The Long Good Friday (1982)

Featured Audience Ratings

• moon r

  
  Well deserving of its many accolades, Friday is one cheery holiday weekend with Brit crimelord Bob Hoskins (in a juggernaut performance worthy of all the gangster greats) as his world crumbles all around him. Helen Mirren lends able support (one of the best I've seen her in) and… More
  Well deserving of its many accolades, Friday is one cheery holiday weekend with Brit crimelord Bob Hoskins (in a juggernaut performance worthy of all the gangster greats) as his world crumbles all around him. Helen Mirren lends able support (one of the best I've seen her in) and Pierce Brosnan also makes a brief appearance. Great writing showcases this 1981 thrill ride.

• Randy T

  
  Bob Hoskins, Helen Mirren and a kick-ass ending.

• Cassandra M

  
  At the time of writing this, I've just been thoroughly impressed by a rare British TV screening of 'The Long Good Friday', a gripping, bleak and uncompromising study of a supposedly untouchable underworld kingpin whose organization collapses around his ears when a… More
  At the time of writing this, I've just been thoroughly impressed by a rare British TV screening of 'The Long Good Friday', a gripping, bleak and uncompromising study of a supposedly untouchable underworld kingpin whose organization collapses around his ears when a mystery adversary begins murdering his colleagues and blowing up his favourite haunts. Bob Hoskins is just incredible in this film. His performance sears the screen with its burning intensity. His character is undoubtedly a vile individual, but Hoskins employs so much depth and subtlety in his portrayal we actually find ourselves caring for him. The much-remarked-on final sequence is an absolute tour-de-force that takes your breath away. Doubtful whether any current director (let alone any current actor) would have the guts to even attempt something like that. Hoskins makes it all look so easy, the mark of a true professional. Be warned, however, that this is not a film for the faint-hearted, and the squeamish will most certainly wince more than once. The direction, editing, photography, soundtrack and acting are all top-notch, displaying a rare degree of outright quality that the British film industry rarely seems able to muster, for one reason or another. There's also some degree of fun to be had from spotting the familiar faces in the supporting cast - 'Charlie Fairhead' from Casualty, 'Denzil' from Only Fools and Horses, 'Terry' from Fawlty Towers, a couple of the sadistic warders from Alan Clarke's brutal borstal flick 'Scum' and a young Gillian Taylforth of Eastenders fame. I have one final comment to make regarding this movie. Guy Ritchie should be forced to watch this at least fifteen times in a row, in the vain hope that it teaches him something about the genre he idolizes but seems unable to make a decent job of depicting. Watch and learn, all you young 'mockney' pretenders, this film is the work of the masters.

