Hiller, a computer expert, was bribed by group of bank robbers to obtain details of the security system at a newly-built bank. Having obtained the information, he thought he'd seen the last...
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Richard E. Grant,
On the eve of retirement a middle class, judgmental snob discovers her husband has been having an affair with her best friend and is forced into exile with her bohemian sister who lives on an impoverished inner-city council estate.
Hiller, a computer expert, was bribed by group of bank robbers to obtain details of the security system at a newly-built bank. Having obtained the information, he thought he'd seen the last of the robbers. But now they've traced him and his son to London. They hold the son hostage and force Hiller to decode the information about the alarm and then to take part in the robbery. Written by
The title is taken from the names of two fox-hounds mentioned in the lyrics of the 18th century ballad "Do Ye Ken John Peel", a song about fox-hunting. It is presumably a rather obscure allusion to the way that the bank robbers have hunted down Hiller and won't let him go again. See more »
When the robbers' Daimler Sovereign getaway car is first seen after the robbery, its two inner headlights are smashed and are not lit. A few seconds later, when the car drives through the greenhouses, those lights are unbroken and are lit. See more »
[the Wheelman is driving the getaway car after the robbery and hears on the police radio that the police are getting very close]
I used to live round here. Hold tight.
[he swerves onto a farm track, through some greenhouses and heads towards a fence]
That's a bloody fence! Christ! Where are you going? You stupid... Where are we going now?
We can cut through round here, back onto the estate.
There's no road. Where is it? There's no road!
[...] See more »
The end-credits are overlaid on a long drawing that scrolls sideways, depicting Hiller's and The Boy's plane as it leaves London, flies over the Atlantic and arrives at Rio. See more »
I'm a huge fan of "heist" movies, a sub-species of "caper" movies. And there's something especially delicious about the British argot that makes British heist movies especially great fun. ("Sexy Beast," "The Great Train Robbery," "The General" all add to this list)
But across all heist movies "Bellman and True" is my all-time favorite. Bernard Hill gives one of his most nuanced performances as an alcoholic computer programmer who is left with his girlfriend's son ("True") when she dumps both of them. To get out of debt he's sold some information to a gang about bank security, but now he and the boy are on the run because the gang wants more than information--they want him to help plan the heist.
I won't give away anything more, but the heist itself is a white knuckle masterpiece, directed by Richard Longcraine (Richard III, with Ian McKellen, and Smiley's People, with Alec Guiness).
Through it all Russell is surrounded by more than a dozen great performances by some of the UK's finest character actors. Richard Hope as "Salto," is especially strong, as the gang member assigned to be Russell and the boy's jailer.
Trust me---the caper, which makes up the second half of the film, is worth a viewing on its own, but the strong characters and acting make it a real hidden gem of 1980s British cinema. This film jump started Longcraine's career, which recently included "Wimbledon," "My House in Umbria," and the to be released Harrison Ford thriller "Firewall."
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