The Long Good Friday (1980)

Director:

John Mackenzie

Writer:

Barrie Keeffe

Release Date:

2 April 1982 (USA)

Genre:

Crime | Drama | Mystery | Thriller

Tagline:

Who lit the fuse that tore Harold's world apart?

Plot:

Harold, a prosperous English gangster, is about to close a lucrative new deal when bombs start showing up in very inconvenient places...

Plot Keywords:

Gangster | Bomb | Mob Boss | Ethnic Slur | Falling From Height

Awards:

Nominated for BAFTA Film Award. Another 3 wins

Cast

Bob Hoskins	...	Harold Shand
Helen Mirren	...	Victoria
Dave King	...	Parky
Bryan Marshall	...	Harris
Derek Thompson	...	Jeff
Eddie Constantine	...	Charlie
Paul Freeman	...	Colin
Leo Dolan	...	Phil
Kevin McNally	...	Irish Youth
Patti Love	...	Carol Benson
P.H. Moriarty	...	Razors
Ruby Head	...	Harold's Mother
Charles Cork	...	Eric
Olivier Pierre	...	Chef
Pierce Brosnan	...	1st Irishman
Daragh O'Malley	...	2nd Irishman
Karl Howman	...	David
Brian Hall	...	Alan
Alan Ford	...	Jack
Dave Ould	...	Don
Paul Kember	...	Ginger
Bill Moody	...	Boston
Alan Devlin	...	Priest
Stephen Davies	...	Tony
Bruce Alexander	...	Mac
Nigel Humphreys	...	Dave
Brian Hayes	...	Pool Attendant
Georgie Phillips	...	Eugene
Mary Sheen	...	Lil
Pauline Melville	...	Dora
Trevor Laird	...	Boy Under Car
Paul Barber	...	Erroll
Dexter Fletcher	...	Kid
Billy Cornelius	...	Pete (as Bill Cornelius)
Ryan Michael	...	Waiter Ricardo
Robert Walker	...	Jimmy
Nick Stringer	...	Billy
Gillian Taylforth	...	Sherry
Robert Hamilton	...	Flynn
James Ottaway	...	Commissionaire (as James Ottoway)
Roy Alon	...	Captain Death
Tony Rohr	...	O'Flaherty
rest of cast listed alphabetically:
Harry Fielder	...	Policeman (uncredited)
Ralph Morse	...	Congregationalist (uncredited)
Alan Talbot	...	Sniper (uncredited)

Directed by
John Mackenzie

Writing credits (in alphabetical order)
Barrie Keeffe

Produced by
Chris Griffin	....	associate producer
Barry Hanson	....	producer
George Harrison	....	executive producer (uncredited)
Denis O'Brien	....	executive producer (uncredited)

Original Music by
Francis Monkman

Cinematography by
Phil Meheux

Film Editing by
Mike Taylor

Casting by
Simone Reynolds

Art Direction by
Vic Symonds

Costume Design by
Tudor George

Makeup Department
Colin Jamison	....	hair stylist
Freddie Williamson	....	makeup artist

Production Management
Brian Burgess	....	production manager

Second Unit Director or Assistant Director
Matthew Binns	....	third assistant director
Simon Hinkly	....	assistant director

Art Department
Carlotta Barrow	....	assistant art director
Ron Coleman	....	construction manager
Glynn Kelly	....	assistant art director
Peter Palmer	....	property master

Sound Department
Russ Hill	....	sound editor
David John	....	sound recordist
Hugh Strain	....	dubbing mixer

Special Effects by
Graham Aikman	....	special effects
Steve Hamilton	....	special effects technician
David Harris	....	special effects technician
Ian Wingrove	....	special effects

Stunts
Roy Alon	....	stunt coordinator
Vic Armstrong	....	stunts
Marc Boyle	....	stunts
Tim Condren	....	stunts
Jack Cooper	....	stunts
Jim Dowdall	....	stunts
Terry Forrestal	....	stunts
Frank Henson	....	stunts
Terence Plummer	....	stunts
Bill Weston	....	stunts
Roy Alon	....	stunts (uncredited)

Camera and Electrical Department
Billy Brooks	....	chief electrician
Paul Jordan	....	clapper loader
Mike Proudfoot	....	camera operator
David Shillingford	....	camera focus (as Dave Shillingford)
Ken Wainman	....	still photographer

Costume and Wardrobe Department
Mike Jarvis	....	wardrobe master

Editorial Department
Michael Feinberg	....	assistant editor (as Mike Feinberg)
Peter Spenceley	....	assistant editor
Frederick Wilson	....	post-production

Music Department
Graham Walker	....	music coordinator

Transportation Department
Howard Pugh	....	transportation coordinator

Other crew
Richard Booz	....	unit car
Mary Comberbach	....	assistant to producer
Peter Elford	....	location manager
Penny Eyles	....	continuity
Sally Shewring	....	production assistant
Sue Wall	....	production accountant
Martin Denning	....	consultant (uncredited)

