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Loaded Weapon. Shake Hands with the Devil is directed by Michael Anderson and adapted to screenplay by Marian Spitzer from the novel written by Rearden Conner. It stars James Cagney, Don Murray, Dana Wynter, Glynis Johns, Michael Redgrave and Sybil Thorndike. Music is by William Alywyn and cinematography by Erwin Hillier. It's 1920s Dublin, Ireland, and the Irish Republican Army are at war with the British Black & Tans. Into the conflict comes Irish American Kerry O'Shea (Murray), who in spite of being apolitical is drawn into darker waters as the violence rages. Complications arise when a hostage situation unfurls, all while the strings are being pulled by the IRA's fearsome commandant, Sean Lenihan (Cagney), who wants Kerry under his wing. It has always been a tricky subject to film, the so called Irish Troubles, for too many film makers have either been ignorant of the facts in the name of good cinema, or so fuelled by other motives it's difficult to get on side with such one sided venom. Michael Anderson's film, whilst itself harbouring dubious political material, deserves plaudits for trying to come at the topic from both sides, embracing the complexities of the issues and never shying away from the violence that tore through parts of Ireland. Even if it ends up being a little confused as to its aims. Filmed on location predominantly in Dublin, there's almighty strength in the cinematography of Hillier (The Mark of Cain/Chase a Crooked Shadow). The night time shots of damp cobbled streets and gaslights are ethereal, while in daytime the lush landscapes are imposing yet still giving off a depressing hue. On the acting front it's Cagney who dominates, in one of his craziest and most crafty roles, he's a Vesuvius who darts between being the honourable cause man, to that of a psychotic who doesn't believe peace is a viable option. Strong support comes from Wynter and Johns. Political hot-pot with wrought emotion, and action scenes that impact as Cagney does his stuff, Shake Hands with the Devil leaves a mark. 7/10
I wonder whether an appreciation of this film depends on whether you are British or Irish? What it depicts, for me anyway, is the old adage that "one man's terrorist is another man's freedom fighter" and James Cagney ("Lenihan") manages to encapsulate that succinctly. His character, a respected professor with republican leanings, recruits "O'Shea" (Don Murray) after one of his friends is shot by one of the infamous "Black 'n Tans" and the film tracks his ensuing involvement with the 1921 revolution. The story follows a simplified line as regards to the actual nature of historical fact, but it does touch on the complications and perils faced by people on both sides of the argument well. Cagney is convincing, as - oddly enough, is Michael Redgrave as the "General" (AKA Michael Collins) - far removed from his Barnes Wallis patriot-style role. There is also decent support from Dana Wynter and the inimitable Dame Sybil Thorndike to broaden the range of the scenarios and demonstrate that this wasn't just a small scale, militaristic, uprising - but a general dissatisfaction amongst all strata of Irish society. Michael Anderson keeps the pace lively, and the dialogue does enough to make it's point without throttling us with it. He has captured some beautiful scenery too and it's well worth a watch.
Ray and Ken, two hit men, are in Bruges, Belgium, waiting for their next mission. While they are there they have time to think and discuss their previous assignment. When the mission is revealed to Ken, it is not what he expected.
A small-time Belfast thief, Gerry Conlon, is wrongly convicted of an IRA bombing in London, along with his father and friends, and spends 15 years in prison fighting to prove his innocence.
Three young Irish women struggle to maintain their spirits while they endure dehumanizing abuse as inmates of a Magdalene Sisters Asylum.
A briefcase with undisclosed contents – sought by Irish terrorists and the Russian mob – makes its way into criminals' hands. An Irish liaison assembles a squad of mercenaries, or 'ronin', and gives them the thorny task of recovering the case.
When a British secret agent's body washes up on the coast of Ireland, evidence implies that he was a traitor providing information to the Russians.
In 1920s Ireland young doctor Damien O'Donovan prepares to depart for a new job in a London hospital. As he says his goodbyes at a friend's farm, British Black and Tans arrive, and a young man is killed. Damien joins his brother Teddy in the Irish Republican Army, but political events are soon set in motion that tear the brothers apart.
In the 1970s, a young transgender woman called “Kitten” leaves her small Irish town for London in search of love, acceptance, and her long-lost mother.
The real-life story of Dublin folk hero and criminal Martin Cahill, who pulled off two daring robberies in Ireland with his team, but attracted unwanted attention from the police, the I.R.A., the U.V.F., and members of his own team.
In the late 1970s, Cockney crime boss Harold Shand, a gangster trying to become a legitimate property mogul, has big plans to get the American Mafia to bankroll his transformation of a derelict area of London into the possible venue for a future Olympic Games. However, a series of bombings targets his empire on the very weekend the Americans are in town. Shand is convinced there is a traitor in his organization, and sets out to eliminate the rat in typically ruthless fashion.
The story of Oscar Wilde, genius, poet, playwright and the First Modern Man. The self-realisation of his homosexuality caused Wilde enormous torment as he juggled marriage, fatherhood and responsibility with his obsessive love for Lord Alfred Douglas.
Irish Republican Army member Fergus forms an unexpected bond with Jody, a kidnapped British soldier in his custody, despite the warnings of fellow IRA members Jude and Maguire. Jody makes Fergus promise he'll visit his girlfriend, Dil, in London, and when Fergus flees to the city, he seeks her out. Hounded by his former IRA colleagues, he finds himself increasingly drawn to the enigmatic, and surprising, Dil.