Mitchel (Colin Farrell ) just got out of jail and wants to stay legitimate but his friends involved in the messy London underground fear him and wants him to join them again but Mitchel tries his best to stay away. He gets himself a job as a bodyguard for a retired actress Charlotte (Keira Knightley) who is still hot news for the paparazzi. Mitchell through his friend Billy eventually meets the underground Don by the name of Gant (Ray Winstone) who wants Mitch to work for him because of Mitchs reputations. While working together Mitch and Charlotte fall in love. Gant asks Billy to get the guy who sent Mitch to jail but it turns out to be the wrong one Gant kills the guy in front of Mitch and lets Mitch know that he has to work for him now that Mitch has seen him commit the murder but Mitch refuses. Gant keeps trying to force Mitch to his side promising him good ranks and positions but he has to let go of Charlotte but Mitch turns him down even threatens him to stop trying making ...
Review
You can guarantee if there's one area of the current employment sector which continually flouts the rules of a recession it's the underworld London East End gangster. William Monahan's (screenplays for 'The Departed' and 'Body of Lies') directorial debut is an adaptation of Ken Bruen's 2001 novel 'London Boulevard' about a criminal who after being released from prison attempts to go 'straight' but despite his attempts he can never truly escape his violent past. It's not a perfect film by any means but capable direction and solid performances from a primarily solid British and Irish cast create a competent directorial debut for Monahan.
Mitchell (Colin Farrell) has just been released from Pentonville after a three year sentence for assault when he exits the prison he is picked up by longtime partner in crime and local enforcer Billy (Ben Chaplin) who takes Mitchell to a party in his honour. Every East End drug dealing gangster is there to shake the hand of one of the most feared men in London but all Mitchell wants is to get a job and avoid being restricted to a sixteen by eight cell again. He manages to convince a beautiful reclusive actress (Keira Knightly) and her potsmokinghippyesquirefatherfigure Jordan (David Thewlis) to hire him as a handyman around their paparazzi infested estate. But when the leading figure in the London underworld Mr Gant (Ray Winstone) comes looking to place Mitchell high up in his crime organization he must find a way to refuse the advances of such a dangerous man while also protecting those closest to him.
For the first tentofifteen minutes of the film Colin Farrell's forced middleclass cockney accent takes centre stage but once he settles into the role his performance takes limelight as a sociopathic criminal with somewhat of a heart. His brash use of violence and utter respect and protection of friends family and confidants provides a conflict within Mitchell that he constantly battles throughout the film. The only thing he knows what to do is enforce and if he was a true gangster he would "kill everyone and take everything they had" but at the same time the last thing he wants in his life is to return to that desolate hole known as prison. Aside from Farrell both David Thewlis and Ben Chaplin give great performances as the hippy wannabe actor and scared lowlevel gangster respectively. While Anne Friel also plays the thieving stubborn childish sister of Mitchell's very well. Yet while Ray Winstone never puts a foot wrong his role as the Underworld Godfather has become rather predictable and uninteresting especially since every other word out of his Landan mouth is either f**k or c**t (or a combination of both). Monahan really missed a trick by failing to provide Winstone's character with any further depth.
Also beside the main story as Mitchell battles his growing love for the reclusive actress and the life of a straight man alongside that of his violent past and potential gangster future is the subplot of Mitchell's old homeless friend Joe (Alan Williams) who is killed ruthlessly by a couple of youths and Mitchell's subsequent attempts to find out who is responsible. While it is an adequate underlying story to accompany the main narrative neither Monahan's direction nor his screenplay seem to follow it to any decisive conclusion. It seems if anything if this subplot is simply included to allow the subversion of the ending and provide a twist or surprise ending which the film itself certainly does not need. 'London Boulevard' is a proficient first effort for Monahan and while the film contains flaws which you expect from a firsttime director plying his trade it is also an engaging gangster drama which is smartly written and incredibly wellacted by many of the great British and Irish actors at the moment.