harold’s ambition and persistence to see things through.
Its tight plot never loses sight of who is what and despite limiting itself within the late 70s sensibilities in terms of direction (Gen Z might be left clueless in the first twenty minutes as visual storytelling is doing most of the work), it remains a thrilling entry in a genre that, like Westerns is mostly self replicating itself either by glorifying these types of outlaw villains or by condemning them to one note caricatures fond of leather coats, slick cars and pretentious art styles. “The Long Good Friday” is the right framing device for the unfolding events and Mackenzie further accentuates the outcomes under sudden and effective bursts of violence. No wonder this film has been referenced by several others in the years to come. It’s the Rolls-Royce of British gangster movies.
The Rolls-Royce of British gangster cinema
+Hoskins has a commanding presence
+Mirren’s dignified role and acting
+Engaging plot
+Effective violence sequences
+Gritty
+Lack of lifestyle glorification
-Late 70s frame panning direction betrays its era