67 reviews
It's aged well but should be better known.
I saw this British crime biography in the cinema 20 years ago, on its release. I'd not seen it since, until getting it on DVD.
It was striking then how perfectly cast the Kemp brothers were, as the violent twins. Core members of the 1980's pop group Spandau Ballet, it was an eye-opener that they had another string to their bow and in contrast to their fresh pop image.
The film's aged well. Martin Kemp (Reggie Kray) kept up his acting career with popular soap operas (Eastenders) though I'm not sure what Gary (Ronnie Kray) has done since. They both have a slimy sort of adhesion as blood brothers and as the gangsters they both compel - and appal.
Billie Whitelaw's performance as their strong, iron-lady of a mother, Violet, who held the family together through the blitz and rationing, was always held in high esteem. The Kray men of that era come across as weak, ducking active war service and work, which embittered Violet, her mother and her sisters.
Thus, she had such high hopes for her twin boys. Bearing comparison to Margaret Wycherly's 'Ma' in the 1949 James Cagney crime thriller, 'White Heat' the bond becomes above all else. The apron strings are bullet proof, it would seem. Having somewhat grown up myself in the interim between viewings, I saw more into Kate Hardie's character who played Reggie's wife, Frances. Cast under a long shadow, below the 'Firm', Reggie's brother and certainly far below Violet, poor Frances, who annoyed me twenty years ago with her frightened whimpering excels at going from pretty girl-next-door, to trophy wife and then to tragic doormat.
Ronnie Kray's homosexuality, understandably back in the early-mid 1960's (and illegal) was cause of much of the ridicule and angst they endured from their enemies. Even back in 1990, it seemed daringly fresh to have this as part of the storyline, with scenes to match.
The film's direction and look cannot fail to be compared these days to Martin Scorsese, or, how he would have done it. This looks British; that grey-brown that these days would be digitally sourced. The acres of dull patterned wallpaper in front living rooms. The big Jaguar cars. The sun never shines in the East London street scenes, those streets seemingly familiar to Brits everywhere.
The dialogue at times seems naff and obvious, other times spot-on. Violence, when it comes is near-graphic, but maybe not up there with the barely watchable scenes of say, Scorsese's Goodfellas. I'd like to have seen more action - adding to its 115 minutes with more of the 'everyday' crime and racketeering and how they held down their much feared reputation. We do get a couple of brilliantly played nasty guys - Stephen Berkoff and Tom Bell are as despicable as any - and who have vengeance played upon them by the twins. We get no tip-offs and thus, no raids and no police. Some chase scenes might have been nice!
As a drama that reads more like a psychological profile than a straight crime thriller, then it's rarely been bettered, on either side of the Atlantic. Had it been made in the mould of the latter, then it might be better known and better remembered. I still like it, as it is, as much as I did twenty years ago.
It was striking then how perfectly cast the Kemp brothers were, as the violent twins. Core members of the 1980's pop group Spandau Ballet, it was an eye-opener that they had another string to their bow and in contrast to their fresh pop image.
The film's aged well. Martin Kemp (Reggie Kray) kept up his acting career with popular soap operas (Eastenders) though I'm not sure what Gary (Ronnie Kray) has done since. They both have a slimy sort of adhesion as blood brothers and as the gangsters they both compel - and appal.
Billie Whitelaw's performance as their strong, iron-lady of a mother, Violet, who held the family together through the blitz and rationing, was always held in high esteem. The Kray men of that era come across as weak, ducking active war service and work, which embittered Violet, her mother and her sisters.
Thus, she had such high hopes for her twin boys. Bearing comparison to Margaret Wycherly's 'Ma' in the 1949 James Cagney crime thriller, 'White Heat' the bond becomes above all else. The apron strings are bullet proof, it would seem. Having somewhat grown up myself in the interim between viewings, I saw more into Kate Hardie's character who played Reggie's wife, Frances. Cast under a long shadow, below the 'Firm', Reggie's brother and certainly far below Violet, poor Frances, who annoyed me twenty years ago with her frightened whimpering excels at going from pretty girl-next-door, to trophy wife and then to tragic doormat.
Ronnie Kray's homosexuality, understandably back in the early-mid 1960's (and illegal) was cause of much of the ridicule and angst they endured from their enemies. Even back in 1990, it seemed daringly fresh to have this as part of the storyline, with scenes to match.
The film's direction and look cannot fail to be compared these days to Martin Scorsese, or, how he would have done it. This looks British; that grey-brown that these days would be digitally sourced. The acres of dull patterned wallpaper in front living rooms. The big Jaguar cars. The sun never shines in the East London street scenes, those streets seemingly familiar to Brits everywhere.
The dialogue at times seems naff and obvious, other times spot-on. Violence, when it comes is near-graphic, but maybe not up there with the barely watchable scenes of say, Scorsese's Goodfellas. I'd like to have seen more action - adding to its 115 minutes with more of the 'everyday' crime and racketeering and how they held down their much feared reputation. We do get a couple of brilliantly played nasty guys - Stephen Berkoff and Tom Bell are as despicable as any - and who have vengeance played upon them by the twins. We get no tip-offs and thus, no raids and no police. Some chase scenes might have been nice!