• Daniel M

  
  The Long Good Friday is part of a fascinating breed of films which are simultaneously of their time and completely ahead of the curve. It is the near-perfect marriage of the crime thriller conventions of the 1970s, as pioneered by Get Carter and The French Connection, with an enticing… More
  The Long Good Friday is part of a fascinating breed of films which are simultaneously of their time and completely ahead of the curve. It is the near-perfect marriage of the crime thriller conventions of the 1970s, as pioneered by Get Carter and The French Connection, with an enticing political subtext about the 'Me Generation' and the government of Margaret Thatcher. It's hard to watch it thirty-one years on without it seeming prophetic in terms of the political and social change which swept through Britain in the 1980s. But neither has its lost any of the charm or shock value which made it such a hit the first time round. The comparison with Get Carter is more than justified, since it is probably fair to say that without Mike Hodges' powerful film, The Long Good Friday would not exist. Both films are low-budget, gritty crime thrillers which are carried by the riveting performances of their respective leads, Michael Caine and Bob Hoskins. Both in lesser hands would have been nuts-and-bolts revenge movies, but they survive thanks to the quality of their scripts and the relevance of their substance. What they also share, more unfortunately, is a slow and incoherent opening. The first 20 minutes introduce us to a whole host of characters in a very disparate fashion, something which is only partly accidental. Director John Mackenzie had always intended the initial scenes to be distracting, to make the world of Harold Shand appear more complex. He originally envisaged a very ambitious opening, with location shots following the briefcase of money over the Alps, but producer Barry Henson thought this detracted from the film's focus on London. All the threads are eventually tied up, but even in its existing form the opening is too long, to the point at which you consider giving up. Things pick up permanently however, with the first sight of Shand, played by Bob Hoskins. The opening shot of him striding through Heathrow airport, backed by Francis Monkman's brilliant soundtrack, perfectly captures the confidence and arrogance of the man with the whole of London at his feet. This is a man who has kept the peace for ten years through influence and intimidation, even when his underlings were "out of order". It's a well-judged and ironic introduction, since this is the happiest we will ever see the character be. The character of Harold Shand conveys the central theme of the film, namely the decline and fall of an empire through a potent mix of outside pressure and personal tragedy. As in Shakespeare's King Lear, we first see the kingdom (or 'corporation') in good health, with the deal with America standing in for Lear dividing his kingdom among his daughters. Shand is Lear-like in that he is so self-confident, so certain that he is right, that he is blind to where his real enemies lie; and much like Donald Sutherland in Don't Look Now, everything makes sense only when it is too late. Within this there are two separate subtexts. The more obvious of these is the threat of the IRA, in particular to the traditional structures of crime. The original title of Barry Keefe's screenplay was 'The Paddy Factor', and the film's eventual title refers not refers not just to the period of time which passes, but in a twisted way to the shadow the IRA casts -- 'the long Good Friday' could be a synonym for the Troubles or 'long war'. What The Long Good Friday does so well is to explore the nature of this organisation and show how its existence is a very real threat to the existing order. Many films about the Northern Irish conflict, like Michael Collins, have kept the war at arms' length from Britain, portraying the IRA as 'them lot over there'. Here they are not distant warriors but cunning infiltrators, an enemy which neither the police nor the criminal underworld can understand, let along contain. The other, more unintentional undercurrent is about the resurgence of free-market capitalism and the legacy of Thatcher. Shand refers to his empire as 'the corporation' rather than any kind of 'gang', and the film draws an analogy between the dismantling of socialism and the violent takeover of London, both by Shand and the IRA. When Shand delivers his big speeches at either end of the film, they are conveyed with maximum irony; he exudes that very 1980s mix of endearing ambition and selective xenophobia, both of which are smashed in the final scene. Subsequent films like Wall Street and American Psycho have handled 1980s greed in more upfront ways, but both lack the sense of self-reflexive subtlety at the heart of this film. Much like American Psycho, The Long Good Friday also has a very real sense of humour. The script is gritty and intense but has a succession of corking one-liners which consolidate the dark setting while humanising the characters. Most of these are Shand's lines, and Hoskins delivers them brilliantly in what is still his finest performance. While on the top deck of his yacht waiting for Charlie to arrive, he remarks that "the Yanks love snobbery. They feel they've really arrived in England if the upper classes treat 'em like shit." Later, finding out about the car bomb, he exclaims: "You can't go crucifying people outside a church, not on Good Friday!" -- a line which really captures the mood of the whole film. She may not have as many killer lines as Hoskins, but Helen Mirren's performance as Victoria is every bit as captivating. Her character is the brains and dignity to Harold's muscle and rough, hands-on style. The power he possesses is a natural aphrodisiac, and yet she is not simply an air-headed bimbo who constantly requires his aid. At several key moments her intelligence saves his life, and yet she remains as vulnerable as anyone on screen. The film is also visceral and incredibly violent at times. In the first half hour we have a car bomb and a man being stabbed in a shower by a very young Pearce Brosnan (his first film). Later we have a man being literally crucified and nailed to a floor, and Hoskins smashing in a young man's neck with a bottle. But despite these outbursts, The Long Good Friday is not a film which relies on the violence to do the hard work, either by making us enjoy it or using it to pad out the plot. Its best scenes are those which are dialogue-heavy, in which egos clash and the sparks come not from the guns but from the level of tension hardwired into the script. The Long Good Friday is a near-perfect gangster film which looks more prophetic and intelligent with every viewing. It is a great slice of late-1970s cinema which together with Life of Brian helped to establish Handmade Films as a great low-budget film company. Despite the slow opening and the occasional scene which now seems clichéd, it follows through with its ideas and intentions, giving us plenty to chew on while we take in this dark world. It has survived all subsequent imitations, right down to the worst work of Guy Ritchie, and its influence is assured for the next thirty years. When all other British crime films let you down, this is where you should turn.

