The Long Good Friday Movie
Storyline
TAGLINES
Who lit the fuse that tore Harold's world apart?
Harold, a prosperous English gangster, is about to close a lucrative new deal when bombs start showing up in very inconvenient places. A mysterious syndicate is trying to muscle in on his action, and Harold wants to know who they are. He finds out soon enough, and bloody mayhem ensues.
| Paul Freeman | Colin |
| Leo Dolan | Phil |
| Kevin McNally | Irish Youth |
| Patti Love | Carol |
| P.H. Moriarty | Razors |
| Derek Thompson | Jeff |
| Bryan Marshall | Harris |
| Bob Hoskins | Harold Shand |
| Helen Mirren | Victoria |
| Ruby Head | Harold's Mother |
| Charles Cork | Eric |
| Olivier Pierre | Chef |
| Pierce Brosnan | 1st Irishman |
| Daragh O'Malley | 2nd Irishman |
| Dave King | Parky |
| John Mackenzie |
7.80 out of 10 (5096 votes)
Visitor Reviews
a classic that invites re-viewing
posted on 16 Jul 2009There 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.
Gritty British Gangster Classic
posted on 10 Jul 2009Bob Hoskins is outstanding as crime boss Harold, in this violent representation of the British underworld. The language is brilliant with a real sense of the cocky, cockney attitude. Easily the best British gangster movie ever made! The Krays... who are they?
Full to bursting point.
posted on 11 May 2009Who said genre films had to be narrow? THE LONG GOOD FRIDAY is a gangster film, and an excellent one at that, exploring old themes of loyalty, betrayal, expansion etc. with verve and excellently choreographed, imaginatively novel violence (and no law in sight). But it also reveals how versatile genre is, and so we have the best ever critique of Thatcherism (with Harold Shand an embodiment of entrepeneurial culture, beset by the same problems that would dog the Tories (IRA, Americans, drugs etc), but also a hangover from the Welfare State in his misplaced loyalties - this schizophrenia tears him apart); a great London film, with an insightful sense of change and place, and meanings bound up in different spaces; and an extraordinary character study cum love story, which becomes an existential journey in the Bressonian mould. Final third flags after so much Cagneyesque energy, and older national vices, such as theatricality and stiff upper lip, do briefly intrude, but on the whole, this is a British film of rare ambition.
Classic gangster movie.
posted on 12 Dec 2008Great shots of east London circa 1980, fine acting and a slightly convoluted plot all combine to produce a ground breaking movie. The final scene with Hoskins in the back seat of a car is a great performance.If I counted correctly Pierce Brosnan gets one word in which hardly deserves co-star billing (C4 Nov 2001).I wonder of 'The Old Rose' is still standing.
Best Gangster Film Ever
posted on 04 Oct 2008This movie is probably one of the most slept on films ever not just in the gangster genre as it is a true classic The story is about Harold Shand(Bob Hoskins)in what is considered his breakthrough role as king of the underworld & gangland empire in London. He is sitting on top of the world with not a care as he has taken out all threats through the years.Now he is concentrating on trying to form partnership with the U.S Mob through some of his business opportunities that are more legit that he has acquired.So after returning from a trip from the U.S. where he has set up for the American Mafia to visit London & finalized their partnership as London is picked for the upcoming Olympics where there will be tons of money to made. So the guys for the U.S. mafia arrive in London but to the surprise of Harold & his crew there are a series of tragic events that are taking place that really start effecting Harold's life but also so his future business deals he wants to pursue with the U.S. Mob. There is just one problem no matter how much Harold tries to pin point who might be challenging his power he and the rest of the crew just can't make heads or tales. It is really hard to go into detail without spoilers which I won't do because this is way to great of a movie you really need to watch, as unlike most movies you have to watch beginning to end to figure out who,why,& how is trying to ruin Harold plans & his position of crime lord of London. The answer to that question is hidden in this excellent written & acted movie.This movie in my opinion really set the standards for other British movies like Lock Stock& Two Smoking Barrels,Snatch,& Gangster#1. Just check it out the new special edition DVD that was released in Apil of this year(2006).
Awesome!
posted on 16 Sep 2008This 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.
