Watch: Gangster No. 1 2000 123movies, Full Movie Online – A middle-aged crime boss smugly reflects back from 1999, narrating the brutality which made him triumphant – and feared. As an unnamed young hood in Swinging 60’s London, he aped his mod boss Freddie Mays, and seemed to do anything for him. But his narration exposes all-consuming envy: of Freddie’s supremacy, and especially his tall bird. The baby shark develops his viciousness and backstabbing, scheming to be Gangster No. 1..
Plot: An old gangster is advised that Freddie Mays would leave jail after thirty years in prison. His mood changes and he recalls when he was a young punk and who joined Freddie’s gang—a man he both envied and ultimately betrayed.
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|6.7/10 Votes: 14,071
|71% | RottenTomatoes
|60/100 | MetaCritic
|N/A Votes: 163 Popularity: 10.603 | TMDB
Look into my eyes!
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
**It’s not a movie for everyone, it’s extremely violent and tense, but it works very well.**
It’s not easy to make a good gangster movie. Sometimes it feels like they’ve done everything that could possibly be appealing or challenging, and that each new production is limited to chewing on and revisiting what’s already been done by others, usually better. This film, set in London, brings us into a universe of violence and tension, of envy and madness, which is refreshingly dark and appealing, yet not really new.
The screenplay follows the criminal path of a British mobster whose name is never revealed and who, due to his brutality and competence, becomes one of the trusted men of Freddy Mays, one of the crime lords in London in the late 60s. However, he is ambitious, and his desire is, in the future, to be like his boss is: brutal, ruthless, but elegant and sober. It’s a film where we follow the same character through thirty years of ultraviolence (I’m not using this word randomly, as you’ll see) and sheer madness.
The cast has several strong names, and the main character is played by two actors: in the older chronologies, it is Paul Bettany, and today, it is the experienced and skilled Malcolm McDowell, who has participated in other intense films, such as _Clockwork Orange_. In fact, I can’t help but think that Alex, the main character of that movie, iconic in this actor’s career, could have evolved into a twisted and crazed figure like the one McDowell played here. The impeccable work, both his and Bettany’s, is one of the pillars that sustains this film and that makes it truly intense and enjoyable. Both have memorable lines and dialogue. Another truly outstanding actor is David Thewlis, who harmoniously combines harshness and brutality with the sensitivity and almost aristocratic good manners with which he moves among other criminals. Saffron Burrows is beautiful, and works great as a love interest. The rest of the cast just tries to keep up with the main actors.
On a technical level, the film does a truly brilliant job of building and controlling the environment… the film knows how to build and manipulate the dramatic tension, letting it build up as time goes by, until a climax where we feel the lack of control and the loss of the notion of reality experienced by the central character. The slightly blurry cinematography, with many of the scenes shot at night or in low-light places (bars, rundown apartments, etc.), or the personality of the character, which shatters) or that scene where the camera puts itself in the skin of a man about to be brutally murdered, and we end up being invited to feel that moment, the fragility and mental weakness that takes over. of a man facing death, certain and painful. The movie’s speech is full of profanity and rude words, but that’s something inevitable, given the movie that it is. However, I recognize that it is not a film for any audience, it is extremely violent and brutal. Finally, a word for the soundtrack, impeccable and very well conceived.
Superman, King Kong, and Gangster No. 1
I saw this movie to see Paul Bettany once again. I enjoyed his performances in and , and wanted to see him in something heavier. Gangster No 1 seemed like the ideal role to see how he’d fare.
He looks great decked out in Saville Row’s finery, and has an unnerving composure which suits the role. The crude language seems more natural coming from him than from McDowell’s older Gangster, or Thewlin’s Mays. But the scenes in which he is supposed to be shooting daggers with his gaze at Karen, his rival for Mays’ affection, seem comical and remind me of all the menace my five-year-old can muster in his stares.
There is much lifted from other films, but McGuigan chooses his source material well. The
inspired the bubbly soundtrack to Lenny Taylor’s goring, while inspired the methodical disrobing and laying out of goring implements in that scene. ‘s Travolta gets the “Look into my eyes” thing right: it’s cool apathy we’re supposed to see, not Bettany’s hammed-up intensity. inspires the “Business was never better” sequence, though McGuigan’s lacks any significant depth, catching up on three decades in three minutes.
Some original stuff too: While a gangster falls for the ‘Bird’ in this film, as in
or , it is not Mays’ undoing, it is what saves him. The first person perspective on Taylor’s goring works well, especially with fades in and out of consciousness. The jarring flash-forwards to Gangster’s fierce attacks also work well. And I have never seen the c***-word used more liberally.
What McGuigan, Bettany and McDowell do especially well is to reveal the emptiness of Gangster’s relentlessly evil lifestyle. His disloyalty, jealousy, cruelty, vanity, and his hunger for power leave him paranoid, unloved, and suicidal. His touchstones of power and invulnerability—Superman and King Kong—are not human, perhaps showing how dehumanizing such physical invulnerability can be. But he remains vulnerable emotionally, and relies on bullying an old mate in Mays’ crew, Mays’ girlfriend, and Mays himself to stoke his fragile ego.
A movie with some substance and style, but no virtuosos in this one.
6 of 10
Original Language en
Runtime 1 hr 43 min (103 min)
Genre Crime, Drama, Thriller
Director Paul McGuigan
Writer Johnny Ferguson, Louis Mellis, David Scinto
Actors Malcolm McDowell, David Thewlis, Paul Bettany
Country United Kingdom, Germany, Ireland
Awards 1 win & 9 nominations
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Bell & Howell GSAP (some shots), Panavision Panaflex Gold II, Panavision Primo and Slant Focus Lenses, Panavision Panaflex Platinum, Panavision Primo and Slant Focus Lenses
Laboratory Technicolor, London, UK (processing)
Film Length (6 reels)
Negative Format 16 mm (Kodak Vision 500T 7279), 35 mm (Eastman EXR 100T 5248, Kodak Vision 200T 5274, Vision 500T 5279)
Cinematographic Process Spherical
Printed Film Format 35 mm (partial blow-up)