Pior dos Pecados

As a Brighton resident, I had to see this, but also probably spent more time looking at the locations (and more critically) than a normal viewer. On the plus side, there is excellent cinematography, and the film creates an atmospheric mid 60's version of Brighton that might be convincing to anyone too young to remember that time, but which contained too many jarring anachronisms for me. For example Rose lives in a tower block, which could have existed in 1964, and would have still been soulless and depressing, but would also have been practically brand spanking new, not run down and shabby with 20 years of neglect. This highlights another failing of the film, the clichéd exaggerated unrelenting squalor that all the criminals live in, which again is untrue to the period, twitching net curtains and keeping up (often threadbare) appearances was how things worked then, in working class neighbourhoods especially. You could create an oppressive atmosphere from these real elements (and the culture clash of the pre and post war worlds) perhaps more easily than from this invented total squalor.

So if the world the film creates is a Hollywood version of 1960's Brighton, do the characters engage you? Well I loved Helen Mirren and John Hurt, they brought a touch of class whenever they appeared, and Phil Davis is another very fine actor who is always watchable. Sadly the two main characters don't quite pull it off, and if I have to lay the blame it is chiefly with Sam Riley's Pinkie. If he could have alternated his cold unsmiling thuggishness with some charm, shown Rose a little tenderness some vulnerability even, that would have made her falling for him, and her naive notion that she could save him more convincing, and maybe made his cruelty and occasional physical violence toward her more shocking. Andrea Riseborough as Rose gives a fair performance, given that she does not have much to work with.

I'm sorry if this review makes the film sound worse than it is, because truth be told despite its failings it is consistently watchable, and still managed to engage me. An interesting failure.

Sometimes it's a character you liked that attracts, like the role Philip Davis played in Midsomer Murders. Other times it's to see a great star like Helen Mirren.

Whatever the reason, it's always good to see a film based on a Graham Greene novel, like The Third Man, This Gun for Hire, The Quiet American, and many more.

A young Richard Attenborough played in this movie in the 40's, here is falls to Sam Riley (Control, Maleficent) to play the lead. He is capably assisted by Andrea Riseborough (Oblivion, Shadow Dancer), as the waitress he marries to keep her from testifying as a witness.

A good neo-noir with contributions from William Hurt and Nonso Anozie (The Grey, Game of Thrones).

The main character of this movie is Pinkie Brown, a small-time thug in Brighton, England, in the 1960s. Pinkie's true evil nature comes out when he tries to take over a small gang of criminals after their leader had been killed by a rival gang. As played here, Pinkie is in his 20s and, as brash and amoral as he is, he and his mediocre cohorts are no match for the rival gang that basically runs underground crime in Brighton.

The action is sordid and ugly, but the glossy color photography works at cross purposes to conveying that mood. Much of the photography is more appropriate for an art film than for this down-and-dirty fare, making me think that maybe black and white would have been a more appropriate choice. As Pinkie, I found Sam Riley just a little too handsome for the part--he does not exude the menace and harsh personality that is Pinkie's nature.

I found the initial setup scenes rapid-paced and confusing, requiring close attention; if you don't follow what has happened early on, you will be at a loss to fully understand what happens later. An additional complication to my following the opening scenes was the fact that I am not a Brit and didn't always follow the cadences and clipped manner of speaking. I confess to starting the movie over after about fifteen minutes, with English subtitles turned on. That was a great help.

The score that often seems to aspire to the transcendent seems greatly out of place.

I wish I had seen this movie before having read the book, since having some of the images in mind would have been good. Never having been to Brighton, my mental picture of it would have been greatly enhanced by what is well captured here. While the movie strips from the book much of the depth of the themes of sexuality, morality, loyalty, and sin, there are things in the movie that I found improved upon the book. I liked Helen Mirren's portrayal of Ida as a more centered person than the blithe Ida of the book, and John Hurt fleshed out Ida's friend Phil better than what I got from the book. And there are a lot of little things. For example, I pictured the candy, Brighton rock, as being something like a candy cane rather than the weighty rod seen in the movie. I regret that Pinkie's lawyer Prewitt was deleted--he was a truly Dickensian character in the book. And why the great ending in the book was changed is beyond me.

Hearing the news that John Boulting's classic 1946 adaptation of Graham Greene's novel Brighton Rock was to be remade filled with me trepidation. The current spate of mostly inferior remakes are one thing but meddling with the perfection of this archetypical gangster film is another. How can any updated version possibly replace the indelible image of the 23 year old Richard Attenborough as the flick knife wielding baby faced assassin Pinkie Brown? As filming began and rumours of a 1960s Mods and Rockers setting emerged I began to have serious doubts if this remake was really going to be a good idea! Thankfully fears that Rowan Joffe's Brighton Rock is a sanitised version of the story are quickly allayed. The relocation of Brighton Rock to the 1960s does not mean that we are entering into the trendy youth culture of the era or being taken on an adolescent search for identity. The sharp-suited posers and greasy leather clad Rockers are merely a backdrop to a much darker reality as we are taken into a terrifying world of crime, guilt and inner-torment.