One of the best gangster films to come from Britain
posted on 21 Jul 2008Considering how lame the British crime movies of the last ten years have been for the most part, its just surprising how good the country's entries in the genre used to be. They're tough and taut, lacking the operatic excess that characterized the American gangster epics (such as "The Godfather"), but more than making up for it with brutality. "The Long Good Friday" isn't a portrait of the history of a certain mob family, but a tight and cohesive story detailing a few days in the life of a head mobster. It works very well because of how basic the initial concept is. It ranks with both "Performance" and the original "Get Carter" as the country's best crime film."The Long Good Friday" is effective for several reasons. First, the direction by John Mackenzie and the screenplay by Barrie Keeffe both compliment each other very well. The script is full of witty dialog, constantly intriguing and suspenseful situations, and an absolutely memorable lead protagonist. The characters here are all interesting and well developed. Mackenzie's direction knows what to do with this material - keep it moving at a quick pace.However, what makes the film for many viewers is the lead performance by Bob Hoskins. The character was already fascinating enough, but Hoskins' portrayal makes him downright memorable. Sneering, brutal, impulsive, yet fragile, Bob Hoskins infuses the character with swinging histrionics that'd put Edward G. Robinson to shame. "The Long Good Friday" isn't flawless (the music score is a bit irritating initially until you settle into the groove of the film's style), but is one of the best gangster films ever made. (8/10)
Great movie but DVD Release is dubbed
posted on 27 Jun 2008I first saw this movie many years ago and thought it was the best of its kind since Get Carter. The Video release contained the sub heading of Full Uncut Edition. Indeed it was the same version as i had seen on TV. I had looked forward so much to the DVD release and all the extras that were promised. In the Criterion Edition, Hoskins talks in an interview with some passion that he fought the owners in the courts about being dubbed without his prior approval. He eventually persuaded Hand Made Films to buy the movie and have it released uncut and undubbed. On viewing the film itself not only is Hoskins dubbed in certain places but the character of the councilor is dubbed all the way through the movie. This in my opinion is unacceptable. I am curious to know if Hoskins is aware of this. All further DVD releases have had the same treatment. This has evidently been done to suit the American market who have trouble understanding the "slang" London accent. Why then are we on the other side of the pond not aided in understanding the range of incoherent tones coming out of American mouths with a glossary of explanation?! Please release the version the makers originally intended. And let Bob know he's been duped again by the "Yanks".
The Long Good Friday
posted on 03 Jun 2008This is a great example of a British gangster film, particularly based in the East End. Basically the IRA are ruthlessly killing off members of a gang, run by aggressive criminal Harold (BAFTA nominated Bob Hoskins). But he also has to deal with bombs going off in very inconvenient places. Harold is adamant to question all people in a variety of gangs to find out who is behind these bombs. He finds out the truth eventually, and it turns into a bloody (metaphorically and literally) mess. Also starring Dame Helen Mirren as Victoria, Eddie Constantine as Charlie, Dave King as Parky, Bryan Marshall as Harris, George Coulouris as Gus, Derek Thompson as Jeff, Bruce Alexander as Mac, The Full Monty's Paul Barber as Errol, Raiders of the Lost Arks' Paul Freeman as Colin; Lock, Stock and Two Smoking Barrels' Dexter Fletcher as Kid, and look out for young Pierce Brosnan as First Irishman. Filled with great bad language and violence, it is the great big break role for Hoskins. Bob Hoskins was number 37 on The 50 Greatest British Actors, Dame Helen Mirren was number 7 on The 50 Greatest British Actresses, she was also number 5 on Britain's Finest Actresses, and the film was number 36 on The 50 Greatest British FilmsVery good!
Probably the best British gangster movie ever made.
posted on 10 Apr 2008Bob Hoskins electric and Helen Mirren demure and loyal as the Gangter's moll. "The Long Good Friday" reflects the tone of the 80's just as we were entering them in the same way "Get Carter" did with the 70's. Gripping from start to finish, this is one of the best films ever made.
The Ending...
posted on 26 Mar 2008POSSIBLE SPOILERS... I saw this film for the first time last night and agree with what other users have said about the ending staying with you. The Bob Hoskins character becomes more and more grotesque as the film progresses, yet for some reason the powerful ending makes you feel something close to sympathy. This is thanks to the wonderful final five minutes or so - the rant in the hotel and the silent emotional finale. Obviously, the power of the ending is dependent on what comes before it, which is all very watchable. A very enjoyable - and bleak - film.
