Mona Lisa

"Mona Lisa" is a moving and memorable combination of the British crime film and the character study, produced by George Harrison's company Handmade Films, and serves as a showcase for some very impressive performances. Top billed Bob Hoskins, in particular, in his Best Actor Academy Award nominated performance, is the person we follow through a convincing depiction of the seamy underbelly of London, a land populated by pimps, prostitutes, and mobsters such as the nasty Mortwell, played by Michael Caine. Hoskins's George is a low level mob member getting out of prison after spending seven years there, emerging into a world unfamiliar to him. He's given the initially thankless task of acting as chauffeur for high class prostitute Simone, played by the lovely and amazing Cathy Tyson. But before very long, they start warming up to each other, and the balance of the movie charts their evolving relationship. Ultimately George decides to do Cathy a favour by finding a long lost acquaintance of hers, but this leads to less than ideal circumstances for all involved. Director Neil Jordan, who co-wrote the screenplay with David Leland, has created a compelling if deliberately paced drama that's much more character driven than action oriented, although there are some brief bursts of violence here and there. The film also has quite the sense of humour at times, much of it coming from the engaging Robbie Coltrane as George's good friend Thomas. Thomas likes to create art using plastic spaghetti (!), and there is a nice light touch brought to all scenes with Hoskins and Coltrane, which prevents this story from ever being too much of a downer, although for the most part "Mona Lisa" is grim and gritty stuff, with fairy tale and film noir elements emphasized. By the end, George realizes how much he's been manipulated by his femme fatale Simone. Jordan completely pulls us into this vivid environment, and gets nice supporting performances from Kate Hardie as Cathy, Zoe Nathenson as Jeannie, and Sammi Davis as May, as well as a sufficiently slimy portrayal by Clarke Peters ('The Wire') as vicious pimp Anderson. (Trivia note: look for Kenny Baker, always to be best known as R2-D2 in the "Star Wars" franchise, as a boardwalk busker.) Fine music by Michael Kamen is a plus, as well as soundtrack selections including Nat King Cole's performances of "When I Fall in Love" and the title tune. Worth seeing for fans of the crime film and of the cast & crew, "Mona Lisa" is potent entertainment. Eight out of 10.

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.

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.

"Mona Lisa" is one of those weird Neil Jordan dramedies which resound with more ferocity upon afterthought than while actually watching it. Like "The Crying Game", I was left with no immediate impression of the movie, but days after watching it, I became haunted by the film's ingratiating reality. You can tell you're watching a good movie when you can describe it as "atmospheric" without the film trying overtly to reach for that effect.

Bob Hoskins stars as George, and as we first see him, he is lulling along a dismal London apartment neighborhood with a plastic bag and a fistful of flowers. As he reaches his destination, the audience soon realizes what a heartbroken journey this man's life has been. Indeed his good intentions at seeing his wife and daughter are mired by the wife's stubborn, yet understandable reaction of slamming the door in her ex-convict husband's face.

Soon George is hired by the callous gangster Mortwell (Michael Caine) as a chauffeur for the high-class call girl Simone (Cathy Tyson). He is at first repelled by the "tall black tart", as she remarks about his slovenly appearance. In a subplot structured like a revisionist feminine "Pygmalion", George is made over by the prostitute into the appearance of a "gentleman", a contempestuous appearance which only magnifies his good-hearted nature in comparison with the cold-blooded Mortwell.

Soon, however, George and Simone strike a bond seemingly based on a mutual affection for the souls lurking beneath each facade. Simone details to George an old blonde friend named Cathy still working the streets and implores him to rescue her. Jordan builds upon the elements of "Taxi Driver" here and even pays homage to that film in one scene depicting the front end of George's automobile backlit by a seedy district filled with peep shows and pedophiles.

Of course George is starting to fall for his elegant charge, but his feelings are more of a fatherly nature than anything. Simone seems to feed off this affection, as she states that she does no more than drink tea at the behest of her clients and even provides snapshots of her doing so. This is why it comes as even more of a shock to George when he accidentally discovers a porn video featuring Simone at the provocation of things which her innocent demeanor had previously rendered him incapable of imagining.

Much of "Mona Lisa" is built around human desperation, and indeed one can sense that George, like Travis Bickle or Jimmy Stewart in "Vertigo", is attempting to erroneously place the puzzled-together image of the perfect woman into the jagged emotional contours of his love interest. Of course the title implies this, and Jordan reinforces this symbolization with not only the Da Vinci painting and the Nat "King" Cole ballad, but with the incandescent statues of the Virgin Mary which his friend (Robbie Coltrane) collects. This is unarguably Hoskins' best performance, in a career entirely overlooked by even the most driven of film fanatics. After roles in "The Long Good Friday", "Pink Floyd: The Wall", this, "Who Framed Roger Rabbit", and the upcoming "Felicia's Journey", one can deduce the sheer emotional vicissitude which compelled him to aim for, let alone attain, the raw power that comprises his characters.