One of the most glorious novels “Brighton Rock” was written by Henry Graham Greene (1904 – 1991). It was published by William Heinemann Ltd. Additionally, in the novel, one part conventional crime thriller and equal parts morality tale. Greene’s “Brighton Rock” (1938) can often be hard to define that includes many thrills as the reader is taken through the murky underworld of Gangland, Brighton. Additionally, it delves into the dark underworld of Brighton’s criminal gangs, following the ruthless young gangster Pinkie Brown as he navigates love, betrayal, and violence in his quest for power and control. Although “Brighton Rock”, the first novel of Greene’s so-called Catholic period, can be read as a detective story, it is “almost belligerently religious in theme” (Stratford, 1967:166).
Greene’s career can usefully be divided into three periods: the pre Catholic period, the Catholic period, and the post-Catholic period, a tripartite arrangement. This novel was a turning point for Greene in that he had discovered that “a Catholic is more capable of evil that anyone” (BR:309). The novel is set in the British coastal town of Brighton, and its events are preceded by actions in a previous book by Greene. For his greatest works, “Brighton Rock”, “The Power and The Glory”, and “The Quiet American”, he was awarded the 1968 Shakespeare Prize and the 1981 Jerusalem Prize. In the words of McGowan, “he reached the distinction of good and evil from right and wrong”.
The novel begins with the news reporter Charles Hale drinking alone in Brighton on a tourist-choked holiday weekend. He knows that a seventeen year old boy, Pinkie Brown who is a leader of a gang. At a bar, Hale runs into the curvy and flirtatious Ida Arnold. Eventually, Spicer, and Dallow all join Pinkie in a café on the pier, and informing him that Hale is dead and the remaining Kolley Kibber cards have been placed. In doubt, Pinkie decides to return to the restaurant himself. There, he meets with a waitress, Rose, and he said sharply, ‘I’m not joking. I’ll take you to Sherry’s. You and me. We’ll have a bottle of wine.’”
When Ida visits Henekey, she soon learns that a Kolley Kibber man has been killed. Whom she knows by his pseudonym, Fred. Ida thinks Fred’s might be talking to her, asking her to investigate. On the other hand, Pinkie begins his campaign to woo Rose by taking her to Sherry’s nightclub. Pinkie receives an invitation to visit Colleoni, the top mob boss in Brighton who is living in luxury at the Cosmopolitan hotel. An inspector, Cubitt said, “I don’t like it. I don’t like it a bit. This isn’t Brighton, this is Chicago. First Kite, now Hale, and the old man Colleoni’s in it too.” Kite and Hale’s deaths started something; Pinkie wouldn’t mind finishing it, even if it means more killing.
Ida Arnold goes to talk to Rose for the investigation of Hale’s death. Rose tells to Pinkie about Ida’s visiting. Pinkie is alarmed, but Rose assures him she told Ida nothing. Greene explores, “Spicer was frightened; he couldn’t see his way out. He knew too much to be allowed to go free, but he knew too little to be trusted. Pinkie had him where he wanted him.” In the course of a fight, Cubitt comes to understand that Pinkie murdered Spicer, and Cubitt quits the gang then and there. Pinkie and Rose’s wedding day arrives. Here, his plan is for Rose to kill herself first.
With the crimes solved to her satisfaction, Ida returns to Henekey’s bar in triumph. She is happy with herself not only for bringing Pinkie to justice but for saving Rose from him. Rose, however, is anything but free. She is in deep mourning for Pinkie. When Rose visits to a priest, then he says, “You can’t conceive, my child, nor can I or anyone—the…appalling…strangeness of the mercy of God.” She leaves the church, relieved and full of anticipation. She has found a store whose owner will let her use his gramophone. She can’t wait to listen to the record Pinkie made for her on the day of their wedding. She wants only to hear his voice telling her he loves her.
Throughout the novel, Greene’s series of religious novels and deals with Roman Catholic doctrine concerning the nature of sin and the basis of morality. The novel explores the corrupting influence of violence and the consequences of one’s actions, particularly focusing on the character of Pinkie Brown and his descent into darkness. Greene shows an affinity with the seventeenth-century Jansenists, whom McEwan (1988:14) regards as “somewhat heretical Catholics” who stressed that only the “completely mysterious workings of divine grace.” It delves into questions of guilt, redemption, and the human capacity for cruelty, painting a bleak portrait of a society where evil often triumphs over good.
In conclusion, Green’s novel, “Brighton Rock” explores his struggle with faith and the influence of Catholic guilt adds depth to his character and the narrative as a whole. On the other hand, characters in “Brighton Rock” often grapple with the issues of identity and self-deception. Their connection is fraught with manipulation, longing, and a profound sense of isolation. In residual, Pinkie’s ruthless actions and the brutality of the gang dynamics underscore the darker aspects of human nature. It offers insight into the social and cultural landscape of its time, including issues of class division, poverty, and the impact of economic hardship on individuals and communities.