Mona Lisa

After seeing Hoskins in "The Long Good Friday", I was eager to catch another one of his highly celebrated performances. Filling in a similar role as an ex-con looking for work in 1980s London, I found his relationship with a call-girl to be highly effective in the character's exploration of a world he is simultaneously out of touch, but all too familiar with. It is a story that moves along leisurely, as he is soon employed by his employer's worker to find a vulnerable young girl on the streets, and it is here that the film offers a disparaging outlook on urban prostitution, through the annals of both high and low society. Hoskin's character becomes embroiled in an emotional investment beyond his control, and like any Noir protagonist, is very soon out of his league and receiving the short end of the stick.

The ending revelation is effective, but slightly underwhelming when one realizes that his journey was doomed from the beginning, but this kind of set up is to be expected from these sorts of tales. The character development and progression between lead actor and actress is simple, but highly effective.

The cinematography comes across as drab sometimes, but there are many beautiful moments in this film with some detailed choreography and impressive lighting of seedy, smoke filled interiors as Hoskins navigates the Londonian labyrinths.

The ending does feel slightly rushed, but there are so many great moments, and the film has a lot of untold backstory that gives its characters a lot of depth and very realistic insight into human longing. This is a great example of effective exposition that is relayed naturally and not a distraction or disservice to the film. A few choppy moments, but overall 'Mona Lisa' is more than the sum of its parts, and is an entertaining and atmospheric indie flick from Neil Jordan.

This film is one of the best to have come out of Britain in the 1980's. Produced by Handmade Films, George Harrison's company, the film won several BAFTA awards and deservedly so. The film deals with an ex-con named George, played by Bob Hoskins who gives a fantastic performance, who is given a job by his old boss, Mortwell, as played by Michael Cain (another fantastic performance). George is now the chauffeur for a high-class prostitute and the story revolves around her educating him on the finer cuts of life with the result of him falling in love with her. It's a powerful film, showing the gritty side of the London underworld and it cannot go wrong with two of the best ever performances from the masters - Bob Hoskins and Michael Caine. These two men know how to play these roles. A true lesson for any actor.

Neil Jordan's 'Mona Lisa' is a great film that was sadly forgotten over time, even though Hoskins got an Oscar nomination for the film. 'Mona Lisa' follows a basically good guy whose made some bad choices George (Bob Hoskins) and his return from prison. Shunned from his wife and some of his old buddies, George feels kind of unwanted but gets a job from his old boss (Michael Caine) chauffeuring a call girl (Cathy Tyson) around at night. The call girl and George form a bond, while the story turns into violence, crime and George and the call girl's search for a young innocent teenage girl forced into prostitution. In my opinion, 'Mona Lisa' is one of Jordan's best films if not his best. Hoskins is absolutely amazing in his role, while Cathy Tyson and Michael Caine provide solid performances as well. Clarke Peters (who you may know as Detective Freeman from HBO's brilliant dramatic series 'The Wire') is also in this as Cathy Tyson's evil and psychotic pimp. For all you indie fans out there, rush to the Blockbuster near you to rent 'Mona Lisa' (make sure it's not 'Mona Lisa Smile', that movie is a tad bit different.) Most likely, you'll find a lot to enjoy and/or admire about this little British indie gem. Grade: B+

George (Bob Hoskins) gets out of prison but his wife won't let him see his daughter. Thomas (Robbie Coltrane) is his friend from the old days. Times have changed. The only job he can get is to drive high-priced call girl Simone (Cathy Tyson) for local gangster Denny Mortwell (Michael Caine). George and Simone don't get along at first. Simone talks George into looking for young prostitute Cathy but he befriends abused May (Sammi Davis) instead. Meanwhile Denny wants George to find out what Simone is doing with one particular client.

Cathy Tyson is electric in her character. Bob Hoskins is great but his character is conveniently written dumb sometimes. At times, he's too naive like crashing in on one of Simone's tricks. I don't know what exactly he expects to see in that room. Sammi Davis is absolutely heart-breaking. The movie is a little uneven at times but the two leads are great.

Bob Hoskins' performance in Mona Lisa is usually highly praised and spoken in the same breath as his portrayal of hood boss Harold Shand in The Long Good Friday (1980). But apart from their shady dealings within the British criminal underworld, their characters couldn't be more different. Where Harold was an old-fashioned, respectable gangster who had excelled in his business now looking to go straight, Mona Lisa's George is a petty crook fresh out of a long stretch in prison. They are both fascinating, detailed portrayal's, but I feel George is the more complex performance, serving as a sad reminder of the fact that the world lost one of it's finest actors last year.

Thrust back into a world that seems to evolved without him, George manages to land a job driving call girls from client to client. His first customer is Simon (Cathy Tyson), a beautiful, upper-end call girl who clashes with George's bull-headed personality. She gives him money to buy some decent clothes, and he shows up in a Hawaiian shirt and leather jacket. With time, their differences become their bond, and Simone asks George to help her find her old friend, a young girl named Cathy (Kate Hardie), who is still in the hands of a sadistic pimp (played by The Wire's Clarke Peters). Meanwhile, George's old boss Denny Mortwell (Michael Caine) is suspicious of their activities and demands that George provide information on Simone.

The movie doesn't go over-the-top with its depiction of the capital's seedy underbelly, but is far more subtle in the way it plays on our expectations. We're all aware of the presence of prostitutes in practically every town in the country, but do we ever really consider what they spend their money on? How they are treated? Where do they sleep at night? We glimpse the true barbarism behind the red lights here, something that George finds difficult to deal with. However, the film is by no means grim, with an excellent script by director Neil Jordan and David Leland providing many amusing moments, particularly in the exchanges between George and his detective story-loving friend Thomas (Robbie Coltrane).

The performances are excellent all round. Hoskins is a rather lovable lunk, proving to be almost insistent at drawing unwanted attention to himself and Simone; at complete odds with this new world he stumbles across. He's the type of guy who asks for a cup of tea at a strip club. Tyson too (what happened to her?) projects real vulnerability under her mask of confidence and beauty. When the movie shifts from drama to thriller in the last third, Caine becomes a menacing presence with a unnerving lack of emotion. All the filth we witness is all just business to him. By the end, as what I initially thought was a character-driven relationship drama turned into something else entirely, the film had subverted my expectations so much that I had to just sit back and admire.