As a drama that reads more like a psychological profile than a straight crime thriller, then it's rarely been bettered, on either side of the Atlantic. Had it been made in the mould of the latter, then it might be better known and better remembered. I still like it, as it is, as much as I did twenty years ago.
- tim-764-291856
- Nov 9, 2010
- Permalink
Pretty impressive film
Peter Medak directed this film from the screenplay of Philip Ridley. Both have done great films like Romeo Is Bleeding (Medak) and Passion of Darkly Noon (Ridley) and The Krays is not an exception. It tells the story of real life Kray twins gangsters (Gary and Martin Kemp from Spandau Ballet) that kept England in horror in the middle of 1900's. They were born to normal family where their mother (Billie Whitelaw), a very strong female character, brought them up among a world that was filled with "useless men" and females that fought in difficult circumstances during war and poverty. When the twin brothers grew, they began to get power and finally they become very powerful and strong gangsters, who finally met their destiny.
This film is a depiction of power, greed and money and how it corrupts. "When people are afraid of you, you can do anything" says Ronnie Kray to his brother Reggie. The greediness and other forms of corruption - like revenge - become so strong that they finally destroy everything the brothers have reached. The theme is pretty much the same as in DePalma's Scarface and many other similar depictions of power and money. The last scene in The Krays is very powerful and important as it crystallizes the whole message of the film.
The film also tells about females and love. Love is also destroyed because other things become more important for Reggie, who has found a girlfriend. This film has also very powerful female characters, mainly the mother of brothers. She is very feminine and all the female characters seem to hate males in this movie, but that is perhaps all some males deserve in the film since all they seem to be able to do is getting drunk and fight and not help the females in any way.
Technically The Krays is a proof of Medak's talent as the photography is great and the film is very powerful in its elements. The part when mother Kray realizes what her boys do "for living" is very powerful and told with the very effective tools of cinema. Music is often effective and violence is off putting, as the attitudes and values of the movie's characters are, too. This film is very powerful as the aforementioned last scene is very sad and though provoking, and really underlines the final message of the film. I think the characters are somewhat too shallow occasionally and their acts are not fully explained all the time. That is also the case in another film written by Philip Ridley, The Passion of Darkly Noon. Mostly I'm irritated how Reggie treats his wife since there seems to be believable emotional relationship between the two. Also, the girl who plays Reggie's wife over-acts little in some scenes and it is irritating to watch as it is not as realistic and natural as possible. If the characters were little more natural and believable, this would be even greater piece of cinema.
The Krays is important piece of 90's cinema and very powerful depiction of different kinds of corruption that finally lead to destruction and death of dreams. I give this 8/10 and the film is recommended for those who appreciate films like Romeo is Bleeding and Scarface, for instance.
This film is a depiction of power, greed and money and how it corrupts. "When people are afraid of you, you can do anything" says Ronnie Kray to his brother Reggie. The greediness and other forms of corruption - like revenge - become so strong that they finally destroy everything the brothers have reached. The theme is pretty much the same as in DePalma's Scarface and many other similar depictions of power and money. The last scene in The Krays is very powerful and important as it crystallizes the whole message of the film.
The film also tells about females and love. Love is also destroyed because other things become more important for Reggie, who has found a girlfriend. This film has also very powerful female characters, mainly the mother of brothers. She is very feminine and all the female characters seem to hate males in this movie, but that is perhaps all some males deserve in the film since all they seem to be able to do is getting drunk and fight and not help the females in any way.
Technically The Krays is a proof of Medak's talent as the photography is great and the film is very powerful in its elements. The part when mother Kray realizes what her boys do "for living" is very powerful and told with the very effective tools of cinema. Music is often effective and violence is off putting, as the attitudes and values of the movie's characters are, too. This film is very powerful as the aforementioned last scene is very sad and though provoking, and really underlines the final message of the film. I think the characters are somewhat too shallow occasionally and their acts are not fully explained all the time. That is also the case in another film written by Philip Ridley, The Passion of Darkly Noon. Mostly I'm irritated how Reggie treats his wife since there seems to be believable emotional relationship between the two. Also, the girl who plays Reggie's wife over-acts little in some scenes and it is irritating to watch as it is not as realistic and natural as possible. If the characters were little more natural and believable, this would be even greater piece of cinema.
The Krays is important piece of 90's cinema and very powerful depiction of different kinds of corruption that finally lead to destruction and death of dreams. I give this 8/10 and the film is recommended for those who appreciate films like Romeo is Bleeding and Scarface, for instance.
Not bad entertainment
Not bad entertainment but not good enough for a classic. Some people have mentioned that the Krays gave their approval to the script. This was a bad thing. Now they are both dead. The Kray story should be done again, probably on TV as a mini series of about 6 hours to give the whole thing justice. We could then include more details of their life of crime, their arrests and trial. The Kemp brothers do not look alike at all but the Krays also looked different as they got older. Martin Kemp would pass for Reggie if he was a bit stockier but Gary Kemp is nothing like Big Ronnie. The overall impression of the film was that they were the leaders of a gang of teddy boys rather than the biggest gangsters in London. If the story is retold we need better casting for the twins and they need not necessarily be brothers.
