By Debbie Lyn Elias
I, for one, am loving the current resurgence of neo-noir in both film and novels, particularly those dealing with the British underworld. The intrigue is palpable and believable and a conscience always seems to pop up at the most inopportune times, to dire effect. Conscience kills. LONDON BOULEVARD, the latest entry into this burgeoning genre, comes compliments of Academy Award-winning screenwriter William Monahan. Making his feature directorial debut, Monahan adapts Ken Bruen’s crime thriller of the same name, but contemporizes it, adding a Sunset Boulevard plot line of a movie star on the edge thanks to the relentless pursuit of paparazzi. But coming to her aid is the smart, super sexy Mitchel, a petty gangster fresh out of prison after serving time for grievous bodily harm. Juxtaposing South London’s seamy and seedy criminal element against the glitterati of West London, London Boulevard, is a visual, visceral and at times violent look into the world of the bad and the beautiful.
Charlotte is a prisoner in her own home. Rich, famous and recognizable, with an absentee philandering ex-boyfriend, she is the fodder that fuels the London paparazzi. As the story unfolds, we learn that while working in Italy, Charlotte was allegedly raped. However, in true Hollywood fashion, there was a cover-up so as not to “tarnish” the film. But, of course, things like this have a way of leaking out, making Charlotte that much more of a target while driving her ever deeper into seclusion. Her only companion and confidante is her house manager/butler, Jordan. An interesting character, self-described “polymath” Jordan spends the bulk of his time stoned or high, but always has Charlotte’s care and best interest at heart, which leads him to hire Mitchel as a bodyguard/handyman.
And what about Mitchel? Just released from Pentonville Prison after serving three years, Mitchel is determined to reinvent himself and turn his life around, but immediately obstacles are put in his path, starting with his nemesis, underworld crime boss Gant (Ray Winstone), and Mitchel’s best friend Billy Norton (Ben Chaplin), who only wants to lure Mitchel back into the game and have everything “the way it was” before Mitchel was sent down. Adding to the mix is Mitchel’s alcoholic/medicated sister Briony whose gift is having a knack for hanging with the wrong guys (the ones Mitchel wants to avoid) and doing everything she’s not supposed to do if she is to maintain any form of mental health. And then there’s Charlotte. Applying for a job with Charlotte, Mitchel falls under Jordan’s watchful and appreciative eye as he navigates Charlotte’s world while trying to sidestep his own past.
Colin Farrell is flawless as Mitchel, exuding a stoic, icy steeliness that almost serves as armor to a very tender heart. It is that tightrope that Farrell walks that gives the story and film heart, and pulls you in.
But the real scene stealer and the film’s lifeblood is David Thewlis as Jordan, described as “a failed film producer, a failed actor, a musician, a solicitor, an agoraphobic, a pot-head, an alcoholic, a frustrated murderer with a nice taste in clothes and a full head of hair, and he lives in Charlotte’s kitchen”. This is one of the finest performances of the year.
Also putting in a good shift is Ray Winstone, for whom the role of gangland kingpin Gant fits like a comfortable suit. With menacing ease he is the poster child for cold-blooded killer. And Ben Chaplin is more than interesting as Mitchel’s best friend Billy. With a frenetic energy, he oozes insincerity and dishonesty but more often than not, does it with an oily charm. The only quibble being his cockney accent, while authentic, is so thick that his dialogue is unintelligible.
The only exception to the otherwise exemplary casting is Keira Knightley as Charlotte, she is, for lack of a better description, flat and uninteresting.
As a director, Monahan excels with an exacting use of violence. Always quick, sharp and extreme, it catches you off guard and takes you by surprise. However, the film as a whole is not a violent film. It just contains acts of violence that happen so suddenly, you jump and blink twice…and the fact that the bloodiest violence is expressed by sound rather than direct victim visuals, just fuels the imagination and makes you hungry to watch the story unfold.
And the soundtrack? Hel-lo!! 60’s rock classics from the Yardbirds and Box Tops seamlessly meld with the hard, vibrant sounds of today from British rock band Kasabian. This is another definite “must have” soundtrack for 2011.
Cool. Hip. Slick. Loving London Boulevard
Mitchel – Colin Farrell
Jordan – David Thewlis
Charlotte – Keira Knightley
Gant – Ray Winstone
Billy – Ben Chaplin
Written and Directed by William Monahan. Based on the novel of the same name by Ken Bruen.
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