Production Companies

• British Lion Film Corporation
• Calendar Productions
• HandMade Films

Distributors

• Paramount British Pictures (1980) (UK) (theatrical)
• Embassy Pictures Corporation (1982) (USA) (theatrical)
• Equator Films (1999) (UK) (theatrical) (re-release)
• Film AB Corona (1982) (Sweden) (theatrical)
• New World-Mutual (1982) (Canada) (theatrical)
• Valio-Filmi (1981) (Finland) (theatrical)
• Anchor Bay Entertainment (2006) (USA) (DVD) (special edition)
• Anchor Bay Entertainment (2008) (USA) (DVD)
• CIC Video (1995) (UK) (VHS)
• Cannon Screen Entertainment (1987) (West Germany) (VHS)
• Cannon Video (1987) (UK) (VHS)
• Criterion Collection, The (1997) (USA) (laserdisc)
• Criterion Collection, The (1998) (USA) (DVD)
• Image Entertainment (2010) (USA) (DVD) (Blu-Ray)
• Image Entertainment (2011) (USA) (DVD)
• Mainostelevisio (MTV3) (1992) (Finland) (TV) (MTV1)
• Nordic Video (1989) (Finland) (VHS)
• Paragon Video Productions (VHS)
• Sunfilm Entertainment (2004) (Germany) (DVD)
• Umbrella Entertainment (2009) (Australia) (DVD)
• Umbrella Entertainment (2009) (Australia) (video) (VOD)
• VTI Home Vídeo (19??) (Brazil) (VHS)
• Video Film Express (2003) (Netherlands) (DVD)

Also Known As:

Runtime:

114 min

Country:

UK

Language:

English | French

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Australia:R | France:-12 | Norway:16 (1981) | Spain:18 | Sweden:15 | UK:18 (video rating) (1987) | UK:X (original rating) | USA:R | West Germany:18 | Iceland:16 | Finland:K-16 (cut) (1981) (theatrical release) | Finland:K-16 (cut) (1989) (VHS) | Portugal:M/16 | Australia:MA (cable TV rating)

Filming Locations:

Brixton, London, England, UK

Company:

British Lion Film Corporation

Trivia:

In her 2008 autobiography "In the Frame: My Life in Words and Pictures", Helen Mirren claims that it was at her insistence that her character "Victoria" was made into a more complex character than just the stereotypical mob moll.

Goofs:

Errors in geography: Savoy Court is the only street in the UK where vehicles must drive on the right. However, towards the end of the film, we see they are driving on the left.

Quotes:

[first lines]
Colin:Two large Bushmills, please, darlin'.

Movie Connections:

Featured in "At the Movies: The Long Good Friday/Class of 1984/Lola/Pink Floyd The Wall (#1.1)" (1982)

A long, damn good film.

When thinking back over the decades of British gangtser films, The Long Good Friday stands out in memory. This is due to the way the story is executed and the way a certain degree of suspense is held throughout.

Everything starts off well in this film. We're shown a rather perplexing, confusing but well shot sequence involving several people and a couple of deaths over what seems to be a case of money. We hear nothing of these events until much later in the film, keeping it at the back of our minds and creating a certain shock element when we eventually realise everything that's come together.

After the dramatic introduction, everything is toned down slightly as Harold Shand (Hoskins), the man of the film, is introduced to a rather catchy theme tune. His world is also introduced to us through very good use of London iconography as we realise he's rich, got plenty of friends and also has a good looking girl; with his biggest problem seeming to be what nationality to make the chef for his next get-together. With so many faces being introduced and so much pleasurable interaction, the events that follow fuelled by great hate for Harold are rather shocking as they are surprising and that's what really kicks this film off on a good path.

What's also good about the film as well as fascinating is that it takes a certain detective route. So many crime and gangster films often use a revenge plot or a hierarchy technique whereas this one, the enemy is unknown and the hierarchy has already been climbed. He's on his own with two or three of his most trusted accomplices attempting to discover what the hell's going on and this is very interesting as we find out what they find out, and at the same time as they do creating a nice, steady, plodding feeling of consistency.

As the battles and discoveries occur whilst the film wears on, numerous desperate situations are dragged out in a gritty and entertaining way such as Harold's relationship with his girl that is starting to fall apart amongst the terror and confusion, the personal battle with the American businessmen who foil Harold on several occasions and the question marks that arise over loyalties within his own organisation, as well as disagreements with his crooked policeman colleague and rival gangs. Not only are these scenes and plot points gripping; amusing dialogue and good one-liners from Harold himself help move them along.

As the film reaches its final third and Harold gets closer to the truth, the film reminded me of the original 'Get Carter' when Jack realises who's behind it all. Our anti-hero gets more and more angry and each scene gets more and more intense, culminating in pure chaos at a race car track and a monologue of insults at the American's who, up to this point, have had Harold and his outfit rolling over for them.

With strong acting performances all round and an impressive, well paced plot; The Long Good Friday has managed to sneak into my personal favourites list and definitely withstands the test of time.