Der Meisterdieb von Dublin

If you're watching one of the Classic Warner Brothers Gangster movies on tv and someone asserts that "They don't make 'em like that anymore", here's a movie to prove them wrong. As real-life Dublin gangster Martin Cahill Irish actor Brendan Gleeson provides a criminal hero to compare with those played by Edward G. Robinson and Jimmy Cagney. Brutal and Compassionate by turns, Gleeson's Cahill eschews links to anything outside himself and his home and circle of acquaintances. Hating the state, he turns Ireland's liberal justice system upon itself; hating the media, he blocks his face from TV cameras. Ultimately, it's this status as an existential outsider that brigs about his tragic downfall, but along the way there are moments of incredible comedy as the Gardai, or Irish Police are made to look like bumbling Keysone cops. The monochrome cinematograhy gives an excellent verite effect and the supporting cast with Jon Voight and a host of Irish stalwarts, are superb.

This is a great film, but I should warn people who are watching this on DVD that some versions ship with a black and white on one side and a colour version on the other.

Do not watch the colour version! For some reason this version has different dialogue (and possibly editing) particularly with regards to swearing - freaking replaces f**king etc. I don't know why this is so but maybe the movie was watered down to get some lesser rating. Whatever the reason, watch the black and white version and see the movie as it was meant to be seen.

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.

Boorman if nothing else is a good story teller. As a director, his greatest triumph came early in his career with Deliverance. Yet as a writer, he has brought us quality films such as Excalibur, and Hope & Glory. His adaptation of the Paul Williams novel is straight forward and without frills. Martin Cahill had many aspects to his life that could have easily become the fodder for an over zealous director. Rather than seeking to build a "background" story out of his love triangle, Boorman handles it with style and two scenes. The movie is meant to tell you about the rise and fall of Martin Cahill with a watchful eye to the social and political forces in Ireland. Boorman does just that. The scenes are well thought out and the acting solid. While this movie never hit the critical radar in America, it was praised both in Britain and at Cannes. When your in the mood for a story of a gangster who became a populist hero, take a look at this film. But if you want swift action scenes and graphic violence, it may be time for another viewing of Bonnie and Clyde.