Bob Hoskins and Helen Mirren come under fire in this 80s British gangster classic
Hoskins plays Harold Shand. A mob boss out of the East End of London, who after years of wheeling and dealing, greasing palms, cracking heads, and sticking in a knife when necessary, is at the top of his game. Looking to leverage his position, he’s working a real estate deal that would go some way to making him a legitimate businessman. His vision sees a rundown area of the London Docklands being developed to elevate the city. Key to this is an American investor, whose arrival coincides with a spate of attacks against Shand’s organization. The sins of the past come to bear on one very long, very bloody day, where Harold has to confront other mob factions, underworld bosses, informants, and worst of all the IRA, as his well laid plans and criminal empire, all look to be crashing down around him.
The script by Barrie Keeffe immerses you in the underbelly of London, through rough and ready characters and quick-smart (and quotable) dialogue. Harold is a man who suspects his enemies are looking for payback, buy ruining his big deal, unaware something larger is at play. The main thrust is Harold’s hunt for the source of this threat, which of course gives us a crash course into the deed and misdeeds of this man as he made his way to the top of organized crime in London. It all feels very Shakespearean in a way, a blend of villainy, tragedy, and comedy.
What is also notable, is how The Long Good Friday paints a picture of 70s/80s Britain, leveraging in the social strife, economic hardship, and political tensions of the Thatcher years as a very effective backdrop, and complement to Harold’s scheme. This was a time where capitalism really took hold, markets were risky but rewarding ventures, investment was coming from overseas (notably in terms of buying up public assets) and the rich were getting richer. Director John McKenzie’s film is a rather bold endeavor with a intricate plot that in addition to the central conceit handles layers of social commentary and politics, not the least the UKs position in Europe, and a subplot handling the IRA, a particularly active and impactful element during the Thatcher years. Through back alleys, slaughterhouses, pubs and public baths, we see partake in the times, and Harold’s sprawling web of crime. Overlaid is Francis Monkman’s sax heavy score, which caps off the moody vibe.
While the entire cast impresses, and adds character to each corner of the film, it’s Mirren and Hoskins that make an indelible imprint. The former as Harold’s doll Victoria, a delicate yet incisive force, serving as a spoonful of sugar to Harold’s battering ram. A counterpoint is also made with her clearly being from an upper-class background, unlike the clearly working class Harold, a role that Hoskins really sinks his teeth into. A remarkable performance, crafting a man who evokes the Dunkirk spirit to say fuck you to those who oppose him, and his view of his country’s future. Hoskins layers in a snarling streak of a superiority complex and nostalgia tinged view of making Britain great again. A man whose hard hitting tactics have got him to his lofty position, who also has the hubris to think they’ll be enough to free him from his sticky predicament. It’s undoubtedly one of his finest performances, even in the final moments where Hoskins, without any dialogue, speaks volumes.
The Package
Criterion’s 4K-UHD release of The Long Good Friday is another slam-dunk for the distributor. It’s a clean, detailed, and authentic presentation. The downcast colors and muted palette of 80s UK are healthily represented, added resolution give enhanced texture to the grit and grunge of London’s underbelly. The transfer is free of damage and artifacts and retains a natural grain structure. Extra features also impress:
- Audio commentary with director John Mackenzie: A great commentary that not only complements the film, but also strives to work in the approach to the production, how the film changed through the various drafts and editing process. Most interesting are the sections devoted to the performance of Hoskins
- An Accidental Studio (2019), a documentary about the early years of Handmade Films: A full length doc. on the studio responsible for a spate of notable British features through the 70s, 80s, and 90s. Besides The Long Good Friday, this included Shanghai Surprise, Mona Lisa, Withnail and I, and the Monty Python Features. The doc. draws from the cast and crew of many of the studio’s features to dive into it’s inception, growth, success, and eventual collapse. Frank, insightful, and essential viewing
- Introduction by Criterion Collection curatorial director Ashley Clark: A warmly made appreciation of the film, it’s place in the gangster/British genre, and the superb performances
- Documentary about the making of the film featuring interviews with Mackenzie and actors Bob Hoskins and Helen Mirren: Bloody Business is a legacy featurette that compiles interviews to flesh out the script development, casting process, editing, production troubles, reception, and legacy
- Interviews with Méheux and screenwriter Barrie Keeffe: Touches on the 4K restoration and the work of Hoskins respectively
- Program comparing the soundtracks for the UK and U.S. releases: Hands Across the Ocean: Reshot sequences where the more local expressions were switched out for alternate dialogue to help overseas viewers
- Trailers:
- PLUS: An essay by film critic Ryan Gilbey: Within the liner notes, which also contain information on the films restoration
- New cover by Eric Skillman
The Bottom Line
The Long Good Friday stands out as not just one of the great gangster films, but also as one of the best British features to grace our screens. A triple threat thanks to the smart and prescient script by Barrie Keeffe, savvy direction from John Mackenzie, and a bravura performance from Bob Hoskins. Criterion’s 4K treatment is outstanding, and the extra features, notably the An Accidental Studio documentary, only add to the appeal.
The Long Good Friday is available on 4K-UHD via Criterion now
