Powerful

The film never slows down or bores, plunging from one harrowing sequence to the next.

This is a gorgeous movie made by a gorgeous spirit.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Without question "The Long Good Friday"is not just the greatest British gangster film ever but also one of the best gangster films of all time.The story of London gangster Harold Shand(an astonishing central performance from the late,great Bob Hoskins)and the fight to save his empire from outside forces is a true classic...and it still is even today.Add to that an excellent supporting performance from Helen Mirren as Harold's wife Victoria,a great script from Barrie Keeffe and an excellent music score from Francis Monkman and it all adds up to a real treat.I mean if the great Martin Scorsese rates this film highly that it must be doing something right.

As Britain enters the Thatcher era, Harold Shand, London's most powerful criminal businessman, is on the verge of turning his underworld-empire into a legitimate corporation. As much as being a metaphor for the era, Harold is a genuinely believable force to be reckoned with, having Scotland Yard Detectives and London Councillors deep in his pockets, as well as influential members of society and his 'firm' of gangland henchmen forming his inner-circle. Played with complete conviction by the wonderful Bob Hoskins as Harold, supported by the great Helen Mirren as his upper-class wife Victoria, "The Long Good Friday" is a first rate underworld-set movie which edges to the boundary of espionage thriller. It has a narrative which reaches far beyond the excellent "Get Carter" which preceded it and "Mona Lisa" which came after it, two powerful bench mark films which focused solely on the underworld. The LGF has two distinct sub-plots running side by side which have dire consequences for Harold, both of which are directly linked to his growing power. Directed seamlessly, it is only a matter of time before the two threads come together (somewhere before the film's middle) and then Harold goes about dealing with the 'problem' the only way he knows how; with unshakable belief in himself and in his abilities. If the movie poses any question for thought, then it must be one which concerns the debate over brute force Vs ideology.Spoiler Alert! As Harold's power-base and organisation grows, two trusted right-hand men (Colin of the old-guard and Jeff of the new generation) begin abusing their privileged positions within the expanding empire, operating with impunity motivated by greed and envy. When an unsanctioned 'job' for an IRA terrorist cell in Northern Ireland goes wrong, Harold's empire comes under violent retribution with premises bombed and henchmen murdered. While this takes place, Harold puts together a multi-million pound deal with American investment partners to re-develop London's rundown docklands; a project that will set an example for England's future, making it, in Harold's words "a leading European State". As the escalating destruction of his empire eventually comes to his attention (initially convinced that it must be an old underworld rival attempting to discredit him) Harold reacts with swift brutality. Unravelling the mystery, notching up murders and a terror campaign of his own, while Victoria strives to keep the lid of respectability on his empire, Harold becomes blinded by his wrath in order to reassert his authority regardless of whom against.

Having just seen The Long Good Friday for the first time in its new cinema release (2015) I am at a loss to understand the praise it gets. The script is feeble and the characters completely absurd, especially the two mafia guys and Helen Mirren as the gangster's moll! The actors are very competent, but the film has no atmosphere, no pace, no rhythm; it's just a sequence of set pieces, almost of tableaux. A gangster film should at least have a sense of danger about it, but this one doesn't because the confrontations are so contrived and implausible. For me the best and only enjoyable part is the swimming baths sequence near the beginning, with Paul Freeman (Colin) and Pierce Brosnan (1st Irishman) giving superb performances, brimming with tension. Significantly here they are not hampered by dialogue. Brosnan makes a second chilling appearance at the end of the film, again without dialogue. You can well see from this why he would be offered the Bond role.

Harold Shand, is a study in contradictions - violent, feared but also self-conscious and insecure. As Harold is about to close a major deal, a spate of bombing attacks bring negotiations to an abrupt halt. He must find out who would dare attack criminal London 's most powerful man. Or has somebody already taken his place?It's the study of someone who is facing ruin in a short time, from being one of the most fearsome, powerful 'mob' bosses in London, to being one of the most powerless, fearful person at once.But it's also a big finger to the government at the time of the films release, and the greed here could be a reflection of the greed of politicians, and other powerful influences at the time......anybody will do anything to line their pockets......Hoskins makes a star turn here as Shand, powerful, happy, and confident when we are first introduced, but as the film and the narrative progresses, we learn it's not him who has the power or the influence, it's his wife, the one who is the foundation and the brains of the outfit.But Harold has the final say, or so he thinks, as his wife does influence him on occasion, and keeps everything smooth. And it's to the film makers and Mirrens credit for not making Mrs Shand a one dimensional moll, she is the most fleshed out character in the film.As Harold realises that he is losing the battle,the film becomes more quickly paced, as if the editing is becoming more frequent, the more Harold becomes vulnerable.It's a tent pole in British cinema, showing a grittier, seedier side to us Brits, and we love it.