Mona Lisa

After seeing Hoskins in "The Long Good Friday", I was eager to catch another one of his highly celebrated performances. Filling in a similar role as an ex-con looking for work in 1980s London, I found his relationship with a call-girl to be highly effective in the character's exploration of a world he is simultaneously out of touch, but all too familiar with. It is a story that moves along leisurely, as he is soon employed by his employer's worker to find a vulnerable young girl on the streets, and it is here that the film offers a disparaging outlook on urban prostitution, through the annals of both high and low society. Hoskin's character becomes embroiled in an emotional investment beyond his control, and like any Noir protagonist, is very soon out of his league and receiving the short end of the stick.

The ending revelation is effective, but slightly underwhelming when one realizes that his journey was doomed from the beginning, but this kind of set up is to be expected from these sorts of tales. The character development and progression between lead actor and actress is simple, but highly effective.

The cinematography comes across as drab sometimes, but there are many beautiful moments in this film with some detailed choreography and impressive lighting of seedy, smoke filled interiors as Hoskins navigates the Londonian labyrinths.

The ending does feel slightly rushed, but there are so many great moments, and the film has a lot of untold backstory that gives its characters a lot of depth and very realistic insight into human longing. This is a great example of effective exposition that is relayed naturally and not a distraction or disservice to the film. A few choppy moments, but overall 'Mona Lisa' is more than the sum of its parts, and is an entertaining and atmospheric indie flick from Neil Jordan.

Mona Lisa is a classic 80s low budget thriller that combines raw power with an emotional storyline resulting in an acting masterclass from a virtually faultless cast. Bob Hoskins is mesmerising from the very opening seconds of the film, playing lonely naive chancer George. He has just been released from prison after 7 years for taking the rap for a crime committed by local gangland boss Denny Mortwell (Michael Caine). Caine soon gets George back on the payroll, as an exclusive chauffeur for high class call girl Simone (Cathy Tyson). But George helplessly falls for Simone and gets sucked into her secret agenda for trawling London's seedy underworld - mainly prostitution. The film is a masterpiece from director Neil Jordan - easily his best work to date and has never been bettered - and the cast benefit greatly from an impeccable script. Jordan's ear for dialogue is never more evident than here - especially in Geroge's conversations with his only true friend Thomas (Robbie Coltrane). Anyone who thought Hoskins couldn't better his performance in The Long Good Friday in 1979 should take a look at this. He is simply astonishing and your eyes never leave a single scene he is in. But no review would be complete without paying tribute equally to the unearthed gem that is Cathy Tyson. Bearing in mind she was barely 20 when this movie was shot, she is incredible opposite Hoskins and whilst she has had more of a TV career since, it is surprising (and perhaps a shame) that she has never had perhaps the vehicle or opportunity to scale such heights again. However, Kate Hardie is also deserving of special mention as a fellow hooker, and her great portrayal in this movie has shamefully been totally overlooked over the years. Caine's cameo appearance is also menacingly good, and he plays the seedy villain with chilling ease. Throw in the great location work around London's Soho and Brighton, and a great tune from Genesis, and you get a presentation every bit as high class as Tyson's Simone is meant to be.

George (Bob Hoskins) gets out of prison but his wife won't let him see his daughter. Thomas (Robbie Coltrane) is his friend from the old days. Times have changed. The only job he can get is to drive high-priced call girl Simone (Cathy Tyson) for local gangster Denny Mortwell (Michael Caine). George and Simone don't get along at first. Simone talks George into looking for young prostitute Cathy but he befriends abused May (Sammi Davis) instead. Meanwhile Denny wants George to find out what Simone is doing with one particular client.

Cathy Tyson is electric in her character. Bob Hoskins is great but his character is conveniently written dumb sometimes. At times, he's too naive like crashing in on one of Simone's tricks. I don't know what exactly he expects to see in that room. Sammi Davis is absolutely heart-breaking. The movie is a little uneven at times but the two leads are great.

Bob Hoskins' performance in Mona Lisa is usually highly praised and spoken in the same breath as his portrayal of hood boss Harold Shand in The Long Good Friday (1980). But apart from their shady dealings within the British criminal underworld, their characters couldn't be more different. Where Harold was an old-fashioned, respectable gangster who had excelled in his business now looking to go straight, Mona Lisa's George is a petty crook fresh out of a long stretch in prison. They are both fascinating, detailed portrayal's, but I feel George is the more complex performance, serving as a sad reminder of the fact that the world lost one of it's finest actors last year.

