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Mona Lisa (1986)
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Overview
User Rating:
Director:
Writers:
Release Date:
13 June 1986 (USA)
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Tagline:
Sometimes love is a strange and wicked game. more
Plot:
George, after getting out of prison, begins looking for a job, but his time in prison has reduced his stature in the criminal underworld...
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Plot Keywords:
Driver
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Gangster
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Brighton England
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Strip Club
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Lesbian
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Awards:
Nominated for Oscar.
Another 13 wins
&
11 nominations
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NewsDesk:
(6 articles)
Coming Soon: Spider-Man: The Musical
(From Studio Briefing - Film News. 8 July 2004)
Spacey and Hoskins Amaze on Soundtrack
(From WENN. 8 October 2003)
(From Studio Briefing - Film News. 8 July 2004)
Spacey and Hoskins Amaze on Soundtrack
(From WENN. 8 October 2003)
User Comments:
Complex Mystery for Adults
more (33 total)
Cast
(Cast overview, first billed only) | Bob Hoskins | ... | George |
 | Cathy Tyson | ... | Simone |
 | Michael Caine | ... | Mortwell |
 | Robbie Coltrane | ... | Thomas |
| Clarke Peters | ... | Anderson |
| Kate Hardie | ... | Cathy |
 | Zoë Nathenson | ... | Jeannie (as Zoe Nathenson) |
 | Sammi Davis | ... | May |
| Rod Bedall | ... | Terry |
| Joe Brown | ... | Dudley |
| Pauline Melville | ... | George's Wife |
| Hossein Karimbeik | ... | Raschid |
| John Darling | ... | Hotel Security |
| Bryan Coleman | ... | Gentleman in Mirror Room |
| Robert Dorning | ... | Hotel Bedroom Man |
Additional Details
Parents Guide:
Runtime:
104 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.75 : 1 more
Sound Mix:
Certification:
Finland:K-16 (1988) |
Finland:K-18 (1986) |
Iceland:16 |
Australia:M |
Netherlands:12 (2002) |
Germany:18 |
Singapore:NC-16 |
Sweden:15 |
UK:18 |
USA:R
Filming Locations:
Company:
Fun Stuff
Trivia:
Bob Hoskins was unaware that Michael Caine was in the film until he arrived on set for the first day of shooting. Caine himself had created the ruse while they worked together on Sweet Liberty (1986). He told Hoskins that he had been offered the part but it was too small and he was tired playing villains, even though he had already agreed to take the role.
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Quotes:
George:
You like her, don't ya?
Simone: Of course I like her.
George: Yeah, but you like her in that special way. In the songs.
Simone: What songs?
George: Well, I've sold myself for a couple of dykes.
Simone: She needs me George.
George: And you needed me to get her.
Simone: Haven't you ever needed someone?
George: All the time.
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Simone: Of course I like her.
George: Yeah, but you like her in that special way. In the songs.
Simone: What songs?
George: Well, I've sold myself for a couple of dykes.
Simone: She needs me George.
George: And you needed me to get her.
Simone: Haven't you ever needed someone?
George: All the time.
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Movie Connections:
Referenced in I Liza kai oloi oi alloi (2003)
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Soundtrack:
IN TOO DEEP
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FAQ
This FAQ is empty. Add the first question.more (33 total)
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Bob Hoskins made two widely popular movies in the 1980s and this was one of them. Having seen the other, "The Long Good Friday," I wasn't expecting too much but was pleasantly surprised. Hoskins, just out of the slams, is hired to drive a high-end black hooker, Cathy Tyson, from one wealthy client to another. He grows to care for her and when she asks him for a favor, find a strung-out young girl named Kathy, a former roomie of hers, he agrees. He searches the seedier places of London until he finally digs her up. She very young and very hooked. Robbie Coltrane is Hoskins' friend, and Michael Caine is a sort of procurer. The ending is both distressing and violent -- distressing because some of these characters are fully fleshed and we feel we've come to know them.
The film is quite nicely done. The score makes much use of Nat "King" Cole's ballad, Mona Lisa, evoking mystery, and it's appropriate. The composer has worked what seem to be endless variations of the first four notes of the theme into the score. We hear it in the background often, in minor key, or played exclusively on double bass, or burnished by horns. Those four notes insinuate themselves into the incidental music so often that a listener loses the sense that they are the introduction to a pop song and they come to have an ominous functional autonomy, disembodied from the simple tune that prompted it. They become their own song.
The acting is fine. Bob Hoskins is an essentially moral guy, short and unprepossesing, who first shows up on screen wearing an echt-1970s bell-bottomed leisure suit (he's been in for seven years, remember) and carrying a bouqet of flowers that his wife, berserk with anger, tells him what to do with. His gradual attraction to his passenger is nicely laid out, as are the reasons for his occasional displays of violence. He's a sensitive guy, but not too thoughtful. A lot of things get by him. But, to be fair, they get by the viewer too.
There's an element of humor running through the film, mostly expressed in the relationship between Hoskins and Coltrane, who plays a writer and a sculptor of things made of plastic spaghetti. ("The Japanese have cornered the market.") The dialogue is pretty funny in a low-key way. Hoskins and Coltrane sit watching TV and Hoskins remarks something like, "Remember that guy who was murdered? Well, I did it." Coltrane: "You're not joking?" Hoskins [turning and staring grimly]: "I -- never -- joke." Coltrane: "You used to tell that one about the randy gorilla." And here is Hoskins describing his passenger, telling Coltrane that she's not out to exploit him, Hoskins, because "she's a lady." Coltrane: "A lady? I thought you said she was a tart." Hoskins: "Well -- she is, but she's a f****** lady too." And Cathy Tyson almost beggars description, tall, slender, lithe, not staggeringly beautiful or sexy, but her appeal extends far beyond mere appearance. She's gorgeous in the most personal way. She tends to keep her face down and her eyes lowered, almost demurely, and her voice is soft and low, just above a whisper, although you never have to strain to hear what she's saying because her pronunciation is modulated and precise. It's soothing, in control and at the same time reassuring, the voice of an announcer on a late-night FM station playing nothing but classical music. You could listen to her for hours. You could look at her for hours too, for that matter. Michael Caine doesn't have a big or showy part, but he's so reliable that he's always a pleasure to see on screen. I can't think of a single film that has been damaged by his presence, although he's been in a few bummers.
The photography is perceptive. We get a good deal of local color not only from the London locations but from "the seaside," where everything comes to a head. There isn't a lot of violence. What there is of it is quick and pointed.
See it if you get the chance.