• Pierluigi P

  
  Hard-hitting and brutal. Only second to "get carter" in the podium of the best british gangster films. The short but fierce bulldog-like figure of Bob Hoskins is an ideal anti-hero.

• Anthony L

  
  A classic British gangster film with the brilliant Bob Hoskins and Helen Mirren. Brilliant.

• El Hombre I

  
  Part Edward G. Robinson caricature, part bulldog, Hoskins comes through with a performance which has remained unequalled in its genre despite the excess of gangster sagas from both sides of the pond. Playing the unchallenged gangster kingpin in London, he is like a dinosaur unable… More
  Part Edward G. Robinson caricature, part bulldog, Hoskins comes through with a performance which has remained unequalled in its genre despite the excess of gangster sagas from both sides of the pond. Playing the unchallenged gangster kingpin in London, he is like a dinosaur unable to adapt to the changes in climate when going up against the IRA. Helen Mirren transforms the "gangster moll" into a confident character in the violent gangland tale set over the course of a Good Friday weekend. <a href="http://s273.photobucket.com/albums/jj203/goji9000/?action=view&current=LongGoodFriday.jpg" target="_blank"><img src="http://i273.photobucket.com/albums/jj203/goji9000/LongGoodFriday.jpg" border="0" alt="Photobucket"></a>

• Michael S

  
  Stellar British crime film. One of My All-Time favorites.

• Ken S

  
  British Godfather and Michael Mann's playbook

• Lady D

  
  I somehow lost my concentration in parts of the story, but overall I found it a watchable film. The highlight perhaps was recognising some of the characters as British actors who have gone on to play household names in tv. Bob Hoskins himself has a great face to play a gangster and… More
  I somehow lost my concentration in parts of the story, but overall I found it a watchable film. The highlight perhaps was recognising some of the characters as British actors who have gone on to play household names in tv. Bob Hoskins himself has a great face to play a gangster and seeing a youuger Helen Miran was quite funny