Good on character, bad on real facts
The violence, loyalty, fear, blood and traditions are all present and correct. The Kemp bros., especially Gary, give superbly sinister and dangerous portrayals of the twins. You can't fault it's accuracy on who the twins were or how they grew up. However, the events shown are lacking in relevance to how they really happened and are taken from the point of view of Gang members who so obviously lied during their trial. The film also lacks on the other gang members, no member is named as being Tony Lambrianou or Freddie Foreman, for example. Although this is secondary to the twins themselves, for people who know the real story it does make it a little less enjoyable.
- hypertyson
- Mar 13, 2001
- Permalink
Take the historical accuracy with a pinch of salt but enjoy the murderous story
- tonypeacock-1
- Oct 1, 2020
- Permalink
Could have been so much better...
Anyone with the slightest bit of knowledge of the Krays and the east end of London will notice the glaring problems with this film. When I first watched this movie I thought it was great but having watched it a few times since, (I own it on DVD) it just gets worse with every view.
Some of the acting is suspect and the locations are nowhere near accurate. There are so many missing chapters in the twins life that the film will just leave you wanting more.
Definitely the worst aspect though is the completely inane ramblings of Violet Kray, the twins mother. This was included to add a little drama but you can't help thinking that the film maker's could have included a little more on the police investigations, the disappearance of a few east end villains etc. surely the twins actions could have created enough drama of their own..
Some of the acting is suspect and the locations are nowhere near accurate. There are so many missing chapters in the twins life that the film will just leave you wanting more.
Definitely the worst aspect though is the completely inane ramblings of Violet Kray, the twins mother. This was included to add a little drama but you can't help thinking that the film maker's could have included a little more on the police investigations, the disappearance of a few east end villains etc. surely the twins actions could have created enough drama of their own..
Impressively underrated.
I hadn't seen the ratings on IMDb until after watching the movie itself. I have to say, that is some harsh reviews there. The whole film was indeed enjoyable, it portrayed the Krays and London gang-lands as a whole, very well. There were moments in the film where it became very boring and quite monotonous, in the sense that it seemed as if it were never going to end, but the last thirty minutes really makes the film worth watching. After seeing Goodfellas and hearing that it was a lot like that but a little less funny and, of course, a lot more English-based, I expected quite a lot. Nevertheless, this film still surprised me and maintained to keep me on edge throughout the entirety of its showing. If I could give it any rating, I'd give it around 7.6, but I'd have to round this to 8. It's a brilliant film and it doesn't merely deserve 6.6 overall.
"Mummy's Little Monsters"
- seymourblack-1
- Sep 24, 2018
- Permalink
Stays with you...
- matpinckney
- Dec 14, 2004
- Permalink
Solid
People who complain that the Kemp brothers don't make the grade as the Kray twins don't understand that a real gangster is someone who can get OTHER people to do their dirty work.
The deprivation of the east end of London is very well observed.
The deprivation of the east end of London is very well observed.
Disjointed and glamourises violence and the Krays
I happened to be present at the end of one of the Krays Old Bailey trials.this was one where the case collapsed due to witness intimidation.Finally,thankfully,the law caught up with them.Pity this film didn't make clear why instead of glamourising the Krays and violence.No mention was made of the main way they made their money,the protection racket.Far too much time was spent on the twins with their mum.Also we saw snippets of their early life but it didn't add up to very much.Some much of what was shown regarding the 2 crucial murders was confused and confusing.The reasons for the murders were far more complex than shown in this film.All in all a pretty poor effort.
- malcolmgsw
- Oct 21, 2013
- Permalink
Loved the movie, loved the cast more!
A powerful film about the lives and crimes of the notorious Kray Twins. The Kemp brothers are superb as Reggie and Ronnie (and still the best film concerning their turbulent lives). The movie is almost a perfect production and dealing with a violent subject matter, that could easily have been screwed-up. The mood and atmosphere is charged and even the 'Maltese Brothers' get a mention (nice one). Two of my favourite actors Steven Berkhoff and Tom Bell, explode onto the screen!
- RatedVforVinny
- Dec 11, 2019
- Permalink
Nothing on the big guns of the genre, but still an interesting crime drama
The Krays are two of the most important, and most famous, crime figures of all time; so I guess it's only right that they should have a movie made about them. This film is almost like the UK's answer to Martin Scorsese's "Goodfellas" as, like the aforementioned movie, it portrays crime in a glamorous light and makes heroes out of it's criminal stars. The Krays distances itself from biopics of other crime figures by the way that it follows the protagonists from when they were children. This allows the film to get inside of the Kray twins, rather than just focusing on their crimes and that gives the film more of a point, and makes it more than just another crime flick as we're given reasons to care for the characters, rather than simply being treated to their crimes. The story follows the brothers as they make their way up London's crime circuit by way of beating people up for the highest bidder. We also follow them in their personal lives, and we see their relationship with their mother and various other people.
