Product Description

Writer-director Neil Jordan's breakthrough film is a brilliant, noir-infused love story. Bob Hoskins (who snagged an Oscar nomination for his performance) plays George, a small-time loser employed as a chauffeur to an enigmatic, high-class call girl. His fascination with her leads him on a dangerous quest through the sordid underbelly of London, where love is a weakness to be exploited and betrayed. Criterion is proud to present Mona Lisa in a Director Approved special edition.

Product Details

• Amazon Sales Rank: #43326 in DVD
• Released on: 2001-03-13
• Rating: Unrated
• Aspect ratio: 1.77:1
• Formats: Closed-captioned, Color, DVD-Video, Special Edition, Widescreen, NTSC
• Original language: English
• Subtitled in: English
• Number of discs: 1
• Running time: 104 minutes

Amazon.com essential video
You'll have to listen hard to catch all the dialogue in this dark, romantic film by director Neil Jordan. The Cockney accents are thick enough to spread on a crumpet. But it's worth the effort to plunge into the London underworld with tough but lovable thug Bob Hoskins. Just out of prison, he's given a job by his old boss (Michael Caine) as chauffeur to a gorgeous but chilly call girl (Cathy Tyson). For all his criminal experience, this guy is surprisingly innocent; when he develops a crush on the woman he's driving, it leads inevitably to tragedy. Hoskins is heartbreakingly good as this poor, thick sod, while Caine projects an oily malevolence. Tyson is also fine as a woman who has secrets of her own. --Marshall Fine

Customer Reviews

looked good but I needed subtitles
I tried to watch this film twice. I gave up early the first time because I couldn't understand a lot of the dialogue. The Cockney accents did me in. Most of the time the girl spoke is a very low voice and I missed most of what she said.

However it looked so good that I tried again the next evening and got through almost half of it. I could tell that the acting was first rate and I wanted to stick it out. When George, the hero went to sleeze joints and houses of prostitution to find Cathy for his friend, I found it too hard to take. I just wasn't in the mood to see 15 year old girls with bruises on their faces turning tricks for slimy pimps. Too depressing.

Perhaps if I could have understood more of the dialogue I would have made it through that rough spot. Reading the reviews here makes me want to have seen it. I'm not really reviewing the film here. I just wanted to warn others who may have a similar hard time with English films.

I really do wish that English made films supplied subtitles for our American ears.

A Bob Hoskins must see
This was my first exposure to Bob Hoskins- and I've been a fan ever since!And it was quite a change to see Michael Caine as a truly nasty guy! Acting is superb, and plot is refreshing. Music was very good too.

So What's A Feller to Do?
Upon its 1986 release, "Mona Lisa" was proclaimed a masterpiece of the British crime film drama; it brought the Irish-born Neil Jordan, who'd both written and directed it, to the forefront of working British film directors. Reminded everyone of Nat King Cole's great song. Won its star Bob Hoskins an Academy Award nomination, as well as the Cannes Film Festival and British Academy Awards. It's since been recognized as one of the big three of British noir crime dramas: Michael Caine made "Get Carter," Hoskins made "The Long Good Friday;" together, they made "Mona Lisa."

The movie has frequently been compared to Martin Scorsese's "Taxi Driver," for many reasons. Hoskins stars as George, typical, low-wattage East End thug, just getting out of jail after doing seven years for crime boss Mortwell (Caine). George thinks he's owed; Caine gives him a job chauffeuring high priced hooker Simone (Cathy Tyson). Hoskins is expert, as ever, in conveying the controlled violence in George's soul; he also conveys as well as possible the character's surprising naivete. Caine is the cool, even-tempered, joking, fierce villain we saw in "Get Carter;" there's a ten-second bit where he allows Mortwell's mask to slip; we see him with bared teeth, closing in for the kill. Tyson, on her way to a television career, does a good job as Simone, with her own problems. The young Sammi Davis, best known for "Hope and Glory,' stands out as an exploited young drug-addicted prostitute. And the economy-sized Scots comic Robbie Coltrane, before his television success as "Cracker," seems wasted in a pointless subplot, as George's best friend.

Still, to me, the most apt comparison to this movie is actually the movie of John Steinbeck's "Of Mice and Men." We have Coltrane, as Hoskin's friend, often asking him to "Tell me a story, George." That's a direct quote from Lenny (Lon Chaney Jr.)'s frequent request to his George, Burgess Meredith. And we have cockney George buying a rabbit for Mortwell, we're never told why, but Lenny had a pet rabbit in "Of Mice and Men." However, on a first viewing after several years, what was most striking to me about this film was how mannered the script is, how careful to alternate dramatic highs and lows. And how unlikely it is that Hoskins' character could be quite so naive, after an adult life spent the shady side of the law, and a seven-year jail stint.

The seamy London underworld of homelessness, drugs, and kinky sex is well-captured in this movie; the powerful photography gives us the feel of some of the city's meanest inhabitants and streets.

Otherwise, this movie builds upon another of Jordan's signature themes: the love of a man for an inappropriate woman. George is evidently greatly mistaken in believing that a character as damaged as Simone can be talked into a future of love, marriage, and a baby carriage. The same theme pops immediately to mind in at least the eight other feature films, that Jordan wrote, and/or directed, that I've seen. Many viewers will be familiar with the recent "Breakfast on Pluto." Liam Neeson, an Irish parish priest, fathers a child upon his housekeeper, whom he actually loves. In "The End of the Affair," Ralph Fiennes tries to continue seeing Julianne Moore, but she's sworn off him, in a prayer to God to save his life during the London blitz. In "Interview with the Vampire," the seven-year old vampire played by Kirsten Dunst, will never, in all eternity, be mature enough for Tom Cruise's undead character. In "The Crying Game,"well, the transvestite Dil will never be the woman Fergus thought she was. Then there's "The Good Thief:" Nick Nolte's old enough to be a grandfather to that movie's teenage prostitute. In "We're No Angels," Robert De Niro, masquerading as a priest, is flummoxed by Demi Moore's Molly. And "The Miracle," an adopted Irish teenager unknowingly falls in love with his biological, and fully-aware, mother. And then there's "High Spirits," Peter O'Toole at his least disciplined, a silly little haunted castle movie. Poor Steve Guttenberg finds himself in love with a ghost in that one. So what's a feller to do?