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16 + GUIDE - British Film Institute

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Gangster No.1 (2000) Dir. Paul McGuigan<br />

Journal Articles<br />

SIGHT AND SOUND<br />

vol.10 no.8. August 2000, p.6<br />

<strong>Film</strong> news: redundant reviews<br />

This brief article questions why GANGSTER NO.1 did so badly at the box office despite good<br />

reviews, while the similar LOVE, HONOUR AND OBEY took two million pounds despite it being<br />

“reviled”. Amongst the reasons given for this anomaly, was that firstly, not enough was spent<br />

on the marketing, the timing of its release was wrong (Euro 2000 had started) and that it was<br />

caught in a backlash against the current <strong>British</strong> gangster films.<br />

SIGHT AND SOUND<br />

vol.10 no.7. July 2000, pp.45-46<br />

Gangster no.1, by Mark Kermode<br />

Kermode’s review of the film describes it as “a handsomely ugly affair” and picks up on the<br />

juxtapositions within the film and the crime underworld it depicts.<br />

Press Articles<br />

INDEPENDENT ON SUNDAY<br />

13 th August 2000, p.1<br />

Crime on film, and off, doesn’t pay, by Jason Nisse<br />

A convoluted but interesting article that looks at the disappointing box office takings of<br />

GANGSTER NO.1 and of the involvement of Richard Thompson, whose company, Civilian<br />

Content had bought the films production company, Pagoda.<br />

NEW STATESMAN<br />

12 th June 2000, pp.45-46<br />

Dying cult, by Jonathan Romney<br />

This article has Romney noting the Oedipal/father figure obsessed qualities of recent <strong>British</strong><br />

gangster films, before going on to review GANGSTER NO.1. While applauding the film for<br />

being better than a lot of recent <strong>British</strong> gangster films, in that it does not go for cheap laughs,<br />

it is still to some extent style-obsessed, and while “several cuts above the rest…it’s still not<br />

much more than a dazzling parade of dead bad dads”.<br />

THE GUARDIAN<br />

9 th June 2000, p.4<br />

Street fighting man, by Peter Bradshaw<br />

Describing how the “talentless lottery gangster film has pretty well become a contemporary<br />

cultural crisis” Bradshaw applauds GANGSTER NO.1 for being “a film with a canny yet<br />

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