• Sarah G

  
  The Long Good Friday is evolves around Harold, a prosperous English gangster. 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. Later Harold has two American organised crime delegates… More
  The Long Good Friday is evolves around Harold, a prosperous English gangster. 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. Later Harold has two American organised crime delegates visit him in London to talk business - a highly lucrative Thames riverside property development. Harold's eager to impress and pulls out all the stops. There's just one problem. An unseen enemy keeps blowing up his "manor". This is not good for business, so Harold embarks on a revenge mission to discover who's responsible and re-assert his dominance over London. The Long Good Friday is truly a great piece of British cinema. Quick paced, not too many long drawn out scenes and most of all shows the Americans what we Brits are made of. Ignore any critics that you might hear about this film as it really is up there with some of the best British films ever made. It will most likely make my Favourite Movies list as well. The film is also a who?s who of British cinema/TV. We see a young Pierce Brosnan as one of the Irish, a young Derek Thompson (aka, Charlie Fairhead from Casualty, a young Gillen Talyforth (Eastenders) and Dexter Fletcher at about 13 years old. Really all of that shows what talent us Brits have. Bob Hoskins gives a great performance as the English gangster, Harold and gives some English spirit at that. Helen Mirren, in a role I didn?t realise she was in, gives another performance as the love-interest of Harold and you can really see the love between the two as he clearly takes what she says on board. The Long Good Friday has some cracking set-pieces, the standout being the abattoir sequence. Some hapless London "faces" are hung on meat hooks and interrogated, the pig carcasses in the background an ominous reminder of what's to come if they don't co-operate. Also the brutal murder of a trusted lieutenant is fantastic, and very well directed with a nearly POV shot from the victim. Also Harold's Thames speech, with the Tower Bridge behind him, and especially his berating of his American friends. For sure some of the film is a dig at the Americans. This film is also incredibly well directed. With some great tracking shots and one great close-up at Harold?s speech at the end all makes for a great film. Despite some reviews on imdb, saying the soundtrack is dated, I like it a lot. It really fits in with the 80?s enormously. The final scene is deservedly famous, but the boat scene with Jeff and its aftermath come close to the tension and brilliance of the ending. The film is gritty and brutal, but immensely absorbing. Believe me, once you see the film, you don?t see the ending coming at all. Overall, a great British film which should not be ignored one bit. I can?t recommend this enough. Well worth the five stars.<b> HIGHLY RECOMENDED</b>

• xGary X

  
  Extremely grim and seedy british crime drama that doesn't glamorize the characters or their actions, which makes for uncomfortable but powerful viewing. Good if rather dated now.

• Jonny C

  
  Decent British gangster movie starring Bob Hoskins and an extremely good looking Helen Mirren. It took a while to get going, and it was a little too predictable, but it was compelling most of the time. The Long Good Friday, may be very dated, but it can still pack a punch.

• Stephen E

  
  Bob Hoskins is the real reason to see the "The Long Good Friday". He is the ideal British gangster, having nearly every quality that is necessary in order to be a real "mad dog". His performances oozes with a terror that is insurmountable. Also, the score by… More
  Bob Hoskins is the real reason to see the "The Long Good Friday". He is the ideal British gangster, having nearly every quality that is necessary in order to be a real "mad dog". His performances oozes with a terror that is insurmountable. Also, the score by Francis Monkman is wonderful (especially the theme), even though I'm not very particular to the music of the eighties. This is a great crime film and a definite influence on British cinema.

• Kevin "

  
  A very well done British crime flick. Superb acting from Hoskins and I wish all movies with Brosnan had that much dialog from him. Was happy to see an early Alan Ford too, but he'll always be Brick Top to me. Very good soundtrack to the movie as well. Not that I want violence in… More
  A very well done British crime flick. Superb acting from Hoskins and I wish all movies with Brosnan had that much dialog from him. Was happy to see an early Alan Ford too, but he'll always be Brick Top to me. Very good soundtrack to the movie as well. Not that I want violence in films, wasn't as gritty and violent as I was led to believe. Not that it took away from the movie for me, but I thought more; the meat-locker image made me think more too. Very good ending to the film, not to spoil it, but music with out any dialog fit the ending superb, just the emotion in Hoskins face was all that was needed.

• Magnus X

  
  Bloody Excellent!!! British gangster film at it's best. Bob Hoskins is awesome as a mean and surly crime boss. Helen Mirren as his wife is cool and sexy. Check out Pierce Brosnan in a bit part. A must see for gangster film fans.

• David S

  
  Britain can do great gangster films and they don't come much better than this. Yes the soundtrack is very dated and it's weird seeing Charlie from Casualty as "the real bastard" but the film stands and falls by the character of Harold and this was the film that… More
  Britain can do great gangster films and they don't come much better than this. Yes the soundtrack is very dated and it's weird seeing Charlie from Casualty as "the real bastard" but the film stands and falls by the character of Harold and this was the film that made Hoskins a star. Watch it for his performance and Mirren's.

• Anthony V

  
  Well done.

• Barry L

  
  Superb.

Read all 19 featured audience ratings