A Prayer for the Dying

A Prayer for the Dying

A Prayer for the Dying

A Prayer for the Dying

A Prayer For The Dying is one of those films which had the ambitions to be well made film like many classic, but it falls on it face. It read stories that the film was re-edited behind the directors back and both Mike Hodges and Mickey Rourke have disowned the theatrical release. This is problem with the film, producers don't make good editors. There are some scenes which doesn't gel, and also the Bill Conti music is too melodramatic. Originally Mike Hodges hired John Scott too compose the soundtrack, then Samuel Goldwyn Jr didn't like it and got in Conti. I read that Mickey Rourke's Irish accent was badly criticized by critics. I actuality thought that Rourke accent was convincing enough and also he is an Irish-American. Rourke is one most under estimated actors around. Alan Bates is good as the Meehan, Bob Hoskins is reasonable as Costa even though at times he looks like he going to explode as a cockney gangster. According to Mike Hodges there is his cut of the film and that MGM own the rights and that there were going to release film on DVD in its correct form. I would like to see that happen as I said earlier it's an ambitious film along with Get Carter, but whereas Get Carter is a classic, A.P.F.D. falls on it face, because of people who meddled with the film not knowing what they are doing.

Let me start by saying that I was fortunate enough to be able to re-enact 2 scenes from this great film in college (theatre class). I played Fallon in the park meeting with Liam Neeson's character (played by another student). Our fellow thespians loved the intensity but were a bit perplexed by the slow pacing.Secondly,the scene with Fallon and the priest (at the pulpit)after Docherty is shot by his female partner. Maybe it's partly because of my Irish heritage, but I LOVED this film.The soundtrack features some lovely pennywhistles and a bittersweet melody. I,also, enjoyed the Bach Fugue (sic) though Fallon's organ playing didn't look that realistic to me (I play). Liam Neeson is wonderful, as always. The look on his face as Fallon turns away from him in the park is priceless.He knows he just signed his own death-warrant.Secondly, the previous scene where he announces "Here,here, I'll not go near this place" to the (funeral-worker) informer. What authority! Some memorable quotes: "I once saw some writin' on a wall in (London) Derry ... that said: is there a life before death?" and "I don't wanna keep waking-up hearing the screams of young children, I lost somethin a long time ago...everything" and the ending when Fallon asked God to "Please,please,please forgive me" then dies in the arms of the grateful priest. Wow! Also, Bates is terrific as devil/angel crimeboss and that line "I don't think you quite know who I am, Father". It truly could have been written about a mafioso or a gangbanger who is curved back in by people who believe he knows too much: ally or not The IRA wants him back (in their fold) or dead.Trust me : it happens daily in this country. In my humble opinion: Like Mel Gibson's Hamlet , Rourke is surrounded by some of the best actors in GB and gives a nearly perfect performance. Nuanced and understated yet with a quiet intensity that should have earned him an Oscar (or at least a nomination).Who did he anger to be so vilified by Hollywood's honchos? Lastly, Bates was said to have "chewed up the scenery" by a critic. Does anyone know what that means? Love to all, all over this blue planet !!!

Already a quarter century has passed since A Prayer for the Dying was first released, and I don't think age has been kind to either Mickey's character portrayal of an IRA bomber named Martin Fallon, nor to the films story line. I believe Mickey Rourke to be a fine actor whose body of work has been solid decade by decade. He is an actor that I look forward to seeing what he plans to do next. I just don't think this particular screen play was very realistic, so first rate actors such as Mickey Rourke, Bob Hoskins, Liam Neeson and Alison Doody who had thought they had ordered top grade steak were served ground beef instead for the screenplay. The movie is about Martin Fallon a cold hearted IRA bomber who hangs up his TNT after accidentally blowing up a school bus of children which was intended for another IRA target. Of course Martin Fallon is forced to come out of retirement for just one last hit which he completes for another mobster appropriately at a cemetery. Unfortunately Martin fails to see the priest Father Michael Da Costa who witnesses his assassination. The priest is played by the very versatile actor Bob Hoskins. Yes, there was a steady stream of IRA villains planning other hits, the London Bobby's were continually chasing after the elusive IRA bomber Martin Fallon, the Irish mob wanting their own way, and the film even had a blind damsel in distress named Anna played by Sammi Davis who Martin Fallon falls in love with. Even with all this potential, and actors of the highest caliber, the film lacked any depth of true characters or continuous suspense. Instead, I felt the movie just plodded on through out and left me half way through the film expecting little more to come of it other than a disappointing ending which was the case. I give the film a rare 5 out of 10 only on the strength of Mickey Rourke and Bob Hoskins, otherwise my rating would have been even lower.