One of the most striking things about this film is the fact that the twin brothers of the title are played by actual twin brothers Martin and Gary Kemp. These two, more famous for singing in the pop group Spandau Ballet than acting actually manage to deliver quite good performances as the brothers Kray. They look very menacing when seen together and Gary especially manages to look distinctly evil, which fits his character brilliantly. The way that the film shies away from the crimes at times and concentrates more on the brothers themselves is good as it allows us to get into their characters more. It does get a little bit silly at times, though, especially when the two act in unison. Martin and Gary Kemp look the part, but neither one is a great actor, so when it comes down to scenes that actually need some acting ability; the film falls down a bit. Another thing that the film falls down on is the way that it soaks everything in melodrama. This works in the big budget American crime flicks as they have the benefit of a melodramatic setting; but when the film is set in 60's London, we don't really get the same effect. Still, The Krays is an interesting and effective film and crime fans will no doubt enjoy it.
One of the most striking things about this film is the fact that the twin brothers of the title are played by actual twin brothers Martin and Gary Kemp. These two, more famous for singing in the pop group Spandau Ballet than acting actually manage to deliver quite good performances as the brothers Kray. They look very menacing when seen together and Gary especially manages to look distinctly evil, which fits his character brilliantly. The way that the film shies away from the crimes at times and concentrates more on the brothers themselves is good as it allows us to get into their characters more. It does get a little bit silly at times, though, especially when the two act in unison. Martin and Gary Kemp look the part, but neither one is a great actor, so when it comes down to scenes that actually need some acting ability; the film falls down a bit. Another thing that the film falls down on is the way that it soaks everything in melodrama. This works in the big budget American crime flicks as they have the benefit of a melodramatic setting; but when the film is set in 60's London, we don't really get the same effect. Still, The Krays is an interesting and effective film and crime fans will no doubt enjoy it.
What a big disappointment
This looked like a promising film: a portrait of Britain's most feared gangsters with great performances and some stylish,but graphic violence.
How wrong I was.
True, the violence was graphic etc but the film was let down by a script which ignores facts and skims over certain characters eg Teddy Smith, Inspector ''Nipper'' Reid.
Also, most of the film was focused on the family. True, the Kray brothers were mummy's boys, but we got the point in the first ten minutes. The film sticks with this and does not paint a portrait of the terror they created and an authentic picture of British gangland. Plus,the acting wasn't the best, except for Gary Kemp as Ronnie.
Watch Gangster No.1 . That was how this film should have been.
How wrong I was.
True, the violence was graphic etc but the film was let down by a script which ignores facts and skims over certain characters eg Teddy Smith, Inspector ''Nipper'' Reid.
Also, most of the film was focused on the family. True, the Kray brothers were mummy's boys, but we got the point in the first ten minutes. The film sticks with this and does not paint a portrait of the terror they created and an authentic picture of British gangland. Plus,the acting wasn't the best, except for Gary Kemp as Ronnie.
Watch Gangster No.1 . That was how this film should have been.
Impressive.
This was an impressive movie: stylish, well played and atmospheric.
The greatest revelation was the talent of the Kemp Brothers (ex-Spandau Ballet) who were absolutely marvelous as the notorious Kray Twins. They portrayed the mixture of glamour, ruthlessness and family loyalty of these two brothers with much conviction.
The storyline seemed a little vague at times, and glossed over one or two episodes, but this was probably due to the compression of facts and didn't mar the feel of the movie as a whole. Quite frankly, it probably would have taken a mini-series to document all the things the real Twins were up to.
Billie Whitelaw was a standout as Violet Kray. Steven Berkoff over-acted as usual. Tom Bell was wonderful as always.
Not to be taken as absolute fact but is interestingly done and certainly gives an idea of the story behind these two well known villains.
The greatest revelation was the talent of the Kemp Brothers (ex-Spandau Ballet) who were absolutely marvelous as the notorious Kray Twins. They portrayed the mixture of glamour, ruthlessness and family loyalty of these two brothers with much conviction.
The storyline seemed a little vague at times, and glossed over one or two episodes, but this was probably due to the compression of facts and didn't mar the feel of the movie as a whole. Quite frankly, it probably would have taken a mini-series to document all the things the real Twins were up to.
Billie Whitelaw was a standout as Violet Kray. Steven Berkoff over-acted as usual. Tom Bell was wonderful as always.
Not to be taken as absolute fact but is interestingly done and certainly gives an idea of the story behind these two well known villains.
Watchable gangster pic based on real people and events.
In the post war British gloom two twins (plus an older brother) start building a criminal empire from their East London home. Based on a true story.
One of these films that was begging to be made because it featured so many staples of popular cinema, but was going to be very hard to make accurately because the audience would have to transported and educated about another place and another time. In truth the film is about as good as is possible given the acting talent (two ex pop stars!) and budget.
The problem with the Krays is that - violence to one side - they didn't actually do a lot. They simply lived by extorting money from those (criminals) that did, which left a lot of time for plotting school yard wars, drinking and watching gangster films (that inspired them and therefore this!)
They were, in fact, simpletons who cashed in on fear and common distrust of the forces of law and order. Equally one of them (Ronnie) was both a homosexual as well as criminally insane - although undiagnosed at the time of events. What a mixed up, confused and juvenile world for any film maker to make any sense out of. Thankfully there are plenty of books which tell a straighter and more detailed version of events.
