John Chard
Gumshoe Ginley.
Gumshoe is directed by Stephen Frears and written by Neville Smith. It stars Albert Finney, Billie Whitelaw, Frank Finlay, Fulton Mackay, Janice Rule, Carolyn Seymour and George Innes. Music is by Andrew Lloyd Webber and cinematography by Chris Menges.
Now William, you'd sell cancer to a dying man but you wouldn't plant a stiff on your own brother.
If we go by the volume of on line reviews and ratings, you have to believe that Gumshoe is very much under seen. Perhaps not in Britain and by Albert Finney fans? But certainly the evidence points to it slipping under the radar of many a genre lover. It has been called a pastiche, a parody and even derivative of film noir, but just because our anti hero here, a sublime Finney as a film noir loving working class British guy, plays up on the tools of the noir trade, that in no way diminishes the love for that film making style. In defence of that it probably pays to point out that director Frears would 19 years later craft one of the best exponents of neo-noir in The Grifters, so clearly the director has love in abundance for all things noir.
Eddie Ginley is a part time comic and bingo caller who is currently one of life's losers. Even his psychiatrist deems him as a nutter! So when he puts an add in the newspaper offering his services as a "Gumshoe Detective" - Sam Spade style, he finds himself thrust into a web of mystery, murder and family chaos. Yet as things get tricky, Ginley never once loses his affable calmness, he continues to live out his fantasy, firing off sharp patter to whoever he comes into contact with. No matter what is thrown at him he simply will not be flustered, and in fact proves himself far from being a "nutter" when he's called on to solve the hairy problems that start to stack up.
Frears plants it all in the rock solid turf of a working class British city, Liverpool in the main but London comes to play a part as well. Plot flits around a social club, British Rail stations and basic living accommodations, this gives the pic a grounded realism. For even as the narrative has a crafty air of comedy about it, it's not hard to feel the very real threat of danger lurking everywhere Eddie goes on to tread. The plot is a little too convoluted for its own good, ticking off femme fatales, hitmen, minders, drugs and an international conspiracy as it goes about its merry way. But as Eddie jousts with tongue (the boxing terminology flirting sequence with Wendy Richard is first class), and the script crackles with hardboiled dialogue and narration, the small niggles evaporate because we have long since fallen in love with Eddie Ginley. 8/10
