Spikeopath Gangster No. 1 is directed by Paul McGuigan and written by Johnny Ferguson, Louis Mellis and David Scinto. It stars David Thewlis, Paul Bettany, Malcolm McDowell, Saffron Burrows, Kenneth Cranham, Jamie Foreman and Eddie Marsan. Music is by John Dankworth and cinematography by Peter Sova. Gangster 55 (McDowell/Bettany as the younger version) looks back on his brutal life, on how he became a gangster... The British gangster genre of film was gathering apace in 2000. Guy Ritchie's Snatch would wow critics later in the year, while Ben Kingsley's ferocious turn in Sexy Beast (David Scinto and Louis Mellis co-write on that as well) would even get an Oscar nomination, yet Gangster No. 1 is the equal of both films but still doesn't have the acclaim afforded the others - undeservedly so. Predominantly set in the late 60s, with period flavours strong, pic doesn't pull its punches, and yet it is never over gratuitous with the violence and mania (but you do feel it big time) that surrounds Gangster 55 (Bettany brilliantly feral and frightening). It's with the characterisations where McGuigan's film gets its strength, we witness greed, blood lust and the yearning of power via chilling portrayals, set to the back drop of a scuzzy London underworld where even the vermin don't dare to dwell. This is a film not wanting to be loved thematically, but the top performances across the board and pic's ability to grab you by the throat - to not let go - makes it a rip- snorting slice of evil. Essential for those interested in the British gangster film revival of the noughties. 8/10

MisterWhiplash Gangster No. 1, to be fair, actually doesn't owe a lot to Tarantino crime movies. It's not exactly one of those, even if it might appear to be from the DVD cover or from the trailer. If it has anything to owe to its both real old-school gangster movies from the 30's (think Cagney as a cockney on angry-pills) and, in fact, from surrealistic horror movies. One might wonder if Paul McGuinn, the director, watched Jodorowsky's Santa Sange to get a feel for how to really make something insane at certain points, how the character of the Gangster wigs out and has a "scream" face, teeth bared and eyes insane. It's certainly a surprise, as a movie that at first appears to be a usual rise-of-a-gangster story but, no, this is not Scarface exactly. It's like Scarface's schizophrenic brother who loves having people look in his eyes and, actually, doesn't have much to do if he's not being a psycho-gangster.Another surprise is seeing how the story unfolds. I thought that it would be mostly about Malcolm McDowell as this gangster, perhaps coming to grips with his former boss, Terry, played by David Thewlis, being released from prison after thirty years away. But it's mostly McDowell narrating, looking back on his early years under Thewlis (and played by a very scary and subtle Paul Bettany) in 1968, when he was just an impressionable underling who could kick a good arse and take some names, but mostly seemed, as they say, 'quiet'. That is unless he has to interrogate someone, and then the request for the "look me in the (bleep) eyes" comes out. Or if he sees that his boss is about to get distracted by a 'bird' like the singer played by Saffron Burrows who he really shouldn't have any gripe with except that, I suppose, she's taking his boss away from him in some way.It's this perspective of it being a first-person character study of a disturbed human being first and a crime saga second that makes it interesting to see unfold. When we see Bettany's Gangster act on his move of revenge against another criminal who shoots his boss, it's one of the most terrifying sequences in recent memory, as McGuinn shoots it from the point of view of the poor bugger being killed, slowly, by an axe and a machete and by a slam of the head into a case of liquor bottles, and all from a camera lens that is distorted only so much as to make the perspective fade in and out from actual shock of the guy dying. It's a staggering scene, and not the only one that McGuinn does to break into the subjective point of view of a character who lusts for power on a manic scale. We seem to get so many movies with killers that are cold on one hand or maybe a bit too witty for their own good, but this is one who has a conscience and a hunger for power that drives him bananas. "I'm Superman, I'm King (bleep) Kong!" is one such scene showing him as a typical gangster, but watch Bettany (and McDowell's narration) as this unfolds.It's also a joy to see actors like McDowell, Thewlis and Bettany given such juicy dialog and scenes to play out. The final confrontation between the two old criminals in the one's former pad and now the other's long-time "palace" of a home, with McDowell going over the top and Thewlis sitting and stewing away on a couch, staring and barely saying a word, is masterful. While some scenes have just basic acting (some perhaps lifted off as extras from Guy Ritchie movies), its the unique approach the director takes with the story, and the performances, that lift it up a notch past the usual genre filler. Indeed you could put it on a double bill with a gonzo Yakuza flick from Takashi Miike (maybe Gozu) and it would be a fantastic pairing.

whpratt1 This is a story about a young ambitious man who likes being a gangster and when he is young the role is played by Young Gangster, (Paul Bettany). Freddie Mays, (David Thewlis) is the head king pin and decides to hire this young gangster who wants to fill his shoes someday. There are many flashbacks concerning the life of the young gangster and the older gangster played by Malcolm McDowell who managed to send Freddie Mays to prison and he also took over his entire business. There is plenty of blood and gore and rough and tough British crude language which is very hard to understand. This is a very unusual film and it will hold your interest right to the very end.

Woodyanders 1968: A ruthless young mobster (a sublimely chilling and mesmerizing performance by Paul Bettany) desperately wants to emulate his mentor Freddie Mays (the excellent David Thewlis), a suave crime kingpin who lords over London. The gangster literally murders his way to the top, betraying Freddie in the process and losing his soul in his fierce quest for power. 30 years later, the older and successful, yet lonely Gangster 55 (an excellent portrayal by Malcom McDowell) awaits the release of Freddie from prison. Director Paul McGuigan, working from a bold and sharp script by Johnny Ferguson, handles the dark and gritty material with tremendous bravura style, relates the arresting story at a snappy pace, laces the whole thing with plenty of wickedly funny black humor, and punctuates the gritty narrative with several jolting outbursts of raw, savage violence. Kudos are also in order for the uniformly fine acting from a first-rate cast: Bettany is genuinely riveting and terrifying as the severely driven and psychotic main character, Thewlis likewise impresses as one smooth operator, McDowell makes the most out of one of his best more recent roles, the ravishing Saffron Burrows exudes pure class as Freddie's brassy singer moll Karen, plus there are nice supporting contributions by Kenneth Cranham as the wise Tommy, Jamie Foreman as hot-headed rival hoodlum Lennie Taylor, Eddie Marsan as sniveling toad Eddie Miller, Andrew Lincoln as vicious hit-man Maxie King, and Doug Allen as the brutish Mad John. This film boasts several memorable set pieces as well: our young gangster questioning a whimpering Eddie about Lennie Taylor, the ferocious murder of Lennie Taylor, and the older gangster's searing big climactic confrontation with Freddie. Peter Sova's dazzling cinematography, the flavorsome evocation of the groovy swinging 60's, the often amazing profane dialogue, John Dankworth's supremely jazzy'n'moody score, the stark, harsh tone, the fantastic golden oldies soundtrack, and a potent central message about the bitter spiritual coast of blind ambition all further add to the sterling quality of this bang-up corker of a crime thriller.