Thrust back into a world that seems to evolved without him, George manages to land a job driving call girls from client to client. His first customer is Simon (Cathy Tyson), a beautiful, upper-end call girl who clashes with George's bull-headed personality. She gives him money to buy some decent clothes, and he shows up in a Hawaiian shirt and leather jacket. With time, their differences become their bond, and Simone asks George to help her find her old friend, a young girl named Cathy (Kate Hardie), who is still in the hands of a sadistic pimp (played by The Wire's Clarke Peters). Meanwhile, George's old boss Denny Mortwell (Michael Caine) is suspicious of their activities and demands that George provide information on Simone.

The movie doesn't go over-the-top with its depiction of the capital's seedy underbelly, but is far more subtle in the way it plays on our expectations. We're all aware of the presence of prostitutes in practically every town in the country, but do we ever really consider what they spend their money on? How they are treated? Where do they sleep at night? We glimpse the true barbarism behind the red lights here, something that George finds difficult to deal with. However, the film is by no means grim, with an excellent script by director Neil Jordan and David Leland providing many amusing moments, particularly in the exchanges between George and his detective story-loving friend Thomas (Robbie Coltrane).

The performances are excellent all round. Hoskins is a rather lovable lunk, proving to be almost insistent at drawing unwanted attention to himself and Simone; at complete odds with this new world he stumbles across. He's the type of guy who asks for a cup of tea at a strip club. Tyson too (what happened to her?) projects real vulnerability under her mask of confidence and beauty. When the movie shifts from drama to thriller in the last third, Caine becomes a menacing presence with a unnerving lack of emotion. All the filth we witness is all just business to him. By the end, as what I initially thought was a character-driven relationship drama turned into something else entirely, the film had subverted my expectations so much that I had to just sit back and admire.

Bob Hoskins made two widely popular movies in the 1980s and this was one of them. Having seen the other, "The Long Good Friday," I wasn't expecting too much but was pleasantly surprised. Hoskins, just out of the slams, is hired to drive a high-end black hooker, Cathy Tyson, from one wealthy client to another. He grows to care for her and when she asks him for a favor, find a strung-out young girl named Kathy, a former roomie of hers, he agrees. He searches the seedier places of London until he finally digs her up. She very young and very hooked. Robbie Coltrane is Hoskins' friend, and Michael Caine is a sort of procurer. The ending is both distressing and violent -- distressing because some of these characters are fully fleshed and we feel we've come to know them.

The film is quite nicely done. The score makes much use of Nat "King" Cole's ballad, Mona Lisa, evoking mystery, and it's appropriate. The composer has worked what seem to be endless variations of the first four notes of the theme into the score. We hear it in the background often, in minor key, or played exclusively on double bass, or burnished by horns. Those four notes insinuate themselves into the incidental music so often that a listener loses the sense that they are the introduction to a pop song and they come to have an ominous functional autonomy, disembodied from the simple tune that prompted it. They become their own song.

The acting is fine. Bob Hoskins is an essentially moral guy, short and unprepossesing, who first shows up on screen wearing an echt-1970s bell-bottomed leisure suit (he's been in for seven years, remember) and carrying a bouqet of flowers that his wife, berserk with anger, tells him what to do with. His gradual attraction to his passenger is nicely laid out, as are the reasons for his occasional displays of violence. He's a sensitive guy, but not too thoughtful. A lot of things get by him. But, to be fair, they get by the viewer too.

There's an element of humor running through the film, mostly expressed in the relationship between Hoskins and Coltrane, who plays a writer and a sculptor of things made of plastic spaghetti. ("The Japanese have cornered the market.") The dialogue is pretty funny in a low-key way. Hoskins and Coltrane sit watching TV and Hoskins remarks something like, "Remember that guy who was murdered? Well, I did it." Coltrane: "You're not joking?" Hoskins (turning and staring grimly): "I -- never -- joke." Coltrane: "You used to tell that one about the randy gorilla." And here is Hoskins describing his passenger, telling Coltrane that she's not out to exploit him, Hoskins, because "she's a lady." Coltrane: "A lady? I thought you said she was a tart." Hoskins: "Well -- she is, but she's a f****** lady too."

And Cathy Tyson almost beggars description, tall, slender, lithe, not staggeringly beautiful or sexy, but her appeal extends far beyond mere appearance. She's gorgeous in the most personal way. She tends to keep her face down and her eyes lowered, almost demurely, and her voice is soft and low, just above a whisper, although you never have to strain to hear what she's saying because her pronunciation is modulated and precise. It's soothing, in control and at the same time reassuring, the voice of an announcer on a late-night FM station playing nothing but classical music. You could listen to her for hours. You could look at her for hours too, for that matter. Michael Caine doesn't have a big or showy part, but he's so reliable that he's always a pleasure to see on screen. I can't think of a single film that has been damaged by his presence, although he's been in a few bummers.

The photography is perceptive. We get a good deal of local color not only from the London locations but from "the seaside," where everything comes to a head. There isn't a lot of violence. What there is of it is quick and pointed.

See it if you get the chance.