There is a tradition in the UK of portraying men as weak and feckless and the women as being the real brains and controlling parties. Mother Kray (Billie Whitelaw) remains a puzzle - a dominant force and yet unable to control their excesses. They shrug their shoulders - men are children with bigger toys, they say. From toy guns to real ones?
The film rolls along cleanly and comes to a truthful - to history - climax with an attempt at some cod psychology to explain it all away. The problem is that I simply don't believe this Freudian view. Not a word of it.
One of these films that was begging to be made because it featured so many staples of popular cinema, but was going to be very hard to make accurately because the audience would have to transported and educated about another place and another time. In truth the film is about as good as is possible given the acting talent (two ex pop stars!) and budget.
The problem with the Krays is that - violence to one side - they didn't actually do a lot. They simply lived by extorting money from those (criminals) that did, which left a lot of time for plotting school yard wars, drinking and watching gangster films (that inspired them and therefore this!)
They were, in fact, simpletons who cashed in on fear and common distrust of the forces of law and order. Equally one of them (Ronnie) was both a homosexual as well as criminally insane - although undiagnosed at the time of events. What a mixed up, confused and juvenile world for any film maker to make any sense out of. Thankfully there are plenty of books which tell a straighter and more detailed version of events.
There is a tradition in the UK of portraying men as weak and feckless and the women as being the real brains and controlling parties. Mother Kray (Billie Whitelaw) remains a puzzle - a dominant force and yet unable to control their excesses. They shrug their shoulders - men are children with bigger toys, they say. From toy guns to real ones?
The film rolls along cleanly and comes to a truthful - to history - climax with an attempt at some cod psychology to explain it all away. The problem is that I simply don't believe this Freudian view. Not a word of it.
Solidly made gangster biopic avoids the usual clichés
A straightforward biopic of the infamous Kray twins, a pair of gangsters who ruled London's East End in the 1950s and 1960s. For a film made in 1990, THE KRAYS is certainly a grisly tale in places, with unflinching depictions of the kind of psychotic violence that the brothers were known for.
It's also solidly made, a decent biopic that attempts to flesh out the characters and their milieu in detail without an extra-long running time. I think the biggest coup was in casting pop star duo Gary and Martin Kemp as the titular characters; their acting is perfectly adequate for the role and it's hard to imagine who else would have fit the bill quite so well. Billie Whitelaw (TWISTED NERVE) also gives an impressive turn as their crazed mother.
The script is strong and realistic, depicting the passing of the years in pre and post-WW2 London with skill, and the casting director has a keen eye for finding memorable actors. The sub-plot, involving Reggie's wife Frances, is particularly well handled with unlikely sensibility. My only issue is that the film runs out of time at the end, not even depicting the crucial arrests that led to the brothers' downfall; an extra 20 minutes at the climax would have made all the difference.
It's also solidly made, a decent biopic that attempts to flesh out the characters and their milieu in detail without an extra-long running time. I think the biggest coup was in casting pop star duo Gary and Martin Kemp as the titular characters; their acting is perfectly adequate for the role and it's hard to imagine who else would have fit the bill quite so well. Billie Whitelaw (TWISTED NERVE) also gives an impressive turn as their crazed mother.
The script is strong and realistic, depicting the passing of the years in pre and post-WW2 London with skill, and the casting director has a keen eye for finding memorable actors. The sub-plot, involving Reggie's wife Frances, is particularly well handled with unlikely sensibility. My only issue is that the film runs out of time at the end, not even depicting the crucial arrests that led to the brothers' downfall; an extra 20 minutes at the climax would have made all the difference.
- Leofwine_draca
- Jan 11, 2015
- Permalink
A bio-pic, not a gangster film
If you watch this thinking that you're getting a gangster pic like "Lock, Stock..." or "Layer Cake" you will be disappointed. This is a biography, not a standard gangster plot. Most Americans (like myself) have probably never heard of the Krays, but they are folk "heroes" in the UK and at one time were treated as celebrities (and hung out with Judy Garland, George Raft, and other stars). Americans would benefit by finding something out about them before watching the film, otherwise you may be bored by some of the back story (as is evidenced by many of the other reviews). You will also be unable to fill the many plot holes that Brits who lived during the Kray era would know well. I read a book about them, which prompted me to find this film. "The Krays" distils the lives of these two violent gangsters well, showing the kind of family they grew up in, their dysfunctional lives, and some of the more heinous episodes of their careers. But there is so much missing - and the two killings at the end of the movie that are treated as if they were almost simultaneous were over a year and a half apart. The Kemp brothers from "Spandau Ballet" do a great job as the twins, and other top UK character actors round out the cast. Watch this film if you're interested in underworld history, not if you're looking for a Guy Ritchie gangster-fest.
- LCShackley
- Dec 15, 2011
- Permalink
Lots to keep fans of the genre happy, even if it flails at certain, critical points.
I can vividly remember sitting in the audience and watching Martin Kemp giving an interview during a live, daytime TV show broadcast. The programme in question was 'Today with Des and Mel' and I can tell you it aired on the 6th of October, 2003 I know because I still have the entrance ticket they give you that permits you to enter the studio and yes, they allowed us to keep them afterward; I didn't steal it. I remember the interview but the link between this and the film The Krays is what happened afterwards: since I was sitting to the side of the audience seating area, I had a good look at the floor exit to the side of the set; I distinctly remember seeing Martin walk off past the camera and toward that entrance/exit; he had a look on the face of "job done"; a "nothing brilliant but what d'ya want?" expression such is the feeling I got after seeing The Krays.
