6.7/10
6,824
58 user 22 critic

The Krays (1990)

This fact-based movie follows the life of the twin crime-lords in London's '60s underworld.

Director:

Peter Medak

Writer:

Philip Ridley
Nominated for 1 BAFTA Film Award. Another 4 wins & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Billie Whitelaw ... Violet Kray
Tom Bell ... Jack 'The Hat' McVitie
Gary Kemp ... Ronald Kray
Martin Kemp ... Reggie Kray
Susan Fleetwood ... Rose
Charlotte Cornwell Charlotte Cornwell ... May
Kate Hardie ... Frances
Avis Bunnage Avis Bunnage ... Helen
Alfred Lynch ... Charlie Kray
Gary Love ... Steve
Steven Berkoff ... George Cornell
Jimmy Jewel ... Cannonball Lee
Barbara Ferris ... Mrs. Lawson
Victor Spinetti ... Mr. Lawson
John McEnery ... Eddie Pellam
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Storyline

The life of a pair of twins (Ronald and Reginald Kray) who were born in London in 1934 and when they grew up became gangsters selling protection. Written by Michel Rudoy <mdrc@hp9000a1.uam.mx>

Plot Summary | Add Synopsis

Taglines:

When People are afraid of you, You can do anything. Remember that. See more »

Genres:

Biography | Crime | Drama

Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK

Language:

English

Release Date:

9 November 1990 (USA) See more »

Also Known As:

A Kray fivérek See more »

Filming Locations:

Bermondsey, London, England, UK See more »

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Box Office

Gross USA:

$2,060,847
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby

Color:

Color (Technicolor)| Black and White (some footage)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The real life Kray twins disliked this film because it portrayed their mum swearing. See more »

Goofs

In the boxing scene at the fairground, the twins' are portrayed as young adults and that the fight between them transpires after Ronnie knocks out the prize fighter - this incident actually took place when they were both small boys. The ringmaster shouted to the crowd if anyone wanted to take on the show fighter and the young Ronnie Kray shouted that he'd fight him. Amid much laughter, the referee pointedly said he was a bit young - whereupon Reggie stepped up and challenged his brother. They fought gamely, and were both awarded half a crown for their efforts; this was also the bout that led to their later semi-professional careers as pugilists. See more »

Quotes

Violet Kray: I don't think it's possible to love someone too much but I think you can love them in the wrong way.
See more »

Alternate Versions

The film's epilogue (which originally only explained the twins' prison sentences for their crimes) was updated on versions released for TV and video in 1995 to include an epitaph after Ronnie Kray's death that year. The same was done for Reggie, who died in 2000. See more »

Connections

Featured in Flesh and Blood: The story of the Krays (1991) See more »

Soundtracks

Bittersweet
Written by Chris Rea
Published by Warner Chappels Music
By Arrangement with Chappell Music Ltd.
See more »

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User Reviews

 
It's aged well but should be better known.
10 November 2010 | by tim-764-291856See all my reviews

I saw this British crime biography in the cinema 20 years ago, on its release. I'd not seen it since, until getting it on DVD.

It was striking then how perfectly cast the Kemp brothers were, as the violent twins. Core members of the 1980's pop group Spandau Ballet, it was an eye-opener that they had another string to their bow and in contrast to their fresh pop image.

The film's aged well. Martin Kemp (Reggie Kray) kept up his acting career with popular soap operas (Eastenders) though I'm not sure what Gary (Ronnie Kray) has done since. They both have a slimy sort of adhesion as blood brothers and as the gangsters they both compel - and appal.

Billie Whitelaw's performance as their strong, iron-lady of a mother, Violet, who held the family together through the blitz and rationing, was always held in high esteem. The Kray men of that era come across as weak, ducking active war service and work, which embittered Violet, her mother and her sisters.

Thus, she had such high hopes for her twin boys. Bearing comparison to Margaret Wycherly's 'Ma' in the 1949 James Cagney crime thriller, 'White Heat' the bond becomes above all else. The apron strings are bullet proof, it would seem. Having somewhat grown up myself in the interim between viewings, I saw more into Kate Hardie's character who played Reggie's wife, Frances. Cast under a long shadow, below the 'Firm', Reggie's brother and certainly far below Violet, poor Frances, who annoyed me twenty years ago with her frightened whimpering excels at going from pretty girl-next-door, to trophy wife and then to tragic doormat.

Ronnie Kray's homosexuality, understandably back in the early-mid 1960's (and illegal) was cause of much of the ridicule and angst they endured from their enemies. Even back in 1990, it seemed daringly fresh to have this as part of the storyline, with scenes to match.

The film's direction and look cannot fail to be compared these days to Martin Scorsese, or, how he would have done it. This looks British; that grey-brown that these days would be digitally sourced. The acres of dull patterned wallpaper in front living rooms. The big Jaguar cars. The sun never shines in the East London street scenes, those streets seemingly familiar to Brits everywhere.

The dialogue at times seems naff and obvious, other times spot-on. Violence, when it comes is near-graphic, but maybe not up there with the barely watchable scenes of say, Scorsese's Goodfellas. I'd like to have seen more action - adding to its 115 minutes with more of the 'everyday' crime and racketeering and how they held down their much feared reputation. We do get a couple of brilliantly played nasty guys - Stephen Berkoff and Tom Bell are as despicable as any - and who have vengeance played upon them by the twins. We get no tip-offs and thus, no raids and no police. Some chase scenes might have been nice!

As a drama that reads more like a psychological profile than a straight crime thriller, then it's rarely been bettered, on either side of the Atlantic. Had it been made in the mould of the latter, then it might be better known and better remembered. I still like it, as it is, as much as I did twenty years ago.


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