(Contains spoilers)
This film is one of those films that only fully reveals itself once it is all over. When it finished, I must admit that I found myself thinking that the ending seemed to come rather suddenly, without much explanation. And then I found that I couldn't get it out of my head.
When going into the film, I expected it to show more of the Krays' rise to power, as well as their capture in 1969. Instead the focus is the Krays as children, growing into the monsters of the underworld as the years pass. The intelligence of this film is that is plays out the Krays' undying love for their mother and family, the effect their infamy has on others, and their closeness as brothers. The part the audience know the most in their lives is largely left out by the film, instead commenting on it through a shot of the Krays returning home after two vicious murders, before fading to their mother's funeral after their arrest many years later.
The surprising poetry and grace this film contained, with scenes such as Violet Kray's 'dream' both at the beginning when the twins are born, and at the end when we see her funeral, and the gentle panning shot of the funeral itself, revealing the Krays to be in police custody while standing at the grave, elevated this film to something more than a 'down and out' gangster movie.
The scenes of violence certainly made me squirm, even though the focus was more on what was being inferred that what was actually shown.
Martin and Gary Kemp here, and perhaps with some shock, were perfectly cast as the boys in their adult life. Gary Kemp as Ronnie Kray carried off, with a certain ease, the slowly more violent character, while Martin Kemp built up a more subtle, but equally as impressive performance as Reggie.
Bille Whitelaw was perfect as the mother of the twins - Violet Kray, and her lines (such as "Mummy loves you") always seemed in place. Her gentle aging throughout the film was also carried off in time with the character.
A very honorable mention goes to Susan Fleetwood, who played Aunt Rose admirably.
Michael Kamen and Chris Rea came up with music with commented on the action, and brought a genuine sense of unease to the picture.
And so, after all all this, the film is still on my mind.
8/10
This film is one of those films that only fully reveals itself once it is all over. When it finished, I must admit that I found myself thinking that the ending seemed to come rather suddenly, without much explanation. And then I found that I couldn't get it out of my head.
When going into the film, I expected it to show more of the Krays' rise to power, as well as their capture in 1969. Instead the focus is the Krays as children, growing into the monsters of the underworld as the years pass. The intelligence of this film is that is plays out the Krays' undying love for their mother and family, the effect their infamy has on others, and their closeness as brothers. The part the audience know the most in their lives is largely left out by the film, instead commenting on it through a shot of the Krays returning home after two vicious murders, before fading to their mother's funeral after their arrest many years later.
The surprising poetry and grace this film contained, with scenes such as Violet Kray's 'dream' both at the beginning when the twins are born, and at the end when we see her funeral, and the gentle panning shot of the funeral itself, revealing the Krays to be in police custody while standing at the grave, elevated this film to something more than a 'down and out' gangster movie.
The scenes of violence certainly made me squirm, even though the focus was more on what was being inferred that what was actually shown.
Martin and Gary Kemp here, and perhaps with some shock, were perfectly cast as the boys in their adult life. Gary Kemp as Ronnie Kray carried off, with a certain ease, the slowly more violent character, while Martin Kemp built up a more subtle, but equally as impressive performance as Reggie.
Bille Whitelaw was perfect as the mother of the twins - Violet Kray, and her lines (such as "Mummy loves you") always seemed in place. Her gentle aging throughout the film was also carried off in time with the character.
A very honorable mention goes to Susan Fleetwood, who played Aunt Rose admirably.
Michael Kamen and Chris Rea came up with music with commented on the action, and brought a genuine sense of unease to the picture.
And so, after all all this, the film is still on my mind.
8/10