I'll be frank; The Krays is not a brilliant film but where it falls into a little groove on mediocrity and indifference, it compensates in other places thanks to its fast pacing and (this'll make me sound like a torture porn fan) its bloody violence. One fine way to shed any tag you may have thanks to 80s fashion, hair styles or any career you might have had is to do the opposite of what you're afraid people may solely remember you for. When we say 'The Kemp Brothers' now; do we recall this film or the new-age romantic band Spandau Ballet and such hits as the mellow 'True' and 'Through The Barricades' or the up-and-at-'em 'Gold'? It's a simple question made difficult.
The Krays is a film that forced me to do a little further research after seeing it. Turns out both Kray brothers are dead after stretches in prison, fair enough you say; it also turns out Ronald Kray (Gary Kemp) was mentally ill suffering from schizophrenia and other such psychological illnesses. The film may teach us about and show us the Kray's rise and rise through London's gang world but it never touched on Ronald's mental illness oh how different the film would've been if we had been told Ronald was somewhat insane; psychotic if you like. So there's me thinking he's a gangster; a hard as nails mobster who kills in cold blood but that's what the film would like you to think had the film shown Ronald as a psychopath and not a criminal, 'The Krays' would've resembled a horror thriller rather than a gangster crime drama. I feel it was a little selfish to tiptoe around such a matter when it is clearly so pivotal to one of your protagonist's mindsets.
So if Ronald is the crazy one, Reggie (Martin Kemp) is the calmer one, right? I guess so. But then again, no. Certainly he is presented as more humane; crying when he suffers his tragedy at the hands of an unhappy newlywed wife but then again, he beats people up for looking at his car and instigates the film's nastiest example of violence toward the end on someone who, from what I recall, didn't seem to do an awful lot wrong but going from pub to pub brandishing a shotgun yelling you're going to "kill the Krays!" is a sure fire way to getting yourself noticed. There is some dark irony in the pub being named 'The Blind Beggar' bearing in mind what Reggie does to the guy. But the film is smart enough to engage and entertaining on the level crime films are to remain interesting. The Krays as children are given crocodiles and a little speech by the aunt about the crocodiles being feared by all others, echoing what will come; interesting how in a really quite violent film the first instance of bloodshed would come in a boxing match: an organised boxing match when Ronald calls up Reggie for a fight.
There are several other incidences such as the monologue in the jail cell after they walk out of the army in a somewhat unnecessarily comical fashion: "Keep a look out for the right guys, the right guys that need protection" says a fellow inmate himself no doubt connected. Ironic then how the Army would be the reason they'd get connected in the first place; the state help create the Krays by giving them National Service that they would reject. If the build up to their menace and evilness seems obligatory, then that can be excused to a degree; the scenes of violence at the snooker club and outside the nightclub shock us because the film has been calm and somewhat obligatory so when we get hit with those scenes, we have a 'grim and bear it' reaction. But unlike most other gangster films, this is not one in which a male dominated world sees its characters drip with ego. The women are strong and know what's what; they are not object nor are they stupid and the scene in the hospital in which Mrs. Krays takes one of the boys home is a good example.
Despite being written by someone who usually writes children's books and completely ignoring Ron's issues with mental illness (but still finding room to let us know he is homosexual), The Krays hit and missed with me; a good film that shocks and has its moments but one that lacks any real punch or interesting narrative. Indeed, toward the end it all becomes a bit fabricated but as a gangster film; it works and until The Krays is remade, it'll remain the definitive story of the notorious twins.
I'll be frank; The Krays is not a brilliant film but where it falls into a little groove on mediocrity and indifference, it compensates in other places thanks to its fast pacing and (this'll make me sound like a torture porn fan) its bloody violence. One fine way to shed any tag you may have thanks to 80s fashion, hair styles or any career you might have had is to do the opposite of what you're afraid people may solely remember you for. When we say 'The Kemp Brothers' now; do we recall this film or the new-age romantic band Spandau Ballet and such hits as the mellow 'True' and 'Through The Barricades' or the up-and-at-'em 'Gold'? It's a simple question made difficult.
The Krays is a film that forced me to do a little further research after seeing it. Turns out both Kray brothers are dead after stretches in prison, fair enough you say; it also turns out Ronald Kray (Gary Kemp) was mentally ill suffering from schizophrenia and other such psychological illnesses. The film may teach us about and show us the Kray's rise and rise through London's gang world but it never touched on Ronald's mental illness oh how different the film would've been if we had been told Ronald was somewhat insane; psychotic if you like. So there's me thinking he's a gangster; a hard as nails mobster who kills in cold blood but that's what the film would like you to think had the film shown Ronald as a psychopath and not a criminal, 'The Krays' would've resembled a horror thriller rather than a gangster crime drama. I feel it was a little selfish to tiptoe around such a matter when it is clearly so pivotal to one of your protagonist's mindsets.
