Have you ever thought about what happens when you take two of Britain’s most feared gangsters and tell their story not as a flashy shoot-’em-up but as a dark, twisted family drama? That’s exactly what Peter Medak did with The Krays (1990) – a crime drama that peels back the tabloid headlines to show the broken family ties behind the violence.
This isn’t one of those films that glamorises the gangster life. No slow-mo gunfights, no slick speeches about loyalty. Instead, it shows how something ugly can grow out of a mother’s love and a family that never drew a line between affection and control. If you’re expecting Goodfellas with cockney accents, you’re in for a surprise.
Story & Plot
The film tells the rise and fall of identical twins Ronnie and Reggie Kray as they go from small-time East End bullies to London’s most feared crime lords in the ’50s and ’60s. But the real story isn’t their empire – it’s their home life.
At the heart of it all is their mum, Violet (Billie Whitelaw), who treats them like perfect little boys even as they get more dangerous. Ronnie’s violent, unpredictable nature drags his calmer brother Reggie into darker territory, and Violet just keeps pretending nothing’s wrong.
What I liked about the story is that it doesn’t rush to the action. It’s slow, heavy with dialogue, and feels more like a stage play than a gangster flick. The violence isn’t celebrated – it creeps in and stays with you. It’s less Scarface, more Macbeth in a suit and tie.
Cast & Characters
- Gary Kemp as Ronnie is chilling – calm one second, terrifying the next.
- Martin Kemp plays Reggie as the brother who could have had a normal life if not for Ronnie’s influence. There’s a sadness to him that makes his downfall hit harder.
- The real powerhouse is Billie Whitelaw as Violet. She’s loving yet almost frightening in how blind she is to her sons’ crimes. That mix makes her unforgettable.
Even the supporting cast feels real – not just extras, but proper characters who add weight to the story.
Direction & Style
Medak’s direction gives the movie its edge. The film looks clean and classy, but underneath that shine is rot. The twins’ sharp suits and polished manners become masks hiding what they really are.
Instead of filling the film with bloody scenes, Medak focuses on the quiet moments – like when the twins straighten their ties after a killing or when their mum calmly pours tea as if nothing happened. Those are the bits that really get under your skin.
Cinematography & Music
The 1960s East End feels authentic – rough but not cartoonish. The clubs look slick but dangerous. The lighting and shadows make the whole thing feel heavy and tense.
The score by Michael Kamen is subtle. It never shouts over the drama, just sits in the background adding a slow burn to the mood.
Who Should Watch
If you like slow-burn crime dramas that dig into the minds of the people involved rather than showing endless shoot-outs, this one’s worth your time. Fans of Bronson, There Will Be Blood, or even Legend (Tom Hardy’s Krays film) will probably find something here to chew on.
But if you’re after quick thrills, car chases, or a feel-good ending, this isn’t that movie.
Final Thoughts
The Krays doesn’t ask you to sympathise with the twins, but it does make you understand the world that shaped them. It’s more than a gangster story – it’s a grim look at how family, love, and power can twist together into something terrifying.
Rating: 8.5/10
A must-watch for anyone who wants a crime film that’s dark, thoughtful, and unsettling rather than just violent for the sake of it.
