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Fresh out of jail, cockney criminal Wilson (Terence Stamp) flies to LA after hearing
that his daughter Jenny has been killed in a car accident. Hearing that rock promoter
Terry Valentine (Peter Fonda), with whom Jenny had been having an affair, might have
been involved, Wilson seeks revenge. The Limey is at heart a straightforward
thriller given depth by a complex - but not difficult - maze of flashbacks and
flash-forwards. Time hangs heavily on Wilson: the scenes set in the sixties, showing
his relationship with the daughter he hardly knew, gain poignancy because that really
is a younger Terence Stamp we see (in extracts from Ken Loach's Poor Cow). And
of course, Stamp and Fonda, both in terrific shape, carry a lot of sixties baggage with
them. Much is made of Wilson being an outsider in LA, from the title onwards. Other
people's misunderstandings of his rhyming slang add a welcome touch of humour. (Only
false note: towards the beginning, Wilson says, "You wrote me" - American
English - instead of the British-English "You wrote to me.") The Limey
is a minor work, but Soderbergh puts it together with a lot of wit and style, and some
excellent music choices. (Though, after this and American Beauty, maybe The Who's
'The Seeker' deserves a rest.) Gary Couzens
originally published online in VideoVista #16, July 2000
issue Back to Movies on Dowse index.
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