Il giorno del venerdì santo

Very much in the tradition of the American gangster films of the 30s and 40s, this movie centres around a bravura performance by the central gangster (Edward G Robinson/James Cagney then; Bob Hoskins now). Bob Hoskins raves and fights against a world that is rapidly moving beyond his control and, although he is an unpleasant, violent and vicious character, you end up caring for him.

Interesting also as a historical snapshot of a period in London's history (the redevelopment of the Docklands) now gone.

Aces all around. Hoskins is a barrel-chested dynamo and effective successor to Cagney and Robinson. But where 30's gangsters wanted to take over the town, their 80's counterpart wants to go international like any other "corporation". Trouble is that going international requires as much political savvy as it does financial— something Harold (Hoskins) just doesn't understand.

That wordlessly disjointed opening sequence is somewhat off-putting. Yet, thanks to a masterfully constructed screenplay. the threads connect up in the end. Still, I was really blind-sided by the narrative's link to the puzzle as to who is sabotaging Harold's big plans and, just as importantly, why. At the same time, I also like the way the lovely Victoria (Mirren) is turned into more than just a silken mistress. She's really the power behind Harold's throne, as the sudden slapping sequence shows.

There are so many memorable scenes, starting with the slaughter-house. It's like nothing I've seen; at the same time, I hope the topsy-turvy actors got paid double. And what about that fancy power dinner that Victoria sweats to finesse. It's a subtle masterpiece of suppressed emotion that keeps threatening to disrupt the big plans. Then too, you can't help wondering what the little Napoleon is thinking during those wordless final minutes of run time. That too is like nothing I've seen and was someone's special inspiration. Iin my little book, the movie's staging, writing and acting are darn near flawless. And just as importantly, are never predictable.

And here I thought great gangster films were America's exclusive preserve. But Hoskins and the movie belong up there with the best of our own. I guess I have to re-calibrate.

I am often a bit wary of British Gangster films I have to admit. Whilst I genuinely think people in this country often undervalue the wealth of film directing and acting talent we have produced I do often feel that in recent years "gritty" British films have almost hit self parody and are full of mockney clichés. However over the years there have been some truly brilliant British gangster films (this, get carter and sexy beast are my favourites) and as much as I worship Scorsese etc it is sometimes refreshing to watch something closer to home. This film is one of the best portrayals I have ever seen of a mans world falling apart around him. Bob Hoskins plays an old school East End Villain at the point where his long built up empire is collapsing and his stubborn refusal to accept this leads to ever more desperate and violent attempts to stem the inevitable which perfectly portrayed making this a must see for anybody who is a fan of gritty, powerful and sometimes violent gangster films.

This is the quintessential British gangster film, without a doubt. Bob Hoskins plays Harold Shand, a ruthless gangland boss whose empire suddenly starts crumbling before his eyes, over one Easter weekend. Shand goes to extraordinary lengths to find out just who's behind the slaughter, and why. Standout performances from all involved, especially Hoskins as Shand.

What makes the film so special is that it's played straight – not for laughs; there are no ‘mockney' accents or wide-boy routines here, just the serious business of bloody revenge.

Utterly compelling, I cannot really praise this enough; if you want to see a truly great British gangster film, watch this. Forgot Lock, Stock and the other pretenders, this is still very much the one to watch.

There are so many things to appreciate in this movie. First and foremost, Bob Hoskins and Helen Mirren give outstanding performances as the First Couple of London's underworld. He, with the Cockney-made-good aspirations for status and the "class" he can never attain, epitomizes the hands-on manager overtaken by larger events. She, the cool-headed savvy- tough-and-sexy moll, is almost on top of things enough to redeem the situation but not quite. The key elements of the underworld ruling coalition-- dirty councilor and policeman, lieutenants of varying backgrounds both tough and educated-- make you believe in how this man has achieved peace through strength.

The film's plot is Byzantine whodunit, with gangland-style violence as an accent piece that seems downright tame in the age of "Pulp Fiction". The real hidden star, though, is late-70's London-- oh so run-down and yet full of the potential that drives Harold's ambitions. The views from boating on the Thames are unrecognizable to those who have only seen modern London--- the sole landmarks in common are Tower Bridge and the Savoy hotel. The towers of the City and modern Docklands are just a twinkle in dreamers' eyes.

Overall TLGF is a modern tragedy in the true land-of-Shakespeare tradition, somewhere between Macbeth and Hamlet and King Lear: ambition, betrayal, and the sweep of history interact richly without being heavy-handed in symbolism or over-artiness. This is a satisfying and complex film that invites re-viewing and reflection.