ash in a suitcase is passed to a mysterious recipient, before unknown assailants grab and execute seemingly random people. And then, other hush-hush sorts of meetings take place, each involving clearly criminal activities; a wealth of characters and locations are established, though few of them are given proper introductions. The players are glimpsed and the stage is set for convoluted yet engaging misdeeds.

A special American visitor, mafia man Charlie (Eddie Constantine), is arriving to meet with well-connected gangster Harold (Bob Hoskins) and his moll Vicky (Helen Mirren) on their boat for cocktails and a lavish catered spread, though it’s primarily for a business venture. Harold is focused on the planning, licensing, and palm-greasing needed for the construction of a new casino, which promises to be quite profitable for a select few, as well as to generate an air of legitimacy, provided that all the lawyers and accountants can set things up precisely. “It’s important that the right people mastermind the new London.”

As it turns out, however, the union between Harold and Charlie is tenuous – and outside influencers are intent on interfering and discrediting those involved. It’s not long before deaths accrue – from stabbings in public places to car bombs – which wipe out close associates and integral roles in the casino scheme, prompting Harold to get to the bottom of the killings (and orchestrate his own retaliatory assassinations) during the course of one exceptionally protracted Good Friday holiday. “Is there no decency in this disgusting world?”

It’s a bit of a mystery as Harold scours the city in search of the culprits out to do him in; his empire, built on the cooperation and support of fellow thugs, is beginning to crumble. And when he sets about asking questions, he does it harshly, with his henchman Razors (P.H. Moriarty) wielding tools of torture. As he investigates, the camera tends to make observations from afar, often studying interactions from across streets or through windows, allowing audiences to make their own conclusions about dialogue that isn’t explicit. What is for certain is that there aren’t any heroes here; everyone is interested solely in profiting for themselves, in getting ahead, in ambitiously reaching a level of wealth and significance beyond their coconspirators. Curiously, Harold’s specific position in the underworld isn’t given a tremendous amount of details; he has informants in both high and low places, but his spot as a kingpin of any particular industry or territory remains obscure (he’s briefly mentioned as the leader of a “corporation”). “I run London!”

Exceptionally contradictory, rockin’, groovy, practically techno-infused music by Francis Monkman presides over nearly every event – from the mundanity of a kitchen table conversation (witnessed from the perspective of a peeper, with verbal exchanges remaining unheard) to intimate meet-ups to the elicit handoffs of money and the sudden attacks and kidnappings of various people. As the picture progresses, however, the music becomes calmer and more sullen to match Harold’s deteriorating status. Someone has finally set in motion a plot to overthrow his reign; his period of unchecked eminence among Europe’s villains is abruptly unraveling. As these sorts of examinations of ruthless ruffians go, the culprit or culprits tend not to be distant rivals, but rather inner-circle confidants. Betrayal is never too far away when the protagonists are invested in shady enterprises; enemies are more prevalent than allies.

“Who’s got it in for me?” Regardless of the lack of righteousness going on in “The Long Good Friday,” Hoskins is exceptional. His performance feels routinely genuine (and strangely sympathetic), especially when the script demands a bit of ferociousness and hostility. In fact, the authenticity all around – from sets to personas to underhanded deals to murders – is approached with a welcome sincerity and realism (save for some over-the-top drama during final showdowns), which would inspire and influence gangster films to come. Unfortunately, as the answers start to arrive toward the finale, there’s also a hint of slowness; the intricacies are just complex enough that the pacing intermittently suffers. Nevertheless, the parting shots are utterly stunning; they constitute one of the most bleakly satisfying of all filmic conclusions.

– Mike Massie