Fable of London criminals switching time-frames between the present and the 60s. Both the casting of Malcolm McDowell and the film's look indicate the influence of Kubrick on debut director Paul McGuigan
There have been far too many British gangster films in recent times. But there is always room for one that bucks the generally mediocre trend, and this is it.
McDowell is an unnamed ageing gangland boss who has just heard that his former mentor Freddie Mays (Thewlis) is being released from prison. That leads him to recall his rise as Mays' henchman in the 60s.
Rather than the normal Scorsese or Coppola borrowings, McGuigan seems to have chosen Kubrick as his model, and not just in the casting of Clockwork Orange star McDowell: the whole feel of the film is visually ambitious.
Bettany is very good as McDowell's ruthless younger self, learning the ropes from how to dress to impress to how to kill a man. And Thewlis, rather more elegant than usual, matches him as the boss who underestimates the psychopathic nature of his protege. Make no mistake, this is an extraordinarily violent film in places, but this is preferable to 'they looked after their mum' Kray twin mythology that usually softens the image of London's crimelords.
If the film has a flaw, it is that the 60s middle segment is a lot stronger than the present day scenes that book end the film. But that's a quibble: stylistically daring and often terrifying, Gangster No 1 is the rare British crime thriller that is worth your time.
There have been far too many British gangster films in recent times. But there is always room for one that bucks the generally mediocre trend, and this is it.
McDowell is an unnamed ageing gangland boss who has just heard that his former mentor Freddie Mays (Thewlis) is being released from prison. That leads him to recall his rise as Mays' henchman in the 60s.
Rather than the normal Scorsese or Coppola borrowings, McGuigan seems to have chosen Kubrick as his model, and not just in the casting of Clockwork Orange star McDowell: the whole feel of the film is visually ambitious.
Bettany is very good as McDowell's ruthless younger self, learning the ropes from how to dress to impress to how to kill a man. And Thewlis, rather more elegant than usual, matches him as the boss who underestimates the psychopathic nature of his protege. Make no mistake, this is an extraordinarily violent film in places, but this is preferable to 'they looked after their mum' Kray twin mythology that usually softens the image of London's crimelords.
If the film has a flaw, it is that the 60s middle segment is a lot stronger than the present day scenes that book end the film. But that's a quibble: stylistically daring and often terrifying, Gangster No 1 is the rare British crime thriller that is worth your time.