Six degrees of brit-gangster acorn separation...
posted on 17 Mar 2008Along with Get Carter, perhaps the elder statesman of brit-gangster flicks, The Long Good Friday's offspring have a hard act to follow. Can only echo most of the comments here; peerless Bob Hoskins performance, with Helen Mirren showing a masterclass of understated support. The film is dated in some respects, but it's worn well, a timeless cult classic, with numerous actors - Pierce Brosnan among them - going on to make great careers. Other reviewers have commented on Guy Ritchie's efforts with Lock, Stock/Snatch failing to live up to this benchmark, but I'd take issue. Ritchie must have paid reasonable attention as I'd like to add a 'Trivia corner': To quote Razors (P.H. Moriarty) "...from little acorns" (referring to kids who extort car valeting money from Hoskins)...the actor went on to play gangster boss Harry in Lock, Stock...Harry also being the name of Hoskins character. Jack (Alan Ford), one of Hoskins' crew, went on to play boss Brick Top in Snatch Pierce Brosnan's 007 is now played by Daniel Craig, who was xxxx in Layer Cake, the latest brit-gangster flick to attempt to wrestle the title from TLGF...
Doesn't Quite Live Up to the Hype
posted on 17 Mar 2008I was prepared to love this movie, as an Anglophile with a taste for gangster pictures. I kept waiting for things to improve, but I found it incredibly dated and a little threadbare. The American Mafia characters were poorly written and cast. Hoskins is very good, mind.
Not that long...
posted on 21 Dec 2007One indicator of a good film is that the viewer feels it was much shorter than it actually was. TLGF is such a reel. It is so tight and well edited you'll feel it's over in no time. Through no fault of theirs, movies of British gangsterism rarely make it to the US (though Mr. Ritchie is currently experiencing some success). TLGF is a film that should have been a much bigger deal in the US than it was. Mr. Hoskins was superb, too. One quibble, though--whoever wrote the screenplay did not seem to know too much about the workings of La Cosa Nostra.
Hard To Be Sympathetic For Abrasive Hopkins Character
posted on 04 Oct 2007I didn't find much appealing in this 1980 British crime film. Maybe it would look or sound better on DVD. When I saw it on VHS, I couldn't understand half of the sentences because of the strong Cockney accents. None of the characters were appealing, including the two leads, and there was too much usage of the Lord's name in vain. Bob Hoskins has been guilty of that in many of his films. He seems to play a lot of very loud, obnoxious and profane thug- type characters, for almost three decades since this film. In fact, the last movie I saw him in - 2005's "Unleashed" (a.k.a. "Danny The Dog") - he hadn't changed a bit. As for this film's story Hoskins, as "Harold Shand," is ably cast the boss of the docks in London. One day is bragging about how things have settled down since he's run the show, and the next minute his favorite pub and his Rolls Royce are blown up. Whoops, things aren't so peaceful. Things get worse.However, the film, as twisted filmmakers like to do, almost make Harold a sympathetic character even though the guy obviously is a obnoxious, sadistic con man.For those who like rough characters and high-energy films, this is your ticket. For those turned off by boorish, irritating characters like Hoskins usually plays, skip it and save yourself some aggravation.
British Film At Its Best
posted on 13 Sep 2007With the current spate of British gangster films around I decided to watch this to see how it comparesSimply put this film is neigh on perfect. Brilliant direction from John Mackenzie from a good script by Barrie Keeffe, It captures early eighties Britain and Thatcherism at a time when money and power where wanted by everyoneOne of Bob Hoskins best performances with great support from Dererk Thompson and Helen Mirren. But for me the star of the show is the score, a Scar Face style synthfest5 out of 5
Disappointing and overpraised
posted on 18 Jul 2007So... this is the amazing, brilliant, stunning masterpiece, this is the 'cornerstone' of the British gangster genre, this is what is supposedly the British equivalent of "The Godfather"? The script is strikingly well-written at times, particularly when it comes to the dialogue. Bob Hoskins' outstanding performance makes Marlon Brando's Godfather look like something out of a high school play, and the direction by John Mackenzie is suitably gritty and focused on grim realism, and nearly completely lacking in flash. Stylish without being stylized, if you will.So, with all those positives how can this film end up being as generally mediocre as it is? It's simple- the story is largely lacking in imagination, it's just not involving, and you could have replaced any of the supporting actors half-way through the film and I wouldn't have noticed or cared (that includes the usually excellent Helen Mirren). Oh, and there's the unbearable score, which is apparently well-liked for some reason. This film fails to live up to its reputation simply because it's a character study focused on Bob Hoskins' character Harold, who sees his basically perfect world crumbling around him, but when a