The General

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.

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.

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.

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.