Ask me what my favorite British crime movie is, and there might be a pause before I answer. While many might instinctively choose Get Carter due to its iconic status, I have to admit it’s not my top pick. Sure, Get Carter has its memorable moments, but its flaws as a film keep it from claiming the top spot. For me, the British crime film that stands out above the rest is The Long Good Friday.
Why The Long Good Friday Holds Up
Described as a “whodunit in gangster clothing” and likened to classic Warner Bros. crime dramas like Little Caesar and The Roaring Twenties, this movie is more than the sum of its influences. Unlike Get Carter, which has seen multiple American remakes, The Long Good Friday is deeply rooted in its period and location, making it feel uniquely relevant even decades later.
The film’s connection to Thatcher-era England is striking. Its narrative reflects a time of national hubris, terrorism, and social upheaval. Harold Shand’s vision for urban redevelopment foreshadows real-world transformations—from the eventual creation of Canary Wharf to the Olympic aspirations hinted at in the dialogue. In many ways, Shand’s ambitious plans mirror the emerging London of today.
Harold Shand: A Character for the Ages
Few protagonists capture the essence of a nation’s identity like Harold Shand in The Long Good Friday. Shand is a quintessential self-made man—an old-school East End gangster with aspirations of respectability. He’s bullish, driven, and often hilariously brash. Bob Hoskins’ portrayal of Shand is nothing short of extraordinary, balancing fearsome intensity with moments of surprising vulnerability. This was Hoskins’ breakout role, and he delivers a powerhouse performance that anchors the film.
A Unique Take on the Crime Genre
Unlike many British gangster films, The Long Good Friday avoids clichés. There are no red buses or black cabs, no shots of Big Ben. The violence is subdued—most of it happens to the gangsters rather than being perpetrated by them. Shand’s men rely more on intimidation than brutality, with one significant act of violence coming only near the film’s end. The characters—from the gang leader to the “moll”—are given depth and complexity, thanks to Barrie Keeffe’s stellar script.
Victoria, played by Helen Mirren, is no mere accessory to Shand. Intelligent and composed, she is his equal, capable of keeping him grounded in moments of chaos. Mirren’s performance elevates what could have been a thankless role into one of the film’s highlights.
Balancing Humor and Drama
One of the film’s most striking features is its tone. While many crime movies of the era were grim, The Long Good Friday blends dramatic tension with sharp irony. Lines like “You don’t go crucifying people outside a church. Not on Good Friday!” manage to inject humor without breaking the film’s serious undertone. This balance is a testament to the skill of the cast and crew.
Bob Hoskins’ ability to switch from humor to raw emotion is exemplified in a scene where he grieves the loss of a close friend. Even in his anger, he delivers a sardonic punchline about the body being transported in an ice cream van: “There’s a lot of dignity in that, isn’t there? Going out like a raspberry ripple.” Moments like these showcase the film’s unique ability to navigate contrasting emotions.
A Legacy That Endures
The journey of The Long Good Friday to its eventual release is almost as dramatic as the film itself. Initially produced for television, the movie faced resistance due to its controversial themes, particularly its portrayal of the IRA. It was only through Bob Hoskins’ legal challenge and the intervention of George Harrison’s Handmade Films that the movie saw the light of day.
Decades later, The Long Good Friday remains a benchmark for British crime cinema. Its raw power, modern sensibility, and sharp commentary on societal change make it a timeless classic. If you haven’t seen it, now is the time. And if you have, it’s worth revisiting for another dose of Harold Shand’s unforgettable journey.
Why It’s Essential Viewing
Unlike many films of its kind, The Long Good Friday transcends genre conventions, offering a narrative that is both deeply personal and politically charged. Its characters are multidimensional, its dialogue crackles with wit, and its themes remain strikingly relevant. For anyone who appreciates crime cinema at its finest, this is a must-watch.