Buster

Played light but there's genuine feeling. Strong cast, Phil Collins works well in this role, as does he and Julie Walters as the hub of the movie: honest with the right touch of romance. She is great in this, as she usually is. There's naturalistic period detail: ketchup, grubby kitchens etc. First half is well-paced with real tension to the train robbery, much like a western but with just the right touch of London humour. Second half lags a little with some silly moments (drunken antics) but it's all the so-called dream heading for the inevitable reality check. Surprised it took this long for me to see it but being 13 when it came out it wasn't cool back then especially with it's music being so overplayed. Seeing it now in 2023 it feels familiar yet innocent and stronger as a UK crime movie than I'd expected. Even the music has become pleasing in a nostalgic way, 'Two Hearts' gave me goosebumps (that key change!).

Singer Collins stars in this simple film about a thief who successfully pulls off the biggest train robbery in history, who then decides to start a new life in Acapulco with his wife June (Walters). Well matched stars in lovely paced yarn with Oscar nominated tunes from Collins ("Two Hearts").

This is one good movie! This is a good movie for Phil Collins fans such as myself. Phil Collins is not only a great singer and drummer, hes also a great actor. This is a good movie to watch on a Friday night if you don't have anything else to do. You won't be sorry.

Buster has been knocked by critics over the years for being too sympathetic to the real life criminals it portrays, for the love story between Buster Edwards & June and for treating a serious crime as a caper full of cheeky cockneys, chirpy Phil Collin's songs and a comedic light touch afforded by director David Green. This is a shame because as British gangster films go this is very entertaining and well acted with Collins surprisingly engaging in the lead opposite the ever reliable Julie Waters, and with a fine ensemble cast of Larry Lamb, Anthony Quayle, Ralph Brown, Martin Jarvis, Christopher Ellison and Sheila Hancock.

With the Government at the time reeling from the Profumo scandal in the 1960's the Great Train Robbery couldn't have come at a worse time, causing the general public to get on the side of the train robbers who were seen as working class heroes. This is what David Green set out to show with his film by making the characters and situation appealing and getting the audience on their side. If it was a fictional crime caper like The Italian Job that wouldn't be an issue but as this is based on real life events and a victim got killed during the robbery the filmmakers are on shaky ground resulting in this artistic decision backfiring and being lambasted by critics for it. The showing of the film at a Royal Premiere in 1988 was also cancelled due to accusations of it glorifying crime.

While the critics may have had a point I usually put that to one side and enjoy it for what it is, whether it is factually accurate or not, it's still one of my favourite British movies made in the 1980's. Sadly the original negative has been lost so what we are left with is a low grade copy that has since been colour graded several shades of green throughout for reasons only known to the colourist.

Phil Collins well received pop songs especially written for the soundtrack helped the film's general appeal but it is Anne Dudley's score that really drives the film along, especially during the robbery scene. While Phil is no Bob Hoskins, David Green's original choice for Buster, he more than holds his own and I find it surprising he didn't go on to do more high profile acting roles after this one.

'Buster (1988)' is mainly notable for starring Phil Colins and being the reason he created some of his most famous songs (such as 'Two Hearts', which plays over the credits). Inspired by the true story of "The Great Train Robbery" of 1963, in which a group of criminals robbed a Royal Mail train and made off with £1,000,000, this sort of romantic comedy spends most its time focusing on the aftermath of its infamous inciting incident. It follows Ronald Christopher "Buster" Edwards as he goes on the lamb and hides from the law, eventually finding a way to smuggle himself and his family out of the country. It's pretty much a family drama, more concerned with the dynamic between its protagonist and his wife than it is with the mechanics or ethics of his actions. Apparently, the feature was subject to controversy at the time of its release, with its most vocal critics claiming it glamourised - or, at least, downplayed - the supposedly vicious crime on which it is based (I say "supposedly" because it seems quite gentle as depicted here, although I'm sure some liberties were taken with it). I don't think such a response is particularly warranted, especially given the eventual outcome of the characters' actions; it's a typical case of conservative exaggeration in the hopes of cinematic censorship. However, the flick does depict its central character as a lovable rogue just doing what he can to get by. Although he isn't exactly the best husband, with behavioral tendencies that aren't just necessitated by current circumstance like he insists they are, he's ultimately portrayed as a harmless and big-hearted romantic with unrelenting love for those close to him. It's not so much a problematic interpretation as it is a surprising one, as the material doesn't exactly cry out for the light-hearted, almost rom-com treatment it receives. This is a sappy, sentimental affair with a beating heart and a romantic outlook, the opposite of the gritty gangster drama it so easily could have been. It's all just rather mild and, in many ways, it doesn't feel like it makes good use of the true story on which it's based. When it reaches its midpoint, it starts to stagnate after a change of scenery basically necessitates a change in pace. It basically spins its wheels while also feeling sort of xenophobic in some ways, even if being homesick isn't inherently the same as feeling superior to your current surroundings, and it loses what steam it initially had. It isn't bad, but its melodrama never quite connects as much as it should and it also isn't particularly funny. Still, it's consistently watchable and is relatively well-made. Collins is likeable enough as the leading man, and Julie Walters gives a good performance while somehow feeling vaguely overqualified for her role. The 60s period setting is believably recreated, with the grime of London's streets being enhanced by the damage to the film stock itself. It's basically a well-produced TV movie in style and tone, which isn't necessarily a bad thing. It's quaint, almost a relic of a lost era. It isn't great, nor even all that interesting, but it's enjoyable enough for what it is.