So if Ronald is the crazy one, Reggie (Martin Kemp) is the calmer one, right? I guess so. But then again, no. Certainly he is presented as more humane; crying when he suffers his tragedy at the hands of an unhappy newlywed wife but then again, he beats people up for looking at his car and instigates the film's nastiest example of violence toward the end on someone who, from what I recall, didn't seem to do an awful lot wrong but going from pub to pub brandishing a shotgun yelling you're going to "kill the Krays!" is a sure fire way to getting yourself noticed. There is some dark irony in the pub being named 'The Blind Beggar' bearing in mind what Reggie does to the guy. But the film is smart enough to engage and entertaining on the level crime films are to remain interesting. The Krays as children are given crocodiles and a little speech by the aunt about the crocodiles being feared by all others, echoing what will come; interesting how in a really quite violent film the first instance of bloodshed would come in a boxing match: an organised boxing match when Ronald calls up Reggie for a fight.
There are several other incidences such as the monologue in the jail cell after they walk out of the army in a somewhat unnecessarily comical fashion: "Keep a look out for the right guys, the right guys that need protection" says a fellow inmate himself no doubt connected. Ironic then how the Army would be the reason they'd get connected in the first place; the state help create the Krays by giving them National Service that they would reject. If the build up to their menace and evilness seems obligatory, then that can be excused to a degree; the scenes of violence at the snooker club and outside the nightclub shock us because the film has been calm and somewhat obligatory so when we get hit with those scenes, we have a 'grim and bear it' reaction. But unlike most other gangster films, this is not one in which a male dominated world sees its characters drip with ego. The women are strong and know what's what; they are not object nor are they stupid and the scene in the hospital in which Mrs. Krays takes one of the boys home is a good example.
Despite being written by someone who usually writes children's books and completely ignoring Ron's issues with mental illness (but still finding room to let us know he is homosexual), The Krays hit and missed with me; a good film that shocks and has its moments but one that lacks any real punch or interesting narrative. Indeed, toward the end it all becomes a bit fabricated but as a gangster film; it works and until The Krays is remade, it'll remain the definitive story of the notorious twins.
- johnnyboyz
- Mar 1, 2008
- Permalink
"Housework is a lethal business Constable!"
Though a little lacking in historical accuracy, this movie has to be one of the best British films of 1990. It tells the story of Londons notorious gangsters, the Kray Twins from their childhood in war time London to their rise in the late 50's & their eventual arrest for murder & down fall in the late 60's. Its played superbly by Gary & Marin Kemp (Spandu Ballet fame) with an excellent supporting cast, great script & stunning cinematography of post war London. Due to the nature of this movie it does have its fair share of violence in certain scenes, however for its time it was ground breaking in that it acknowledged Ronnie Krays homosexuality, Frances Krays mental illness & has a sharp take on feminism in the first half of the movie which focuses on the hardships suffered by British women during WW2. In effect this could really be enjoyed by today's young progressive audience, as the film does not look dated either. The second half of the film focuses more on the Krays themselves, their rivalries, crimes & business, with the Krays matriarch, Violet taking a lesser part to the plot, however it is well paced & the soundtrack is often dark, moody & builds a tension of its very own. But while many focus on the evil violence the Krays committed, this film also briefly touches on their charity work in London & other less criminal aspects of their lives. On a final note this movie in the UK has an 18 certificate which I think, today is a little harsh. I would say this is more like an over 16 movie as there are far more violent films today, available to a younger audience. There are no sex & nudity & even bad language is minimal, although be warned of the hard violence towards the end of the film, which is actually seat gripping stuff & very well done! & feminists will love this movie as it shows how British women were forced to cope with the home horrors of WW2 while their men were (quote) "Flying their gleaming planes & riding shining tanks as heroes as we women had to put up with the s**t!"
For me this is a rare gem of 90's British film making with some solid moral lessons, which is very rare for what is essentially a gangster movie!
For me this is a rare gem of 90's British film making with some solid moral lessons, which is very rare for what is essentially a gangster movie!
Only nominally a gangster movie
"The Krays" isn't really about the famous London twin brothers who were gangsters. It's a feminist movie, about the plight of women during the Blitz in London, and particularly the collective trauma the wives of soldiers lived with when the war was over.
In one astonishing scene, the Krays' aunt gives a monologue about delivering a baby in the subway tunnels while German bombs rained down above. She had to kill the baby to protect the mother, but the mother died anyway. She imagines that if the subway tunnels are ever excavated, they'll be filled with dead babies - babies and bullets, signs of the true casualties of the war.
The women who lived through it, of course, are the only living remnants of it, and the trauma has forged a bond between them that is strong as iron. Interestingly, when one of the Krays leaves his girlfriend alone with his family, she is visibly uncomfortable. This particular sisterhood does not extend to her.
We are left wondering if this atmosphere of walking wounded produced the evil and violent Kray twins. The movie doesn't really make the connection. We see that the girlfriend, who then becomes the wife, is so unhappy in her life as a piece of property belonging to Reg Kray that she kills herself. She isn't treated as a human being by her husband, or his family. It's an easier conclusion to draw that the Krays were led to this objectifying attitude toward women by their doting, overbearing mother and ineffective father.