film is a character study the characters better be interesting. Note that I said 'interesting' and not 'sympathetic', because I couldn't give less of a damn if Harold is sympathetic (he's not), especially as he's just not interesting."The Long Good Friday" boasts an interesting premise but dull execution script-wise (outside of a few scenes here and there), and in spite of all the things to recommend about it- Bob Hoskins' superb lead performance, the dark humor, the tour-de-force final scene, it's all a bit flat and uninteresting in the end. I'll stick with "Get Carter", thank you. If you're looking for a good John Mackenzie film, see the immensely powerful "A Sense of Freedom", which completely achieves the sort of grit and excellence in character examination which "The Long Good Friday" is going for. 6/10
Classic,if not prophetic British Gangster Thriller
posted on 15 Jun 2007With the possible exceptions of BRIGHTON ROCK and GET CARTER,"The Long Good Friday" has a strong case in being the best British gangster film yet produced.It thankfully lacks the jokey,facetious and overtly bloody attitudes that has plagued most UK-based hybrids since the 1990's (as personified by Guy Ritchie and others).It's occasional lapses into nastiness and schematic excesses are easily outweighed by an excellent script (which possesses considerable caustic wit),fine direction,great performances and memorable scenes.Gangland boss Harold Shand (Bob Hoskins) is on the verge of something big in his native London's docklands;replacing the declining port-side areas with vast new modern developments and buildings,even with a view to holding a future Olympic Games there.There is however a considerable fly in the ointment;would-be mafia backers are concerned as Harold's manor and underlings are subjected to a campaign of murder and bombings,later revealed to be the work of the IRA,who think Shand was responsible for the deaths of several of their members (when in fact he wasn't).An enraged Harold plans his revenge,but should he go ahead and do so?The basic plot of "The Long Good Friday" is perhaps the film's only real weak point.In it's favour,it is certainly unusual but often somewhat over-complicated (several viewings may be needed to properly connect all it's threads) and a little far-fetched;the fact it is set around Easter (Ireland has had some very important events occurring around this holiday period throughout it's long history) may be intended irony.But in the midst of the considerable quality around it,these are modest complaints.John McKenzie's direction (what a shame his subsequent work has been much lower profile) is very well-judged,being either fast,exciting,subtle or reflective when the situation demands it,serving the thoughtful,literate,clever,often droll script by Barrie Keeffe.The characters are not the familiar stereotypes you'd expect in such gangster dramas,and performers like Bryan Marshall,Alan King and Eddie Constantine (in a rare English-speaking part) are given slightly more depth to roles that could have been mere ciphers.Helen Mirren is first class as Harold's mistress,one of the most interesting gangster's molls ever put on screen,but the entire film is dominated by the career defining performance of Bob Hoskins.His searing,commanding presence as Shand is outstanding,carrying conviction in every moment.Hoskins' portrayal is arguably the most anti of anti-heroes in cinematic history.Harold Shand thinks himself as a businessman and no longer a criminal with the 1980's about to loom,with apparent peace with rival gangs for a decade further emphasising this point.But with the uncontrollable mayhem taking place around him threatening his legitimate credentials,Harold is more than prepared to dish out some extremely brutal (if not sado-masochistic) treatment to find those responsible so the lucrative deal can go forward,making cynical,hypocritical remarks about the decline of various neighbourhoods along the way.With the exception of a brief view of Tower Bridge near the beginning,director MacKenzie does not fall into the trap of familiar tourist views but less known London back streets and perhaps the last real view of the UK capital's somewhat neglected docklands in the pre-Thatcherite/Yuppie era in the late 70's/early 80's before it's redevelopment,Canary Wharf and all. This aspect of the plot turned out to be fascinatingly prophetic and accurate (if in a slightly different context),along with hopes for a London-staged Olympic Games.What with his desire for enterprise and virulent hate for Irish Republicans,it is no surprise that the character of Harold Shand could be perceived as a hero with certain right-wing types in Britain! Hoskins in fact often makes this most unpleasant of characters sympathetic (with some witty one-liners part of his repertoire) in the midst of similarly unsavoury individuals.His grotesque arrogance and megalomania however get the better of him when he somehow thinks he can take on the even more ferocious and brutal elements within the IRA.He is warned of the risks by one of his closest associates,fresh-faced Jeff (who is killed by Harold in a savage outburst) but to no avail.The irony of course,is that Harold himself did not instigate this chaos;it the