Reggie and Ronald Kray are two gangsters and identical twins that control 1950s East End London. As Ronald keeps getting more and more psychotic, their relationship begins to deteriorate, as does their grip on London.
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A good gangster movie combined with a sad love story. Tom HARDY does his best but he's not totally credible as a mad psychopath. Emily BROWNING ravishing as a fragile gangster bride. === Bon film de gangsters et une triste histoire d'amour. Tom HARDY fait de son mieux, mais il n'est pas vraiment crédible en voyou psychopathe. Emily BROWNING ravissante en jeune femme amoureuse d'un gangster.
An underwhelming director takes on a brutal true crime tale, gets an exciting cast, but still ends up with a very confused movie with an identity complex. The tone was plain wrong, not to mention all over the place. Even Hardy's performances (which were mostly okay) couldn't quite stay the course, and he often slipped into Bane or Bronson. Shot okay, with a boring soundtrack and too slow of a pace.
In 1989 Peter Medak made a powerful and brutal film called 'The Krays' that approached the story through the boys smothering yet sympathetic mother. In comparison this weaker entry is framed by the tale told by the gangster's wife and fails extremely. This is not however the fault of Tom Hardy who excels in his dual performances. This film can't decide what tone it wants to give and falters throughout. Skip it.
Tom Hardy as the Kray brothers (Ronnie & Reggie) was a casting masterstroke. He lights up the screen (twice) with anti-hero clout, almost making its audience naively besotted with the brothers' unique marque of gangsterdom menace. The title is apt. These East-End club owners are nigh-on mythological.The film itself has all the tropes of a TV British crime drama and meanders through the story with rote competence.
Legend works as a vehicle for Tom Hardy, and he should be applauded for capturing the Kray brothers' subtle mannerisms. I also enjoyed the slick camerawork and symmetrical shots deployed throughout the film. With that said, there were many scenes where the dialogue was simply unintelligible. Hardy's muddled accent was annoying and inhibiting. I also think about 40 minutes could be shaved off the narrative.
It's really unfortunate that such a beautiful double performance was wasted in such a bad movie. Taron Egerton is also underused here in what might have otherwise been a very interesting character (he and the other sadistic-but-silent boy-toy). And I absolutely love the scene when Ronnie says goodbye to Frances.