Der Meisterdieb von Dublin

John Boorman's 'The General' was always going to be a controversial movie and a tough sell for its filmmakers.

It's anti-hero, Martin Cahill was Ireland's most infamous criminal of recent times - so much so that there has been four screen depictions of him (Ken Stott in The Vicious Circle, Kevin Spacey in Ordinary Decent Criminal, Pete Postlethwaite in When The Sky Falls and Brendan Gleeson in The General).

He was guilty of some of the country's most outrageous crimes and capable of real brutality - most notably, injuring a forensic scientist in a car bomb and literally nailing one of his gang members to the floor.

Add into the mix the fact that the film has a largely Irish cast deploying thick Dublin accents and that Boorman chose to shoot it in black and white and you have a movie which wasn't exactly going to jump out at international and especially, US audiences demanding to be loved.

The result is perhaps Boorman's finest work, certainly on a par with the wonderful 'Hope and Glory'.

The film is also by a furlong the best of the four movies depicting Cahill's life.

This is in large part due to the brilliant performance of Irish actor, Brendan Gleeson in the central role.

The Irish Depardieu not only physically transforms himself into Cahill but captures the rebellious spirit, the intelligence and the charm.

It would have been easy to depict Cahill as a monster.

However, Gleeson and Boorman treat their audience with respect, building up a character with shades of darkness and light.

On one hand, viewers are given an appreciation of how "The General" was able to command the love of two sisters, his children and the adulation of his criminal associates.

However, Boorman's film is certainly no love letter to Cahill. We also see his sadistic side as in the bombing of the forensic scientist's car and crucifixion of one of his gang members, his lack of consideration and compassion for the 100 workers laid off at a storeroom he has robbed, his cold bargaining with the sexually abused daughter of one of his gang members.

The supporting cast also put in fine performances too.

Jon Voight not only masters the rural Irish brogue of the Garda (police) inspector bedevilled by Cahill but also the attitudes. It is a tough but ultimately sympathetic performance of a cop dragged unwillingly into the gutter.

Maria Doyle Kennedy and Angeline Ball give charming performances as the sisters who were also the women in Cahill's rather unorthodox life, with Ciaran Fitzgerald also making a sympathetic son.

Adrian Dunbar, Sean McGinley and Eanna MacLiam all put in spirited performances as members of Cahill's gang. McGinley, in particular, creates another memorably seedy performance as Gary.

Special mention should also go to Pat Laffan as a brutish Garda sergeant.

With it's cracking script, Richie Buckley's musical score and the black and white camerawork, 'The General' is easily up there with the best of modern movies made in Ireland (certainly, up there with Neil Jordan's 'The Butcher Boy' and Alan Parker's 'The Commitments').

It is a must see - a film which demands cult status.

This is Boorman's finest film for many years and is dominated by a memorable performance by Brendan Gleeson who has created a character who combines joviality, clownishness and warmth with moral ambiguity and a capacity for great violence. Voight supports well (although there will always be something mannered about his performances) and produces a pretty solid Irish accent. All other supporting players are excellent. Boorman directs well and delivers a very balanced portrayal of what was obviously a very complicated man capable of great charm and love as well also acts of real darkness.

Martin Cahill is an Irish thief but is generally a well mannered man with a good sense of humour. His actions draw the attention of the police, although he always manages to stay one step ahead of them. However his life is one of crime and violence and a major art robbery brings him to be the focus of a police investigation and brings the IRA demanding a cut. When a deal is made with the UVF Cahill's position becomes increasingly untenable.

Films about the troubles (or around the troubles) in Northern Ireland usually tend to put me off because they often wear their colours very large on their sleeves and seem more interesting in scoring political points than telling a good story. However this happily manages to avoid that and tells a Robin Hood style tale that is fairly well told.

Cahill is a little romanticised in that he has a great sense of humour and is very likeable, but the film doesn't hold back from showing the violence of the life with Cahill having to do nasty stuff as well. For me it worked so well because of the gentle comedy that ran through the story, but it still held plenty of drama and the characters (especially Cahill) held my attention easily.

Gleeson gives a great performance. He has got Cahill's little habits down really well – the covering of the face at every opportunity etc. Dunbar is good as are most of the support cast. Voight is an interesting bit of casting that is only used occasionally. However it is really Gleeson's show and his good humour carries the film easily.

Overall this film is very entertaining with a dark edge to it. The story is very enjoyable itself but with the dark humour provided by Gleeson it is even better.

In a small way, I'm almost glad that all films aren't as good as "The General". It's dripping with one of those intangible elements that seems to escape other films. Sheer quality craftsmanship and excellent storytelling.

There's a very rich quality to this film. What we see on screen merely scrapes the surface of a full history that is eluded to but not entirely exposed explicitly, which is what I think works best to keep interests up. Just brilliant film work in every regard makes this story come to life. Crime, ethics, political standpoints and complex relationships.

Martin Cahill, the film's central character, is the anti-hero thief, something of a modern day Robin Hood but much more visceral. I understand that John Boorman was allegedly one of Cahill's break-in victims. From what we see in the film, he remains constant to his own beliefs and principles, even if that means breaking the law at every turn. His schemes and plots to outwit the cops are so simple and effective you can't help but like him. He's very clever despite a lack of education, and he doesn't shift to the world around him as much as it shifts for him. His biggest weakness appears to be cream filled pastries. Even if he's been beaten, he won't allow his adversaries the pleasure of seeing him suffer in any way.

I don't know how faithful the film is to the truth, history or the spirit of Cahill's actions. But one thing I do know is that the superb craftsmanship of this film should propel it on to everyone's must see list, but that's not too likely to be. At least for North American audiences this film has many things going against it. It's in black and white. The Irish accents are thick and difficult to understand at times. It doesn't seem to have the sort of advertising campaign that it deserves. And worst of all, it appears to have unanimous critical acclaim. Often great films aren't hits, they don't strike a chord with the masses, but in my book, that's fine. You can only tell the quality of a great film in comparison to one that's inferior. Personal taste aside, this film is simply done extremely well.

In terms of acting, direction and entertainment value, the general certainly delivers. Its is well paced, humorous and the performances of all the main actors, in particular Brendan Gleeson and Jon Voight, are excellent. I'm not sure why the film is shot in black and white, I don't think this adds particularly to the film.

My one reservation about the film is the portrayal of the main character, Martin Cahill, whom I think is overly glamorised. I remember before Cahills death his exploits as I saw them in the newspapers and television, and from the many stories which circulated around Dublin at that time of his criminal activity. This was no latter day Robin Hood. He was an unusually successful thief, no doubt, but with none of the charitable spirit. He was also extremely cruel, at one time breaking into the home of a social welfare officer and torturing him for hours simply because he had refused Cahill welfare payments.

I would recommend people to see this film, but at all times remember that the man it portrays was no one to be admired, but an example of the most vile thugs that Ireland has had the shame to produce in recent years. But then they say, "The devil has the best tales".