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Guy Ritchie’s “RocknRolla” is an expertly crafted crime caper, leading its characters through a labyrinthine location, enticing the audience with clever writing, a strong cast, and brilliantly structured scenes of extraordinary style and precision. It earns the rare distinction of being successfully violent and amusing at the same time, and yet it isn’t cheap or juvenile; it achieves a higher level of boorishness, one that doesn’t leave us feeling ashamed so powerful as it forces us to explore in helpless fascination. It tells a fable that inventively entangles the characters–and us–in a astronomical web of corruption, deceit, and greed, and that’s only within the first fifteen minutes. With such creative, fast-paced storytelling at work, I was satisfied to fair sit support, relax, and let the account happen to me. Some may criticize “RocknRolla” for being hard to follow, and indeed, an bad lot happens in a relatively short period of time. But if you peep and listen closely, you’ll soon realize that it’s guiding you along.
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What exactly is a RocknRolla? According to the film’s narrator, a gangster named Archie (Note Strong), to be a RocknRolla is, “not about drugs, drums, and hospital drips. We all like a bit of the generous life–some the money, some the drugs, others the sex game, the glamour, or the fame.” But a RocknRolla is different. Why? “Because a dependable RocknRolla wants the lot.” It could be said, then, that Lenny Cole (Tom Wilkinson), Archie’s boss and the notoriously much head of London’s criminal underworld, is a RocknRolla. He has complete control over the city’s booming actual estate market. One day, a pair of gangsters–One Two (Gerard Butler) and Mumbles (Idris Elba) –ask Lenny to finance a portion of property they want to earn. Lenny agrees to loan them a sizeable sum. What they don’t know is that he doesn’t intend on giving them the permits they’re going to need; by going relieve on the deal, he can claim the property for himself and sell it for millions more. Unfortunately, this means that One Two and Mumbles will be millions of pounds in debt.
Here enters Stella (Thandie Newton), a cigarette-smoking, double-crossing temptress who, out of convenience, married a jubilant lawyer. She’s a super-crafty accountant for a Russian mobster named Uri (Karel Roden), who, as it turns out, is making his maintain precise estate deals with Lenny. When Uri asks Stella to regain 7,000,000 euros for a business transaction, she decides to play her contain runt game: She’ll hire someone to intercept the unprotected money, then she’ll pay the interceptor 2,000,000 euros and maintain the remaining 5,000,000 for herself. Lo and gape, along comes One Two, desperately in need of cash to pay off his debt.
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And this is when things really derive challenging. Around the same time Stella and One Two near to an plan, Uri decides to lend his most prized possession, a painting, to Lenny. Uri says that the painting has always brought him righteous luck, and as a gesture of goodwill, he wants to temporarily piece that luck with Lenny. What’s spellbinding about this subplot is that we never actually explore the painting, so we can only recall what its precise value is. Be that as it may, the painting is very important to Uri, which poses a staunch predicament for Lenny when it ends up getting stolen. Not wanting to appear foolish, and hoping to sustain occupy of his deal with Uri, Lenny urgently orders his men to retain gape over the criminal underworld of London. This includes One Two’s gang, the Wild Bunch. It also includes Lenny’s stepson, Johnny Quid (Toby Kebbel), a rebellious, self-destructive junkie rock star who, for reasons known only to him, repeatedly fakes his beget death.
As Lenny’s desperation grows, he threatens to shut down a nightclub owned by Roman (Chris “Ludacris” Bridges) and Mickey (Jeremy Piven), two Americans who frequently showcased Johnny’s band. Roman and Mickey then look out a man named Cookie (Matt King), a junkie himself before Johnny helped him overcome his addiction (or so he claims) . Because of this, Cookie refuses to speak them where Johnny is hiding.
As the film’s writer, Ritchie not only proves that he can give his characters witty, irreverent dialogue, he also proves that he can invent them in ways appropriate to the legend. One example is Gorgeous Bob (Tom Hardy), who comes out of the closet as he sits in the car with his best friend, One Two. In a lesser film, Graceful Bob would be a run-of-the-mill joyful stereotype, serving no valid purpose other than being everyone’s punch line. Here, he’s a functional, contributing character, and he makes it sure that he doesn’t want to do anything humorous with One Two–he fair wants to dance with him. Another example is a pair of sadomasochistic Russian bodyguards, who compare scars with the same casual manner of boys comparing baseball cards. They’re virtually indestructible, as One Two discovers when he tries to bewitch them of their money (another one of Stella’s jobs) . What could have been unnecessary distractions are instead involving side characters.
As the film’s director, Ritchie takes the time to deem every detail, from camera angles to lighting to hasten, all of which add to the quirkiness of the characters. Johnny, for example, is usually filmed in dumb motion while engulfed in the murkiness of his drug den. There’s also a amazing shot in a museum, in which Stella begins walking away from One Two; she starts at a normal plug, but in a moment of adrenaline, the film speeds up, and she zooms out of the shot. How perfect for a character that speedily switches allegiances whenever money is at stake. “RocknRolla” is an absolutely masterful film, wonderfully acted, carefully plotted, and cleverly structured.
Guy Richie has turned out the gem of his career with RockNrolla. Perfect cast (Wilkenson should collect an award for this one) improbable sound track, and a wild and atrocious region. Unlike some of his others, this one makes it a bit easier to understand the dialects. It was the delight of my movie going month in October when it came out here in the U.S.
From reading some of the reviews that pan this movie, it is certain that they are not familiar with Guy Richie’s films, his style and his offbeat humor. It is sort of like licorice; Some people care for it some people disapprove it. But for those of us who have the fair mindset for Richie’s style of film, this it the best one to approach along in a long time.
Gerard Butler’s turn in this is hysterically laughable and is such a expansive switch from his role in 300. No type casting trap for Gerry. This guy can play the heck out of any role imaginable. But if the Wild Bunch shows up again in the next Richie film, I hope Gerry is included.
DottyinCA
Riverside, CA
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