Harsh crime drama deals with a lonely IRA hit-man named Fallon (Mickey Rourke )sickened by the murder along with his partner (Liam Neeson) of innocent people in Northern Ireland . He is on the run but has to complete one last assignment , when happens to be witnessed by a priest (Bob Hopkins ) who becomes an unwitting associate when the killer hides out at the church . The execution is duly carried out , triggering off the rest of argument. Fallon long to quit , is a man with nowhere to run . He has come to London where is pursued by the Ira (Alison Doody) ,the police and a mobster (Alan Bates )and his brother (Christopher Fulfold) . Meanwhile the hit-man falls in love with the priest's blind niece (Sammi Davis). This is a dramatic film , well paced , often interesting and never boring ; it's plenty of action , thrills, suspense , a love story and quite entertaining . This picture further afield both in terms of location and theme have not led to the full realization of his potential . Actors make a great job , Rourke sporting a decent Irish character , over-the-top Hopkins in a worthy role and fine performances from Alan Bates and Christopher Fulford as underworld kingpins. Very secondary acting of Anthony Head , subsequently famous as the teacher in Buffy Vampire slayer and Sammi Davis screen debut . The atmosphere is splendidly captured in steely color photography. Very good musical score by Bill Conti who composes a sensible and evocative soundtrack , much better than his Rocky saga . The drama that surrounded this film is all of interest and rarely tiring but small beer at box-office , then Hodges came to a grinding halt for some years . Furthermore , Mike Hodges and Mickey Rourke were not satisfied with terminated movie . The motion picture is professionally realized by British director Mike Hodges of extraordinarily varied experience . After successful direction for TV thrillers , he encouraged to try for the big screen. He looked set for a solid career in urban drama after the success of his first movie ¨Get Carter¨ . He subsequently realized flops as the comedy ¨Pulp¨ and Sci-Fi as ¨The terminal man¨ and a lunatic farce as ¨Morons from outer space ¨. ¨Flash Gordon¨was his contribution to the big budget super-film until ¨The prayer for the dying¨ with action scenes are sharply , toughly staged , but achieved a limited success ; however being nowadays better deemed. Rating : Good 6,5 . The film will appeal to Mickey Rourke fans and thriller buffs .

A bizarre, rather disappointing choice for nearly all involved. The film is essentially an action movie, although it certainly makes an effort to rise above its lowly fate as such and make a statement about the ability to forgive others, and ultimately to forgive yourself. Mike Hodges' biggest mistake is not letting the film be what it was meant to be, a thriller. It begins with Irish Republican Army operatives Martin Fallon (Mickey Rourke) and Liam Docherty (a game Liam Neeson) overseeing the bombing of an English army transport truck. The bombing goes awry, however, and a schoolbus carrying a handful of children is detonated instead. In the ensuing chaos, Martin and Liam are separated. Guilt-stricken, Martin goes on the run. Liam is sent by his IRA superiors to find Martin and either bring him back or kill him. Martin wants to drop out of the terrorist business and go to America. In order to get the papers he needs from creepy crime boss/undertaker Jack Meehan (Alan Bates), he agrees to one last job, the assassination of a rival gang leader. Martin goes to a cemetery to do the job, but is witnessed by Father Da Costa (Bob Hoskins). In order to prevent the priest from identifying him to the police, Martin confesses his crime to Da Costa. And that's when things get complicated. Meehan wants Martin to off the priest, but Martin says he's done killing. Da Costa is uncomfortable with keeping Martin's secret, but as a Catholic priest he has no choice. And Liam is closing in on Martin every day. There are moments of genuine pathos, mostly thanks to Mickey Rourke, who does his absolute best with the material at hand. The more I see of him, the more I'm reminded of what Marlon Brando was like in his youth. Aside from a significant facial and physical resemblance, they share a vulnerability on screen that's very unusual. For the most part, however, this is silly stuff, especially Fallon's romance with Da Costa's blind niece (a godawful Sammi Davis). That was just unnecessary. I should probably mention that Alan Bates makes a pretty terrific villain, and he's almost worth the price of a rental all by himself. Not quite, but almost. There's also some fine cinematography. The score got on my nerves though; in fact, you could say the score is a perfect metaphor for the film. It weaved from mournful, evocative Irish folk music to typical action-adventure crap, often within heartbeats of one another. Overall, an uneven, occasionally dull effort. Huzzah for Alan Bates for keeping it interesting though.

You got it wrong, definitely is there people around, for whom it's not completely missed, more likely near the top of all-time favorites. I'd better divide people to who has seen it and who has not. Reluctant to say, is it Rourke's best or 3rd or what, I was more impressed by Hoskins' performance definitely, or role. Rating? Max. Liam? You don't have to be on screen for duration to make Your point.

Completely (and rather unjustly) forgotten today, this is an offbeat, interesting dramatic thriller based on a book that seems to lift its basic idea from Alfred Hitchcock's "I Confess" (actually, I haven't seen "I Confess" yet, but everybody knows its premise). The movie has a great cast and makes an earnest attempt to combine psychodrama with more traditional thriller elements. The main problem is that, once the basic situation has been (elaborately) set up, the story seems to get stalled and has nowhere to go. There is also a subplot, involving Liam Neeson in an early role as Mickey Rourke's old comrade in the IRA, that's ultimately just a waste of time. (**)