THE LONG GOOD FRIDAY

UK, 1980, 105 minutes, Colour.
Bob Hoskins, Helen Mirren, Eddie Constantine.
Directed by John Mackenzie.

There is a different grittiness about English gangster films and the U.S. kind (highlighted here by the Americans spurning the ambitious Londoners). But in terms of power, greed, cruelty, henchmen, mistresses, mayhem, all gangsters act much the same way. This film is competently made (predominantly English TV style), has a commanding central performance from Bob Hoskins, has a lot of difficulty for audiences catching London accents and ironic dialogue. The particular difference is that the film is anti-I.R.A., their gangster methods (in retaliation on the Londoners) are 'More ruthless and devastating than any criminals'. Well acted (Helen Mirren is the elegant mistress), crisply photographed - mainly for devotees of the gangster genre. Bob Hoskins appeared in a celebrated B.B.C. series, Pennies From Heaven. Television director John MacKenzie? made the features Maid (1973) and Unman, Wittering and Zigo (1972).

1. The appeal of underworld thrillers? The conventions of the genre over the decades? Plot and complexities, types of characters? Basic issues of crime, justice? Moral codes and the breaking of these? How interesting and successful an example?

2. The British tone of the film? the locations, the move to Northern Ireland, the use of the Thaws and the boat, the city of London? Atmosphere? Colour photography? The contrasts with the familiar American styles of gangster film and locations?

3. The British types? Accents? Language and style? The pacing of the film? Editing? violence and special effects? The range and atmosphere of the musical score?

4. The Good Friday setting? ironies? The Catholic tradition? The focus on the death of Christ and the religious service? The tradition of Ireland and Catholics? Harold and his mother at the service and the car exploding? The contrast with Harold and his friends and their behaviour - a worldly Good Friday? The long drawn-out day and all the complexities for Harold? The irony of there being no resurrection for Harold?

5. The complexities of plotting and the screenplay: audience difficulty in following the plot, the strands at the opening and their eventually being drawn together? The atmosphere of Ireland, the transporting of money, Colin and the homosexuals, Jeff and the woman in the hearse spitting at him, Harold and his arrival - full of confidence from New York? The setting up of the party and the anticipated arrival of Charlie?

6. The mystery and the various strands - seen from Harold's point of view but with previous information? Sharing Harold's discovery and shock? How successfully presented the various pieces working up to the climax? The continued ironies and especially the ending?

7. The ugly underworld - the people involved, their power bases and activity. greed, cruelty, use of violence and pressure? Their moral code? Loyalty? Overreaching themselves? The lack of audience sympathy for the gangsters? Interest in them? Their place in contemporary society - money, business deals, twisting the law, having the police in pay? The world of headlines for ordinary citizens? Gangsters and the critique of contemporary society?

8. The focus on Britain at 1980? The doldrums, recession, past glories of empire? Part of Europe and a non-prosperous part? The need for the influx of money. American deals 'hand across the Pacific? The comments and observations about England's place in Europe and the Common Market? The future of London? Comparisons with the United States? The importance of the I.R.A. and its treatment of the British government, British army? The possibility of taking over England? Harold's speeches and shouted declarations about England and his pride in it?

9. The film's focus on Harold: the self-made gangster, his remark about the kids washing the car and not slashing the tyres? Peace in the London underworld for ten years? His building up his wealth, empire, henchmen, the gang and his use of them for rounding up rivals, torture? His casino and restaurants? His aims for building deals? His relationship with Victoria and the 'classy' mistress? His friendship with her, love, following her advice? His friendship with Jeff and trusting him and then being betrayed? and the violent eruption in his killing him? Friendship with such men as Colin and his reaction to their deaths? The build-up of the deals? The torture of the West Indian and gaining information? His having a policeman in his pay? His sentimentality about his mother and his reaction to the bombed car? The hosting of the party on his boat and the various types present? The bombing of the restaurant? His cruelty in the rounding up of the criminals and hanging them upside down? His checking out the widow of the man murdered in Ireland, visit to the cemetery? Promise of money? The confrontation of Jeff and his disappointment, the eruption of his violence and killing Jeff? The decision to confront Harris? The move to wards the stock-car smashes and the I.R.A. men? The pretence of the deal and his massacring them? The irony of himself and Victoria being captured by the I.R.A.? How detailed a portrait of a man, a gangster? His talk and attitudes? Details of behaviour? His coping, his code? His shouting and defiance? A gangster type?

10. The glimpses of the characters in the gang? Colin and his greed, homosexuality and murder? Jeff and his closeness to Harold, his ambition, concealing the truth, death? His bodyguard? The various toughs? The policeman in his pay and his threatening him?

11. Victoria and her style, dress, manner? Her fear on the Friday? Her pointing Harold towards Jeff? Her being taken by the I.R.A.?

12. Charlie and the Mafia, the American connection and know-how, the lawyer on hand? Listening to Harold's outburst about England and despising the Americans? Their spurning the English?

13. The film's point about the I.R.A., the events, their power, their mistaking Colin's guilt, the havoc and vengeance, the bombs and the killings? The smashing of the stockcars - as an image of the I.R.A. men? The massacre?

14. The appropriateness of the violence - deaths, blood? Eruptive violence in the gangster world? Violent men and violent issues,? The emphasis on England and its attitude towards the I.R.A.?

15. The gangster film as an image of society, its decline and fall? The possibility of cleaning out gangsters?