By: debbie lynn elias
I, for one, am loving this resurgence of neo noir in both film and novels, particularly those dealing with the British crime world a la films, Brighton Rock and Snatch. 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 winning screenwriter William Monahan. Making his feature directorial debut, Monahan adapts Ken Bruen’s crime thriller of the same name, but contemporizes it, giving it a Sunset Boulevard panache to include a main plot line of a movie star on the edge, now 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 causing “grievous bodily harm.” Juxtapositioning South London’s seamy and seedy criminal element against the upscale glitteratti 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 lensing 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 Charlottefs care and best interest at heart, which leads him to hire Mitchel as a bodyguard/handyman.
And what about Mitchel? A man seemingly with ice in veins, but with a warm tenderness, Mitchel has just been released from Pentonville Prison after three years. Determined to reinvent himself and turn his life around, with almost his first footstep beyond the prison gates, obstacles are put in his path, starting with Mitchel’s nemesis, underworld crime boss Gant, and Mitchel’s best friend Billy Norton who only wants to lure Mitchel back into the game and have everything “the way it was” before Pentonville. 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, non-judgemental and appreciative eye as he navigates Charlotte’s world while trying to sidestep his own past and secure his new future.
But what happens when all of the worlds collide and Mitchel is caught in the middle?
Colin Farrell is flawless as Mitchel. Likeable, amiable, and very very fine looking, Farrell exudes this stoic icy steeliness that almost serves as armor to a very tender heart. It is that tight rope that Farrell walks that gives the story and film heart, and pulls you into the story. Mitchel’s point of view is very powerful, very tangible and very heartfelt.
The real scene stealer is David Thewlis. One of my picks for a possible Best Supporting Actor Oscar nomination, as Jordan, he steals the show and blows me away. Describing Jordan 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”, Thewlis is the life’s blood in LONDON BOULEVARD. Such a contrast to Professor Lupien in Harry Potter or even the Nazi commander in The Boy in the Striped Pajamas, as Jordan, Thewlis looks like a leftover hippie from the 60’s but with a soulful, wise edginess. This is one of the finest performances of the year.
Heavyweight Ray Winstone easily tackles the role of Gant. With menacing ease he is the poster child for cold-blooded killer. 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 one big problem with Chaplin? His cockney accent, while authentic, is so thick that his dialogue is unintelligible.
The real outcast to an otherwise exemplary casting is Keira Knightley. As Charlotte, she is, for lack of a better description, flat and uninteresting. And while there is a slightly ridiculous underlying love story between Charlotte and Mitchel, there is no chemistry between Knightley and Farrell.
Written and directed by Monahan, the two strongest elements of LONDON BOULEVARD are the exotic and intriguing characters, and Chris Menges’ cinematography. While drawing on Bruen’s novel, Monahan brings this gangster thriller into the 21st century, updating characters with a 60’s swingers throwback and adding a few new ones. Characters are slick, cool, visual and visceral. From a story standpoint, while interesting with intricate underpinnings, the film is rich with plot and sub-plot, but to excess. There are so many events and characters and stories taking place, that the film is stretched thin, missing opportunities to delve into perhaps better intrigue and excitement, opting instead to just look at the “tip of the iceberg”.
But let’s talk Chris Mengesf cinematography. I am a huge admirer of his work which makes me excited to see the neo-noir palette he has developed with Monahan for LONDON BOULEVARD. Marvelous visual qualities with lighting, desaturization and noir tonal palette of criminal element scenes, warmth of the grounds and homes of our beleaguered actress. Very eclectic visuals that are compelling, interesting, engaging and look damn good!
As a director, Monahan excels with an exacting use of violence. Always quick, sharp and extreme, it catches one 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 when paired 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.
