Mona Lisa

1986

Crime / Drama

4
IMDb Rating 7.4

Synopsis


Downloaded 25519 times
8/6/2015 8:15:03 AM

1080p 720p
1.65G
1920*1040
R
English
23.976 /
104 min
P/S 3 / 2
811.70M
1280*688
R
English
23.976 /
104 min
P/S 0 / 2

Movie Reviews

Reviewed by TC Raymond 5

MONA LISA is a complex, intriguing, multi-faceted combination of black comedy, love story, crime drama and adult thriller that demands repeated viewings in order to successfully peel back the various layers and get to the heart of the matter. What you find there is entirely up to you, but I believe it to be a sad and sensitive portrayal of a small-time crook trying to fit into a world that simultaneously rejects and baffles him following his belated release from prison. Hoskins, once again stunning in a role that could have been written for him, is never too naive and never too streetwise, more of an amiable combination of the two. There are obvious paralells to his unforgettable character in THE LONG GOOD FRIDAY - in that film, his character was a murderous thug who somehow remained worth caring about (largely by virtue of his utter confusion at the collapse of his criminal empire at the hands of forces unknown), whereas here, Hoskins' character is appealing because he displays an inner core of utmost decency - he seems shocked by the depths of depravity the underworld has stooped to in his absence, he is stunned by his ex-wife's refusal to let him see his daughter, and even the sight of his "tall, thin, black tart" (a brilliantly understated performance by Cathy Tyson) pleasuring an obese businessman with some light bondage leaves him disgusted and furious. In the film's latter stages, he simmers and seethes like a faulty pressure cooker, and having been by his side throughout his singularly upsetting voyage of discovery, we can share his rage and frustration. If I had to pick fault with MONA LISA, then that fault lies in Robbie Coltrane's unconvincing performance as a wheeler-dealer who writes detective stories and sells plastic foodstuffs. It isn't Coltrane's fault that the character seems contrived and tacked on to the story just to make things a little more abstruse (one of director Neil Jordan's most consistent failings), but he seems to be plodding through his role indifferently, rather than living it the way Caine and Hoskins are. Nonetheless, MONA LISA is a very fine film and one that should be seen and digested by anyone with an interest in British crime cinema.

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Reviewed by Robert J. Maxwell ([email protected]) 7

Bob Hoskins made two widely popular movies in the 1980s and this was one of them. Having seen the other, "The Long Good Friday," I wasn't expecting too much but was pleasantly surprised. Hoskins, just out of the slams, is hired to drive a high-end black hooker, Cathy Tyson, from one wealthy client to another. He grows to care for her and when she asks him for a favor, find a strung-out young girl named Kathy, a former roomie of hers, he agrees. He searches the seedier places of London until he finally digs her up. She very young and very hooked. Robbie Coltrane is Hoskins' friend, and Michael Caine is a sort of procurer. The ending is both distressing and violent -- distressing because some of these characters are fully fleshed and we feel we've come to know them. The film is quite nicely done. The score makes much use of Nat "King" Cole's ballad, Mona Lisa, evoking mystery, and it's appropriate. The composer has worked what seem to be endless variations of the first four notes of the theme into the score. We hear it in the background often, in minor key, or played exclusively on double bass, or burnished by horns. Those four notes insinuate themselves into the incidental music so often that a listener loses the sense that they are the introduction to a pop song and they come to have an ominous functional autonomy, disembodied from the simple tune that prompted it. They become their own song. The acting is fine. Bob Hoskins is an essentially moral guy, short and unprepossesing, who first shows up on screen wearing an echt-1970s bell-bottomed leisure suit (he's been in for seven years, remember) and carrying a bouqet of flowers that his wife, berserk with anger, tells him what to do with. His gradual attraction to his passenger is nicely laid out, as are the reasons for his occasional displays of violence. He's a sensitive guy, but not too thoughtful. A lot of things get by him. But, to be fair, they get by the viewer too. There's an element of humor running through the film, mostly expressed in the relationship between Hoskins and Coltrane, who plays a writer and a sculptor of things made of plastic spaghetti. ("The Japanese have cornered the market.") The dialogue is pretty funny in a low-key way. Hoskins and Coltrane sit watching TV and Hoskins remarks something like, "Remember that guy who was murdered? Well, I did it." Coltrane: "You're not joking?" Hoskins (turning and staring grimly): "I -- never -- joke." Coltrane: "You used to tell that one about the randy gorilla." And here is Hoskins describing his passenger, telling Coltrane that she's not out to exploit him, Hoskins, because "she's a lady." Coltrane: "A lady? I thought you said she was a tart." Hoskins: "Well -- she is, but she's a f****** lady too." And Cathy Tyson almost beggars description, tall, slender, lithe, not staggeringly beautiful or sexy, but her appeal extends far beyond mere appearance. She's gorgeous in the most personal way. She tends to keep her face down and her eyes lowered, almost demurely, and her voice is soft and low, just above a whisper, although you never have to strain to hear what she's saying because her pronunciation is modulated and precise. It's soothing, in control and at the same time reassuring, the voice of an announcer on a late-night FM station playing nothing but classical music. You could listen to her for hours. You could look at her for hours too, for that matter. Michael Caine doesn't have a big or showy part, but he's so reliable that he's always a pleasure to see on screen. I can't think of a single film that has been damaged by his presence, although he's been in a few bummers. The photography is perceptive. We get a good deal of local color not only from the London locations but from "the seaside," where everything comes to a head. There isn't a lot of violence. What there is of it is quick and pointed. See it if you get the chance.

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Reviewed by nobita 5

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.

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