Brighton Rock is concerned with the concepts of good versus evil, sin and redemption they were present in Greene's novel, the 1946 adaptation and once again are central in Rowan Joffe's remake. However, additional scenes and alterations to the 2010 update mean that Pinkie's progressively violent behaviour is almost justified. In the exhilarating opening sequence Pinkie witnesses the brutal murder of the gang's original leader Kite when Fred Hale slashes his throat. When Pinkie sees one of the few role models in his life burbling and drowning in his own blood revenge it seems is not only on the cards but unavoidable. This kind of black and white, eye for an eye, morality detracts from the original story where Pinkie Brown's vicious streak appeared to be innate and a product of original sin. The character of Ida Arnold (Dame Helen Mirren) also has undergone a significant adjustment. In opposition to the Catholicism of Pinkie and Rose the pleasure seeking Ida was concerned only with the here and now. Mirren's portrayal plays these aspects down resulting in a more serious role and a lessening of the story's theological study.

As with Attenborough before him Sam Riley's Pinkie is intense, dangerous and teeters on the edge of sanity. If anything in Joffe's adaptation Pinkie Brown undergoes a broader transformation than before as greater emphasis being placed upon his journey from a nervous lackey to maniacal gang leader. Unfortunately the 30 year old Riley he does not resemble a juvenile delinquent. Therefore the shy adolescent awkwardness that Pinkie displays towards adulthood and in particular his relationship with Rose, (conveyed so expertly by Attenborough,) is absent.

Andrea Riseborough gives an outstanding performance as Rose she too goes on a psychological journey from being a naive and mousey youngster to an assertive young woman attracted to Pinkie's confidence and menace. The scene in which Pinkie in effect buys Rose from her abusive father for £150 adds a social realist dimension to the film uncovering the lack of options available to a young working-class woman in 'sixties Britain. The squalid surroundings of Pinkie and Rose's flat complete with peeling wallpaper, scuffed furniture and squeaky floorboards are also reminiscent of a Kitchen Sink drama. There is some impressive cinematography by John Mathieson as the camera pans from the threatening crashing waves on Brighton Beach to the scenic seaside cafés foreshadowing the storm that is building. The swelling orchestral soundtrack also adds to the heightened sense of panic and drama. The tea rooms, arcades and dance-halls of 1960s Brighton are also accurately recreated as are the neglected interiors of the boarding houses. And yet… There is something oddly unreal about Joffe's Brighton Rock partly down to the unnecessary time shift which does nothing but confuse the audience. The film's characters seem stuck in the wrong era originating as they do from austere post-war Britain both in appearance and behaviour. Using the Mods and Rockers backdrop and casting of Philip Davis, (who appeared in Quadrophenia,) as Spicer turns the movie into a pastiche of sorts leaving us with a souped-up hyper-reality. This is Brighton as seen through the eyes of the cinema goer not the world of Graham Greene's novel. Dark, menacing and suspenseful Rowan Joffe's Brighton Rock is well worth seeing it is just unfortunate that the film is not as good as the sum of its parts.

A really big step in the career of Richard Attenborough came when he starred in the first film of Graham Greene's novel Brighton Rock. It was so good you'd think no one would try and top it, but in 2010 the story was filmed again and the time of the story updated from post war Great Britain to the swinging sixties and the riots between the Mod and Rocker teens. That is the background for young Sam Riley to try and take a really big step in the rackets.

Which are pretty much the same as they are here although it is rare that guns are used as per the culture. Sam Riley in the lead role that helped give a boost to Richard Attenborough's career is an amoral young man who gets involved in a homicide. A revenge killing really, but a young woman who works in Helen Mirren's store can finger him for the crime.

What to do but woo Andrea Riseborough and marry her so she can't testify against him. But when Riley's crew leans on Mirren's friend John Hurt at his place of business and the guy that Riley killed was Mirren's boyfriend she'll do what it takes to take Riley down.

Some nice shots of Brighton which is like Atlantic City here, a rather run down resort area, or at least Atlantic City was before the casinos arrived. Riley, Riseborough, Mirren, and Hurt do quite well by their roles.

There is a really nice performance by Andy Serkis as a rather flamboyant gay gangster who is head of the other mob. He checks out Riley like a slab of beef on the rack at the butcher shop, but he doesn't let his lust get in the way of squelching a rival.

There's also a little more of the Catholicism of Graham Greene in the plot than there was in the first film. Even as amoral a young man as Riley does get guilt tripped quite a bit for the advantage he takes of Riseborough.

Not a bad film, but not up to what Richard Attenborough starred in.