That being said, Legend does not reach the Orphan Black level of technicality within scenes between the twins. When twins are involved, having a dual dynamic is accepted, but the combination of contrast and harmony between Ronnie and Reggie is riveting (is it weird that I’m attracted to one Hardy intonation but not the other?). I never knew that I wanted to see two Tom Hardies fight each other against a backdrop of dissonant drum sounds, but by golly that’s one off the bucket list. The duality of Hardy’s performance is far and away the best aspect of the film. Yet, all of these productions smash Legend out of the water. While I hardy had to strain to decipher Hardy’s cockney twang in Legend, the same could not be said for his roles in The Dark Knight Rises, Peaky Blinders or Mad Max. But I almost feel like it’s a technique to get us to lean forward and pay attention. Thankfully, he holds a much more likeable social media presence on arguably one of the best novelty Instagram accounts in recent memory (good enough to rival renowned for his slightly-hard-to-understand-speech thing he has going on (Is enunciation just not cool anymore?). Who am I kidding - I love the guy in spite of the recent revelation about his (rather embarrassing) old MySpace account. Speaking of asses, let’s talk about Tom Hardy. As the great Ron Swanson once said, “Never half ass two things, whole ass one thing”. I say just pick an approach and stick with it, who cares about people on dates. Movies these days try too hard to please all audiences. The film is certainly stronger when it’s punching through to the audience with a greasy loveable ruffian chic rather than getting bogged down in the sloppy romantic dirge between Reggie and Francis. I’m not a betting woman, so I won’t even try to put it down to the writing, directing or Emily Browning’s performance.
The only problem is, I could not muster the energy to give a shit about her story.
One good thing about Francis is that she works texturally, her softness both counteracts and exacerbates the roughness of the Kray brothers. Perhaps my biggest issue with her character is that she just doesn’t fit in a gangster biopic. She didn’t act as a door, but instead a dirty, stained-glass window. In this case, however, Francis was perhaps overly involved in this story. She was supposed to be the audience surrogate, opening the door into the Krays’ world, but I did not find her relatable enough to help bridge the divide.
#LEGEND TOM HARDY GLASSES MOVIE#
Sometimes, having an embedded narrator in a movie can work fantastically. The story of Legend is narrated by Francis, a lil ol’ cockney lass who falls for Reggie Kray. There is no cohesion, it is as if the film had forgotten where it was going and instead found itself dawdled around the grim back lanes and enticingly excessive clubs of the West End for the remaining hour and a half. As the film transitions into the second act, however, it all goes to shit. I loved the scene that gives us our first taste of Reggie’s club the camera work expertly makes the audience feel like they were a punter dodging their way through the cramped crowd. The first act of Legend is smooth and sleek: we revel in the criminal debauchery and welcome the occasional bout of explosive violence set to 60’s beats (some jazzy blungeoning, if you will).
#LEGEND TOM HARDY GLASSES FULL#
Perhaps the only comparable aspect of both films is running time, and although Legend runs a full 50 minutes shorter that Wolf of Wall Street, it sure felt much, much longer. That being said, I am by no means comparing the brilliance of Scorsese to Brain Helgeland’s (unexceptional) adaptation of the Kray brothers’ story. What is with our fascination with bad men? The Wolf of Wall Street was perhaps one of the most popular films of 2013, following the story of real-life fraudulent scumbag Jordan Belfort who has somehow gained love and acclaim from his depiction in the film.
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