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ON FAITH & MEDIA View Comments

Brighton Rock

By
John P. McCarthy
Source: Catholic News Service


Sam Riley and Andrea Riseborough stars in a scene from the movie "Brighton Rock."
Evoking both visceral menace and moral dread, "Brighton Rock" (IFC) is a violent British crime thriller adorned with metaphysical flourishes.

Based on Graham Greene's 1939 novel, also adapted for the screen in 1947, the story revolves around depraved 17-year-old hoodlum Pinkie Brown (Sam Riley), who manipulates a naive waitress to avoid being arrested for two murders he commits in the coastal resort of Brighton.

Before launching his directorial career, Richard Attenborough delivered a chilling performance as Pinkie in the postwar noir version, which Greene co-wrote with Terrence Rattigan. In this iteration, writer-director Rowan Joffe—son of Roland ("The Mission")—sets the action in 1964, juxtaposing Brighton's seedy underside with social unrest arising from the decade's intergenerational tensions.

Because Pinkie and young Rose (Andrea Riseborough) are both devout Catholics (about his faith, Pinkie avers, "It's the only thing that makes any sense"), the decision to alter the time period also invites reflection on how attitudes toward the church started to change following the Second Vatican Council. Introducing this implicit motif does not obscure Greene's primary aim—namely, weaving tough and timeless questions about religious belief into a harsh but entertaining yarn.

A minor gangster who brutally comes of age during a turf war, Pinkie alternately woos and intimidates the nervous Rose after she unwittingly gains information that could doom him and his associates.

Ida, who manages the tearoom where Rose works, is determined not to let Pinkie escape justice or ruin Rose. Riley and Riseborough acquit themselves well, but Helen Mirren's portrayal of the steely Ida offers needed ballast, as do turns by John Hurt and Andy Serkis in smaller roles.

The suspense is palpable, yet first-time director Joffe frequently opts for histrionic touches that threaten to tip the proceedings into melodrama, albeit of a hardboiled variety. Riots between rival youths—so-called Mods and Rockers—while fact-based and topical, thanks to recent lawlessness on the streets of Britain, are not staged convincingly.

Still, the movie's artier pretensions and lack of subtlety are in keeping with both the novel and the earlier film. Its depiction of Catholicism is slightly overwrought, though never sacrilegious or heretical.

The same cannot be said of Pinkie's malevolent behavior, and his imminent demise is never in doubt. The wicked must suffer in Greene's universe, but so too must the innocent.

One can argue "Brighton Rock" goes further by suggesting that less separates good and evil, salvation and damnation than we'd like to believe. Its conclusion, which mimics the softer ending Greene devised for the 1947 film, is notably ambiguous. Whether the message Rose receives in the final scene constitutes a merciful miracle or a cruel sham is open to interpretation.

Since they're integral to the plot, the objectionable elements listed below can be judged acceptable for adults willing to grapple with Greene's richly complex view of Catholicism and of faith in general.

The film contains considerable violence, primarily involving knives; brief nongraphic marital lovemaking; some profanity and sexual innuendo; and much rough and crude language. The Catholic News Service classification is L—limited adult audience, films whose problematic content many adults would find troubling. Not rated by the Motion Picture Association of America.

*****
John P. McCarthy is a guest reviewer for Catholic News Service.



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Giles Mary of St. Joseph: In the same year that a power-hungry Napoleon Bonaparte led his army into Russia, Giles Mary of St. Joseph ended a life of humble service to his Franciscan community and to the citizens of Naples. 
<p>Francesco was born in Taranto to very poor parents. His father’s death left the 18-year-old Francesco to care for the family. Having secured their future, he entered the Friars Minor at Galatone in 1754. For 53 years he served at St. Paschal’s Hospice in Naples in various roles, such as cook, porter or most often as official beggar for that community. </p><p>“Love God, love God” was his characteristic phrase as he gathered food for the friars and shared some of his bounty with the poor—all the while consoling the troubled and urging everyone to repent. The charity which he reflected on the streets of Naples was born in prayer and nurtured in the common life of the friars. The people whom Giles met on his begging rounds nicknamed him the “Consoler of Naples.” He was canonized in 1996.</p> American Catholic Blog Jesus, our crucified Lord, you know us better than we know ourselves. Help us to see the ways in which we not only act out in selfishness, greed, or shortsightedness, but also in those ways we choose to ignore, forget, and step over aspects of our lives and others for which we need 
forgiveness.

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