The Long Good Friday

Christopher Owens ✒ Released in 1980, this British gangster flick was long thought of as being inferior to Get Carter due to the latter’s assimilation by Cool Britannia in the mid 90’s.

Thankfully, The Long Good Friday is now (correctly) regarded as one of the finest movies ever made and is discussed as equally as Michael Caine’s 1971 masterpiece.

One can argue that, in keeping with the era, this adoption was more of an affectation than a sincere love of the material. People referenced Caine’s suit, his car, the soundtrack and the 60’s fashion but seemingly overlooked the character of Carter, the bleak surroundings and the grim violence.

By contrast, John McKenzie’s classic takes place in the immediate aftermath of the 1979 general election and is set in pre-gentrification London. There is nothing for hipsters to latch onto, and for those with mindsets that think beyond the cut of someone’s suit, there is much to treasure.

♜ ♞ ♟

Harold Shand (in a career best performance from Bob Hoskins) has run London from top to bottom for over a decade. With the new decade approaching, Shand has set up a deal with an American organisation (later revealed to be the Mafia) which will legitimise his corporation and further widen his influence.

However, on Good Friday, his men are killed and his business ventures are blown up. Is it a rival looking to sabotage the deal or is it someone beyond his worldview who won’t play by Shand’s rules?

♜ ♞ ♟

Noted for its prescient view of Thatcherite Britain (drawn from screenwriter Barry Keefe’s days as a journalist where he noticed dodgy dealings going on in the Docklands) as well as its (arguably) pro-IRA stance (which very nearly cost the film its distribution after the death of Mountbatten, only being saved by George Harrison’s Handmade Films), The Long Good Friday is a cinematic tour de force that is as tightly packed as a Swiss army knife.

Never lagging in pace and brimming with tension, the viewer is placed beside Harold as he tries to figure out who is attacking him, forever one step behind. As a result, we begin to feel a little sympathy for this bulldog trapped in a suit (as noted film critic Gene Siskel once described him) as his persona (stiff upper lip British bulldog bully) is sorely tested.

Helen Mirren also delivers as Victoria, Harold’s wife. Fiercely loyal and just as much a partner in Harold’s dealings, she fights her corner with controlled, ice cool temperament and even directs Harold when he’s lost control. Combined with explosive performances from Derek Thompson and P.H. Moriarty, you can never tear your eyes away from the screen. Especially when you’re hearing dialogue like:

"Nothing unusual," he says! Eric's been blown to smithereens, Colin's been carved up, and I've got a bomb in me casino, and you say nothing unusual?

“Don't you ever tell me what I can or can't do! Bent law can be tolerated for as long as they're lubricating, but you have become definitely parched. If I was you, I'd run for cover and close the hatch, 'cause you're gonna wind up on one of those meat hooks, my son.”

“What I'm looking for is someone who can contribute to what England has given to the world: culture, sophistication, genius. A little bit more than an 'ot dog, know what I mean?”

And as for the wordless ending? Wow.

Arguably, the only aspect that has not aged well is the soundtrack and this is mainly down to the use of the saxophone. Because of its use throughout the 1980’s in horrible pop music (‘Hungry Eyes’, ‘Careless Whisper’, ‘Never Tear Us Apart’), the instrument has become a byword for cheese. However, leaving that aside, the mix of synth arpeggios and orchestra does compliment the drama onscreen and adds an almost Shakespearian like tragedy in certain scenes. It’s just that, compared to the timeless cool, groove and immediacy of Get Carter, Francis Monkman’s score definitely falls short.

In recent years, the influence of the film has been felt in various British gangster films (specifically Guy Ritchie ones) and the foresight has been applauded in various upmarket publications. None of that would matter if the film wasn’t a dynamic thriller that left you breathless on first viewing.

A masterpiece.

⏩ Christopher Owens was a reviewer for Metal Ireland and finds time to study the history and inherent contradictions of Ireland. He is currently the TPQ Friday columnist.