Remakes are still running rampant in Hollywood, and it is rare to find one with a valid reason for existing. But the new British film Brighton Rock is one of the most exciting movies of the summer. In a way it’s not fair to call this a remake of the 1947 film that introduced Richard Attenborough as a dynamic movie actor. Instead it’s a new, updated version of Graham Greene’s 1938 novel about a baby-faced gangster trying to play godfather in the slightly seedy seaside resort of Brighton.
The original British movie is not well known, but it was acclaimed by critics and recently reissued. This new retelling of the story equals or even surpasses the original film. This is partly because of an outstanding cast, and also because it marks a terrifically stylish debut by director Rowan Joffe, who has a few screenwriting credits that gave little hint of the command he shows here.
The action has been updated from the 30s to the 60s, and the film sets Greene’s gangster plot against the backdrop of the Mods-and-Rockers rebellion that was roiling England during that era. While the youth culture is about to transform the country, Pinkie (Sam Riley), an uneducated teen trying to make his way in the underworld, aspires to conquer a universe that is on the verge of extinction. Just as the Mods and Rockers are battling for supremacy, two aging bands of gangsters are involved in a turf war, and Pinkie wants to revenge the killing of his mentor and be recognized as the next kingpin. One obstacle to his rise is an ingenuous young waitress, Rose (Andrea Riseborough), who may have witnessed a gangland killing. Pinkie sets out to worm his way into her affections to see how much she knows and silence her if necessary.
This plot element has been used in other movies—most recently in Ben Affleck’s film,The Town. In that film Affleck fell in love with the crucial witness, played by Rebecca Hall. Brighton Rock is far more compelling because Pinkie is a more sinister protagonist. He’s a hardened killer who may have just a smidgen of decency left, and the suspense of the film lies in the question of whether Pinkie’s romantic feelings for Rose will override his murderous impulses. An early scene of Pinkie hesitating when confronting an enemy suggests that he may retain some vulnerability, but as the film goes on, he becomes more and more ruthless.
This hard-edged characterization is bolstered by the superb performance of Riley, who’s appeared in a few earlier films and emerges here as a major new screen presence. He bears a passing resemblance to Leonardo DiCaprio, and he shows the same charisma and fearlessness. Riseborough makes a heartbreaking Rose. She conveys the character’s utter innocence, which makes us hope that Pinkie’s feelings for her may soften.
Helen Mirren also gives a splendid performance as Rose’s employer, a tough old bird who initially has little sympathy for Rose but comes to act as her protector. John Hurt shines as Mirren’s companion, and Andy Serkis demonstrates his versatility in the role of the smoothly menacing mob boss.
John Mathieson’s cinematography is another major asset of the film. The seaside settings are stunningly shot, and the film has impressive scale in its chase scenes, one of which incorporates the Mods-and-Rockers riot of 1964. Joffe’s writing and direction are impeccable. The director shows compassion toward the characters without the slightest trace of sentimentality, and he tightens the screws with the finesse of a young Roman Polanski. The climactic scenes build breathtaking tension. You come to care deeply about these stunted characters, which is a tribute to Greene’s original story and to the expertise of this electric new rendition.