In the late 1960s, career criminal John McVicar, is serving a 23 year prison sentence – he'd robbed a bank and fired at Police officers during his getaway (shooting the siren-light from the top of the police-car). Listed as a dangerous criminal who would not hesitate to kill, after attempting a prison-break at HMP Chelmsford, he is transferred from the South of England to the maximum security wing of HMP Durham, in the far North of the country. Housed in the jail are the cream of London's underworld; top ranking gangsters (such as Charlie Richardson, named Ronnie Harrison in the film), bank-robbers and various high-profile criminals – not least to mention several murderers and child-killers, the latter with whom the rest of the convicts are in complete disgust and who are ostracised.In a perpetual state of conflict against the screws and the system, the convicts stage a revolt and take-over the prison wing until their demands for a less-regimented regime is imposed – that is, a more relaxed rule book on the wing as it accommodates prisoners serving life terms. As the dust settles in the aftermath of the riot, and after having served their subsequent punishments for the take-over, the convicts' demands are more or less met and the wing – whilst still under maximum security – is transformed into a place where the cons can weight-train freely and have extended socialisation periods. With only seven convicts on the wing – the others having been transferred to other jails after the riot – and the wing being isolated from the rest of HMP Durham (effectively a prison within a prison), John and fellow convict Wally Probyn plan a daring and meticulous break-out with the assistance of the rest of the inmates.Painstakingly constructing a tunnel, under the noses of the screws, leading below the shower-room, eventually into the basement of an adjacent wing, then out into a yard and finally up onto the prison's roof - John and Wally made history with the UK's most infamous prison-break of all time. Negotiating barbed-wire and prison walls as they run for their lives chased by screws with dogs, Wally is captured but John escapes.With a massive Police man-hunt bearing down on him, John manages to evade his hunters in a nighttime cross-country 'escape sequence' which will have viewers on edge of their seats. Making it back down to London with the help of two associates who drive-up North to collect him, he is reunited with his family and has to adapt to a life on the run as the country's most wanted man. Hidding out in the big city with plans to flee abroad John is in need of money and promptly reverts to his trade of armed-robbery with the old gang.Among many powerful moments, "McVicar" contains one of the finest ever bank robberies committed to celluloid by a British production and arguably one of the coolest opening title-sequences, with accompanying soundtrack by The Who. The film is riddled with four-letter words and aggressive overtones, but it is remarkably nonviolent. The violence, when it comes, is staged maturely and realistically and is always within context. The environment of the film is certainly a tough, macho one, but "McVicar" is a grown-up film which works on many levels – notably the relationship with his wife and child, and the contrast between his friendships with fellow convicts in jail and with his criminal associates on the outside. It's a pity that contemporary British crime dramas no-longer live up to the fine standards of films like this. "McVicar" combines a real story, with genuine high-energy drama, excellent screenplay, strong performances, and it doesn't rely on comedic-caricatures, unnecessary violence or unbelievable sub-plots.

A way back in the early 1980s word of mouth was spreading about a great and violent Brit flick ( In those days things were really grim for British film making unlike the late 1990s ) called MCVICAR the true story of armed robber John McVicar who was branded Britain's public enemy number one . I eventually got to see it on video in 1983 and was thoroughly disappointed by it Some people may say that if there's any failings it's down to a rock star being cast ( I'll come to that in a moment ) but for me it's the story that's at fault or more specifically the way the story is told . John McVicar faces many years in prison and plans his escape . So in effect the audience are not watching a biopic of Britain's most feared criminal , we're watching a film not entirely different from COLDITZ or ESCAPE FROM ALCATRAZ . In fact this was produced round about the same time as the Eastwood star vehicle and I can't help thinking this had much to do with it being produced . Tellingly MCVICAR has three producers and three executive producers and one can't help thinking too many cooks have spoiled this prison broth . That's the problem too much prison and not enough meat in the broth As for Roger Daltry's performance I know some people who think he absolutely ruined the movie but if memory serves me right ( I haven't seen this movie for several years ) while not exactly being an Oscar worthy performance I don't think he's as bad as some people claim . If I have a problem it's just that he comes across as over emphatic when he's nasty and can only really be described as poor when after having a tantrum in the hall picks up an orange and tries to act all cool . Is there anything more unconvincing than a man getting cool with an orange ? The one other thing I remember after first viewing is how this managed to get a X certificate ( It's an old version of the 18 cert ) from the British Board Of Classifiers . No one is killed , there's no explicit sex though there is a lot of bad language . I guess that's because it deals with a real life British criminal and no one wants to be seen glorifying crime . John McVicar is still alive today and makes frequent television appearances . He's certainly comes across as friendly old gentlemen who's very much of the old school type of criminal , that is he had strict codes of not hurting women and kids and not turning stool pigeon . In days like these where the British legal establishment seems more interested in the rights of paedophiles and terrorists more than the rights of their victims you really do find yourself forgiving the sins of an armed robber very quickly

McVicar is the kind of movie that founds in criminal lifestyle a way to communicate its moral intend. The plot is quite typical because the intention is to show that, no matter how exciting or bizarre been an outlaw is, the criminal never succeeds. Based on a true story, the most interesting parts of the movie are the escape of McVicar from High Security Prison while a rock piece sounds on the back, and the assault of the bank, brief but consistent. The soundtrack is good, with a certain Who sound in big part of it and Daltrey's performance is really surprising, considering that he doesn't overact at all. But the whole movie doesn't look like a superb production, it's pretty much the same in this type of movie: a crime life that traps the leading character till the end, waiting always for a possible redemption that-at least not in this case-never comes. Although the movie is not boring either, is a well told story, nothing less, nothing more.

A gripping portrayal of a seasoned villain's desire to escape from prison and start a new life. Roger Daltrey succeeds in making John McVicar appear to be a decent family man despite his hard-man antics. Adam Faith is excellent as Walter, McVicar's colleague in prison. Again, he is portrayed to be a cheeky Cockney geezer, immensely likeable. From the outset, the prison guards are given no sympathy, they are brutal,unfair and dim-witted. Daltrey's vocals are used extensively to colour the film and the viewer is left in no doubt as to the director's sympathies. John McVicar is now a respected writer and broadcaster.