aforementioned Jeff and one of his most trusted friends and associates,Colin,a homosexual,who fell prey to the dual temptations of sex and money while in Belfast (doing an errand without Shand's knowledge or approval),placing Harold's business plans in dire jeopardy.The support cast has many future TV and Film stars who turn up every few minutes:Gillian Taylforth,Paul Freeman,Dexter Fletcher,Paul Barber,Karl Howman and Derek Thompson among them.The most notable of all is Pierce Brosnan,in a one word role as a IRA hit-man.It is Brosnan who appears with Hoskins in the film final and most memorable scene.The infamous abattoir sequence (with Shand's rival gang members hung upside down on meat hooks) is unforgettably horrifying and darkly funny,along with Harold's apocalyptic rage after finding out of the IRA's campaign against him. But the final drive away,with Brosnan holding Hoskins at gunpoint is now justly famous,holding on Harold's face seemingly endlessly but ingeniously,with all number of expressions telling us so much.This aspect of Hoskins' performance may be it's most impressive,despite being wordless.There has been a problem in some of Bob Hoskins' film roles since;undeniably a very fine actor,Hoskins however has sometimes fallen into the speech patterns and mannerisms of the role that made him a star into some other parts he has played,much to his detriment,though this has mostly been the exception rather than the rule.In retrospect,"The Long Good Friday" has a lot to answer for;many other British filmmakers have followed it's example for nearly three decades in mostly resistible imitations,but the original has not dated much at all and is still superior to the virtually all of it's prototypes.RATING:8 out of 10.
The Dialogue Sparkles
posted on 14 Mar 2007This is one of the great British movies and when I say British I mean it's made by a British film company - Handmade films - and not an American studio . Perhaps this is something of an unfortunate thing for an international market ( Read that as an American market ) since being made for a homegrown market the accents and most especially the slang doesn't translate well over seas but the dialog alone makes up for any shortcomings : " I knew Colin fancied soldiers but going to Belfast that's a bit much innit ? " " That's dignified that is , going out like a raspberry ripple " and the classic line " I've heard of sleeping partners but you two are in a f--ki' coma " Are there any shortcomings ? I've got to be honest and say that first seeing this in 1983 I was shocked by the clever twist of making the IRA as the bad guys but having watched the movie a few more times over the years the radical idea of having the provos muscling in on the London underworld isn't as clever a plot as I first thought and once you know who's been putting the pressure on Harold Shand and his corporation the story becomes a little threadbare after multiple viewings . It's probably also uncharitable to point out that Shand is a bit too old school to be taken seriously as a gangland emperor and it's not helped by umpteen films and TV dramas since then showing the London underworld who don't hurt women or kids and who don't grass .In other words it's all a bit clichéd this gangster lark innit ? And let's not mention this role caused Bob Hoskins to be typecast for the rest of his life But the failings are more and made up for by the pace of the story , by Francis Monkman's very memorable score and by the cast , some of whom went onto become household names and many who became familiar faces in film and television . Admit it , you've watched this movie over the years and thought to yourself " Now where have I seen that actor before ? " The ending gives way to a well told story by Hoskins who is ordered by director McKenzie " I want you to sit back in your seat and think about the things you've done in the story all your success , all your failures " so Bob does what he's told and seeing the final cut exclaims " bleedin' 'ell it's true the camera can read an actor's mind "
Hoskins: the original Sexy Beast
posted on 03 Aug 2009A tour-de-force from Bob Hoskins playing a tough crime boss in London's East End. Living high on success while fancying himself a political entrepreneur, he's about to close a lucrative partnership deal with the Yanks when the Irish Republican Army, bent on revenge, begins eliminating operatives from his "organization", undermining his reputation. Whether prudishly turning up his nose at the unsavory aspects of London's poor neighborhoods or shamefacedly trying to cover up this embarrassing attack on his solid standing within the community, Hoskins never misses a beat and is wonderful to watch. His character, caught unawares when the violence starts, can't figure out who would do this to him (it isn't so much the 'why?' that has him riled up, it's the 'who?'). Unquestionably the finest movie produced by Britain's Handmade Films, with some arty pretensions that aren't too distracting and a brisk pace supplied by director John Mackenzie. Intriguing supporting characters, fine location shooting and electronic scoring (by Francis Monkman, whose repetitive themes are initially off-putting). Funny, scary, gripping and haunting. *** from ****