Neil Jordan has made a number of different kinds of films, from biopic (Michael Collins) to literary adaptation (the remake of The End of the Affair) to comedy (the remake of We’re No Angels) to revenge film (Angel, aka Danny Boy, his first film, and The Brave One). However, there have been two consistent strands in his career. One is how he’s tried to give many of the movies he’s made a fairy-tale like atmosphere. The other stand is of a man who falls in love with a woman who turns out to be something different than the man thought she was. Mona Lisa was the first example of the latter type of story, and while it’s not my favorite example – The Crying Game remains my favorite – it’s a terrific film nonetheless.
Playing someone far removed from Harold Shand, the gangster character he played in The Long Good Friday – except for his working-class roots and his explosive temper – Bob Hoskins is George, a man just out of prison for an unspecified crime. He’s estranged from his ex-wife (Pauline Melville) and his daughter Jeannie (Zoe Nathenson), though he eventually makes up with the latter, and he goes to get a job from Mortwell (Michael Caine), a vicious gangster whom he did time for. George eventually gets a job driving a car, but to his initial disgust, he’s meant to drive around Simone (Cathy Tyson), a call girl. It doesn’t help Simone is black (George is prejudiced), and that she looks down on him, considering him ill-mannered and lower-class (Simone’s clients tend to be upper-class). After some initial tension, however, they soon develop a wary rapport, and she tells him she’s looking for another young prostitute, named Cathy, because she wants to protect her from a pimp named Anderson (Clarke Peters, best known today from TV’s The Wire). George agrees to help find her, and as he does, he starts to fall in love with Simone.
As I mentioned at the top, this is partially a fairy tale, as Jordan wanted to bring the simplicity and romanticism of fairy tales to the movies, as well as the danger and darkness of them. Along with the real-life inspirations (a news item about a man who was arrested for assault and who claimed he was trying to protect prostitutes from their pimps, and a TV documentary about a wealthy Soho sex entrepreneur who resembled a middle-class businessman more than anything else), Jordan’s main influence here was the tale of the Frog Prince (George even tries to tell Simone the tale early on). There are fairy tale motifs throughout the movie – George brings a white rabbit when he tries to see Mortwell for the first time, George’s friend Thomas (Robbie Coltrane, Hagrid from the Harry Potter movies, and also TV’s Cracker) has sculptures that could come out of a fairy tale – and also story motifs in general (George and Thomas talk about mystery novels Thomas always lends George to read, and George tells Simone’s tale as if it’s a story). Jordan also brings together both the romantic elements – George is constantly listening to the Nat King Cole version of the title song, especially when he starts falling in love with Simone – as well as the darker elements (when George is driving down the street looking for Cathy, or going around various adult clubs, Jordan and cinematographer Roger Pratt (best known for his work with Terry Gilliam, though he also shot Jordan’s remake of The End of the Affair) make it look like George is entering something out of Dante’s Inferno). Of course, Jordan ends up subverting the Frog Prince tale in that Simone does not fall in love with George, even though she does grow to like him; it turns out Cathy (Kate Hardie), whom George does eventually find, is Simone’s lover.
Hoskins was apparently not Jordan’s first choice for the role – Jordan wrote the part for Sean Connery, who wanted to work with Jordan but wasn’t fond of the part – but it’s hard to imagine anyone else playing it. George has to be rough yet naïve and ultimately romantic, and Hoskins pulls all of that off brilliantly. Take the scene when he finds a scene of an old porn movie Simone appeared in (he got it when he delivered a package to an adult video store). He tries showing it to Simone, who, naturally, is pissed, and starts slapping him. George gets angry and hits her as well, but immediately apologizes, and they hug each other while crying. Hoskins goes through a lot of emotions through the course of that scene, and yet makes them all work. Tyson has the tougher role, as we have to see what draws George to her, yet she also has to remain someone mysterious and opaque, and considering this was her first film role*, she pulls it off beautifully. Coltrane brings warmth, likability, and intelligence to Thomas. Finally, while Caine is only in a few scenes, he perfectly captures someone who maintains a veneer of respectability but who is slimy through and through. Caine once told Hoskins, who co-starred with him in four other movies, that Mona Lisa was one of only three great British gangster films (the other two being Get Carter, with Caine, and The Long Good Friday). I don’t agree with that, but it’s definitely one of the great ones.
*-Denis O’Brien, who helped provide the money for the film through his company Handmade Films (which he co-owned with George Harrison), objected to the casting of an unknown like Tyson, preferring Grace Jones for the role, as she was just off the Bond film A View to a Kill. Jordan and producer Stephen Woolley both successfully fought O’Brien on that issue, as well as the ending of the film – O’Brien wanted to end it on the violent shootout, when Simone shoots and kills Anderson and Mortwell, and almost shoots George, while Jordan and Woolley were eventually able to get the ending they wanted, with George reminiscing with Thomas, and finally reunited with Jeannie – though O’Brien did win one battle. During the scene where George visits various strip clubs to find Cathy, we hear Genesis’ “In Too Deep”, which Jordan objected to because he wanted something more like what would have played in those clubs, but O’Brien insisted on because of how popular lead singer Phil Collins was. It does play a little too on-the-nose (“All that time I was searching, nowhere to run to”), and Jordan’s objections make sense, but I do think the song works overall.
