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It’s the Tom Hardy Show, and he’s not going to let anyone else get much of a look in. Clumsy or what?ĭespite the story being told by her appallingly abused and pathetic character and seen through her eyes, poor Browning doesn’t really get a look in. The film rambles on too long, to 131 minutes, with about three perfect endings before it finally limps on to stop, followed by the inevitable cards to tell you what finally happened. Telling its from Frances’s point of view weakens the impact of the story and, when she’s dead, she carries on narrating the story, in an annoying device that might work in American fictional film noir but doesn’t work here at all.
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There’s endless clumsy exposition in the voiceover, especially at the start and end to clue us all in on the Krays story, especially there for Americans. He bases the screenplay on a book by John Pearson called The Profession of Violence, and tells the story from the point of view of Mrs Reggie Kray, Frances Shea, played by Australian actress Emily Browning. But he seems to be struggling here as writer, unsure of the East End, London gangsters, the legend. Confidential (1997) and was nominated for Mystic River (2003). Helgeland is generally a brilliant screenwriter. Turning the Krays into some kind of heroes isn’t a good thing at all.īy coincidence, American writer/director Brian Helgeland wrote the screenplay and story of the 2010 Robin Hood. Their deeds are shown in much appalling detail, but the film refuses to condemn them, indeed it adds to their glossy legend of the title. On the other hand, Reggie is shown as a madman too, but Hardy plays him sympathetically, fuelling the wrong-headed idea of the Krays as simply London Robin Hood characters. Indeed, there’s a vague stale whiff of anti-gayness over the film that is probably inevitable given Ronnie’s kind of gay lifestyle (at least as shown here). Indeed, it’s a pity that Ronnie was gay, he’s a disgrace to the tribe, a shocking blot on the landscape, and Hardy plays him without sympathy or pity as an impetuous madman, but as a comical one, the Arthur Mullard of crime. Italians, sometimes Greek, but I am not prejudiced.’) It’s a pity that this is the gay brother Ronnie (‘I prefer boys. The other performance is a turn, a brio one, but a turn. This results in one astounding, fully-fleshed acting performance, the one where he plays Reggie. The effort of playing the two roles just doesn’t show. He makes you believe that both men are on screen at the same time throughout. It is brilliant the way Hardy goes about developing the two lookalikes and making them into different, vibrant characters, interacting with each other. Hardy is a grand actor and is certainly the film’s main attraction – by some way. Legend offers Tom Hardy an eagerly and exuberantly taken chance for a bravura star turn in twin roles as 1960s identical twin East End gangsters Reggie and Ronnie Kray (‘We’re talking about being gangsters, that’s what we are!’)
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Legend *** (2015, Tom Hardy, Emily Browning, Taron Egerton) – Movie Review