Dry Eye: “Ask no questions, hear no lies.”
A return to his roots after more than a decade making big budget studio pictures, Guy Ritchie’s The Gentlemen (2019), recaptures that unique mixture of crime and comedy (all done in a hyper-stylized visual way) that put him on the map back in 1998 with Lock, Stock and Two Smoking Barrels (the successful follow up Snatch would come in 2000).
If you don’t like Ritchie’s visual style and Limey-centred crime stories, then this likely won’t win you over, but if you’ve missed his unique method of film making since his last gangster flick (2008’s RocknRolla), this one should feel as comfortable as a finely made bespoke suit.
With a narrative that is best enjoyed firsthand, I’ll try to keep the plot points to a minimum. An intricately interwoven spectacle, the whole picture is told in a story within a story type of way. Narrated by smug, know it all private eye Fletcher (Hugh Grant) to a powerful #2, Ray (Charlie Hunnam), who is only beholden to the big boss, American in Britain Michael Pearson (Matthew McConaughey), the hard dick (oops, missed the ‘-headed’ there) has spent the last long while digging into this shady underground organization’s dealings.
Looking for a major payoff (in the sum of twenty million pounds), Fletcher demonstrates his peeping skills by telling the wily thug all that he has discovered. . . these moments coming by way of intricate flashbacks. Revolving around Pearson’s marijuana dealings, the man has developed an impressive and well hidden network. . . raking in the cash in the process.
With Pearson wanting to sell his operation and ride off into the sunset with his equally as shrewd wife, Rosalind (Michelle Dockery). . . but not desiring the criminal underworld to know it, the would-be buyer is another guy from the U.S.A., Matthew (Jeremy Strong). . . though another gangster (this one unwanted), wants to throw his hat into the purchasing ring – Dry Eye (Henry Golding). Then there is Coach (Colin Farrell), a mixed martial arts trainer who unluckily gets drawn into this dangerous world. Lastly, keep an eye out for Big Dave (Eddie Marsan), an editor for a major tabloid, for he was the one who hired Fletcher in the first place, and has a major bone to pick with Pearson.
Ritchie, recruiting a stellar cast, gets the most out of each and every one of his actors. It’s a film where every actor looks like they are having an absolute hoot playing their respective role. . . centred on McConaughey, it is just another example of his McConaissance; while Grant is at his slimy, smarmy best; then there is Farrell as a wholly menacing guy – ironically in the ways of rule teaching; and Dockery as blunt and bold as all the boys surrounding her.
Matched by Ritchie’s distinctive style, once again, it seems like he is almost having too much fun doing what he does best. Fusing slick transitions, his unique brand of action, distinctive humour, and numerous other touches, the visual cadence and clever story coming together for a most rewarding payoff. . . the viewer feeling like they may get rich from the cash Pearson is vying for when all is said and done.
A fun foray into a colourful crime world, The Gentlemen might not be as kind and classy as its title suggests, but it does have some cool fashion touches. You’ll also spot a poster of The Man from U.N.C.L.E. – a nice little reference to one of Ritchie’s former features. Lastly, as we make our way towards the end of the film (not really giving too much away), there is a very meta scene set at Miramax with a script called “Bush” (the original working title for this movie) – a playful suggestion that what we have just watched is this script come to fruition – a cheeky little idea. So, suit up in your best attire and give this one a watch, for everything is so very well fleshed out.