A problem with the movie is that wives suicide and mothers and aunts die, leaving us with... what? It's not about gangsters. It's about the war, and what the war did to its survivors, particularly the women. Without women in the picture, its purpose is removed, and the Kemps don't make that convincing gangsters.
The movie needed to be about what it was about, and only about that. There isn't enough of a connection drawn between it's major themes and the titular gangsters, for it to continue without that centre. It begins with astonishment and ends with confusion.
In one astonishing scene, the Krays' aunt gives a monologue about delivering a baby in the subway tunnels while German bombs rained down above. She had to kill the baby to protect the mother, but the mother died anyway. She imagines that if the subway tunnels are ever excavated, they'll be filled with dead babies - babies and bullets, signs of the true casualties of the war.
The women who lived through it, of course, are the only living remnants of it, and the trauma has forged a bond between them that is strong as iron. Interestingly, when one of the Krays leaves his girlfriend alone with his family, she is visibly uncomfortable. This particular sisterhood does not extend to her.
We are left wondering if this atmosphere of walking wounded produced the evil and violent Kray twins. The movie doesn't really make the connection. We see that the girlfriend, who then becomes the wife, is so unhappy in her life as a piece of property belonging to Reg Kray that she kills herself. She isn't treated as a human being by her husband, or his family. It's an easier conclusion to draw that the Krays were led to this objectifying attitude toward women by their doting, overbearing mother and ineffective father.
A problem with the movie is that wives suicide and mothers and aunts die, leaving us with... what? It's not about gangsters. It's about the war, and what the war did to its survivors, particularly the women. Without women in the picture, its purpose is removed, and the Kemps don't make that convincing gangsters.
The movie needed to be about what it was about, and only about that. There isn't enough of a connection drawn between it's major themes and the titular gangsters, for it to continue without that centre. It begins with astonishment and ends with confusion.
Doesn't arrive
- newday98074
- Jan 13, 2008
- Permalink
A movie I never tire of watching
This is the 'true-life' movie about the rise, and subsequent fall, of England's best known gangsters, who were also identical twins. It was made whist Reg & Ron Kray were still alive, so the viewer must remember that the movie probably does not paint the entire picture of events in the 1950s & 1960s, as certain things that were not wanted to be included by the the Krays themselves, were therefore not included. Although the movie does glamorise it's two main characters, I believe it has done much to add to the myth and folklore that surrounds the Krays, which can only increase as time passes.
People young and old, and from all spectrum's of society, are drawn towards the Kray twins, and books have been written exploring this. Old-timers claim that the streets were safe to walk when the twins ruled London's East End, unlike now, and that the Krays 'only killed there own'. If you had a problem, say with a neighbour, you didn't go to the police, you went to the twins, who would have a quiet word in the right ear.
This is without a doubt the Kemp brothers best work outside Spandau Ballet. I understand that Martin Kemp did not want to meet the imprisoned twin he played (Reg), to avoid a playing a caricaturization of him. Although he did visit Ron in a mental hospital. Billie Whitlaw as the twins' mother Violet, was the best choice for the role, and Kate Hardie as Reg's wife was brilliant. My vote though, goes to the late Susan Fleetwood as the twins' Aunt Violet, whose haunting tale of the lake in Victoria Park is my all-time favourite.
I have discussed this movie at length with Reg Kray's son, even watching it with him, and he gives it his seal of approval.
People young and old, and from all spectrum's of society, are drawn towards the Kray twins, and books have been written exploring this. Old-timers claim that the streets were safe to walk when the twins ruled London's East End, unlike now, and that the Krays 'only killed there own'. If you had a problem, say with a neighbour, you didn't go to the police, you went to the twins, who would have a quiet word in the right ear.
This is without a doubt the Kemp brothers best work outside Spandau Ballet. I understand that Martin Kemp did not want to meet the imprisoned twin he played (Reg), to avoid a playing a caricaturization of him. Although he did visit Ron in a mental hospital. Billie Whitlaw as the twins' mother Violet, was the best choice for the role, and Kate Hardie as Reg's wife was brilliant. My vote though, goes to the late Susan Fleetwood as the twins' Aunt Violet, whose haunting tale of the lake in Victoria Park is my all-time favourite.
I have discussed this movie at length with Reg Kray's son, even watching it with him, and he gives it his seal of approval.
- sue-turner69
- Jun 23, 2005
- Permalink
Hardly a barrel of laughs
The Krays is a dark movie about the two east end brothers Ron and Reg Kray who ruled London during the 60's. Gary and Martin Kemp pull off creditable displays considering this was there acting debuts and that they were used to performing in the brilliant band Spandau Ballet instead of acting. Having just read Reg Krays autobiography he does not actualy say to much about the movie exept that they got the roll of their mother completley wrong. Reg Kray says that his mother was a quite and uninsuming woman which is the opposite to the part portrayed by Billie Whitelaw. Reg and Ronnie Kray are now both dead. Ron died in prison and Reg was released on compationate grounds early in the year 2000 when he was diognosed with terminal Cancer. He died a few weeks later. 6 out of 10.
- CharltonBoy
- Dec 2, 2000
- Permalink
Gert and Daisy given a makeover.
- ianlouisiana
- Feb 4, 2007
- Permalink